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+The Project Gutenberg EBook of The Shanty Book, Part I, Sailor Shanties, by 
+Richard Runciman Terry
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Shanty Book, Part I, Sailor Shanties
+
+Author: Richard Runciman Terry
+
+Contributor: Sir Walter Runciman
+
+Release Date: March 8, 2007 [EBook #20774]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE SHANTY BOOK, PART I ***
+
+
+
+
+Produced by Steven Gibbs, Linda Cantoni, and the Online
+Distributed Proofreading Team at http://www.pgdp.net. This
+file is gratefully uploaded to the PG collection in honor
+of Distributed Proofreaders having posted over 10,000
+ebooks.
+
+
+
+
+
+
+
+
+
+The Shanty Book
+
+Part I
+
+Sailor Shanties
+
+(Curwen Edition 6308)
+
+
+Collected and Edited, with Pianoforte Accompaniment, by RICHARD
+RUNCIMAN TERRY, with a Foreword by SIR WALTER RUNCIMAN, Bart.
+
+
+LONDON
+
+J. Curwen & Sons Ltd., 24 Berners Street, W. 1
+
+Copyright, 1921, by J. Curwen & Sons Ltd.
+
+
+
+
+FOREWORD
+
+By SIR WALTER RUNCIMAN
+
+
+It is sometimes difficult for old sailors like myself to realize that
+these fine shanty tunes--so fascinating to the musician, and which no
+sailor can hear without emotion--died out with the sailing vessel, and
+now belong to a chapter of maritime history that is definitely closed.
+They will never more be heard on the face of the waters, but it is
+well that they should be preserved with reverent care, as befits a
+legacy from the generation of seamen that came to an end with the
+stately vessels they manned with such skill and resource.
+
+In speech, the old-time 'shellback' was notoriously reticent--almost
+inarticulate; but in song he found self-expression, and all the
+romance and poetry of the sea are breathed into his shanties, where
+simple childlike sentimentality alternates with the Rabelaisian humour
+of the grown man. Whatever landsmen may think about shanty words--with
+their cheerful inconsequence, or light-hearted coarseness--there can
+be no two opinions about the tunes, which, as folk-music, are a
+national asset.
+
+I know, of course, that several shanty collections are in the market,
+but as a sailor I am bound to say that only one--Capt. W.B. Whall's
+'Sea Songs, Ships, and Shanties'--can be regarded as authoritative.
+Only a portion of Capt. Whall's delightful book is devoted to
+shanties, of which he prints the melodies only (without
+accompaniment); and of these he does not profess to give more than
+those he himself learnt at sea. I am glad, therefore, to welcome
+Messrs. Curwen's project of a wide and representative collection. Dr.
+Terry's qualifications as editor are exceptional, since he was reared
+in an environment of nineteenth-century seamen, and is the only
+landsman I have met who is able to render shanties as the old seamen
+did. I am not musician enough to criticize his pianoforte
+accompaniments, but I can vouch for the authenticity of the _melodies_
+as he presents them, untampered with in any way.
+
+WALTER RUNCIMAN.
+
+_Shoreston Hall_,
+  _Chathill_, 1921.
+
+
+
+
+CONTENTS
+
+
+                                                PAGE
+
+FOREWORD by Sir Walter Runciman                  iii
+
+INTRODUCTION                                       v
+
+NOTES ON THE SHANTIES                           xiii
+
+
+WINDLASS & CAPSTAN SHANTIES:
+
+ 1  Billy Boy                                      2
+
+ 2  Bound for the Rio Grande                       4
+
+ 3  Good-bye, fare ye well                         6
+
+ 4  Johnny come down to Hilo                       8
+
+ 5  Clear the track, let the Bullgine run         10
+
+ 6  Lowlands away                                 12
+
+ 7  Sally Brown                                   16
+
+ 8  Santy Anna                                    18
+
+ 9  Shenandoah                                    20
+
+10  Stormalong John                               22
+
+11  The Hog's-eye Man                             24
+
+12  The Wild Goose Shanty                         26
+
+13  We're all bound to go                         28
+
+14  What shall we do with the drunken sailor?     30
+
+
+HALLIARD SHANTIES:
+
+15  Blow, my bully boys                           32
+
+16  Blow the man down                             34
+
+17  Cheer'ly, men                                 36
+
+18  Good morning, ladies all                      38
+
+19  Hanging Johnny                                40
+
+20  Hilo Somebody                                 42
+
+21  Oh run, let the Bullgine run                  44
+
+22  Reuben Ranzo                                  46
+
+23  The Dead Horse                                48
+
+24  Tom's gone to Hilo                            50
+
+25  Whisky Johnny                                 52
+
+26  Boney was a warrior                           54
+
+
+FORE-SHEET OR SWEATING-UP SHANTIES:
+
+27  Johnny Boker                                  55
+
+28  Haul away, Joe                                56
+
+29  We'll haul the bowlin'                        58
+
+
+BUNT SHANTY:
+
+30 Paddy Doyle's boots                            59
+
+
+ALPHABETICAL INDEX OF SHANTIES
+
+                                                PAGE
+
+Billy Boy                                          2
+
+Blow, my bully boys                               32
+
+Blow the man down                                 34
+
+Boney was a warrior                               54
+
+Bound for the Rio Grande                           4
+
+
+Cheer'ly, men                                     36
+
+Clear the track, let the Bullgine run             10
+
+
+Dead Horse, The                                   48
+
+
+Good-bye, fare ye well                             6
+
+Good morning, ladies all                          38
+
+
+Hanging Johnny                                    40
+
+Haul away, Joe                                    56
+
+Hilo Somebody                                     42
+
+Hog's-eye Man, The   24
+
+
+Johnny Boker                                      55
+
+Johnny come down to Hilo                           8
+
+
+Lowlands away                                     12
+
+
+Oh run, let the Bullgine run                      44
+
+
+Paddy Doyle's boots                               59
+
+
+Reuben Ranzo                                      46
+
+
+Sally Brown                                       16
+
+Santy Anna                                        18
+
+Shenandoah                                        20
+
+Stormalong John                                   22
+
+
+Tom's gone to Hilo                                50
+
+
+We'll haul the bowlin'                            58
+
+We're all bound to go                             28
+
+What shall we do with the drunken sailor?         30
+
+Whisky Johnny                                     52
+
+Wild Goose Shanty, The                            26
+
+
+
+
+INTRODUCTION
+
+
+APOLOGIA
+
+It may reasonably be asked by what authority a mere landsman publishes
+a book on a nautical subject. I may, therefore, plead in extenuation
+that I have all my life been closely connected with seafaring matters,
+especially during childhood and youth, and have literally 'grown up
+with' shanties. My maternal ancestors followed the sea as far back as
+the family history can be traced, and sailor uncles and grand-uncles
+have sung shanties to me from my childhood upwards. During boyhood I
+was constantly about amongst ships, and had learnt at first hand all
+the popular shanties before any collection of them appeared in print.
+I have in later years collected them from all manner of sailors,
+chiefly at Northumbrian sources. I have collated these later versions
+with those which I learnt at first hand as a boy from sailor
+relatives, and also aboard ship. And lastly, I lived for some years in
+the West Indies, one of the few remaining spots where shanties may
+still be heard, where my chief recreation was cruising round the
+islands in my little ketch. In addition to hearing them in West Indian
+seaports, aboard Yankee sailing ships and sugar droghers, I also heard
+them sung constantly on shore in Antigua under rather curious
+conditions. West Indian negro shanties are movable wooden huts, and
+when a family wishes to change its _venue_ it does so in the following
+manner: The shanty is levered up on to a low platform on wheels, to
+which two very long ropes are attached. The ropes are manned by as
+many hands as their length will admit. A 'shantyman' mounts the roof
+of the hut and sits astride it. He sings a song which has a chorus,
+and is an exact musical parallel of a seaman's 'pull-and-haul' shanty.
+The crowd below sings the chorus, giving a pull on the rope at the
+required points in the music, just as sailors did when hauling at sea.
+Each pull on the rope draws the hut a short distance forward, and the
+process is continued till its final resting-place is reached, when the
+shantyman descends from the roof. The hut is then levered off the
+platform on to _terra firma_ and fixed in its required position.
+
+
+WHAT A SHANTY IS
+
+Shanties were labour songs sung by sailors of the merchant service
+only while at work, and never by way of recreation. Moreover--at
+least, in the nineteenth century--they were never used aboard
+men-o'-war, where all orders were carried out in silence to the pipe
+of the bo'sun's whistle.
+
+Before the days of factories and machinery, all forms of work were
+literally _manual_ labour, and all the world over the labourer,
+obeying a primitive instinct, sang at his toil: the harvester with his
+sickle, the weaver at the loom, the spinner at the wheel. Long after
+machinery had driven the labour-song from the land it survived at sea
+in the form of shanties, since all work aboard a sailing vessel was
+performed by hand.
+
+The advent of screw steamers sounded the death-knell of the shanty.
+Aboard the steamer there were practically no sails to be manipulated;
+the donkey-engine and steam winch supplanted the hand-worked windlass
+and capstan. By the end of the seventies steam had driven the sailing
+ship from the seas. A number of sailing vessels lingered on through
+the eighties, but they retained little of the corporate pride and
+splendour that was once theirs. The old spirit was gone never to
+return.
+
+When the sailing ship ruled the waters and the shanty was a living
+thing no one appears to have paid heed to it. To the landsman of those
+days--before folk-song hunting had begun--the haunting beauty of the
+tunes would appear to have made no appeal. This may be partly
+accounted for by the fact that he would never be likely to hear the
+sailor sing them ashore, and partly because of the Rabelaisian
+character of the words to which they were sung aboard ship. We had
+very prim notions of propriety in those days, and were apt to overlook
+the beauty of the melodies, and to speak of shanties in bulk as 'low
+vulgar songs.' Be that as it may, it was not until the late
+eighties--when the shanty was beginning to die out with the sailing
+ship--that any attempt was made to form a collection.
+
+
+ORIGIN OF THE WORD
+
+Here let me enter my protest against the literary preciosity which
+derives the word from (_un_) _chanté_ and spells it 'chanty'--in other
+words, against the gratuitous assumption that unlettered British
+sailors derived one of the commonest words in their vocabulary from a
+foreign source. The result of this 'literary' spelling is that
+ninety-nine landsmen out of every hundred, instead of pronouncing the
+word 'shanty,' rhyming with 'scanty' (_as every sailor did_),
+pronounce it 'tchahnty,' rhyming with 'auntie,' thereby courting the
+amusement or contempt of every seaman. The vogue of '_ch_anty' was
+apparently created by the late W.E. Henley, a fine poet, a great man
+of letters, a profound admirer of shanty tunes, but entirely
+unacquainted with nautical affairs. Kipling and other landsmen have
+given additional currency to the spelling. The 'literary' sailors,
+Clark Russell and Frank Bullen, have also spelt it '_ch_anty,' but
+their reason is obvious. The modest seaman always bowed before the
+landsman's presumed superiority in 'book-larnin'.' What more natural
+than that Russell and Bullen, obsessed by so ancient a tradition,
+should accept uncritically the landsman's spelling. But educated
+sailors devoid of 'literary' pretensions have always written the word
+as it was pronounced. To my mind the strongest argument against the
+literary landsman's derivation of the word is that the British sailor
+cultivated the supremest contempt for everything French, and would be
+the last person to label such a definitely British practice as
+shanty-singing with a French title. If there had been such a thing in
+French ships as a labour-song bearing such a far-fetched title as
+(_un_) _chanté_, there might have been a remote possibility of the
+British sailor adopting the French term in a spirit of sport or
+derision, but there is no evidence that any such practice, or any such
+term, achieved any vogue in French ships. As a matter of fact, the
+Oxford Dictionary (which prints it '_sh_anty') states that the word
+never found its way into print until 1869.
+
+The truth is that, however plausible the French derivation theory may
+sound, it is after all pure speculation--and a landsman's speculation
+at that--unsupported by a shred of concrete evidence.
+
+If I wished to advance another theory more plausible still, and
+equally unconvincing, I might urge that the word was derived from the
+negro hut-removals already mentioned. Here, at least, we have a very
+ancient custom, which would be familiar to British seamen visiting
+West Indian seaports. The object moved was a _shanty_; the music
+accompanying the operation was called, by the negroes, a _shanty_
+tune; its musical form (solo and chorus) was identical with the sailor
+_shanty_; the pulls on the rope followed the same method which
+obtained at sea; the soloist was called a _shanty_man; like the
+shantyman at sea he did no work, but merely extemporized verses to
+which the workers at the ropes supplied the chorus; and finally, the
+negroes still pronounce the word itself exactly as the seaman did.
+
+I am quite aware of the flaws in the above argument, but at least it
+shows a manual labour act performed both afloat and ashore under
+precisely similar conditions as to (_a_) its nature, (_b_) its musical
+setting; called by the same name, _with the same pronunciation_ in
+each case; and lastly, connected, in one case, with an actual hut or
+_shanty_. Against this concrete argument we have a landsman's abstract
+speculation, which (_a_) begs the whole question, and (_b_) which was
+never heard of until a few years before the disappearance of the
+sailing ship. I do not assert that the negroid derivation is
+conclusive, but that from (_un_) _chanté_ will not bear serious
+inspection.
+
+
+BIBLIOGRAPHY
+
+The material under this head is very scanty. Nothing of any
+consequence was written before the eighties, when W.L. Alden, in
+_Harper's Magazine_, and James Runciman, in the _St. James's Gazette_
+and other papers, wrote articles on the subject with musical
+quotations. Since then several collections have appeared:
+
+     1887. _Sailors' Songs or Chanties_, the words by Frederick
+     J. Davis, R.N.R., the music composed and arranged upon
+     traditional sailor airs by Ferris Tozer, Mus. D. Oxon.
+
+     1888. _The Music of the Waters_, by Laura Alexandrine Smith.
+
+     1910 and 1912. _Sea Songs, Ships, and Shanties_, by Capt.
+     W.B. Whall.
+
+     1912. _Songs of Sea Labour_, by Frank T. Bullen and W.F.
+     Arnold.
+
+     1914. _English Folk Chanteys_ with Pianoforte Accompaniment,
+     collected by Cecil J. Sharp.
+
+Of all these collections Capt. Whall's is the only one which a sailor
+could accept as authoritative. Capt. Whall unfortunately only gives
+the twenty-eight shanties which he himself learnt at sea. But to any
+one who has heard them sung aboard the old sailing ships, his versions
+ring true, and have a bite and a snap that is lacking in those
+published by mere collectors.
+
+Davis and Tozer's book has had a great vogue, as it was for many years
+the only one on the market. But the statement that the music is
+'composed and arranged on traditional sailor airs' rules it out of
+court in the eyes of seamen, since (_a_) a sailor song is not a
+shanty, and (_b_) to 'compose and arrange on traditional airs' is to
+destroy the traditional form.
+
+Miss Smith's book is a thick volume into which was tumbled
+indiscriminately and uncritically a collection of all sorts of tunes
+from all sorts of countries which had any connection with seas, lakes,
+rivers, or their geographical equivalents. Scientific folk-song
+collecting was not understood in those days, and consequently all was
+fish that came to the authoress's net. Sailor shanties and landsmen's
+nautical effusions were jumbled together higgledy-piggledy, along with
+'Full Fathom Five' and the 'Eton Boating Song.' But this lack of
+discrimination, pardonable in those days, was not so serious as the
+inability to write the tunes down correctly. So long as they were
+copied from other song-books they were not so bad, but when it came to
+taking them down from the seamen's singing the results were
+deplorable. Had the authoress been able to give us correct versions of
+the shanties her collection would have been a valuable one. The book
+contains altogether about thirty-two shanties collected from sailors
+in the Tyne seaports. Since both Miss Smith and myself hail from
+Newcastle, her 'hunting ground' for shanties was also mine, and I am
+consequently in a position to assess the importance or unimportance of
+her work. I may, therefore, say that although hardly a single shanty
+is noted down correctly, I can see clearly--having myself noted the
+same tunes in the same district--what she intended to convey, and
+furthermore can vouch for the accuracy of some of the words which were
+common to north country sailors, and which have not appeared in other
+collections.
+
+If I have been obliged to criticize Miss Smith's book it is not
+because I wish to disparage a well-intentioned effort, but because I
+constantly hear _The Music of the Waters_ quoted as an authoritative
+work on sailor shanties; and since the shanties in it were all
+collected in the district where I spent boyhood and youth, I am
+familiar with all of them, and can state definitely that they are in
+no sense authoritative. I should like, however, to pay my tribute of
+respect to Miss Smith's industry, and to her enterprise in calling
+attention to tunes that then seemed in a fair way to disappear.
+
+Bullen and Arnold's book ought to have been a valuable contribution to
+shanty literature, as Bullen certainly knew his shanties, and used to
+sing them capitally. Unfortunately his musical collaborator does not
+appear to have been gifted with the faculty of taking down authentic
+versions from his singing. He seems to have had difficulty in
+differentiating between long measured notes and unmeasured pauses;
+between the respective meanings of three-four and six-eight time;
+between modal and modern tunes; and between the cases where irregular
+barring was or was not required. Apart from the amateur nature of the
+harmonies, the book exhibits such strange unacquaintance with the
+rudiments of musical notation as the following (p. 25):
+
+[Music illustration]
+
+A few other collections deserve mention:
+
+     1912. _The Espérance Morris Book_, Part II (Curwen Edition
+     8571), contains five shanties collected and arranged by
+     Clive Carey.
+
+     1914. _Shanties and Forebitters_, collected and
+     accompaniments written by Mrs. Clifford Beckett (Curwen
+     Edition 6293).
+
+     _Journal of the Folk-Song Society_, Nos. 12, 18, and 20,
+     contain articles on shanties, with musical examples
+     (melodies only), which, from the academic point of view, are
+     not without interest.
+
+     1920. _The Motherland Song Book_ (Vols. III and IV, edited
+     by R. Vaughan Williams) contains seven shanties. It is
+     worthy of note that Dr. Vaughan Williams, Mr. Clive Carey,
+     and Mrs. Clifford Beckett all spell the word 'shanty' as
+     sailors pronounced it.
+
+     1920. _Sailor Shanties arranged for Solo and Chorus of Men's
+     Voices_ by the present editor; two selections (Curwen
+     Edition 50571 and 50572).
+
+There are one or two other collections in print which are obviously
+compilations, showing no original research. Of these I make no note.
+
+
+SHANTY FORMS
+
+Shanties may be roughly divided, as regards their use, into two
+classes: (_a_) Hauling shanties, and (_b_) Windlass and Capstan. The
+former class accompanied the setting of the sails, and the latter the
+weighing of the anchor, or 'warping her in' to the wharf, etc. Capstan
+shanties were also used for pumping ship. A few shanties were
+'interchangeable,' i.e. they were used for both halliards and capstan.
+The subdivisions of each class are interesting, and the nature of the
+work involving 'walk away,' 'stamp and go,' 'sweating her up,' 'hand
+over hand,' and other types of shanty would make good reading; but
+nautical details, however fascinating, must be economized in a musical
+publication.
+
+Capstan shanties are readily distinguishable by their music. The
+operation of walking round the capstan (pushing the capstan bars in
+front of them) was continuous and not intermittent. Both tune and
+chorus were, as a rule, longer than those of the hauling shanty, and
+there was much greater variety of rhythm. Popular songs, if they had a
+chorus or refrain, could be, and were, effectively employed for
+windlass and capstan work.
+
+Hauling shanties were usually shorter than capstan ones, and are of
+two types: (_a_) those used for 'the long hoist' and (_b_) those
+required for 'the short pull' or 'sweating-up.' Americans called these
+operations the 'long' and the 'short drag.' The former was used when
+beginning to hoist sails, when the gear would naturally be slack and
+moderately easy to manipulate. It had two short choruses, with a
+double pull in each. In the following example, the pulls are marked
+[music accent symbol].
+
+[Music illustration: REUBEN RANZO
+
+     SOLO. Oh pity poor Reuben Ranzo,
+     CHORUS. [accent] Ranzo, boys, [accent] Ranzo,
+     SOLO. Oh poor old Reuben Ranzo,
+     CHORUS. [accent] Ranzo, boys, [accent] Ranzo.]
+
+It is easy to see how effective a collective pull at each of these
+points would be, while the short intervals of solo would give time for
+shifting the hands on the rope and making ready for the next combined
+effort.
+
+When the sail was fully hoisted and the gear taut, a much stronger
+pull was necessary in order to make everything fast, so the shanty was
+then changed for a 'sweating-up' one, in which there was only one
+short chorus and one very strong pull:
+
+[Music illustration: HAUL THE BOWLIN'
+
+     SOLO: We'll haul the bowlin', so early in the morning,
+     CHORUS: We'll haul the bowlin', the bowlin' [accent] haul.]
+
+So much effort was now required on the pull that it was difficult to
+sing a musical note at that point. The last word was therefore usually
+shouted.
+
+
+SOURCES OF TUNES
+
+The sailor travelled in many lands, and in his shanties there are
+distinct traces of the nationalities of the countries he visited.
+Without doubt a number of them came from American negro sources. The
+songs heard on Venetian gondolas must have had their effect, as many
+examples show. There are also distinct traces of folk-songs which the
+sailor would have learnt ashore in his native fishing village, and the
+more familiar Christy Minstrel song was frequently pressed into the
+service. As an old sailor once said to me: 'You can make anything into
+a shanty.'
+
+Like all traditional tunes, some shanties are in the ancient modes,
+and others in the modern major and minor keys. It is the habit of the
+'folk-songer' (I am not alluding to our recognized folk-song experts)
+to find 'modes' in every traditional tune. It will suffice, therefore,
+to say that shanties follow the course of all other traditional music.
+Many are modern, and easily recognizable as such. Others are modal in
+character, such as 'What shall we do with the drunken sailor?' No. 14,
+and 'The Hog's-Eye Man,' No. 11. Others fulfil to a certain extent
+modal conditions, but are nevertheless in keys, e.g. 'Stormalong
+John,' No. 10.
+
+Like many other folk-songs, certain shanties--originally, no doubt, in
+a mode--were, by the insertion of leading notes, converted into the
+minor key. There was also the tendency on the part of the modern
+sailor to turn his minor key into a major one. I sometimes find
+sailors singing in the major, nowadays, tunes which the very old men
+of my boyhood used to sing in the minor. A case in point is 'Haul
+away, Joe,' No. 28. Miss Smith is correct in giving it in the minor
+form which once obtained on the Tyne, and I am inclined to hazard the
+opinion that that was the original form and not, as now, the
+following:
+
+[Music illustration:
+
+     Way, haul away,
+     We'll haul away the bowlin'.
+     Way, haul away,
+     We'll haul away, Joe.]
+
+In later times I have also heard 'The Drunken Sailor' (a distinctly
+modal tune) sung in the major as follows:
+
+[Music illustration:
+
+     What shall we do with the drunken sailor?
+     What shall we do with the drunken sailor? etc.]
+
+I have generally found that these perversions of the tunes are due to
+sailors who took to the sea as young men in the last days of the
+sailing ship, and consequently did not imbibe to the full the old
+traditions. With the intolerance of youth they assumed that the modal
+turn given to a shanty by the older sailor was the mark of ignorance,
+since it did not square with their ideas of a major or minor key. This
+experience is common to all folk-tune collectors.
+
+Other characteristics, for example: (_a_) different words to the same
+melody; (_b_) different melodies to the same or similar words, need
+not be enlarged upon here, as they will be self-evident when a
+definitive collection is published.
+
+Of the usual troubles incidental to folk-song collecting it is
+unnecessary to speak. But the collection of shanties involves
+difficulties of a special kind. In taking down a folk-song from a
+rustic, one's chief difficulty is surmounted when one has broken down
+his shyness and induced him to sing. There is nothing for him to do
+then but get on with the song. Shanties, however, being labour songs,
+one is 'up against' the strong psychological connection between the
+song and its manual acts. Two illustrations will explain what I mean.
+
+A friend of mine who lives in Kerry wished a collector to hear some of
+the traditional keening, and an old woman with the reputation of being
+the best keener in the district, when brought to the house to sing the
+funeral chants, made several attempts and then replied in a distressed
+manner: 'I can't do it; there's no body,' This did not mean that she
+was unwilling to keen in the absence of a corpse, but that she was
+unable to do so. Just before giving up in despair my friend was seized
+with a brain wave, and asked her if it would suffice for him to lie
+down on the floor and personate the corpse. When he had done this the
+old woman found herself able to get on with the keening.
+
+An incident related to me quite casually by Sir Walter Runciman throws
+a similar light on the inseparability of a shanty and its labour. He
+described how one evening several north country ships happened to be
+lying in a certain port. All the officers and crews were ashore,
+leaving only the apprentices aboard, some of whom, as he remarked,
+were 'very keen on shanties,' and their suggestion of passing away the
+time by singing some was received with enthusiasm. The whole party of
+about thirty apprentices at once collected themselves aboard one
+vessel, sheeted home the main topsail, and commenced to haul it up to
+the tune of 'Boney was a warrior,' changing to 'Haul the Bowlin'' for
+'sweating-up.' In the enthusiasm of their singing, and the absence of
+any officer to call ''Vast hauling,' they continued operations until
+they broke the topsail yard in two, when the sight of the wreckage and
+the fear of consequences brought the singing to an abrupt conclusion.
+In my then ignorance I naturally asked: 'Why couldn't you have sung
+shanties without hoisting the topsail?' and the reply was: 'How could
+we sing a shanty without having our hands on the rope?' Here we have
+the whole psychology of the labour-song: the old woman could not keen
+without the 'body,' and the young apprentices could not sing shanties
+apart from the work to which they belonged. The only truly
+satisfactory results which I ever get nowadays from an old sailor are
+when he has been stimulated by conversation to become reminiscent, and
+croons his shanties almost subconsciously. Whenever I find a sailor
+willing to declaim shanties in the style of a song I begin to be a
+little suspicious of his seamanship. In one of the journals of the
+Folk-Song Society there is an account of a sailor who formed a little
+party of seafaring men to give public performances of shanties on the
+concert platform. No doubt this was an interesting experience for the
+listeners, but that a self-conscious performance such as this could
+represent the old shanty singing I find it difficult to believe. Of
+course I have had sailors sing shanties to me in a fine declamatory
+manner, but I usually found one of three things to be the case: the
+man was a 'sea lawyer,' or had not done much deep-sea sailing; or his
+seamanship only dated from the decline of the sailing vessel.
+
+It is doubtless interesting to the folk-songer to see in print
+shanties taken down from an individual sailor with his individual
+melodic twirls and twiddles. But since no two sailors ever sing the
+same shanty quite in the same manner, there must necessarily be some
+means of getting at the tune, unhampered by these individual
+idiosyncrasies, which are quite a different thing from what folk-song
+students recognize as 'variants.' The power to discriminate can only
+be acquired by familiarity with the shanty as it was in its palmy
+days. The collector who comes upon the scene at this late time of day
+must necessarily be at a disadvantage. The ordinary methods which he
+would apply to a folk-song break down in the case of a labour-song.
+Manual actions were the soul of the shanty; eliminate these and you
+have only the skeleton of what was once a living thing. It is quite
+possible, I know, to push this line of argument too far, but every one
+who knows anything about seamanship must feel that a shanty nowadays
+cannot be other than a pale reflection of what it once was.
+
+That is why I deprecate the spurious authenticity conferred by print
+upon isolated versions of shanties sung by individual old men. When
+the originals are available it seems to me pedantic and academic to
+put into print the comic mispronunciations of well-known words by old
+and uneducated seamen.
+
+And this brings me to the last difficulty which confronts the
+collector with no previous knowledge of shanties. As a mere matter of
+dates, any sailors now remaining from sailing ship days must
+necessarily be very old men. I have found that their octogenarian
+memories are not always to be trusted. On one occasion an old man sang
+quite glibly a tune which was in reality a _pasticcio_ of three
+separate shanties all known to me. I have seen similar results in
+print, since the collector arrived too late upon the scene to be able
+to detect the tricks which an old man's memory played him.
+
+One final remark about collectors which has an important bearing upon
+the value of their work. There were two classes of sailing vessels
+that sailed from English ports--the coaster or the mere collier that
+plied between the Tyne or Severn and Boulogne, and the Southspainer,
+under which term was comprised all deep-sea vessels. On the collier or
+short-voyage vessel the crew was necessarily a small one, and the
+shanty was more or less of a makeshift, adapted to the capacity of the
+limited numbers of the crew. Purely commercial reasons precluded the
+engagement of any shantyman specially distinguished for his musical
+attainments. Consequently, so far as the shanty was concerned, 'any
+old thing would do.' On the Southspainer, however, things were very
+different. The shantyman was usually a person of considerable musical
+importance, who sang his songs in a more or less finished manner; his
+melodies were clean, clear-cut things, without any of the
+folk-songer's quavers and wobbles. I heard them in the 'seventies and
+'eighties before the sailing-ship had vanished, consequently I give
+them as they were then sung--undisfigured and unobscured by the
+mixture of twirls, quavers, and hiccups one hears from octogenarian
+mariners who attempt them to-day.
+
+
+METHOD OF SINGING
+
+So far as the music was concerned, a shanty was a song with a chorus.
+The song was rendered by one singer, called the shantyman, and the
+chorus by the sailors who performed their work in time with the music.
+So far as the words were concerned there was usually a stereotyped
+opening of one or more verses. For all succeeding verses the shantyman
+improvized words, and his topics were many and varied, the most
+appreciated naturally being personal allusions to the crew and
+officers, sarcastic criticism on the quality of the food, wistful
+references to the good time coming on shore, etc. There was no need
+for any connection or relevancy between one verse or another, nor were
+rhymes required. The main thing that mattered was that the rhythm
+should be preserved and that the words should be such as would keep
+the workers merry or interested. Once the stereotyped verses were got
+rid of and the improvization began, things became so intimate and
+personal as to be unprintable. It was a curious fact that such shanty
+words as lent themselves most to impropriety were wedded to tunes
+either of fine virility or haunting sweetness.
+
+For 'pull-and-haul' shanties the shantyman took up his position near
+the workers and announced the shanty, sometimes by singing the first
+line. This established the tune to which they were to supply the
+chorus. For capstan shanties he usually did the same. He frequently
+sat on the capstan, but so far as I can learn he more usually took up
+his position on or against the knightheads. The importance of the
+shantyman could not be overestimated. A good shantyman with a pretty
+wit was worth his weight in gold. He was a privileged person, and was
+excused all work save light or odd jobs.
+
+
+THE WORDS OF SHANTIES
+
+I have already noted the shanties which were derived from popular
+songs, also the type which contained a definite narrative. Except
+where a popular song was adapted, the form was usually rhymed or more
+often unrhymed couplets. The topics were many and varied, but the
+chief ones were: (1) popular heroes such as Napoleon, and 'Santy
+Anna.' That the British sailor of the eighteenth century should hate
+every Frenchman and yet make a hero of Bonaparte is one of the
+mysteries which has never been explained. Another mystery is the
+fascination which Antonio Lopez de Santa Anna (1795-1876) exercised
+over the sailor. He was one of the many Mexican 'Presidents' and was
+defeated by the American General Taylor in 1847. That did not prevent
+the British sailor presenting him in the light of an invariable victor
+until he was led out to be shot (he really died a natural death) by
+persons unknown. (2) The sailor had mythical heroes too, e.g. 'Ranzo,'
+already mentioned, and 'Stormy,' who was the theme of many shanties.
+No sailor could ever give the least explanation of them, and so they
+remain the last echoes of long forgotten sagas. (3) High-sounding,
+poetic, or mysterious words, such as 'Lowlands,' 'Shenandoah,'
+'Rolling river,' 'Hilo,' 'Mobile Bay,' 'Rio Grande,' had a great
+fascination, as their constant recurrence in many shanties shows. (4)
+The sailor also sang much of famous ships, such as 'The Flying Cloud,'
+'The Henry Clay,' or 'The Victory,' and famous lines, such as 'The
+Black Ball.' Even famous shipowners were celebrated in song, as
+witness 'Mr. John Tapscott,' in 'We're all bound to go.' (5) Love
+affairs, in which 'Lizer Lee' and other damsels constantly figured,
+were an endless topic. (6) But chiefly did Jack sing of affairs
+connected with his ship. He never sang of 'the rolling main,' 'the
+foaming billows,' 'the storm clouds,' etc. These are the
+stock-in-trade of the landsman; they were too real for the sailor to
+sing about. He had the instinct of the primitive man which forbids
+mention of natural forces of evil omen. But intimate or humorous
+matters such as the failings of his officers, the quality of the food,
+the rate of pay, or other grievances were treated with vigour and
+emphasis. Like the Britisher of to-day, he would put up with any
+hardship so long as he were permitted to grouse about it. The
+shantyman gave humorous expression to this grousing, which deprived it
+of the element of sulks. Steam let off in this way was a wholesome
+preventive of mutiny.
+
+The choruses were usually jingles, with no relevance save maintenance
+of the rhythm.
+
+One feature of the words may be noted. The sailor's instinct for
+romance was so strong that in his choruses, at least, no matter how
+'hair-curling' the solo might be, he always took the crude edge off
+the concrete and presented it as an abstraction if possible. For
+example, he knew perfectly well that one meaning of 'to blow' was to
+knock or kick. He knew that discipline in Yankee packets was
+maintained by corporeal methods, so much so that the Mates, to whom
+the function of knocking the 'packet rats' about was delegated, were
+termed first, second, and third 'blowers,' or strikers, and in the
+shanty he sang 'Blow the man down.' 'Knock' or 'kick,' as I have
+recently seen in a printed collection, was too crudely realistic for
+him. In like manner the humorous title, 'Hog's-eye,' veiled the coarse
+intimacy of the term which it represented. And that is where, when
+collecting shanties from the 'longshore' mariner of to-day, I find
+him, if he is uneducated, so tiresome. He not only wants to explain to
+me as a landsman the exact meaning (which I know already) of terms
+which the old type of sailor, with his natural delicacy, avoided
+discussing, but he tries where possible to work them into his shanty,
+a thing the sailor of old time never did. So that when one sees in
+print expressions which sailors did not use, it is presumptive
+evidence that the collector has been imposed upon by a salt of the
+'sea lawyer' type.
+
+Perhaps I ought to make this point clearer. Folk-song collecting was
+once an artistic pursuit. Now it has become a flourishing industry of
+high commercial value. From the commercial point of view it is
+essential that results should be printed and circulated as widely as
+possible. Some knowledge of seamanship is an absolute necessity where
+folk-shanties are concerned. The mere collector nowadays does not
+possess that knowledge; it is confined to those who have had practical
+experience of the sea, but who will never print their experiences. The
+mere collector _must_ print his versions. What is unprinted must
+remain unknown; what is printed is therefore accepted as
+authoritative, however misleading it may be. Many highly educated men,
+of whom Captain Whall is the type, have followed the sea. It is from
+them that the only really trustworthy information is forthcoming. But
+so far as I can judge, it is uneducated men who appear to sing to
+collectors nowadays, and I have seen many a quiet smile on the lips of
+the educated sailor when he is confronted with printed versions of the
+uneducated seaman's performances. For example, one of the best known
+of all shanties is 'The Hog's-eye man'; I have seen this entitled 'The
+Hog-eyed man,' and even 'The Ox-eyed man.' Every old sailor knew the
+meaning of the term. Whall and Bullen, who were both sailors, use the
+correct expression, 'Hog-eye.' The majority of sailors of my
+acquaintance called it 'Hog's-eye.' Did decency permit I could show
+conclusively how Whall and Bullen are right and the mere collector
+wrong. It must suffice, however, for me to say that the term
+'Hog's-eye' or 'Hog-eye' had nothing whatever to do with the optic of
+the 'man' who was sung about. I could multiply instances, but this one
+is typical and must suffice.
+
+We hear a great deal of the coarseness and even lewdness of the
+shanty, but I could wish a little more stress were laid on the
+sailor's natural delicacy. Jack was always a gentleman in feeling.
+Granted his drinking, cursing, and amours--but were not these, until
+Victorian times, the hall-mark of every gentleman ashore? The
+Rabelaisian jokes of the shantyman were solos, the sound of which
+would not travel far beyond the little knot of workers who chuckled
+over them. The choruses--shouted out by the whole working party--would
+be heard all over the ship and even penetrate ashore if she were in
+port. Hence, in not a single instance do the choruses of any shanty
+contain a coarse expression.
+
+
+EDITORIAL METHODS
+
+As regards the tunes, I have adhered to the principle of giving each
+one as it was sung by some individual singer. This method has not been
+applied to the words. Consequently the verses of any given shanty may
+have derived from any number of singers. Since there was no connection
+or relevancy between the different verses of a shanty, the only
+principle I have adhered to is that whatever verses are set down
+should have been sung to me at some time or other by some sailor or
+other.
+
+Of course I have had to camouflage many unprintable expressions, and
+old sailors will readily recognize where this has been done. Sometimes
+a whole verse (after the first line) has needed camouflage, and the
+method adopted is best expressed as follows:
+
+     There was a young lady of Gloucester
+     Who couldn't eat salt with her egg,
+     And when she sat down
+     She could never get up,
+     And so the poor dog had none.
+
+As regards the accompaniments, I have been solely guided by the
+necessity of preserving the character of the melodies in all their
+vigour and vitality, and have tried, even in obviously modal tunes,
+not to obscure their breeziness by academic treatment.
+
+
+ACKNOWLEDGMENTS
+
+Amongst those to whom I owe thanks, I must number the Editors of _The
+Music Student_ and _Music and Letters_, for allowing me to incorporate
+in this Preface portions of articles which I have written for them.
+Also to Capt. W.J. Dowdy, both for singing shanties to me himself, and
+affording me facilities for interviewing inmates of the Royal Albert
+Institution, over which he presides. I also wish to express my
+gratitude to those sailors who have in recent years sung shanties to
+me, especially Capt. R.W. Robertson, Mr. Geo. Vickers, Mr. Richard
+Allen, of Seahouses, and Mr. F.B. Mayoss. And last, but not least, to
+Mr. Morley Roberts, who has not only sung shanties to me, but has also
+given me the benefit of his ripe nautical experience.
+
+R.R.T.
+
+_Hampstead_, 1921.
+
+
+
+
+NOTES ON THE SHANTIES
+
+
+1. BILLY BOY
+
+This is undoubtedly a coast song 'made into a shanty.' I heard it in
+Northumberland, both on shore and in ships, when I was a boy. The
+theme of a 'Boy Billy' seems common to folk-songs in different parts
+of the country. The tunes are different, and the words vary, but the
+topic is always the same: 'Billy' is asked where he has been all the
+day; he replies that he has been courting; he is then questioned as to
+the qualifications of his _inamorata_ as a housewife. Dr.
+Vaughan-Williams's 'My Boy Billie' is in print and well known, as is
+also Mr. Cecil Sharp's 'My Boy Willie' ['English Folk-Songs,' vol. i,
+page 98]. I have also collected different versions in Warwickshire and
+Somerset. The version of line 1, page 3, bars 2 and 3, is older than
+the one given in my arrangement for male-voice chorus (Curwen Edition
+50572), so, upon consideration, I decided to give it here. There are
+many more verses, but they are not printable, nor do they readily lend
+themselves to camouflage. The tune has not appeared in print until
+now.
+
+
+2. BOUND FOR THE RIO GRANDE
+
+The variants of this noble tune are legion. But this version, which a
+sailor uncle taught me, has been selected, as I think it the most
+beautiful of all. I used to notice, even as a boy, how it seemed to
+inspire the shantyman to sentimental flights of _Heimweh_ that at
+times came perilously near poetry. The words of the well-known song,
+'Where are you going to, my pretty maid?' were frequently sung to this
+shanty, and several sailors have told me that they had also used the
+words of the song known as 'The Fishes.' Capt. Whall gives 'The
+Fishes' on pages 96 and 97 of his book, and says that the words were,
+in his time, sometimes used to the tune of 'Blow the man down.'
+
+
+3. GOOD-BYE, FARE YE WELL
+
+This is one of the best beloved of shanties. So strongly did its
+sentiment appeal to sailors that one never heard the shantyman
+extemporize a coarse verse to it. Whall prints a version, page 71.
+
+
+4. JOHNNY COME DOWN TO HILO
+
+This is clearly of negro origin. I learnt several variants of it, but
+for its present form I am indebted to Capt. W.J. Dowdy.
+
+
+5. CLEAR THE TRACK, LET THE BULLGINE RUN
+
+The tune was a favourite in Yankee Packets. It does not appear in
+Whall. 'Bullgine' was American negro slang for 'engine.' I picked up
+this version in boyhood from Blyth seamen.
+
+
+6. LOWLANDS
+
+For another version see Whall (page 80), who says it is of American
+origin and comes from the cotton ports of the old Southern States. It
+was well known to every sailor down to the time of the China Clippers.
+My version is that of Capt. John Runciman, who belonged to that
+period. I have seldom found it known to sailors who took to the sea
+after the early seventies. The tune was sung in very free time and
+with great solemnity. It is almost impossible to reproduce in print
+the elusive subtlety of this haunting melody. In North-country ships
+the shantyman used to make much of the theme of a dead lover appearing
+in the night. There were seldom any rhymes, and the air was
+indescribably touching when humoured by a good hand. A 'hoosier,' by
+the way, is a cotton stevedore. An interesting point about this shanty
+is that, whether by accident or design, it exhibits a rhythmic device
+commonly practised by medićval composers, known as _proportio
+sesquialtera_. Expressed in modern notation it would mean the
+interpolation of bars of three-four time in the course of a
+composition which was in six-eight time. The number of quavers would,
+of course, be the same in each bar; but the rhythm would be different.
+The barring here adopted does not show this.
+
+
+7. SALLY BROWN
+
+For another version of this universally known shanty see Whall, page
+64. Although its musical form is that of a halliard shanty, it was
+always used for the capstan. I never heard it used for any other
+purpose than heaving the anchor. The large-sized notes given in the
+last bar are those which most sailors sing to me nowadays; the small
+ones are those which I most frequently heard when a boy.
+
+
+8. SANTY ANNA
+
+This fine shanty was a great favourite, and in defiance of all history
+the sailor presents 'Santy Anna' in the light of an invariable victor.
+The truth is that Antonio Lopez de Santa Anna (1795-1876) was the
+last President of Mexico before the annexation by America of
+California, Texas, and New Mexico. He defeated the Spaniards at
+Zampico, and held Vera Cruz against the French, but was badly beaten
+at Molina del Rey by the United States Army under General Taylor
+(1847). He was recalled to the Presidency in 1853, but overthrown in
+1855. He attempted to overturn the Republic in 1867; was captured and
+sentenced to death, but was pardoned on condition that he left the
+country. He retired to the United States until 1872, when a general
+amnesty allowed his return to Mexico. Like other Mexican Presidents,
+he lived a stormy life, but unlike most of them he died a natural
+death. Whall gives a version on page 89.
+
+
+9. SHENANDOAH
+
+This is one of the most famous of all shanties. I never met a sailor
+to whom it was unknown, nor have I ever found any two who sang it
+exactly alike. This version (sung to me by Capt. Robertson) is almost,
+but not quite, identical with the one I learnt as a boy. Shenandoah
+(English seamen usually pronounced it 'Shannandore') was a celebrated
+Indian chief after whom an American town is named. A branch of the
+Potomac river bears the same name. The tune was always sung with great
+feeling and in very free rhythm. Whall gives a version on page 1.
+
+
+10. STORMALONG JOHN
+
+This is one of the many shanties with 'Stormy' as their hero. Whatever
+other verses were extemporized, those relating to digging his grave
+with a silver spade, and lowering him down with a golden chain, were
+rarely omitted. Other favourite verses were:
+
+     (_a_) I wish I was old Stormy's son.
+     (_b_) I'd build a ship a thousand ton.
+
+Who 'Stormy' was is undiscoverable, but more than a dozen shanties
+mourn him.
+
+
+11. THE HOG'S-EYE MAN
+
+Of the numberless versions of this shanty I have chosen that of Capt.
+Robertson as being the most representative. Of the infinite number of
+verses to this fine tune hardly one is printable. There has been much
+speculation as to the origin of the title. As a boy my curiosity was
+piqued by reticence, evasion, or declarations of ignorance, whenever I
+asked the meaning of the term. It was only in later life that I learnt
+it from Mr. Morley Roberts. His explanation made it clear why every
+_sailor_ called it either 'hog-eye' or 'hog's-eye,' and why only
+_landsmen_ editors ever get the word wrong. One collector labels the
+shanty 'The hog-eyed man,' and another goes still further wide of the
+mark by calling it 'The ox-eyed man.' The remarks on this shanty in
+the Preface will show the absurdity of both titles. That is all the
+explanation I am at liberty to give in print. Whall gives the shanty
+on page 118, his version differing but slightly from Capt.
+Robertson's.
+
+
+12. THE WILD GOOSE SHANTY
+
+This I learnt from Capt. John Runciman. Allusions to 'The Wild Goose
+Nation' occur in many shanties, but I never obtained any clue to the
+meaning (if any) of the term. The verse about 'huckleberry hunting'
+was rarely omitted, but I never heard that particular theme further
+developed. Whall gives another version (in six-eight time) on page
+131.
+
+
+13. WE'RE ALL BOUND TO GO
+
+I used to hear this tune constantly on the Tyne. It is one of the few
+shanties which preserved a definite narrative, but each port seems to
+have offered variants on the names of the ships that were 'bound for
+Amerikee.' 'Mr. Tapscott' was the head of a famous line of emigrant
+ships. The last word in verse 5 was always pronounced _male_. This has
+led to many shantymen treating it not as _meal_, but as the _mail_
+which the ship carried. As the shanty is full of Irish allusions, the
+probabilities are that the word was _meal_, to which the sailor gave
+what he considered to be the Irish pronunciation. Whenever I heard the
+shanty it was given with an attempt at Irish pronunciation throughout.
+Capt. Whall (page 79) gives additional colour to the supposition that
+this was a general practice, for his version of verse 6 runs:
+
+     'Bad luck unto them _say_-boys,
+        Bad luck to them I say;
+      They broke into me _say_-chest
+        And they stole me clothes away.'
+
+
+14. WHAT SHALL WE DO WITH THE DRUNKEN SAILOR?
+
+This fine tune--in the first Mode--was always a great favourite.
+Although mostly used for windlass or capstan, Sir Walter Runciman
+tells me that he frequently sang to it for 'hand-over-hand' hauling.
+Whall gives it on page 107 under the title 'Early in the morning.' It
+is one of the few shanties that were sung in quick time.
+
+
+15. BLOW, MY BULLY BOYS
+
+This shanty has been included in every collection that I know of. (See
+Whall, page 91.) Most of my sailor relatives sang the last line thus:
+
+[Music illustration: Her masts and yards they shine like silver.]
+
+Spotless decks, and 'masts and yards that shone like silver,' were the
+distinguishing marks of a Yankee Packet, and this immaculate condition
+was the result of a terrible discipline, in which the belaying pin was
+a gruesome factor.
+
+
+16. BLOW THE MAN DOWN
+
+This is the shanty which is perhaps the best known among landsmen.
+'Winchester Street' is in South Shields, and in the old days was the
+aristocratic quarter where only persons of high distinction--such as
+shipowners, and 'Southspainer' skippers--lived. Whall gives the shanty
+on page 92.
+
+
+17. CHEER'LY, MEN
+
+This is a very well-known shanty, and the variants of it are endless.
+This particular version was sung to me by Capt. R.W. Robertson. It
+differs but slightly from the version which I originally learnt from
+Sir Walter Runciman. Very few of the words were printable, and old
+sailors who read my version will no doubt chuckle over the somewhat
+pointless continuation of the verses concerning Kitty Carson and Polly
+Riddle. They will, of course, see the point of my having supplied a
+Chopinesque accompaniment to such a shanty.
+
+
+18. GOOD MORNING, LADIES ALL
+
+The title belongs to other shanties as well; but, so far as I know,
+this tune has never been printed until now. I learnt it from
+Northumbrian sailors when a very small boy, and have never heard of
+its use in any other than Blyth and Tyne ships. It may be a
+Northumbrian air, but from such knowledge as I have gleaned of
+Northumbrian folk-tunes, I incline to the conjecture that it may have
+been picked up in more southern latitudes by some Northumbrian seaman.
+
+
+19. HANGING JOHNNY
+
+This cheery riot of gore is wedded to the most plaintive of tunes, and
+is immortalized by Masefield in his 'Sailor's Garland.' Nowadays one
+occasionally meets unhumorous longshore sailormen who endeavour to
+temper its fury to the shorn landsman by palming off a final verse,
+which gives one to understand that the previous stanzas have been only
+'Johnny's' little fun, and which makes him bleat:
+
+     'They said I hanged for money,
+      But I never hanged nobody.'
+
+I also possess a shanty collection where the words have so clearly
+shocked the editor that he has composed an entirely fresh set. These
+exhibit 'Johnny' as a spotless moralist, who would never _really_ hang
+his parents, but would only operate (in a Pickwickian sense of course)
+on naughty and unworthy people:
+
+     'I'd hang a noted liar,
+      I'd hang a bloated friar.
+
+     'I'd hang a brutal mother,
+      I'd hang her and no other.
+
+     'I'd hang to make things jolly,
+      I'd hang all wrong and folly.'
+
+Imagine a shantyman (_farceur_ as he ever was) making for edification
+in that style!
+
+
+20. HILO SOMEBODY
+
+This is another of the shanties I learnt as a boy from Blyth sailors,
+and which has never been printed before. I fancy that 'blackbird' and
+'crew' must be a perversion of 'blackbird and _crow_,' as the latter
+figure of speech occurs in other shanties.
+
+
+21. OH, RUN, LET THE BULLGINE RUN
+
+The reference to the 'Bullgine' seems to suggest Transatlantic origin.
+There were endless verses, but no attempt at narrative beyond a
+recital of the names of places from which and to which they were
+'running.' This version was sung to me by Mr. F.B. Mayoss, a seaman
+who sailed in the old China Clippers.
+
+
+22. REUBEN RANZO
+
+Alden gives this version, and I fancy it may have once been fairly
+general, as several of my relatives used to sing it. The version I
+mostly heard from other sailors, however, began:
+
+[Music illustration: Oh, pity poor Reuben Ranzo etc.]
+
+But from Mr. Morley Roberts I had the following:
+
+[Music illustration: Oh, pity poor Reuben Ranzo etc.]
+
+Capt. Robertson's version ran thus:
+
+[Music illustration:
+
+     Oh, poor old Reuben Ranzo,
+     Ranzo, boys, Ranzo,
+     Oh, poor old Reuben Ranzo,
+     Ranzo, boys, Ranzo.]
+
+Whall gives another version on page 84.
+
+Who Ranzo was must ever remain a mystery. Capt. Whall suggests that
+the word might be a corruption of Lorenzo, since Yankee Whalers took
+many Portuguese men from the Azores, where Lorenzo would have been a
+common enough name. He adds that in his time the shanty was always
+sung to the regulation words, and that 'when the story was finished
+there was no attempt at improvization; the text was, I suppose,
+considered sacred.' He further says that he never heard any variation
+from the words which he gives.
+
+I think he is right about the absence of improvization on extraneous
+topics, but I used to hear a good deal of improvization on the subject
+of Ranzo himself. I knew at least three endings of the story: (1)
+where the captain took him into the cabin, 'larned him navigation,'
+and eventually married him to his daughter; (2) where Ranzo's hatred
+of ablutions caused the indignant crew to throw him overboard; (3)
+where the story ended with the lashes received, not for his dirty
+habits, but for a theft:
+
+     'We gave him lashes thirty
+      For stealin' the captain's turkey.'
+
+I have also heard many extemporaneous verses relating his adventures
+among the denizens of the deep after he was thrown overboard.
+
+
+23. THE DEAD HORSE
+
+This shanty was used both for hauling and for pumping ship. It seems
+to have had its origin in a rite which took place after the crew had
+'worked off the dead horse.' The circumstances were these: Before any
+voyage, the crew received a month's pay in advance, which, needless to
+say, was spent ashore before the vessel sailed. Jack's first month on
+sea was therefore spent in clearing off his advance, which he called
+working off the dead horse. The end of that payless period was
+celebrated with a solemn ceremony: a mass of straw, or whatever other
+combustibles were to hand, was made up into a big bundle, which
+sometimes did, and more often did not, resemble a horse. This was
+dragged round the deck by all hands, the shanty being sung meanwhile.
+The perambulation completed, the dead horse was lighted and hauled up,
+usually to the main-yardarm, and when the flames had got a good hold,
+the rope was cut and the blazing mass fell into the sea, amid shouts
+of jubilation.
+
+
+24. TOM'S GONE TO HILO
+
+This beautiful tune was very popular. I have chosen the version sung
+to me by Mr. George Vickers, although in the first chorus it differs
+somewhat from the version I learnt as a boy:
+
+[Music illustration: Away down Hilo etc.]
+
+It will be seen how closely the above resembles the version given by
+Whall on page 74. (It will be noted that he entitled it '_John's_ gone
+to Hilo.') I give Mr. Vickers's verses about 'The Victory' and
+'Trafalgar,' as I had never heard them sung by any other seaman. I
+have omitted the endless couplets containing the names of places to
+which Tommy is supposed to have travelled. As Capt. Whall says: 'A
+good shantyman would take Johnny all round the world to ports with
+three syllables, Montreal, Rio Grande Newfoundland, or any such as
+might occur to him.'
+
+
+25. WHISKY JOHNNY
+
+This Bacchanalian chant was a prime favourite. Every sailor knew it,
+and every collection includes some version of it.
+
+
+26. BONEY WAS A WARRIOR
+
+I never met a seaman who has not hoisted topsails to this shanty. Why
+Jack should have made a hero of Boney (he frequently pronounced it
+'Bonny') is a mystery, except perhaps that, as a sailor, he realized
+the true desolation of imprisonment on a sea-girt island, and his
+sympathies went out to the lonely exile accordingly. Or it may have
+been the natural liking of the Briton for any enemy who proved himself
+a 'bonny fechter.'
+
+
+27. JOHNNY BOKER
+
+This popular shanty was sometimes used for bunting-up a sail, but more
+usually for 'sweating-up.' Although I have allowed the last note its
+full musical value, it was not prolonged in this manner aboard ship.
+As it coincided with the pull, it usually sounded more like a staccato
+grunt.
+
+
+28. HAUL AWAY, JOE
+
+The major version of this shanty (which appears in Part II) was more
+general in the last days of the sailing ship; but this minor version
+(certainly the most beautiful of them) is the one which I used to hear
+on the Tyne. The oldest of my sailor relatives never sang any other.
+This inclines me to the belief that it is the earlier version. The
+verses extemporized to this shanty were endless, but those concerning
+the Nigger Girl and King Louis never seem to have been omitted. As in
+No. 27, I have allowed the last note its full musical value, but
+aboard ship it was sung in the same manner as No. 27.
+
+
+29. WE'LL HAUL THE BOWLIN'
+
+This was the most popular shanty for 'sweating-up.' There are many
+variants of it. The present version I learnt from Capt. John Runciman.
+In this shanty no attempt was ever made to sing the last word. It was
+always shouted.
+
+
+30. PADDY DOYLE'S BOOTS
+
+This shanty differs from all others, as (_a_) it was sung _tutti_
+throughout; (_b_) it had only one verse, which was sung over and over
+again; and (_c_) it was used for one operation and one operation only,
+viz. bunting up the foresail or mainsail in furling. In this operation
+the canvas of the sail was folded intensively until it formed a smooth
+conical bundle. This was called a bunt, and a strong collective effort
+(at the word 'boots') was required to get it on to the yard.
+
+Although the same verse was sung over and over again, very
+occasionally a different text would be substituted, which was treated
+in the same manner. Capt. Whall gives two alternatives, which were
+sometimes used:
+
+     'We'll all drink brandy and gin,'
+
+and--
+
+     'We'll all shave under the chin.'
+
+Mr. Morley Roberts also told me that a variant in his ship was--
+
+     'We'll all throw dirt at the cook.'
+
+
+
+
+THE SHANTY BOOK.
+
+PART I.
+
+[Transcriber's Note: Fractions in brackets indicate that the original
+text has a music note symbol over the succeeding word, e.g., [1/4] = a
+quarter note. A vowel with an umlaut indicates that the word or
+syllable has two dots over it in the original text, presumably to
+indicate that it should be prolonged when sung. See the Glossary
+below.]
+
+
+
+
+1. Billy Boy.
+
+(NORTHUMBRIAN CAPSTAN SHANTY.)
+
+
+[Music illustration:
+
+1.   Where hev ye been äal the day,
+     Billy Boy, Billy Boy?
+   Where hev ye been äal the day, me Billy Boy?
+     I've been walkin' äal the day
+     With me charmin' Nancy Grey,
+     And me Nancy kittl'd me fancy
+     Oh me charmin' Billy Boy.]
+
+2.   Is she fit to be yor wife
+     Billy Boy, Billy Boy?
+   Is she fit to be yor wife, me Billy Boy?
+     She's as fit to be me wife
+     As the fork is to the knife
+     And me Nancy, _etc._
+
+3.   Can she cook a bit o' steak
+     Billy Boy, Billy Boy?
+   Can she cook a bit o' steak, me Billy Boy?
+     She can cook a bit o' steak,
+     Aye, and myek a gairdle cake
+     And me Nancy, _etc._
+
+4.   Can she myek an Irish Stew
+     Billy Boy, Billy Boy?
+   Can she myek an Irish Stew, me Billy Boy?
+     She can myek an Irish Stew
+     Aye, and "Singin' Hinnies" too.
+     And me Nancy, _etc._
+
+_Glossary_:--
+
+     äal = all. Pronounced to rhyme with "shall" only the vowel
+     must be very much prolonged.
+
+     kittled = tickled.
+
+     myek = make.
+
+     gairdle cake = girdle cake, i.e. a cake baked on a griddle.
+
+     Singin' Hinnies--i.e. a species of Sally Lunn teacake only
+     larger. Usually plentifully besprinkled with currants, in
+     which case it is designated by pitmen as "Singin' Hinnies
+     wi' smäa co fizzors" (small coal fizzers.)
+
+
+
+
+2. Bound for the Rio Grande.
+
+(WINDLASS AND CAPSTAN SHANTY.)
+
+
+[Music illustration:
+
+1. I'll sing you a song of the fish of the sea.
+   Oh Rio.
+   I'll sing you a song of the fish of the sea
+   And we're bound for the Rio Grande.
+   Then away love, away,
+   'Way down Rio,
+   So fare ye well my pretty young gel.
+   For we're bound for the Rio Grande.]
+
+2. Sing good-bye to Sally, and good-bye to Sue, Oh Rio, _etc._
+   And you who are listening, good-bye to you. And we're bound, _etc._
+
+3. Our [1/4]ship [1/8]went sailing out over the Bar
+   [1/16]And [1/16]we pointed her nose for the South-er-en Star.
+
+4. Farewell and adieu to you ladies of Spain
+   [1/16]And [1/16]we're all of us coming to see you again.
+
+5. [1/8]I [1/4]said [1/8 1/4]farewell [1/8]to Kitty my dear,
+   [1/16]And [1/16]she waved her white hand as we passed the South Pier.
+
+6. The oak, and the ash, and the bonny birk tree
+   They're all growing green in the North Countrie.
+
+
+
+
+3. Good-bye, fare ye well.
+
+
+[Music illustration:
+
+1. I thought I heard the old man say
+   Good-bye, fare ye well,
+   Good-bye, fare ye well.
+   I thought I heard the old man say,
+   Hooray my boys we're homeward bound.]
+
+2. We're homeward bound, I hear the sound. (_twice_)
+
+3. We sailed away to Mobile Bay. (_twice_)
+
+4. But now we're bound for Portsmouth Town. (_twice_)
+
+5. And soon we'll be ashore again. (_twice_)
+
+6. I kissed my Kitty upon the pier
+   [1/16]And [1/16]it's oh to see you again my dear.
+
+7. We're homeward bound, and I hear the sound. (_twice_)
+
+
+
+
+4. Johnny come down to Hilo.
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+1. I nebber see de like since I bin born,
+   When a big buck nigger wid de sea boots on,
+                            Says "Johnny come down to Hilo.
+                            Poor old man."
+   Oh wake her, oh, shake her,
+   Oh wake dat gel wid de blue dress on,
+                            When Johnny comes down to Hilo.
+                            Poor old man.]
+
+2. I lub a little gel across de sea,
+   She's a Badian[1] beauty and she sez to me,
+                            "Oh Johnny," _etc._
+
+3. Oh was you ebber down in Mobile Bay
+   Where dey screws de cotton on a summer day?
+                            When Johnny, _etc._
+
+4. [1/16]Did [1/16]you ebber see de ole Plantation Boss
+   And de long-tailed filly and de big black hoss?
+                            When Johnny, _etc._
+
+5. I nebber seen de like since I bin born
+   When a big buck nigger wid de sea boots on,
+                            Says "Johnny come down," _etc._
+
+[Footnote 1: i.e. Barbadian, to wit, a native of Barbados.]
+
+
+
+
+5. Clear the track, let the Bullgine run.
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+1. Oh, the smartest clipper you can find.
+   Ah ho Way-oh, are you most done.
+   Is the Marget Evans of the Blue Cross Line.
+   So clear the track, let the Bullgine run.
+   Tibby Hey rig a jig in a jaunting car.
+   Ah ho Way-oh, are you most done.
+   With Lizer Lee all on my knee.
+   So clear the track, let the Bullgine run.]
+
+2. Oh the Marget [1/16 1/16]Evans [1/16]of [1/16]the Blue Cross Line
+   She's [1/16 1/16]never a day behind her time.
+
+3. Oh the gels are walking on the pier
+   [1/16]And [1/16]I'll soon be home to you, my dear.
+
+4. Oh when I come home across the sea,
+   It's Lizer you will marry me.
+
+5. Öh shake her, wake [1/16]her, [1/16 1/8]before [1/8]we're [1/8]gone;
+   Oh fetch that gel with the blue dress on.
+
+6. Oh I thought I heard the skipper say
+   "We'll keep the brig three points away."
+
+7. Oh the smartest clipper you can find
+   Is the Marget [1/16 1/16]Evans [1/16]of [1/16]the Blue Cross Line.
+
+
+
+
+6. Lowlands away.
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+(INTRODUCTION.)
+
+Lowlands, Lowlands,
+Away my John,
+Lowlands, away,
+I heard them say,
+My dollar and a half a day.
+
+1. A dollar and a half a day is a Hoosier's pay.
+   Lowlands, Lowlands,
+   Away my John.
+   A dollar and a half a day is very good pay.
+   My dollar and a half a day.
+
+2. Oh was you ever in Mobile Bay.
+   Lowlands, Lowlands,
+   Away my John.
+   Screwing the cotton by the day.
+   My dollar and a half a day.
+
+3. All in the night my true love came,
+   Lowlands, Lowlands,
+   Away my John.
+   All in the night my true love came.
+   My dollar and a half a day.]
+
+4. She came to me all in my sleep. (_twice_)
+
+5. And hër eyes were white my love. (_twice_)
+
+6. And then I knew my love was dead. (_twice_)
+
+
+
+
+7. Sally Brown.
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+1. Sally Brown she's a bright Mulatter.
+   Way Ay-y Roll and go.
+   She drinks rum and chews terbacker.
+   Spend my money on Sally Brown.]
+
+2. Sally Brown shë has a daughter
+   Sent me sailin' 'cross the water.
+
+3. Seven long years Ď courted Sally. (_twice_)
+
+4. Sally Brown I'm bound to leave you
+   Sally Brown I'll not deceive you.
+
+5. Sally she's a 'Badian' beauty. (_twice_)
+
+6. Sally lives on the old plantation
+   She belongs the Wild Goose Nation.
+
+7. Sally Brown is a bright Mulatter
+   She drinks rum and chews terbacker.
+
+
+
+
+8. Santy Anna.
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+1. Oh Santy Anna won the day.
+   Way-Ah, me Santy Anna.
+   Oh Santy Anna won the day.
+   All on the plains of Mexico.]
+
+2. He beat the Prooshans fairly. Way-Ah, _etc._
+   And whacked the British nearly. All on, _etc._
+
+3. He was a rorty gineral;
+   A rorty snorty gineral.
+
+4. They took him out and shöt him.
+   Oh when shall we forgët him.
+
+5. Oh Santy Anna won the day
+   And Gin'ral Taylor run away.
+
+
+
+
+9. Shenandoah.[2]
+
+(WINDLASS AND CAPSTAN.)
+
+[Footnote 2: The small notes in the piano part are to be played when
+there is no violin.]
+
+
+[Music illustration:
+
+1. Oh Shenandoah, I long to hear you.
+   Away you rolling river.
+   Oh Shenandoah, I long to hear you.
+   Away, I'm bound to go
+   'Cross the wide Missouri.]
+
+2. Oh Shenandoah, I love your daughter. (_twice_)
+
+3. 'Tis seven long years since last I see thee. (_twice_)
+
+4. Oh Shenandoah, I took a notion
+   To sail across the stormy ocean.
+
+5. Oh Shenandoah, I'm bound to leave you.
+   Oh Shenandoah, I'll not deceive you.
+
+6. Oh Shenandoah, I long to hear you. (_twice_)
+
+
+
+
+10. Stormalong John.
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+1. Oh poor old Stormy's dead and gone.
+   Storm along boys,
+   Storm along.
+   Oh poor old Stormy's dead and gone.
+   Ah-ha, come along, get along,
+   Stormy along John.]
+
+2. I dug his grave [1/8]with [1/8]a silver spade. (_twice_)
+
+3. I lower'd him down [1/8]with [1/8]a golden chain. (_twice_)
+
+4. I [1/8 1/8]carried [1/8]him [1/8]away to Mobile Bay. (_twice_)
+
+5. Oh poor old Stormy's dead and gone. (_twice_)
+
+
+
+
+11. The Hog's-eye Man.
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+1. Oh the hog's-eye man is the man for me,
+   He were raised way down in Tennessee.
+   Oh hog's eye, oh.
+
+   Row the boat ashore for the hog's-eye.
+   Steady on a jig with a hog's-eye oh,
+   She wants the hog's-eye man.]
+
+2. Oh who's been here while I've been gone?
+   Söme big buck [1/16 1/16]nigger, with his sea boots on?[3]
+
+3. Oh bring me down m˙ riding cane,
+   For I'm off to see my darling Jane.
+
+4. Oh [1/16 1/16]Jenny's [1/16]in [1/16]the [1/8 1/16]garden a-picking
+     peas,
+   And her [1/16 1/16]golden hair's [1/16 1/16]hanging down to her knees.
+
+5. Oh a hog's-eye ship, and a hog's-eye crew,
+   And a hog's-eye mate, and a skipper too.
+
+[Footnote 3: This verse was sometimes sung:--
+
+     "Now where have you been gone so long
+      You Yankee Jack wid de sea boots on?"]
+
+
+
+
+12. The Wild Goose Shanty.
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+1. I'm the Shanty-man of the Wild Goose Nation.
+   Tibby Way-ay Hioha!
+   I've left my wife on a big plantation.
+   Hilo my Ranzo Hay!]
+
+2. Now a long farewell to the old plantation. (_twice_)
+
+3. And a long farewell to the Wild Goose Nation. (_twice_)
+
+4. Oh the boys [1/8.]and [1/16]the [1/4]girls went a [1/8. 1/16 1/8.
+     1/16]huckleberry hunting. (_twice_)
+
+5. Then good-bye [1/8.]and [1/16 1/4]farewell yöu rolling river.
+     (_twice_)
+
+6. I'm the Shanty-man of the Wild Goose Nation.
+   I've left my wife on a big plantation.
+
+
+
+
+13. We're all bound to go.
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+1. Oh Johnny was a rover
+     And to-day he sails away.
+            Heave away, my Johnny,
+            Heave away-ay.
+   Oh Johnny was a rover
+     And to-day he sails away.
+            Heave away my bully boys,
+            We're all bound to go.]
+
+2. As I was walking out one day,
+     Down by the Albert Dock.
+            Heave away, &c.
+   I heard an emigrant Irish girl
+     Conversing with Tapscott.
+            Heave away, &c.
+
+3. "Good mornin', Mister Tapscott, sir,"
+     "Good morn, my gel," sez he,
+   "It's have you got a Packet Ship
+     All bound for Amerikee?"
+
+4. "Oh yes, I've got a Packet Ship,
+     I _have_ got one or two.
+   I've got the _Jenny Walker_
+    And I've got the _Kangeroo_."
+
+5. "I've got the _Jenny Walker_
+     And to-day she does set sail,
+   With five and fifty emigrants
+     [1/16]And [1/16]a thousand bags o' male."[4]
+
+6. [1/8]Bad [1/8]luck [1/8]to [1/8]thim Irish sailor boys,
+     Bad luck to thim I say.
+   [1/16]For [1/16]they all got [1/8]drunk, [1/8]and [1/8]broke into me
+     bunk
+     And stole me clo'es away.
+
+[Footnote 4: meal.]
+
+
+
+
+14. What shall we do with the drunken sailor?
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+1. What shall we do with the drunken sailor,
+   What shall we do with the drunken sailor,
+   What shall we do with the drunken sailor
+   Early in the morning?
+   Hooray and up she rises,
+   Hooray and up she rises,
+   Hooray and up she rises
+   Early in the morning.]
+
+2. [1/16]Put [1/16]him in the long-boat until he's sober. (_thrice_)
+
+3. Pull out the plug änd [1/16]wet [1/16]him all over. (_thrice_)
+
+4. [1/16]Put [1/16]him in the [1/16 1/16]scuppers with a hose-pipe on
+     him. (_thrice_)
+
+5. [1/16]Heave [1/16]him by the leg in a running bowlin'. (_thrice_)
+
+6. [1/16]Tie [1/16]him to the [1/16 1/16]taffrail when she's yard-arm
+     under. (_thrice_)
+
+
+
+
+15. Blow my bully boys.
+
+(HALLIARD SHANTY.)
+
+
+[Music illustration:
+
+1. A Yankee ship came down the river,
+   Blow, boys blow.
+   Her masts and yards they shine like silver.
+   Blow my bully boys blow.]
+
+2. And how d'ye know [1/8]she's [1/8]a Yankee packet?
+   The Stars and Stripes they fly above her.
+
+3. And who d'ye think was skipper of her. (_twice_)
+
+4. 'Twas Dandy Jim, the one-eyed nigger;
+   'Twas Dandy Jim, [1/8]with [1/8]his bully figure.
+
+5. And what d'ye think they had for dinner?
+   Why bullock's lights and donkey's liver.
+
+6. And what d'ye think they had for supper?
+   Why weevilled bread and Yankee leather.
+
+7. Then blow my boys, and blow together.
+   And blow my boys for better weather.
+
+8. A Yankee ship came down the river.
+   Her masts and yards they shine like silver.
+
+
+
+
+16. Blow the man down.
+
+(HALLIARDS.)
+
+
+[Music illustration:
+
+1. Oh blow the man down, bullies, blow the man down.
+   To me Way-ay, blow the man down.
+   Oh blow the man down, bullies, blow him away.
+   Oh gimme some time to blow the man down.
+
+2. We went over the Bar on the thirteenth of May.
+   To me Way-ay, blow the man down.
+   The Galloper jumped, and the gale came away.
+   Oh gimme some time to blow the man down.]
+
+3. Oh the rags they was gone, and the chains they was jammed,
+   [1/16]And [1/16]the skipper sez he, "Let the weather be hanged."
+
+4. Äs I was a-walking down Winchester Street,
+   A saucy young damsel I happened to meet.
+
+5. Ď sez to her, "Polly, and how d'you do?"
+   Sez she, "None the better for seein' of you."
+
+6. Oh, it's sailors is tinkers, and tailors is men.
+   [1/16]And [1/16]we're all of us coming to see you again.
+
+7. So we'll blow the man up, and we'll blow the man down.
+   [1/16]And [1/16]we'll blow him away into Liverpool Town.
+
+
+
+
+17. Cheer'ly men.[5]
+
+(HALLIARDS.)
+
+[Footnote 5: Pronounced "Chee-lee men."]
+
+
+[Music illustration:
+
+1. Oh, Nancy Dawson, I-Oh.
+   Chee-lee men.
+   She robb'd the Bo'sun, I-Oh.
+   Chee-lee men.
+   That was a caution, I-Oh.
+   Chee-lee men.
+   Oh Hauly, I-Oh,
+   Chee-lee men.
+
+If sung without accompaniment the portion within brackets may be
+omitted. If sung with accompaniment the note D (to the word "men") may
+be sung _crescendo_ and held on to the end of the bar.]
+
+2. Oh Sally Racket. I-Oh, &c.
+   Pawned my best jacket. I-Oh, &c.
+   Sold the pawn ticket. I-Oh, &c.
+
+3. Oh Kitty Carson
+   Jilted the parson,
+   Married a mason.
+
+4. Oh Betsy Baker
+   Lived in Long Acre,
+   Married a quaker.
+
+5. Oh Jenny Walker
+   Married a hawker
+   That was a corker.
+
+6. Oh Polly Riddle
+   Broke her new fiddle.
+   Right through the middle.
+
+
+
+
+18. Good morning, ladies all.
+
+(HALLIARDS.)
+
+
+[Music illustration:
+
+1. Now a long good-bye to you, my dear,
+                         With a heave-oh haul.
+   And a last farewell, and a long farewell.
+                         And good morning, ladies all.]
+
+2. For we're outward böund to New York town;
+                         With a heave, _etc._
+   And you'll wave to us till the sun goes down.
+                         And good morning, _etc._
+
+3. Änd when we get to New York town,
+   Oh it's there we'll drink, and sorrows drown.
+
+4. When we're back once möre in London Docks,
+   All the pretty girls will come in flocks.
+
+5. Änd Poll, and Bet, and Sue will say:
+   "Oh it's here comes Jack with his three years' pay."
+
+6. So a long good-bye to you, my dear,
+   And a last farewell, and a long farewell.
+
+
+
+
+19. Hanging Johnny.
+
+(HALLIARDS.)
+
+
+[Music illustration:
+
+1. Oh they call me hanging Johnny.
+   Away, boys, away.
+   They says I hangs for money.
+   Oh hang, boys, hang.]
+
+2. Änd first I hanged my daddy. (_twice_)
+
+3. Änd then I hanged my mother,
+   My sister and my brother.
+
+4. Änd then I hanged my granny. (_twice_)
+
+5. Änd then I hanged my Annie;
+   I hanged her up see canny.[6]
+
+6. Wë'll hang and haul together;
+   We'll haul for better weather.
+
+[Footnote 6: Northumbrian equivalent of "so nicely" or "so gently."]
+
+
+
+
+20. Hilo somebody.
+
+(HALLIARDS AND INTERCHANGEABLE.)
+
+
+[Music illustration:
+
+1. The blackbird sang unto our crew.
+   Hilo boys, Hilo.
+   The blackbird sang unto our crew.
+   Oh Hilo somebody, Hilo.]
+
+2. The blackbird sang so sweet to me. (_twice_)
+
+3. We sailed away to Mobile Bay. (_twice_)
+
+4. And now we're bound for London Town. (_twice_)
+
+5. The up aloft this yard must go. (_twice_)
+
+6. I thought I heard the old man say:--
+  "Just one more pull, and then belay."
+
+7. Hooray my boys, we're homeward bound. (_twice_)
+
+8. The blackbird sang unto our crew. (_twice_)
+
+
+
+
+21. Oh run, let the Bullgine run.
+
+(HALLIARDS.)
+
+
+[Music illustration:
+
+1. Oh we'll run all night till the morning.
+   Oh run, let the Bullgine run.
+   Way-yah, Oh-I-Oh, run, let the Bullgine run.]
+
+2. Oh we sailed all day tö Mobile Bay.
+
+3. Oh we sailed all nďght äcross the Bight.[7]
+
+4. Oh we'll run from Dover to Cällis.
+
+5. Öh drive her captäin, drďve her.
+
+6. Öh captain make her nöse blood.
+
+7. She's a dandy packet and a flier too.
+
+8. With a dandy skipper, and a dandy crew.
+
+9. Oh we'll run all nďght till the mörning.
+
+[Footnote 7: Of Australia.]
+
+
+
+
+22. Reuben Ranzo.
+
+(HALLIARDS.)
+
+
+[Music illustration:
+
+1. Oh poor old Reuben Ranzo,
+   Oh Ranzo boys, Ranzo.
+   Ah pity poor Reuben Ranzo.
+   Ranzo boys, Ranzo.]
+
+2. Oh Ranzo was no sailor
+   He shipped on board a whaler.
+
+3. Old Ranzo couldn't steer her,
+   [1/8]Did [1/8]you [1/8 1/8]ever hear [1/8 1/8]anything queerer?
+
+4. Oh Ranzo was no beauty
+   Why [1/8 1/8]couldn't he do his duty?
+
+5. Oh Ranzo washed [1/8]once [1/8]a fortnight
+   He said it was his birthright.
+
+6. They triced [1/8]up [1/8]this man so dirty
+   And gave him five and thirty.[8]
+
+7. Oh poor old Reuben Ranzo
+   Ah [1/8 1/8]pity poor Reuben Ranzo.
+
+[Footnote 8: i.e. 35 lashes.]
+
+
+
+
+23. The dead horse.
+
+(HALLIARDS, or PUMPING SHIP.)
+
+
+[Music illustration:
+
+1. A poor old man came riding by.
+   And they say so, and they hope so.
+   A poor old man came riding by.
+   Oh poor old man.]
+
+2. I said "Old man your hoss will die." (_twice_)
+
+3. And if he dies I'll tan his skin. (_twice_)
+
+4. And if he lives you'll ride again. (_twice_)
+
+5. I thought I heard the skipper say. (_twice_)
+
+6. Oh one more pull and then belay. (_twice_)
+
+7. A poor old man came riding by. (_twice_)
+
+
+
+
+24. Tom's gone to Hilo.
+
+(HALLIARDS.)
+
+
+[Music illustration:
+
+1. Tommy's gone and I'll go too,
+               Away down Hilo.
+   Oh, Tommy's gone and I'll go too.
+               Tom's gone to Hilo.]
+
+2. Tommy's gone to Liverpool,
+               Away, &c.
+   Oh, Tommy's gone to Liverpool,
+               Tom's gone to Hilo.
+
+3. Tommy's gone to Mobile Bay.
+   Oh, Tommy's gone to Mobile Bay.
+
+4. Tommy's gone, what shall I do?
+   Oh, Tommy's gone, what shall I do?
+
+5. Tommy fought at Tráfalgár.
+   Oh, Tommy fought at Trafalgar.
+
+6. The old Vic[1/16 1/16]tory led the way.
+   The brave old Vic[1/16 1/16]tory led the way.
+
+7. Tommy's gone for evermore.
+   Oh, Tommy's gone for evermore.
+
+
+
+
+25. Whisky Johnny.
+
+(HALLIARDS.)
+
+
+[Music illustration:
+
+1. Oh whisky is the life of man.
+   Whiskey Johnny.
+   Oh whisky is the life of man.
+   Whisky for my Johnny.]
+
+2. Oh whisky makes me pawn my clothes.
+   And whisky gave me this red nose.
+
+3. Oh whisky killed my poor old dad.
+   And whisky druv my mother mad.
+
+4. Oh whisky up, and whisky down.
+   And whisky all around the town.
+
+5. Oh whisky here and whisky there.
+   It's I'll have whisky everywhere.
+
+6. Oh whisky is the life of man.
+   It's whisky in an old tin can.
+
+
+
+
+26. Boney was a warrior.
+
+(HALLIARDS.)
+
+
+[Music illustration:
+
+1. Boney was a warrior.
+   Way-ay Yah.
+   Boney was a warrior.
+   John France-Wah.[9]]
+
+[Footnote 9: Francois.]
+
+2. Boney beat the Rooshians. (_twice_)
+
+3. Boney beat the Prooshians. (_twice_)
+
+4. Boney went to Möscow. (_twice_)
+
+5. Moscow was a-fďre. (_twice_)
+
+6. Boney he came back again. (_twice_)
+
+7. Boney went to Elbow. (_twice_)
+
+8. Boney went to Waterloo. (_twice_)
+
+9. Boney was defeated. (_twice_)
+
+10. Boney was a prisoner
+    'Board the Billy Ruffian.[10]
+
+11. Boney he was sent away,
+    'Way to St. Helena.
+
+12. Boney broke his heart, and died. (_twice_)
+
+13. Boney was a warrior. (_twice_)
+
+[Footnote 10: Sailor pronunciation of "Bellerophon."]
+
+
+
+
+27. Johnny Boker.
+
+(FORE-SHEET.)
+
+
+[Music illustration:
+
+1. Oh do my Johnny Boker,
+   Come rock and roll me over.
+   Do my Johnny Boker, do.]
+
+2. Oh do my Johnny Boker,
+   The skipper is a rover.
+   Do my Johnny, &c.
+
+3.   Oh do, &c.
+   The mate he's never sober.
+     Do my, &c.
+
+4.   Oh do, &c.
+   The Bo'sun is a tailor.
+     Do my, &c.
+
+5.   Oh do, &c.
+   We'll all go on a [1/8 1/8 1/4]jamboree.
+     Do my, &c.
+
+6.   Oh do, &c.
+   The Packet is a Rollin'.
+     Do my, &c.
+
+7.   Oh do, &c.
+   We'll pull and haul together.
+     Do my, &c.
+
+8.   Oh do, &c.
+   We'll haul for better weather.
+     Do my, &c.
+
+9.   Oh do, &c.
+   And soon we'll be in [1/8 1/8]London Town.
+     Do my, &c.
+
+10.   Oh do, &c.
+    Come rock and roll me over.
+      Do my, &c.
+
+
+
+
+28. Haul away, Joe.
+
+(FORE-SHEET.)
+
+
+[Music illustration:
+
+1. Way, haul away,
+   We'll haul away the bowlin'.
+   Way, haul away,
+   Haul away Joe.]
+
+2. Way haul away. The packet is a-rollin'.
+
+3. Way haul away. We'll hang and haul together.
+
+4. Way haul away. We'll haul for better weather.
+
+5. [1/4]Once [1/8]I [1/4]had [1/8]a [1/4 1/8]nigger [1/4]girl, and she
+     was fat and lazy.
+
+6. [1/4]Then [1/8]I [1/4]had [1/8]a [1/4 1/8]Spanish girl, she nearly
+     druv me crazy.
+
+7. [1/4 1/8]Geordie [1/4 1/8]Charlton [1/4]had [1/8]a [1/4]pig, and it
+     was double jointed.
+
+8. [1/8]He [1/4]took [1/8]it [1/4]to [1/8]the blacksmith's shop to get
+     its trotters pointed.
+
+9. [1/8]King [1/4 1/8]Louis [1/4]was [1/8]the [1/4]king [1/8]o'
+     [1/4]France before the Revolution.
+
+10. [1/8]King [1/4 1/8]Louis [1/4]got [1/8]his [1/4]head [1/8]cut
+      [1/4]off, and spoiled his Constitution.
+
+11. Oh when I was a little boy and so my mother told me.
+
+12. That if I didn't kiss the girls my lips would all go mouldy.
+
+13. Oh once I had a scolding wife, she wasn't very civil.
+
+14. I clapped a plaster on her mouth and sent her to the divvle.
+
+
+
+
+29. We'll haul the bowlin'.
+
+(FORE-SHEET.)
+
+
+[Music illustration:
+
+1. We'll haul the bowlin' so early in the morning.
+   We'll haul the bowlin', the bowlin' haul![11]]
+
+[Footnote 11: The last word ("haul") of the chorus is not sung but
+shouted _staccato_.]
+
+2. We'll haul the bowlin' for Kitty is my darlin'.
+
+3. We'll haul the bowlin'; the fore-to-gallant bowlin'.
+
+4. We'll haul the bowlin', the skipper is a growlin'.
+
+5. We'll haul the bowlin', the packet is a rollin'.
+
+6. We'll haul the bowlin' so early in the morning.
+
+
+
+
+30. Paddy Doyle's boots.
+
+(BUNT SHANTY.)
+
+
+[Music illustration:
+
+1. To my way-ay-ay-ah,
+   We'll pay Paddy Doyle for his boots.]
+
+_Alternative verses._
+
+2. We'll all throw dirt at the cook.
+
+3. We'll all drink brandy and gin.
+
+
+
+
+BRIEF LIST OF
+
+Morris and Country Dances
+Folk Songs, Singing Games
+
+_Our Folk Music List, gratis and post free, contains full particulars,
+contents, and illustrations of these works._
+
+ALL PRICES ARE NET CASH EXCEPT THOSE MARKED §
+
+       *       *       *       *       *
+
+The Espérance Morris Book
+
+By MARY NEAL
+
+5694 Parts I and II. Price 7/6 each net cash.
+
+
+The Guild of Play Books
+
+By Mrs. C.W. KIMMINS
+
+5634 Parts I-IV. Price 7/6 each net cash.
+
+5735 MASQUE OF THE CHILDREN OF THE EMPIRE. Numbers from the 'Guild of
+Play Book.' Price: Plan, without music, 2/-; Complete, 5/- net cash.
+
+5777 NATIONAL SONGS AND DANCES OF THE ALLIES. Price 5/- net cash.
+
+
+Singing Games
+
+Collected by Miss Alice Gillington
+
+                                           _Net Cash_
+5734 OLD DORSET SINGING GAMES                     1/-
+5673 OLD HAMPSHIRE SINGING GAMES                  1/-
+5668 OLD SURREY SINGING GAMES                     1/-
+5685 OLD ISLE OF WIGHT SINGING GAMES              1/-
+5703 BRETON SINGING GAMES                         1/-
+
+Collected by S.E. Thornhill.
+
+5730 LONDON BRIDGE AND OTHER GAMES                2/-
+
+Collected by Grace Cleveland Porter.
+
+5756 NEGRO FOLK-SINGING GAMES                     2/6
+
+
+Country, Morris, and Folk Dances[12]
+
+Arranged by Mary H. Woolnoth
+
+[Footnote 12: Bells, rosettes, hats, beansticks, maypoles and braids
+may be procured from the Publishers.]
+
+                                           _Net Cash_
+5743 PLAYFORD'S COUNTRY DANCES                    3/-
+
+Revived by Nellie Chaplin.
+
+5675 ANCIENT DANCES AND MUSIC                     3/-
+5707 COURT DANCES AND OTHERS                      5/-
+5746 MINUET AND GAVOTTE                           2/-
+
+Edited by Miss Cowper Coles.
+
+5704 GREENSLEEVES AND OTHER OLD DANCES            3/-
+5681 OLD ENGLISH COUNTRY DANCE STEPS              2/-
+
+Collected by Mildred Bult
+
+5640 OLD DEVONSHIRE DANCES                        1/-
+
+Collected by John Graham.
+
+5623 SHAKESPEAREAN-BIDFORD MORRIS DANCES          2/-
+5713 LANCASHIRE AND CHESHIRE MORRIS DANCES        2/-
+
+Collected by Frank Kidson.
+
+5769 ENGLISH COUNTRY DANCES                       2/-
+  Arranged for children's performance, with Instructions.
+5645 OLD ENGLISH COUNTRY DANCE AND MORRIS TUNES   2/-
+
+By Miss E. Hughes.
+
+5261 MAY-POLE EXERCISES                           2/-
+
+By A. Shaw.
+
+5711  MAY-POLE DANCES                             2/-
+
+Collected and Arranged from Various Sources.
+
+5692 FOLK DANCES OF EUROPE                        3/-
+
+Noted by Miss Cowper Coles.
+
+§1365 THE HORNPIPE                                2/-
+
+
+Folk and National Songs
+
+Collected and Arranged by S. Baring Gould, M.A., and Cecil Sharp, B.A.
+
+§5120 ENGLISH FOLK-SONGS FOR SCHOOLS              5/-
+  Vocal edition, 1/6. Words only, 6d.
+
+Selected and Arranged by W.H. Hadow.
+
+§5462 SONGS OF THE BRITISH ISLANDS                3/6
+  Vocal edition, 1/-. Words only, 3d.
+
+Collected by John Graham
+
+                                           _Net Cash_
+5718 TRADITIONAL NURSERY RHYMES                   3/-
+
+Collected by Mrs. Clifford Beckett.
+
+5772 SHANTIES AND FOREBITTERS                     1/-
+
+Collected by Alice E. Gillington.
+
+5702 OLD CHRISTMAS CAROLS                         1/-
+5627 EIGHT HAMPSHIRE FOLK-SONGS                   1/-
+
+Noted by John Graham.
+
+5712  DIALECT SONGS OF THE NORTH                  1/-
+
+LONDON: J. CURWEN & SONS LIMITED, 24 BERNERS STREET, W.1.
+
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Shanty Book, Part I, Sailor
+Shanties, by Richard Runciman Terry
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+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of The Shanty Book, Part I, by Richard Runciman Terry.
+    </title>
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+
+<pre>
+
+The Project Gutenberg EBook of The Shanty Book, Part I, Sailor Shanties, by 
+Richard Runciman Terry
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Shanty Book, Part I, Sailor Shanties
+
+Author: Richard Runciman Terry
+
+Contributor: Sir Walter Runciman
+
+Release Date: March 8, 2007 [EBook #20774]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE SHANTY BOOK, PART I ***
+
+
+
+
+Produced by Steven Gibbs, Linda Cantoni, and the Online
+Distributed Proofreading Team at http://www.pgdp.net. This
+file is gratefully uploaded to the PG collection in honor
+of Distributed Proofreaders having posted over 10,000
+ebooks.
+
+
+
+
+
+
+</pre>
+
+
+
+
+<div class="bbox">
+
+<p>&#160;</p>
+
+<h1>The Shanty Book</h1>
+
+<h2>Part I</h2>
+
+<h2>Sailor Shanties</h2>
+
+<h4>(Curwen Edition 6308)</h4>
+
+<p>&#160;</p>
+
+<p style="text-align: center" class="author"><b>Collected and Edited, with Pianoforte Accompaniment,
+by RICHARD RUNCIMAN TERRY, with a Foreword by
+SIR WALTER RUNCIMAN, Bart.</b></p>
+
+<hr style="width: 25%;" />
+
+<p style="text-align: center">LONDON<br />
+J. Curwen &amp; Sons Ltd., 24 Berners Street, W. 1<br />
+Copyright, 1921, by J. Curwen &amp; Sons Ltd.</p>
+
+<p>&#160;</p>
+</div>
+
+<p>&#160;</p>
+
+
+<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[Pg&#160;iii]</a></span></p>
+<h2><a name="FOREWORD" id="FOREWORD"></a>FOREWORD</h2>
+
+<h3>By SIR WALTER RUNCIMAN</h3>
+
+
+<p><span class="dropcap">I</span><b>T</b> is sometimes difficult for old sailors like myself to realize that
+these fine shanty tunes&#8212;so fascinating to the musician, and which no
+sailor can hear without emotion&#8212;died out with the sailing vessel, and
+now belong to a chapter of maritime history that is definitely closed.
+They will never more be heard on the face of the waters, but it is
+well that they should be preserved with reverent care, as befits a
+legacy from the generation of seamen that came to an end with the
+stately vessels they manned with such skill and resource.</p>
+
+<p>In speech, the old-time 'shellback' was notoriously reticent&#8212;almost
+inarticulate; but in song he found self-expression, and all the
+romance and poetry of the sea are breathed into his shanties, where
+simple childlike sentimentality alternates with the Rabelaisian humour
+of the grown man. Whatever landsmen may think about shanty words&#8212;with
+their cheerful inconsequence, or light-hearted coarseness&#8212;there can
+be no two opinions about the tunes, which, as folk-music, are a
+national asset.</p>
+
+<p>I know, of course, that several shanty collections are in the market,
+but as a sailor I am bound to say that only one&#8212;Capt. W.B. Whall's
+'Sea Songs, Ships, and Shanties'&#8212;can be regarded as authoritative.
+Only a portion of Capt. Whall's delightful book is devoted to
+shanties, of which he prints the melodies only (without
+accompaniment); and of these he does not profess to give more than
+those he himself learnt at sea. I am glad, therefore, to welcome
+Messrs. Curwen's project of a wide and representative collection. Dr.
+Terry's qualifications as editor are exceptional, since he was reared
+in an environment of nineteenth-century seamen, and is the only
+landsman I have met who is able to render shanties as the old seamen
+did. I am not musician enough to criticize his pianoforte
+accompaniments, but I can vouch for the authenticity of the <i>melodies</i>
+as he presents them, untampered with in any way.</p>
+
+<p style="text-align: right">WALTER RUNCIMAN.</p>
+
+<p><i>Shoreston Hall</i>,<br />
+<span style="margin-left: 1em;"><i>Chathill</i>, 1921.</span></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_iv" id="Page_iv">[Pg&#160;iv]</a></span></p>
+<h2>CONTENTS</h2>
+
+
+<table style="width: 75%" border="0" cellpadding="4" cellspacing="0" summary="">
+<tbody>
+<tr><td>&#160;</td><td style="text-align: right">PAGE</td></tr>
+<tr><td><a href="#FOREWORD">FOREWORD</a> by Sir Walter Runciman</td><td style="text-align: right">
+  <a href="#Page_iii">iii</a></td></tr>
+<tr><td><a href="#INTRODUCTION">INTRODUCTION</a></td><td style="text-align: right">
+  <a href="#Page_v">v</a></td></tr>
+<tr><td><a href="#NOTES_ON_THE_SHANTIES">NOTES ON THE SHANTIES</a></td><td style="text-align: right">
+  <a href="#Page_xiii">xiii</a></td></tr>
+</tbody>
+</table>
+
+<h3>WINDLASS &amp; CAPSTAN SHANTIES:</h3>
+
+<table style="width: 75%" border="0" cellpadding="4" cellspacing="0" summary="">
+<tbody>
+<tr><td>1 <a href="#Billy_Boy">Billy Boy</a></td><td style="text-align: right"><a href="#Page_2">2</a></td></tr>
+<tr><td>2 <a href="#Bound_for_the_Rio_Grande">Bound for the Rio Grande</a></td><td style="text-align: right"><a href="#Page_4">4</a></td></tr>
+<tr><td>3 <a href="#Good-bye_fare_ye_well">Good-bye, fare ye well</a></td><td style="text-align: right"><a href="#Page_6">6</a></td></tr>
+<tr><td>4 <a href="#Johnny_come_down_to_Hilo">Johnny come down to Hilo</a></td><td style="text-align: right"><a href="#Page_8">8</a></td></tr>
+<tr><td>5 <a href="#Clear_the_track_let_the_Bullgine_run">Clear the track, let the Bullgine run</a></td><td style="text-align: right"><a href="#Page_10">10</a></td></tr>
+<tr><td>6 <a href="#Lowlands_away">Lowlands away</a></td><td style="text-align: right"><a href="#Page_12">12</a></td></tr>
+<tr><td>7 <a href="#Sally_Brown">Sally Brown</a></td><td style="text-align: right"><a href="#Page_16">16</a></td></tr>
+<tr><td>8 <a href="#Santy_Anna">Santy Anna</a></td><td style="text-align: right"><a href="#Page_18">18</a></td></tr>
+<tr><td>9 <a href="#Shenandoah2">Shenandoah</a></td><td style="text-align: right"><a href="#Page_20">20</a></td></tr>
+<tr><td>10 <a href="#Stormalong_John">Stormalong John</a></td><td style="text-align: right"><a href="#Page_22">22</a></td></tr>
+<tr><td>11 <a href="#The_Hogs-eye_Man">The Hog's-eye Man</a></td><td style="text-align: right"><a href="#Page_24">24</a></td></tr>
+<tr><td>12 <a href="#The_Wild_Goose_Shanty">The Wild Goose Shanty</a></td><td style="text-align: right"><a href="#Page_26">26</a></td></tr>
+<tr><td>13 <a href="#Were_all_bound_to_go">We're all bound to go</a></td><td style="text-align: right"><a href="#Page_28">28</a></td></tr>
+<tr><td>14 <a href="#What_shall_we_do_with_the_drunken_sailor">What shall we do with the drunken sailor?</a></td><td style="text-align: right"><a href="#Page_30">30</a></td></tr>
+</tbody>
+</table>
+
+<h3>HALLIARD SHANTIES:</h3>
+
+<table style="width: 75%" border="0" cellpadding="4" cellspacing="0" summary="">
+<tbody>
+<tr><td>15 <a href="#Blow_my_bully_boys">Blow, my bully boys</a></td><td style="text-align: right"><a href="#Page_32">32</a></td></tr>
+<tr><td>16 <a href="#Blow_the_man_down">Blow the man down</a></td><td style="text-align: right"><a href="#Page_34">34</a></td></tr>
+<tr><td>17 <a href="#Cheerly_men5">Cheer'ly, men</a></td><td style="text-align: right"><a href="#Page_36">36</a></td></tr>
+<tr><td>18 <a href="#Good_morning_ladies_all">Good morning, ladies all</a></td><td style="text-align: right"><a href="#Page_38">38</a></td></tr>
+<tr><td>19 <a href="#Hanging_Johnny">Hanging Johnny</a></td><td style="text-align: right"><a href="#Page_40">40</a></td></tr>
+<tr><td>20 <a href="#Hilo_somebody">Hilo Somebody</a></td><td style="text-align: right"><a href="#Page_42">42</a></td></tr>
+<tr><td>21 <a href="#Oh_run_let_the_Bullgine_run">Oh run, let the Bullgine run</a></td><td style="text-align: right"><a href="#Page_44">44</a></td></tr>
+<tr><td>22 <a href="#Reuben_Ranzo">Reuben Ranzo</a></td><td style="text-align: right"><a href="#Page_46">46</a></td></tr>
+<tr><td>23 <a href="#The_dead_horse">The Dead Horse</a></td><td style="text-align: right"><a href="#Page_48">48</a></td></tr>
+<tr><td>24 <a href="#Toms_gone_to_Hilo">Tom's gone to Hilo</a></td><td style="text-align: right"><a href="#Page_50">50</a></td></tr>
+<tr><td>25 <a href="#Whisky_Johnny">Whisky Johnny</a></td><td style="text-align: right"><a href="#Page_52">52</a></td></tr>
+<tr><td>26 <a href="#Boney_was_a_warrior">Boney was a warrior</a></td><td style="text-align: right"><a href="#Page_54">54</a></td></tr>
+</tbody>
+</table>
+
+<h3>FORE-SHEET OR SWEATING-UP SHANTIES:</h3>
+
+<table style="width: 75%" border="0" cellpadding="4" cellspacing="0" summary="">
+<tbody>
+<tr><td>27 <a href="#Johnny_Boker">Johnny Boker</a></td><td style="text-align: right"><a href="#Page_55">55</a></td></tr>
+<tr><td>28 <a href="#Haul_away_Joe">Haul away, Joe</a></td><td style="text-align: right"><a href="#Page_56">56</a></td></tr>
+<tr><td>29 <a href="#Well_haul_the_bowlin">We'll haul the bowlin'</a></td><td style="text-align: right"><a href="#Page_58">58</a></td></tr>
+</tbody>
+</table>
+
+<h3>BUNT SHANTY:</h3>
+
+<table style="width: 75%" border="0" cellpadding="4" cellspacing="0" summary="">
+<tbody>
+<tr><td>30 <a href="#Paddy_Doyles_boots">Paddy Doyle's boots</a></td><td style="text-align: right"><a href="#Page_59">59</a></td></tr>
+</tbody>
+</table>
+
+<p>&#160;</p>
+
+<h2>ALPHABETICAL INDEX OF SHANTIES</h2>
+
+<table style="width: 75%" border="0" cellpadding="4" cellspacing="0" summary="">
+<tbody>
+<tr><td>&#160;</td><td style="text-align: right">PAGE</td></tr>
+<tr><td><a href="#Billy_Boy">Billy Boy</a></td><td style="text-align: right"><a href="#Page_2">2</a></td></tr>
+<tr><td><a href="#Blow_my_bully_boys">Blow, my bully boys</a></td><td style="text-align: right"><a href="#Page_32">32</a></td></tr>
+<tr><td><a href="#Blow_the_man_down">Blow the man down</a></td><td style="text-align: right"><a href="#Page_34">34</a></td></tr>
+<tr><td><a href="#Boney_was_a_warrior">Boney was a warrior</a></td><td style="text-align: right"><a href="#Page_54">54</a></td></tr>
+<tr><td><a href="#Bound_for_the_Rio_Grande">Bound for the Rio Grande</a></td><td style="text-align: right"><a href="#Page_4">4</a></td></tr>
+<tr><td><a href="#Cheerly_men5">Cheer'ly, men</a></td><td style="text-align: right"><a href="#Page_36">36</a></td></tr>
+<tr><td><a href="#Clear_the_track_let_the_Bullgine_run">Clear the track, let the Bullgine run</a></td><td style="text-align: right"><a href="#Page_10">10</a></td></tr>
+<tr><td><a href="#The_dead_horse">Dead Horse, The</a></td><td style="text-align: right"><a href="#Page_48">48</a></td></tr>
+<tr><td><a href="#Good-bye_fare_ye_well">Good-bye, fare ye well</a></td><td style="text-align: right"><a href="#Page_6">6</a></td></tr>
+<tr><td><a href="#Good_morning_ladies_all">Good morning, ladies all</a></td><td style="text-align: right"><a href="#Page_38">38</a></td></tr>
+<tr><td><a href="#Hanging_Johnny">Hanging Johnny</a></td><td style="text-align: right"><a href="#Page_40">40</a></td></tr>
+<tr><td><a href="#Haul_away_Joe">Haul away, Joe</a></td><td style="text-align: right"><a href="#Page_56">56</a></td></tr>
+<tr><td><a href="#Hilo_somebody">Hilo Somebody</a></td><td style="text-align: right"><a href="#Page_42">42</a></td></tr>
+<tr><td><a href="#The_Hogs-eye_Man">Hog's-eye Man, The</a></td><td style="text-align: right"><a href="#Page_24">24</a></td></tr>
+<tr><td><a href="#Johnny_Boker">Johnny Boker</a></td><td style="text-align: right"><a href="#Page_55">55</a></td></tr>
+<tr><td><a href="#Johnny_come_down_to_Hilo">Johnny come down to Hilo</a></td><td style="text-align: right"><a href="#Page_8">8</a></td></tr>
+<tr><td><a href="#Lowlands_away">Lowlands away</a></td><td style="text-align: right"><a href="#Page_12">12</a></td></tr>
+<tr><td><a href="#Oh_run_let_the_Bullgine_run">Oh run, let the Bullgine run</a></td><td style="text-align: right"><a href="#Page_44">44</a></td></tr>
+<tr><td><a href="#Paddy_Doyles_boots">Paddy Doyle's boots</a></td><td style="text-align: right"><a href="#Page_59">59</a></td></tr>
+<tr><td><a href="#Reuben_Ranzo">Reuben Ranzo</a></td><td style="text-align: right"><a href="#Page_46">46</a></td></tr>
+<tr><td><a href="#Sally_Brown">Sally Brown</a></td><td style="text-align: right"><a href="#Page_16">16</a></td></tr>
+<tr><td><a href="#Santy_Anna">Santy Anna</a></td><td style="text-align: right"><a href="#Page_18">18</a></td></tr>
+<tr><td><a href="#Shenandoah2">Shenandoah</a></td><td style="text-align: right"><a href="#Page_20">20</a></td></tr>
+<tr><td><a href="#Stormalong_John">Stormalong John</a></td><td style="text-align: right"><a href="#Page_22">22</a></td></tr>
+<tr><td><a href="#Toms_gone_to_Hilo">Tom's gone to Hilo</a></td><td style="text-align: right"><a href="#Page_50">50</a></td></tr>
+<tr><td><a href="#Well_haul_the_bowlin">We'll haul the bowlin'</a></td><td style="text-align: right"><a href="#Page_58">58</a></td></tr>
+<tr><td><a href="#Were_all_bound_to_go">We're all bound to go</a></td><td style="text-align: right"><a href="#Page_28">28</a></td></tr>
+<tr><td><a href="#What_shall_we_do_with_the_drunken_sailor">What shall we do with the drunken sailor?</a></td><td style="text-align: right"><a href="#Page_30">30</a></td></tr>
+<tr><td><a href="#Whisky_Johnny">Whisky Johnny</a></td><td style="text-align: right"><a href="#Page_52">52</a></td></tr>
+<tr><td><a href="#The_Wild_Goose_Shanty">Wild Goose Shanty, The</a></td><td style="text-align: right"><a href="#Page_26">26</a></td></tr>
+</tbody>
+</table>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg&#160;v]</a></span></p>
+<h2><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION</h2>
+
+
+<h3>APOLOGIA</h3>
+
+<p><span class="dropcap">I</span><b>T</b> may reasonably be asked by what authority a mere landsman publishes
+a book on a nautical subject. I may, therefore, plead in extenuation
+that I have all my life been closely connected with seafaring matters,
+especially during childhood and youth, and have literally 'grown up
+with' shanties. My maternal ancestors followed the sea as far back as
+the family history can be traced, and sailor uncles and grand-uncles
+have sung shanties to me from my childhood upwards. During boyhood I
+was constantly about amongst ships, and had learnt at first hand all
+the popular shanties before any collection of them appeared in print.
+I have in later years collected them from all manner of sailors,
+chiefly at Northumbrian sources. I have collated these later versions
+with those which I learnt at first hand as a boy from sailor
+relatives, and also aboard ship. And lastly, I lived for some years in
+the West Indies, one of the few remaining spots where shanties may
+still be heard, where my chief recreation was cruising round the
+islands in my little ketch. In addition to hearing them in West Indian
+seaports, aboard Yankee sailing ships and sugar droghers, I also heard
+them sung constantly on shore in Antigua under rather curious
+conditions. West Indian negro shanties are movable wooden huts, and
+when a family wishes to change its <i>venue</i> it does so in the following
+manner: The shanty is levered up on to a low platform on wheels, to
+which two very long ropes are attached. The ropes are manned by as
+many hands as their length will admit. A 'shantyman' mounts the roof
+of the hut and sits astride it. He sings a song which has a chorus,
+and is an exact musical parallel of a seaman's 'pull-and-haul' shanty.
+The crowd below sings the chorus, giving a pull on the rope at the
+required points in the music, just as sailors did when hauling at sea.
+Each pull on the rope draws the hut a short distance forward, and the
+process is continued till its final resting-place is reached, when the
+shantyman descends from the roof. The hut is then levered off the
+platform on to <i>terra firma</i> and fixed in its required position.</p>
+
+
+<h3>WHAT A SHANTY IS</h3>
+
+<p>Shanties were labour songs sung by sailors of the merchant service
+only while at work, and never by way of recreation. Moreover&#8212;at
+least, in the nineteenth century&#8212;they were never used aboard
+men-o'-war, where all orders were carried out in silence to the pipe
+of the bo'sun's whistle.</p>
+
+<p>Before the days of factories and machinery, all forms of work were
+literally <i>manual</i> labour, and all the world over the labourer,
+obeying a primitive instinct, sang at his toil: the harvester with his
+sickle, the weaver at the loom, the spinner at the wheel. Long after
+machinery had driven the labour-song from the land it survived at sea
+in the form of shanties, since all work aboard a sailing vessel was
+performed by hand.</p>
+
+<p>The advent of screw steamers sounded the death-knell of the shanty.
+Aboard the steamer there were practically no sails to be manipulated;
+the donkey-engine and steam winch supplanted the hand-worked windlass
+and capstan. By the end of the seventies steam had driven the sailing
+ship from the seas. A number of sailing vessels lingered on through
+the eighties, but they retained little of the corporate pride and
+splendour that was once theirs. The old spirit was gone never to
+return.</p>
+
+<p>When the sailing ship ruled the waters and the shanty was a living
+thing no one appears to have paid heed to it. To the landsman of those
+days&#8212;before folk-song hunting had begun&#8212;the haunting beauty of the
+tunes would appear to have made no appeal. This may be partly
+accounted for by the fact that he would never be likely to hear the
+sailor sing them ashore, and partly because of the Rabelaisian
+character of the words to which they were sung aboard ship. We had
+very prim notions of propriety in those days, and were apt to overlook
+the beauty of the melodies, and to speak of shanties in bulk as 'low
+vulgar songs.' Be that as it may, it was not until the late
+eighties&#8212;when the shanty was beginning to die out with the sailing
+ship&#8212;that any attempt was made to form a collection.</p>
+
+
+<h3>ORIGIN OF THE WORD</h3>
+
+<p>Here let me enter my protest against the literary preciosity which
+derives the word from (<i>un</i>) <i>chant&#233;</i> and spells it 'chanty'&#8212;in other
+words, against the gratuitous assumption that unlettered British
+sailors derived one of the commonest words in their vocabulary from a
+foreign source. The result of this 'literary' spelling is that
+ninety-nine landsmen out of every hundred, instead of pronouncing the<span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg&#160;vi]</a></span>
+word 'shanty,' rhyming with 'scanty' (<i>as every sailor did</i>),
+pronounce it 'tchahnty,' rhyming with 'auntie,' thereby courting the
+amusement or contempt of every seaman. The vogue of '<i>ch</i>anty' was
+apparently created by the late W.E. Henley, a fine poet, a great man
+of letters, a profound admirer of shanty tunes, but entirely
+unacquainted with nautical affairs. Kipling and other landsmen have
+given additional currency to the spelling. The 'literary' sailors,
+Clark Russell and Frank Bullen, have also spelt it '<i>ch</i>anty,' but
+their reason is obvious. The modest seaman always bowed before the
+landsman's presumed superiority in 'book-larnin'.' What more natural
+than that Russell and Bullen, obsessed by so ancient a tradition,
+should accept uncritically the landsman's spelling. But educated
+sailors devoid of 'literary' pretensions have always written the word
+as it was pronounced. To my mind the strongest argument against the
+literary landsman's derivation of the word is that the British sailor
+cultivated the supremest contempt for everything French, and would be
+the last person to label such a definitely British practice as
+shanty-singing with a French title. If there had been such a thing in
+French ships as a labour-song bearing such a far-fetched title as
+(<i>un</i>) <i>chant&#233;</i>, there might have been a remote possibility of the
+British sailor adopting the French term in a spirit of sport or
+derision, but there is no evidence that any such practice, or any such
+term, achieved any vogue in French ships. As a matter of fact, the
+Oxford Dictionary (which prints it '<i>sh</i>anty') states that the word
+never found its way into print until 1869.</p>
+
+<p>The truth is that, however plausible the French derivation theory may
+sound, it is after all pure speculation&#8212;and a landsman's speculation
+at that&#8212;unsupported by a shred of concrete evidence.</p>
+
+<p>If I wished to advance another theory more plausible still, and
+equally unconvincing, I might urge that the word was derived from the
+negro hut-removals already mentioned. Here, at least, we have a very
+ancient custom, which would be familiar to British seamen visiting
+West Indian seaports. The object moved was a <i>shanty</i>; the music
+accompanying the operation was called, by the negroes, a <i>shanty</i>
+tune; its musical form (solo and chorus) was identical with the sailor
+<i>shanty</i>; the pulls on the rope followed the same method which
+obtained at sea; the soloist was called a <i>shanty</i>man; like the
+shantyman at sea he did no work, but merely extemporized verses to
+which the workers at the ropes supplied the chorus; and finally, the
+negroes still pronounce the word itself exactly as the seaman did.</p>
+
+<p>I am quite aware of the flaws in the above argument, but at least it
+shows a manual labour act performed both afloat and ashore under
+precisely similar conditions as to (<i>a</i>) its nature, (<i>b</i>) its musical
+setting; called by the same name, <i>with the same pronunciation</i> in
+each case; and lastly, connected, in one case, with an actual hut or
+<i>shanty</i>. Against this concrete argument we have a landsman's abstract
+speculation, which (<i>a</i>) begs the whole question, and (<i>b</i>) which was
+never heard of until a few years before the disappearance of the
+sailing ship. I do not assert that the negroid derivation is
+conclusive, but that from (<i>un</i>) <i>chant&#233;</i> will not bear serious
+inspection.</p>
+
+
+<h3>BIBLIOGRAPHY</h3>
+
+<p>The material under this head is very scanty. Nothing of any
+consequence was written before the eighties, when W.L. Alden, in
+<i>Harper's Magazine</i>, and James Runciman, in the <i>St. James's Gazette</i>
+and other papers, wrote articles on the subject with musical
+quotations. Since then several collections have appeared:</p>
+
+<div class="blockquot"><p>1887. <i>Sailors' Songs or Chanties</i>, the words by Frederick
+J. Davis, R.N.R., the music composed and arranged upon
+traditional sailor airs by Ferris Tozer, Mus. D. Oxon.</p>
+
+<p>1888. <i>The Music of the Waters</i>, by Laura Alexandrine Smith.</p>
+
+<p>1910 and 1912. <i>Sea Songs, Ships, and Shanties</i>, by Capt.
+W.B. Whall.</p>
+
+<p>1912. <i>Songs of Sea Labour</i>, by Frank T. Bullen and W.F.
+Arnold.</p>
+
+<p>1914. <i>English Folk Chanteys</i> with Pianoforte Accompaniment,
+collected by Cecil J. Sharp.</p></div>
+
+<p>Of all these collections Capt. Whall's is the only one which a sailor
+could accept as authoritative. Capt. Whall unfortunately only gives
+the twenty-eight shanties which he himself learnt at sea. But to any
+one who has heard them sung aboard the old sailing ships, his versions
+ring true, and have a bite and a snap that is lacking in those
+published by mere collectors.</p>
+
+<p>Davis and Tozer's book has had a great vogue, as it was for many years
+the only one on the market. But the statement that the music is
+'composed and arranged on traditional sailor airs' rules it out of
+court in the eyes of seamen, since (<i>a</i>) a sailor song is not a
+shanty, and (<i>b</i>) to 'compose and arrange on traditional airs' is to
+destroy the traditional form.<span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg&#160;vii]</a></span></p>
+
+<p>Miss Smith's book is a thick volume into which was tumbled
+indiscriminately and uncritically a collection of all sorts of tunes
+from all sorts of countries which had any connection with seas, lakes,
+rivers, or their geographical equivalents. Scientific folk-song
+collecting was not understood in those days, and consequently all was
+fish that came to the authoress's net. Sailor shanties and landsmen's
+nautical effusions were jumbled together higgledy-piggledy, along with
+'Full Fathom Five' and the 'Eton Boating Song.' But this lack of
+discrimination, pardonable in those days, was not so serious as the
+inability to write the tunes down correctly. So long as they were
+copied from other song-books they were not so bad, but when it came to
+taking them down from the seamen's singing the results were
+deplorable. Had the authoress been able to give us correct versions of
+the shanties her collection would have been a valuable one. The book
+contains altogether about thirty-two shanties collected from sailors
+in the Tyne seaports. Since both Miss Smith and myself hail from
+Newcastle, her 'hunting ground' for shanties was also mine, and I am
+consequently in a position to assess the importance or unimportance of
+her work. I may, therefore, say that although hardly a single shanty
+is noted down correctly, I can see clearly&#8212;having myself noted the
+same tunes in the same district&#8212;what she intended to convey, and
+furthermore can vouch for the accuracy of some of the words which were
+common to north country sailors, and which have not appeared in other
+collections.</p>
+
+<p>If I have been obliged to criticize Miss Smith's book it is not
+because I wish to disparage a well-intentioned effort, but because I
+constantly hear <i>The Music of the Waters</i> quoted as an authoritative
+work on sailor shanties; and since the shanties in it were all
+collected in the district where I spent boyhood and youth, I am
+familiar with all of them, and can state definitely that they are in
+no sense authoritative. I should like, however, to pay my tribute of
+respect to Miss Smith's industry, and to her enterprise in calling
+attention to tunes that then seemed in a fair way to disappear.</p>
+
+<p>Bullen and Arnold's book ought to have been a valuable contribution to
+shanty literature, as Bullen certainly knew his shanties, and used to
+sing them capitally. Unfortunately his musical collaborator does not
+appear to have been gifted with the faculty of taking down authentic
+versions from his singing. He seems to have had difficulty in
+differentiating between long measured notes and unmeasured pauses;
+between the respective meanings of three-four and six-eight time;
+between modal and modern tunes; and between the cases where irregular
+barring was or was not required. Apart from the amateur nature of the
+harmonies, the book exhibits such strange unacquaintance with the
+rudiments of musical notation as the following (p. 25):</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music01.png" width="510" height="152" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music01.midi">[Listen]</a></p>
+
+<p>&#160;</p>
+
+<p>A few other collections deserve mention:</p>
+
+<div class="blockquot"><p>1912. <i>The Esp&#233;rance Morris Book</i>, Part II (Curwen Edition
+8571), contains five shanties collected and arranged by
+Clive Carey.</p>
+
+<p>1914. <i>Shanties and Forebitters</i>, collected and
+accompaniments written by Mrs. Clifford Beckett (Curwen
+Edition 6293).</p>
+
+<p><i>Journal of the Folk-Song Society</i>, Nos. 12, 18, and 20,
+contain articles on shanties, with musical examples
+(melodies only), which, from the academic point of view, are
+not without interest.</p>
+
+<p>1920. <i>The Motherland Song Book</i> (Vols. III and IV, edited
+by R. Vaughan Williams) contains seven shanties. It is
+worthy of note that Dr. Vaughan Williams, Mr. Clive Carey,
+and Mrs. Clifford Beckett all spell the word 'shanty' as
+sailors pronounced it.</p>
+
+<p>1920. <i>Sailor Shanties arranged for Solo and Chorus of Men's
+Voices</i> by the present editor; two selections (Curwen
+Edition 50571 and 50572).</p></div>
+
+<p>There are one or two other collections in print which are obviously
+compilations, showing no original research. Of these I make no note.</p>
+
+
+<h3>SHANTY FORMS</h3>
+
+<p>Shanties may be roughly divided, as regards their use, into two
+classes: (<i>a</i>) Hauling shanties, and (<i>b</i>) Windlass and Capstan. The
+former class accompanied the setting of the sails, and the latter the
+weighing of the anchor, or 'warping her in' to the wharf, etc. Capstan
+shanties were also used for pumping ship. A few shanties were
+'interchangeable,' i.e. they were used for both halliards and capstan.
+The subdivisions of each class are interesting, and the nature of the
+work involving 'walk away,' 'stamp and go,' 'sweating her up,' 'hand
+over hand,' and other types of shanty would make<span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg&#160;viii]</a></span> good reading; but
+nautical details, however fascinating, must be economized in a musical
+publication.</p>
+
+<p>Capstan shanties are readily distinguishable by their music. The
+operation of walking round the capstan (pushing the capstan bars in
+front of them) was continuous and not intermittent. Both tune and
+chorus were, as a rule, longer than those of the hauling shanty, and
+there was much greater variety of rhythm. Popular songs, if they had a
+chorus or refrain, could be, and were, effectively employed for
+windlass and capstan work.</p>
+
+<p>Hauling shanties were usually shorter than capstan ones, and are of
+two types: (<i>a</i>) those used for 'the long hoist' and (<i>b</i>) those
+required for 'the short pull' or 'sweating-up.' Americans called these
+operations the 'long' and the 'short drag.' The former was used when
+beginning to hoist sails, when the gear would naturally be slack and
+moderately easy to manipulate. It had two short choruses, with a
+double pull in each. In the following example, the pulls are marked
+<img src="images/accent.png" width="14" height="15" alt="music accent symbol" title="music accent symbol" />.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music02.png" width="510" height="319" alt="Reuben Ranzo" title="Reuben Ranzo" /></p>
+
+<p style="text-align: center"><a href="music/music02.midi">[Listen]</a></p>
+
+<p>&#160;</p>
+
+<p>It is easy to see how effective a collective pull at each of these
+points would be, while the short intervals of solo would give time for
+shifting the hands on the rope and making ready for the next combined
+effort.</p>
+
+<p>When the sail was fully hoisted and the gear taut, a much stronger
+pull was necessary in order to make everything fast, so the shanty was
+then changed for a 'sweating-up' one, in which there was only one
+short chorus and one very strong pull:</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music03.png" width="507" height="204" alt="Haul the Bowlin'" title="Haul the Bowlin'" /></p>
+
+<p style="text-align: center"><a href="music/music03.midi">[Listen]</a></p>
+
+<p>&#160;</p>
+
+<p>So much effort was now required on the pull that it was difficult to
+sing a musical note at that point. The last word was therefore usually
+shouted.</p>
+
+
+<h3>SOURCES OF TUNES</h3>
+
+<p>The sailor travelled in many lands, and in his shanties there are
+distinct traces of the nationalities of the countries he visited.
+Without doubt a number of them came from American negro sources. The
+songs heard on Venetian gondolas must have had their effect, as many
+examples show. There are also distinct traces of folk-songs which the
+sailor would have learnt ashore in his native fishing village, and the
+more familiar Christy Minstrel song was frequently pressed into the
+service. As an old sailor once said to me: 'You can make anything into
+a shanty.'</p>
+
+<p>Like all traditional tunes, some shanties are in the ancient modes,
+and others in the modern major and minor keys. It is the habit of the
+'folk-songer' (I am not alluding to our recognized folk-song experts)
+to find 'modes' in every traditional tune. It will suffice, therefore,
+to say that shanties follow the course of all other traditional music.
+Many are modern, and easily recognizable as such. Others are modal in
+character, such as <a href="#What_shall_we_do_with_the_drunken_sailor">'What shall we do with the drunken sailor?'</a> No. 14,
+and <a href="#The_Hogs-eye_Man">'The Hog's-Eye Man,'</a> No. 11. Others fulfil to a certain extent
+modal conditions, but are nevertheless in keys, e.g. <a href="#Stormalong_John">'Stormalong
+John,'</a> No. 10.</p>
+
+<p>Like many other folk-songs, certain shanties&#8212;originally, no doubt, in
+a mode&#8212;were, by the insertion of leading notes, converted into the
+minor key. There was also the tendency on the part of the modern
+sailor to turn his minor key into a major one. I sometimes find
+sailors singing in the major, nowadays, tunes which the very old men
+of my boyhood used to sing in the minor. A case in point is
+<a href="#Haul_away_Joe">'Haul
+away, Joe,'</a> No. 28. Miss Smith is correct in giving it in the minor
+form which once obtained on the Tyne, and I am inclined to hazard the
+opinion that that was the original form and not, as now, the
+following:</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music04.png" width="506" height="159" alt="Haul away Joe" title="Haul away Joe" /></p>
+
+<p style="text-align: center"><a href="music/music04.midi">[Listen]</a></p>
+
+<p>&#160;</p>
+
+<p>In later times I have also heard
+<a href="#What_shall_we_do_with_the_drunken_sailor">'The Drunken Sailor'</a> (a distinctly
+modal tune) sung in the major as follows:<span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg&#160;ix]</a></span></p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music05.png" width="503" height="156" alt="The Drunken Sailor" title="The Drunken Sailor" /></p>
+
+<p style="text-align: center"><a href="music/music05.midi">[Listen]</a></p>
+
+<p>&#160;</p>
+
+<p>I have generally found that these perversions of the tunes are due to
+sailors who took to the sea as young men in the last days of the
+sailing ship, and consequently did not imbibe to the full the old
+traditions. With the intolerance of youth they assumed that the modal
+turn given to a shanty by the older sailor was the mark of ignorance,
+since it did not square with their ideas of a major or minor key. This
+experience is common to all folk-tune collectors.</p>
+
+<p>Other characteristics, for example: (<i>a</i>) different words to the same
+melody; (<i>b</i>) different melodies to the same or similar words, need
+not be enlarged upon here, as they will be self-evident when a
+definitive collection is published.</p>
+
+<p>Of the usual troubles incidental to folk-song collecting it is
+unnecessary to speak. But the collection of shanties involves
+difficulties of a special kind. In taking down a folk-song from a
+rustic, one's chief difficulty is surmounted when one has broken down
+his shyness and induced him to sing. There is nothing for him to do
+then but get on with the song. Shanties, however, being labour songs,
+one is 'up against' the strong psychological connection between the
+song and its manual acts. Two illustrations will explain what I mean.</p>
+
+<p>A friend of mine who lives in Kerry wished a collector to hear some of
+the traditional keening, and an old woman with the reputation of being
+the best keener in the district, when brought to the house to sing the
+funeral chants, made several attempts and then replied in a distressed
+manner: 'I can't do it; there's no body,' This did not mean that she
+was unwilling to keen in the absence of a corpse, but that she was
+unable to do so. Just before giving up in despair my friend was seized
+with a brain wave, and asked her if it would suffice for him to lie
+down on the floor and personate the corpse. When he had done this the
+old woman found herself able to get on with the keening.</p>
+
+<p>An incident related to me quite casually by Sir Walter Runciman throws
+a similar light on the inseparability of a shanty and its labour. He
+described how one evening several north country ships happened to be
+lying in a certain port. All the officers and crews were ashore,
+leaving only the apprentices aboard, some of whom, as he remarked,
+were 'very keen on shanties,' and their suggestion of passing away the
+time by singing some was received with enthusiasm. The whole party of
+about thirty apprentices at once collected themselves aboard one
+vessel, sheeted home the main topsail, and commenced to haul it up to
+the tune of <a href="#Boney_was_a_warrior">'Boney was a warrior,'</a> changing to
+<a href="#Well_haul_the_bowlin">'Haul the Bowlin''</a> for
+'sweating-up.' In the enthusiasm of their singing, and the absence of
+any officer to call ''Vast hauling,' they continued operations until
+they broke the topsail yard in two, when the sight of the wreckage and
+the fear of consequences brought the singing to an abrupt conclusion.
+In my then ignorance I naturally asked: 'Why couldn't you have sung
+shanties without hoisting the topsail?' and the reply was: 'How could
+we sing a shanty without having our hands on the rope?' Here we have
+the whole psychology of the labour-song: the old woman could not keen
+without the 'body,' and the young apprentices could not sing shanties
+apart from the work to which they belonged. The only truly
+satisfactory results which I ever get nowadays from an old sailor are
+when he has been stimulated by conversation to become reminiscent, and
+croons his shanties almost subconsciously. Whenever I find a sailor
+willing to declaim shanties in the style of a song I begin to be a
+little suspicious of his seamanship. In one of the journals of the
+Folk-Song Society there is an account of a sailor who formed a little
+party of seafaring men to give public performances of shanties on the
+concert platform. No doubt this was an interesting experience for the
+listeners, but that a self-conscious performance such as this could
+represent the old shanty singing I find it difficult to believe. Of
+course I have had sailors sing shanties to me in a fine declamatory
+manner, but I usually found one of three things to be the case: the
+man was a 'sea lawyer,' or had not done much deep-sea sailing; or his
+seamanship only dated from the decline of the sailing vessel.</p>
+
+<p>It is doubtless interesting to the folk-songer to see in print
+shanties taken down from an individual sailor with his individual
+melodic twirls and twiddles. But since no two sailors ever sing the
+same shanty quite in the same manner, there must necessarily be some
+means of getting at the tune, unhampered by these individual
+idiosyncrasies, which are quite a different thing from what folk-song
+students recognize as 'variants.' The power to discriminate can only
+be acquired by familiarity with the shanty as it was in its palmy
+days. The collector who comes upon the scene at this late time of day
+must necessarily be at a disadvantage. The ordinary methods which he
+would apply to<span class="pagenum"><a name="Page_x" id="Page_x">[Pg&#160;x]</a></span> a folk-song break down in the case of a labour-song.
+Manual actions were the soul of the shanty; eliminate these and you
+have only the skeleton of what was once a living thing. It is quite
+possible, I know, to push this line of argument too far, but every one
+who knows anything about seamanship must feel that a shanty nowadays
+cannot be other than a pale reflection of what it once was.</p>
+
+<p>That is why I deprecate the spurious authenticity conferred by print
+upon isolated versions of shanties sung by individual old men. When
+the originals are available it seems to me pedantic and academic to
+put into print the comic mispronunciations of well-known words by old
+and uneducated seamen.</p>
+
+<p>And this brings me to the last difficulty which confronts the
+collector with no previous knowledge of shanties. As a mere matter of
+dates, any sailors now remaining from sailing ship days must
+necessarily be very old men. I have found that their octogenarian
+memories are not always to be trusted. On one occasion an old man sang
+quite glibly a tune which was in reality a <i>pasticcio</i> of three
+separate shanties all known to me. I have seen similar results in
+print, since the collector arrived too late upon the scene to be able
+to detect the tricks which an old man's memory played him.</p>
+
+<p>One final remark about collectors which has an important bearing upon
+the value of their work. There were two classes of sailing vessels
+that sailed from English ports&#8212;the coaster or the mere collier that
+plied between the Tyne or Severn and Boulogne, and the Southspainer,
+under which term was comprised all deep-sea vessels. On the collier or
+short-voyage vessel the crew was necessarily a small one, and the
+shanty was more or less of a makeshift, adapted to the capacity of the
+limited numbers of the crew. Purely commercial reasons precluded the
+engagement of any shantyman specially distinguished for his musical
+attainments. Consequently, so far as the shanty was concerned, 'any
+old thing would do.' On the Southspainer, however, things were very
+different. The shantyman was usually a person of considerable musical
+importance, who sang his songs in a more or less finished manner; his
+melodies were clean, clear-cut things, without any of the
+folk-songer's quavers and wobbles. I heard them in the 'seventies and
+'eighties before the sailing-ship had vanished, consequently I give
+them as they were then sung&#8212;undisfigured and unobscured by the
+mixture of twirls, quavers, and hiccups one hears from octogenarian
+mariners who attempt them to-day.</p>
+
+
+<h3>METHOD OF SINGING</h3>
+
+<p>So far as the music was concerned, a shanty was a song with a chorus.
+The song was rendered by one singer, called the shantyman, and the
+chorus by the sailors who performed their work in time with the music.
+So far as the words were concerned there was usually a stereotyped
+opening of one or more verses. For all succeeding verses the shantyman
+improvized words, and his topics were many and varied, the most
+appreciated naturally being personal allusions to the crew and
+officers, sarcastic criticism on the quality of the food, wistful
+references to the good time coming on shore, etc. There was no need
+for any connection or relevancy between one verse or another, nor were
+rhymes required. The main thing that mattered was that the rhythm
+should be preserved and that the words should be such as would keep
+the workers merry or interested. Once the stereotyped verses were got
+rid of and the improvization began, things became so intimate and
+personal as to be unprintable. It was a curious fact that such shanty
+words as lent themselves most to impropriety were wedded to tunes
+either of fine virility or haunting sweetness.</p>
+
+<p>For 'pull-and-haul' shanties the shantyman took up his position near
+the workers and announced the shanty, sometimes by singing the first
+line. This established the tune to which they were to supply the
+chorus. For capstan shanties he usually did the same. He frequently
+sat on the capstan, but so far as I can learn he more usually took up
+his position on or against the knightheads. The importance of the
+shantyman could not be overestimated. A good shantyman with a pretty
+wit was worth his weight in gold. He was a privileged person, and was
+excused all work save light or odd jobs.</p>
+
+
+<h3>THE WORDS OF SHANTIES</h3>
+
+<p>I have already noted the shanties which were derived from popular
+songs, also the type which contained a definite narrative. Except
+where a popular song was adapted, the form was usually rhymed or more
+often unrhymed couplets. The topics were many and varied, but the
+chief ones were: (1) popular heroes such as Napoleon, and 'Santy
+Anna.' That the British sailor of the eighteenth century should hate
+every Frenchman and yet make a hero of Bonaparte is one of the
+mysteries which has never been explained. Another mystery is the
+fascination which Antonio Lopez de Santa Anna (1795-1876) exercised
+over the sailor. He was one of the many Mexican 'Presidents' and was
+defeated<span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg&#160;xi]</a></span> by the American General Taylor in 1847. That did not prevent
+the British sailor presenting him in the light of an invariable victor
+until he was led out to be shot (he really died a natural death) by
+persons unknown. (2) The sailor had mythical heroes too, e.g. 'Ranzo,'
+already mentioned, and 'Stormy,' who was the theme of many shanties.
+No sailor could ever give the least explanation of them, and so they
+remain the last echoes of long forgotten sagas. (3) High-sounding,
+poetic, or mysterious words, such as 'Lowlands,' 'Shenandoah,'
+'Rolling river,' 'Hilo,' 'Mobile Bay,' 'Rio Grande,' had a great
+fascination, as their constant recurrence in many shanties shows. (4)
+The sailor also sang much of famous ships, such as 'The Flying Cloud,'
+'The Henry Clay,' or 'The Victory,' and famous lines, such as 'The
+Black Ball.' Even famous shipowners were celebrated in song, as
+witness 'Mr. John Tapscott,' in <a href="#Were_all_bound_to_go">'We're all bound to go.'</a> (5) Love
+affairs, in which 'Lizer Lee' and other damsels constantly figured,
+were an endless topic. (6) But chiefly did Jack sing of affairs
+connected with his ship. He never sang of 'the rolling main,' 'the
+foaming billows,' 'the storm clouds,' etc. These are the
+stock-in-trade of the landsman; they were too real for the sailor to
+sing about. He had the instinct of the primitive man which forbids
+mention of natural forces of evil omen. But intimate or humorous
+matters such as the failings of his officers, the quality of the food,
+the rate of pay, or other grievances were treated with vigour and
+emphasis. Like the Britisher of to-day, he would put up with any
+hardship so long as he were permitted to grouse about it. The
+shantyman gave humorous expression to this grousing, which deprived it
+of the element of sulks. Steam let off in this way was a wholesome
+preventive of mutiny.</p>
+
+<p>The choruses were usually jingles, with no relevance save maintenance
+of the rhythm.</p>
+
+<p>One feature of the words may be noted. The sailor's instinct for
+romance was so strong that in his choruses, at least, no matter how
+'hair-curling' the solo might be, he always took the crude edge off
+the concrete and presented it as an abstraction if possible. For
+example, he knew perfectly well that one meaning of 'to blow' was to
+knock or kick. He knew that discipline in Yankee packets was
+maintained by corporeal methods, so much so that the Mates, to whom
+the function of knocking the 'packet rats' about was delegated, were
+termed first, second, and third 'blowers,' or strikers, and in the
+shanty he sang 'Blow the man down.' 'Knock' or 'kick,' as I have
+recently seen in a printed collection, was too crudely realistic for
+him. In like manner the humorous title, 'Hog's-eye,' veiled the coarse
+intimacy of the term which it represented. And that is where, when
+collecting shanties from the 'longshore' mariner of to-day, I find
+him, if he is uneducated, so tiresome. He not only wants to explain to
+me as a landsman the exact meaning (which I know already) of terms
+which the old type of sailor, with his natural delicacy, avoided
+discussing, but he tries where possible to work them into his shanty,
+a thing the sailor of old time never did. So that when one sees in
+print expressions which sailors did not use, it is presumptive
+evidence that the collector has been imposed upon by a salt of the
+'sea lawyer' type.</p>
+
+<p>Perhaps I ought to make this point clearer. Folk-song collecting was
+once an artistic pursuit. Now it has become a flourishing industry of
+high commercial value. From the commercial point of view it is
+essential that results should be printed and circulated as widely as
+possible. Some knowledge of seamanship is an absolute necessity where
+folk-shanties are concerned. The mere collector nowadays does not
+possess that knowledge; it is confined to those who have had practical
+experience of the sea, but who will never print their experiences. The
+mere collector <i>must</i> print his versions. What is unprinted must
+remain unknown; what is printed is therefore accepted as
+authoritative, however misleading it may be. Many highly educated men,
+of whom Captain Whall is the type, have followed the sea. It is from
+them that the only really trustworthy information is forthcoming. But
+so far as I can judge, it is uneducated men who appear to sing to
+collectors nowadays, and I have seen many a quiet smile on the lips of
+the educated sailor when he is confronted with printed versions of the
+uneducated seaman's performances. For example, one of the best known
+of all shanties is <a href="#The_Hogs-eye_Man">'The Hog's-eye man'</a>; I have seen this entitled 'The
+Hog-eyed man,' and even 'The Ox-eyed man.' Every old sailor knew the
+meaning of the term. Whall and Bullen, who were both sailors, use the
+correct expression, 'Hog-eye.' The majority of sailors of my
+acquaintance called it 'Hog's-eye.' Did decency permit I could show
+conclusively how Whall and Bullen are right and the mere collector
+wrong. It must suffice, however, for me to say that the term
+'Hog's-eye' or 'Hog-eye' had nothing whatever to do with the optic of
+the 'man' who was sung about. I could multiply instances, but this one
+is typical and must suffice.</p>
+
+<p>We hear a great deal of the coarseness and<span class="pagenum"><a name="Page_xii" id="Page_xii">[Pg&#160;xii]</a></span> even lewdness of the
+shanty, but I could wish a little more stress were laid on the
+sailor's natural delicacy. Jack was always a gentleman in feeling.
+Granted his drinking, cursing, and amours&#8212;but were not these, until
+Victorian times, the hall-mark of every gentleman ashore? The
+Rabelaisian jokes of the shantyman were solos, the sound of which
+would not travel far beyond the little knot of workers who chuckled
+over them. The choruses&#8212;shouted out by the whole working party&#8212;would
+be heard all over the ship and even penetrate ashore if she were in
+port. Hence, in not a single instance do the choruses of any shanty
+contain a coarse expression.</p>
+
+
+<h3>EDITORIAL METHODS</h3>
+
+<p>As regards the tunes, I have adhered to the principle of giving each
+one as it was sung by some individual singer. This method has not been
+applied to the words. Consequently the verses of any given shanty may
+have derived from any number of singers. Since there was no connection
+or relevancy between the different verses of a shanty, the only
+principle I have adhered to is that whatever verses are set down
+should have been sung to me at some time or other by some sailor or
+other.</p>
+
+<p>Of course I have had to camouflage many unprintable expressions, and
+old sailors will readily recognize where this has been done. Sometimes
+a whole verse (after the first line) has needed camouflage, and the
+method adopted is best expressed as follows:</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tbody>
+<tr>
+<td>
+There was a young lady of Gloucester<br />
+Who couldn't eat salt with her egg,<br />
+And when she sat down<br />
+She could never get up,<br />
+And so the poor dog had none.<br />
+</td>
+</tr>
+</tbody>
+</table>
+
+<p>As regards the accompaniments, I have been solely guided by the
+necessity of preserving the character of the melodies in all their
+vigour and vitality, and have tried, even in obviously modal tunes,
+not to obscure their breeziness by academic treatment.</p>
+
+
+<h3>ACKNOWLEDGMENTS</h3>
+
+<p>Amongst those to whom I owe thanks, I must number the Editors of <i>The
+Music Student</i> and <i>Music and Letters</i>, for allowing me to incorporate
+in this Preface portions of articles which I have written for them.
+Also to Capt. W.J. Dowdy, both for singing shanties to me himself, and
+affording me facilities for interviewing inmates of the Royal Albert
+Institution, over which he presides. I also wish to express my
+gratitude to those sailors who have in recent years sung shanties to
+me, especially Capt. R.W. Robertson, Mr. Geo. Vickers, Mr. Richard
+Allen, of Seahouses, and Mr. F.B. Mayoss. And last, but not least, to
+Mr. Morley Roberts, who has not only sung shanties to me, but has also
+given me the benefit of his ripe nautical experience.</p>
+
+<p style="text-align: right">R.R.T.</p>
+
+<p><i>Hampstead</i>, 1921.</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_xiii" id="Page_xiii">[Pg&#160;xiii]</a></span></p>
+<h2><a name="NOTES_ON_THE_SHANTIES" id="NOTES_ON_THE_SHANTIES"></a>NOTES ON THE SHANTIES</h2>
+
+
+<h3><a href="#Billy_Boy">1. BILLY BOY</a></h3>
+
+<p>This is undoubtedly a coast song 'made into a shanty.' I heard it in
+Northumberland, both on shore and in ships, when I was a boy. The
+theme of a 'Boy Billy' seems common to folk-songs in different parts
+of the country. The tunes are different, and the words vary, but the
+topic is always the same: 'Billy' is asked where he has been all the
+day; he replies that he has been courting; he is then questioned as to
+the qualifications of his <i>inamorata</i> as a housewife. Dr.
+Vaughan-Williams's 'My Boy Billie' is in print and well known, as is
+also Mr. Cecil Sharp's 'My Boy Willie' ['English Folk-Songs,' vol. i,
+page 98]. I have also collected different versions in Warwickshire and
+Somerset. The version of line 1, page 3, bars 2 and 3, is older than
+the one given in my arrangement for male-voice chorus (Curwen Edition
+50572), so, upon consideration, I decided to give it here. There are
+many more verses, but they are not printable, nor do they readily lend
+themselves to camouflage. The tune has not appeared in print until
+now.</p>
+
+
+<h3><a href="#Bound_for_the_Rio_Grande">2. BOUND FOR THE RIO GRANDE</a></h3>
+
+<p>The variants of this noble tune are legion. But this version, which a
+sailor uncle taught me, has been selected, as I think it the most
+beautiful of all. I used to notice, even as a boy, how it seemed to
+inspire the shantyman to sentimental flights of <i>Heimweh</i> that at
+times came perilously near poetry. The words of the well-known song,
+'Where are you going to, my pretty maid?' were frequently sung to this
+shanty, and several sailors have told me that they had also used the
+words of the song known as 'The Fishes.' Capt. Whall gives 'The
+Fishes' on pages 96 and 97 of his book, and says that the words were,
+in his time, sometimes used to the tune of 'Blow the man down.'</p>
+
+
+<h3><a href="#Good-bye_fare_ye_well">3. GOOD-BYE, FARE YE WELL</a></h3>
+
+<p>This is one of the best beloved of shanties. So strongly did its
+sentiment appeal to sailors that one never heard the shantyman
+extemporize a coarse verse to it. Whall prints a version, page 71.</p>
+
+
+<h3><a href="#Johnny_come_down_to_Hilo">4. JOHNNY COME DOWN TO HILO</a></h3>
+
+<p>This is clearly of negro origin. I learnt several variants of it, but
+for its present form I am indebted to Capt. W.J. Dowdy.</p>
+
+
+<h3><a href="#Clear_the_track_let_the_Bullgine_run">5. CLEAR THE TRACK, LET THE BULLGINE RUN</a></h3>
+
+<p>The tune was a favourite in Yankee Packets. It does not appear in
+Whall. 'Bullgine' was American negro slang for 'engine.' I picked up
+this version in boyhood from Blyth seamen.</p>
+
+
+<h3><a href="#Lowlands_away">6. LOWLANDS</a></h3>
+
+<p>For another version see Whall (page 80), who says it is of American
+origin and comes from the cotton ports of the old Southern States. It
+was well known to every sailor down to the time of the China Clippers.
+My version is that of Capt. John Runciman, who belonged to that
+period. I have seldom found it known to sailors who took to the sea
+after the early seventies. The tune was sung in very free time and
+with great solemnity. It is almost impossible to reproduce in print
+the elusive subtlety of this haunting melody. In North-country ships
+the shantyman used to make much of the theme of a dead lover appearing
+in the night. There were seldom any rhymes, and the air was
+indescribably touching when humoured by a good hand. A 'hoosier,' by
+the way, is a cotton stevedore. An interesting point about this shanty
+is that, whether by accident or design, it exhibits a rhythmic device
+commonly practised by medi&#230;val composers, known as <i>proportio
+sesquialtera</i>. Expressed in modern notation it would mean the
+interpolation of bars of three-four time in the course of a
+composition which was in six-eight time. The number of quavers would,
+of course, be the same in each bar; but the rhythm would be different.
+The barring here adopted does not show this.</p>
+
+
+<h3><a href="#Sally_Brown">7. SALLY BROWN</a></h3>
+
+<p>For another version of this universally known shanty see Whall, page
+64. Although its musical form is that of a halliard shanty, it was
+always used for the capstan. I never heard it used for any other
+purpose than heaving the anchor. The large-sized notes given in the
+last bar are those which most sailors sing to me nowadays; the small
+ones are those which I most frequently heard when a boy.</p>
+
+
+<h3><a href="#Santy_Anna">8. SANTY ANNA</a></h3>
+
+<p>This fine shanty was a great favourite, and in defiance of all history
+the sailor presents 'Santy Anna' in the light of an invariable victor.
+The truth is that Antonio Lopez de Santa Anna<span class="pagenum"><a name="Page_xiv" id="Page_xiv">[Pg&#160;xiv]</a></span> (1795-1876) was the
+last President of Mexico before the annexation by America of
+California, Texas, and New Mexico. He defeated the Spaniards at
+Zampico, and held Vera Cruz against the French, but was badly beaten
+at Molina del Rey by the United States Army under General Taylor
+(1847). He was recalled to the Presidency in 1853, but overthrown in
+1855. He attempted to overturn the Republic in 1867; was captured and
+sentenced to death, but was pardoned on condition that he left the
+country. He retired to the United States until 1872, when a general
+amnesty allowed his return to Mexico. Like other Mexican Presidents,
+he lived a stormy life, but unlike most of them he died a natural
+death. Whall gives a version on page 89.</p>
+
+
+<h3><a href="#Shenandoah2">9. SHENANDOAH</a></h3>
+
+<p>This is one of the most famous of all shanties. I never met a sailor
+to whom it was unknown, nor have I ever found any two who sang it
+exactly alike. This version (sung to me by Capt. Robertson) is almost,
+but not quite, identical with the one I learnt as a boy. Shenandoah
+(English seamen usually pronounced it 'Shannandore') was a celebrated
+Indian chief after whom an American town is named. A branch of the
+Potomac river bears the same name. The tune was always sung with great
+feeling and in very free rhythm. Whall gives a version on page 1.</p>
+
+
+<h3><a href="#Stormalong_John">10. STORMALONG JOHN</a></h3>
+
+<p>This is one of the many shanties with 'Stormy' as their hero. Whatever
+other verses were extemporized, those relating to digging his grave
+with a silver spade, and lowering him down with a golden chain, were
+rarely omitted. Other favourite verses were:</p>
+
+<p class="blockquot">
+(<i>a</i>) I wish I was old Stormy's son.<br />
+(<i>b</i>) I'd build a ship a thousand ton.<br />
+</p>
+
+<p>Who 'Stormy' was is undiscoverable, but more than a dozen shanties
+mourn him.</p>
+
+
+<h3><a href="#The_Hogs-eye_Man">11. THE HOG&#8217;S-EYE MAN</a></h3>
+
+<p>Of the numberless versions of this shanty I have chosen that of Capt.
+Robertson as being the most representative. Of the infinite number of
+verses to this fine tune hardly one is printable. There has been much
+speculation as to the origin of the title. As a boy my curiosity was
+piqued by reticence, evasion, or declarations of ignorance, whenever I
+asked the meaning of the term. It was only in later life that I learnt
+it from Mr. Morley Roberts. His explanation made it clear why every
+<i>sailor</i> called it either 'hog-eye' or 'hog's-eye,' and why only
+<i>landsmen</i> editors ever get the word wrong. One collector labels the
+shanty 'The hog-eyed man,' and another goes still further wide of the
+mark by calling it 'The ox-eyed man.' The remarks on this shanty in
+the <a href="#INTRODUCTION">Preface</a> will show the absurdity of both titles. That is all the
+explanation I am at liberty to give in print. Whall gives the shanty
+on page 118, his version differing but slightly from Capt.
+Robertson's.</p>
+
+
+<h3><a href="#The_Wild_Goose_Shanty">12. THE WILD GOOSE SHANTY</a></h3>
+
+<p>This I learnt from Capt. John Runciman. Allusions to 'The Wild Goose
+Nation' occur in many shanties, but I never obtained any clue to the
+meaning (if any) of the term. The verse about 'huckleberry hunting'
+was rarely omitted, but I never heard that particular theme further
+developed. Whall gives another version (in six-eight time) on page
+131.</p>
+
+
+<h3><a href="#Were_all_bound_to_go">13. WE&#8217;RE ALL BOUND TO GO</a></h3>
+
+<p>I used to hear this tune constantly on the Tyne. It is one of the few
+shanties which preserved a definite narrative, but each port seems to
+have offered variants on the names of the ships that were 'bound for
+Amerikee.' 'Mr. Tapscott' was the head of a famous line of emigrant
+ships. The last word in verse 5 was always pronounced <i>male</i>. This has
+led to many shantymen treating it not as <i>meal</i>, but as the <i>mail</i>
+which the ship carried. As the shanty is full of Irish allusions, the
+probabilities are that the word was <i>meal</i>, to which the sailor gave
+what he considered to be the Irish pronunciation. Whenever I heard the
+shanty it was given with an attempt at Irish pronunciation throughout.
+Capt. Whall (page 79) gives additional colour to the supposition that
+this was a general practice, for his version of verse 6 runs:</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tbody>
+<tr>
+<td>
+'Bad luck unto them <i>say</i>-boys,<br />
+<span style="margin-left: 1.5em;">Bad luck to them I say;</span><br />
+They broke into me <i>say</i>-chest<br />
+<span style="margin-left: 1.5em;">And they stole me clothes away.'</span><br />
+</td>
+</tr>
+</tbody>
+</table>
+
+
+<h3><a href="#What_shall_we_do_with_the_drunken_sailor">14. WHAT SHALL WE DO WITH THE DRUNKEN SAILOR?</a></h3>
+
+<p>This fine tune&#8212;in the first Mode&#8212;was always a great favourite.
+Although mostly used for windlass or capstan, Sir Walter Runciman
+tells me that he frequently sang to it for 'hand-over-hand' hauling.
+Whall gives it on page 107 under the title 'Early in the morning.' It
+is one of the few shanties that were sung in quick time.</p>
+
+
+<h3><a href="#Blow_my_bully_boys">15. BLOW, MY BULLY BOYS</a></h3>
+
+<p>This shanty has been included in every collection that I know of. (See
+Whall, page 91.)<span class="pagenum"><a name="Page_xv" id="Page_xv">[Pg&#160;xv]</a></span> Most of my sailor relatives sang the last line thus:</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music06.png" width="460" height="78" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music06.midi">[Listen]</a></p>
+
+<p>&#160;</p>
+
+<p>Spotless decks, and 'masts and yards that shone like silver,' were the
+distinguishing marks of a Yankee Packet, and this immaculate condition
+was the result of a terrible discipline, in which the belaying pin was
+a gruesome factor.</p>
+
+
+<h3><a href="#Blow_the_man_down">16. BLOW THE MAN DOWN</a></h3>
+
+<p>This is the shanty which is perhaps the best known among landsmen.
+'Winchester Street' is in South Shields, and in the old days was the
+aristocratic quarter where only persons of high distinction&#8212;such as
+shipowners, and 'Southspainer' skippers&#8212;lived. Whall gives the shanty
+on page 92.</p>
+
+
+<h3><a href="#Cheerly_men5">17. CHEER&#8217;LY, MEN</a></h3>
+
+<p>This is a very well-known shanty, and the variants of it are endless.
+This particular version was sung to me by Capt. R.W. Robertson. It
+differs but slightly from the version which I originally learnt from
+Sir Walter Runciman. Very few of the words were printable, and old
+sailors who read my version will no doubt chuckle over the somewhat
+pointless continuation of the verses concerning Kitty Carson and Polly
+Riddle. They will, of course, see the point of my having supplied a
+Chopinesque accompaniment to such a shanty.</p>
+
+
+<h3><a href="#Good_morning_ladies_all">18. GOOD MORNING, LADIES ALL</a></h3>
+
+<p>The title belongs to other shanties as well; but, so far as I know,
+this tune has never been printed until now. I learnt it from
+Northumbrian sailors when a very small boy, and have never heard of
+its use in any other than Blyth and Tyne ships. It may be a
+Northumbrian air, but from such knowledge as I have gleaned of
+Northumbrian folk-tunes, I incline to the conjecture that it may have
+been picked up in more southern latitudes by some Northumbrian seaman.</p>
+
+
+<h3><a href="#Hanging_Johnny">19. HANGING JOHNNY</a></h3>
+
+<p>This cheery riot of gore is wedded to the most plaintive of tunes, and
+is immortalized by Masefield in his 'Sailor's Garland.' Nowadays one
+occasionally meets unhumorous longshore sailormen who endeavour to
+temper its fury to the shorn landsman by palming off a final verse,
+which gives one to understand that the previous stanzas have been only
+'Johnny's' little fun, and which makes him bleat:</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tbody>
+<tr>
+<td>
+'They said I hanged for money,<br />
+But I never hanged nobody.'<br />
+</td>
+</tr>
+</tbody>
+</table>
+
+<p>I also possess a shanty collection where the words have so clearly
+shocked the editor that he has composed an entirely fresh set. These
+exhibit 'Johnny' as a spotless moralist, who would never <i>really</i> hang
+his parents, but would only operate (in a Pickwickian sense of course)
+on naughty and unworthy people:</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tbody>
+<tr>
+<td>
+'I'd hang a noted liar,<br />
+I'd hang a bloated friar.<br />
+<br />
+'I'd hang a brutal mother,<br />
+I'd hang her and no other.<br />
+<br />
+'I'd hang to make things jolly,<br />
+I'd hang all wrong and folly.'<br />
+</td>
+</tr>
+</tbody>
+</table>
+
+<p>Imagine a shantyman (<i>farceur</i> as he ever was) making for edification
+in that style!</p>
+
+
+<h3><a href="#Hilo_somebody">20. HILO SOMEBODY</a></h3>
+
+<p>This is another of the shanties I learnt as a boy from Blyth sailors,
+and which has never been printed before. I fancy that 'blackbird' and
+'crew' must be a perversion of 'blackbird and <i>crow</i>,' as the latter
+figure of speech occurs in other shanties.</p>
+
+
+<h3><a href="#Oh_run_let_the_Bullgine_run">21. OH, RUN, LET THE BULLGINE RUN</a></h3>
+
+<p>The reference to the 'Bullgine' seems to suggest Transatlantic origin.
+There were endless verses, but no attempt at narrative beyond a
+recital of the names of places from which and to which they were
+'running.' This version was sung to me by Mr. F.B. Mayoss, a seaman
+who sailed in the old China Clippers.</p>
+
+
+<h3><a href="#Reuben_Ranzo">22. REUBEN RANZO</a></h3>
+
+<p>Alden gives this version, and I fancy it may have once been fairly
+general, as several of my relatives used to sing it. The version I
+mostly heard from other sailors, however, began:</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music07.png" width="467" height="82" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music07.midi">[Listen]</a></p>
+
+<p>&#160;</p>
+
+<p>But from Mr. Morley Roberts I had the following:</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music08.png" width="469" height="82" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music08.midi">[Listen]</a></p>
+
+<p>&#160;</p>
+
+<p>Capt. Robertson's version ran thus:</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music09.png" width="508" height="240" alt="Reuben Ranzo" title="Reuben Ranzo" /></p>
+
+<p style="text-align: center"><a href="music/music09.midi">[Listen]</a></p>
+
+<p>&#160;</p>
+
+<p>Whall gives another version on page 84.<span class="pagenum"><a name="Page_xvi" id="Page_xvi">[Pg&#160;xvi]</a></span></p>
+
+<p>Who Ranzo was must ever remain a mystery. Capt. Whall suggests that
+the word might be a corruption of Lorenzo, since Yankee Whalers took
+many Portuguese men from the Azores, where Lorenzo would have been a
+common enough name. He adds that in his time the shanty was always
+sung to the regulation words, and that 'when the story was finished
+there was no attempt at improvization; the text was, I suppose,
+considered sacred.' He further says that he never heard any variation
+from the words which he gives.</p>
+
+<p>I think he is right about the absence of improvization on extraneous
+topics, but I used to hear a good deal of improvization on the subject
+of Ranzo himself. I knew at least three endings of the story: (1)
+where the captain took him into the cabin, 'larned him navigation,'
+and eventually married him to his daughter; (2) where Ranzo's hatred
+of ablutions caused the indignant crew to throw him overboard; (3)
+where the story ended with the lashes received, not for his dirty
+habits, but for a theft:</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tbody>
+<tr>
+<td>
+'We gave him lashes thirty<br />
+For stealin' the captain's turkey.'<br />
+</td>
+</tr>
+</tbody>
+</table>
+
+<p>I have also heard many extemporaneous verses relating his adventures
+among the denizens of the deep after he was thrown overboard.</p>
+
+
+<h3><a href="#The_dead_horse">23. THE DEAD HORSE</a></h3>
+
+<p>This shanty was used both for hauling and for pumping ship. It seems
+to have had its origin in a rite which took place after the crew had
+'worked off the dead horse.' The circumstances were these: Before any
+voyage, the crew received a month's pay in advance, which, needless to
+say, was spent ashore before the vessel sailed. Jack's first month on
+sea was therefore spent in clearing off his advance, which he called
+working off the dead horse. The end of that payless period was
+celebrated with a solemn ceremony: a mass of straw, or whatever other
+combustibles were to hand, was made up into a big bundle, which
+sometimes did, and more often did not, resemble a horse. This was
+dragged round the deck by all hands, the shanty being sung meanwhile.
+The perambulation completed, the dead horse was lighted and hauled up,
+usually to the main-yardarm, and when the flames had got a good hold,
+the rope was cut and the blazing mass fell into the sea, amid shouts
+of jubilation.</p>
+
+
+<h3><a href="#Toms_gone_to_Hilo">24. TOM&#8217;S GONE TO HILO</a></h3>
+
+<p>This beautiful tune was very popular. I have chosen the version sung
+to me by Mr. George Vickers, although in the first chorus it differs
+somewhat from the version I learnt as a boy:</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music10.png" width="403" height="81" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music10.midi">[Listen]</a></p>
+
+<p>&#160;</p>
+
+<p>It will be seen how closely the above resembles the version given by
+Whall on page 74. (It will be noted that he entitled it '<i>John's</i> gone
+to Hilo.') I give Mr. Vickers's verses about 'The Victory' and
+'Trafalgar,' as I had never heard them sung by any other seaman. I
+have omitted the endless couplets containing the names of places to
+which Tommy is supposed to have travelled. As Capt. Whall says: 'A
+good shantyman would take Johnny all round the world to ports with
+three syllables, Montreal, Rio Grande Newfoundland, or any such as
+might occur to him.'</p>
+
+
+<h3><a href="#Whisky_Johnny">25. WHISKY JOHNNY</a></h3>
+
+<p>This Bacchanalian chant was a prime favourite. Every sailor knew it,
+and every collection includes some version of it.</p>
+
+
+<h3><a href="#Boney_was_a_warrior">26. BONEY WAS A WARRIOR</a></h3>
+
+<p>I never met a seaman who has not hoisted topsails to this shanty. Why
+Jack should have made a hero of Boney (he frequently pronounced it
+'Bonny') is a mystery, except perhaps that, as a sailor, he realized
+the true desolation of imprisonment on a sea-girt island, and his
+sympathies went out to the lonely exile accordingly. Or it may have
+been the natural liking of the Briton for any enemy who proved himself
+a 'bonny fechter.'</p>
+
+
+<h3><a href="#Johnny_Boker">27. JOHNNY BOKER</a></h3>
+
+<p>This popular shanty was sometimes used for bunting-up a sail, but more
+usually for 'sweating-up.' Although I have allowed the last note its
+full musical value, it was not prolonged in this manner aboard ship.
+As it coincided with the pull, it usually sounded more like a staccato
+grunt.</p>
+
+
+<h3><a href="#Haul_away_Joe">28. HAUL AWAY, JOE</a></h3>
+
+<p>The major version of this shanty (which appears in Part II) was more
+general in the last days of the sailing ship; but this minor version
+(certainly the most beautiful of them) is the one which I used to hear
+on the Tyne. The oldest of my sailor relatives never sang any other.
+This inclines me to the belief that it is the earlier version. The
+verses extemporized to this shanty were endless, but those concerning
+the Nigger Girl and King Louis never seem to have been omitted. As in
+<a href="#Johnny_Boker">No. 27</a>, I have allowed the last<span class="pagenum"><a name="Page_xvii" id="Page_xvii">[Pg&#160;xvii]</a></span> note its full musical value, but
+aboard ship it was sung in the same manner as No. 27.</p>
+
+
+<h3><a href="#Well_haul_the_bowlin">29. WE&#8217;LL HAUL THE BOWLIN&#8217;</a></h3>
+
+<p>This was the most popular shanty for 'sweating-up.' There are many
+variants of it. The present version I learnt from Capt. John Runciman.
+In this shanty no attempt was ever made to sing the last word. It was
+always shouted.</p>
+
+
+<h3><a href="#Paddy_Doyles_boots">30. PADDY DOYLE&#8217;S BOOTS</a></h3>
+
+<p>This shanty differs from all others, as (<i>a</i>) it was sung <i>tutti</i>
+throughout; (<i>b</i>) it had only one verse, which was sung over and over
+again; and (<i>c</i>) it was used for one operation and one operation only,
+viz. bunting up the foresail or mainsail in furling. In this operation
+the canvas of the sail was folded intensively until it formed a smooth
+conical bundle. This was called a bunt, and a strong collective effort
+(at the word 'boots') was required to get it on to the yard.</p>
+
+<p>Although the same verse was sung over and over again, very
+occasionally a different text would be substituted, which was treated
+in the same manner. Capt. Whall gives two alternatives, which were
+sometimes used:</p>
+
+<p style="text-align: center">
+'We'll all drink brandy and gin,'<br />
+</p>
+
+<p>and&#8212;</p>
+
+<p style="text-align: center">
+'We'll all shave under the chin.'<br />
+</p>
+
+<p>Mr. Morley Roberts also told me that a variant in his ship was&#8212;</p>
+
+<p style="text-align: center">
+'We'll all throw dirt at the cook.'</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_2" id="Page_2">[Pg&#160;2]</a></span></p>
+<h1>THE SHANTY BOOK.</h1>
+
+<h3>PART I.</h3>
+
+<p class="notes"><i>Transcriber's Note:</i> A vowel with an umlaut indicates that the word or syllable has two dots over it
+in the original text, presumably to indicate that it should be
+prolonged when sung. See the <a href="#glossary">Glossary</a> below.</p>
+
+
+
+<hr style="width: 65%;" />
+<h1><a name="Billy_Boy" id="Billy_Boy"></a>1. Billy Boy.</h1>
+
+<h3>(NORTHUMBRIAN CAPSTAN SHANTY.)</h3>
+
+<p style="text-align: center"><a href="music/01billy.midi">[Listen]</a></p>
+
+<p style="text-align: center">
+<img src="images/01abilly.png" width="660" height="701" alt="Billy Boy" title="Billy Boy" /></p>
+
+<p><span class="pagenum"><a name="Page_3" id="Page_3">[Pg&#160;3]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/01bbilly.png" width="655" height="490" alt="Billy Boy" title="Billy Boy" /></p>
+
+<p style="text-align: center">
+<img src="images/01billycopyright.png" width="239" height="15" alt="" /></p>
+
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. Where hev ye been äal the day,<br />
+<span style="margin-left: 2em;">Billy Boy, Billy Boy?</span><br />
+<span style="margin-left: 1em;">Where hev ye been äal the day, me Billy Boy?</span><br />
+<span style="margin-left: 2em;">I've been walkin' äal the day</span><br />
+<span style="margin-left: 2em;">With me charmin' Nancy Grey,</span><br />
+<span style="margin-left: 2em;">And me Nancy kittl'd me fancy</span><br />
+<span style="margin-left: 2em;">Oh me charmin' Billy Boy.</span><br />
+</p>
+
+<p>2. Is she fit to be yor wife<br />
+<span style="margin-left: 2em;">Billy Boy, Billy Boy?</span><br />
+<span style="margin-left: 1em;">Is she fit to be yor wife, me Billy Boy?</span><br />
+<span style="margin-left: 2em;">She's as fit to be me wife</span><br />
+<span style="margin-left: 2em;">As the fork is to the knife</span><br />
+<span style="margin-left: 2em;">And me Nancy, <i>etc.</i></span><br />
+<br />
+3.  Can she cook a bit o' steak<br />
+<span style="margin-left: 2em;">Billy Boy, Billy Boy?</span><br />
+<span style="margin-left: 1em;">Can she cook a bit o' steak, me Billy Boy?</span><br />
+<span style="margin-left: 2em;">She can cook a bit o' steak,</span><br />
+<span style="margin-left: 2em;">Aye, and myek a gairdle cake</span><br />
+<span style="margin-left: 2em;">And me Nancy, <i>etc.</i></span><br />
+<br />
+4.  Can she myek an Irish Stew<br />
+<span style="margin-left: 2em;">Billy Boy, Billy Boy?</span><br />
+<span style="margin-left: 1em;">Can she myek an Irish Stew, me Billy Boy?</span><br />
+<span style="margin-left: 2em;">She can myek an Irish Stew</span><br />
+<span style="margin-left: 2em;">Aye, and &quot;Singin' Hinnies&quot; too.</span><br />
+<span style="margin-left: 2em;">And me Nancy, <i>etc.</i></span><br />
+</p>
+</div>
+
+<p><i><a name="glossary"></a>Glossary</i>:&#8212;</p>
+
+<div class="blockquot"><p>äal = all. Pronounced to rhyme with &quot;shall&quot; only the
+vowel must be very much prolonged.</p>
+
+<p>kittled = tickled.</p>
+
+<p>myek = make.</p>
+
+<p>gairdle cake = girdle cake, i.e. a cake baked on a griddle.</p>
+
+<p>Singin' Hinnies&#8212;i.e. a species of Sally Lunn teacake only
+larger. Usually plentifully besprinkled with currants, in
+which case it is designated by pitmen as &quot;Singin' Hinnies
+wi' smäa co fizzors&quot; (small coal fizzers.)</p></div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_4" id="Page_4">[Pg&#160;4]</a></span></p>
+<h1><a name="Bound_for_the_Rio_Grande" id="Bound_for_the_Rio_Grande"></a>2. Bound for the Rio Grande.</h1>
+
+<h3>(WINDLASS AND CAPSTAN SHANTY.)</h3>
+
+
+<p style="text-align: center"><a href="music/02rio.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/02ario.png" width="661" height="741" alt="Bound for the Rio Grande" title="Bound for the Rio Grande" /></p>
+
+
+<p><span class="pagenum"><a name="Page_5" id="Page_5">[Pg&#160;5]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/02brio.png" width="654" height="617" alt="Bound for the Rio Grande" title="Bound for the Rio Grande" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. I'll sing you a song of the fish of the sea.<br />
+<span style="margin-left: 1em;">Oh Rio.</span><br />
+<span style="margin-left: 1em;">I'll sing you a song of the fish of the sea</span><br />
+<span style="margin-left: 1em;">And we're bound for the Rio Grande.</span><br />
+<span style="margin-left: 1em;">Then away love, away,</span><br />
+<span style="margin-left: 1em;">'Way down Rio,</span><br />
+<span style="margin-left: 1em;">So fare ye well my pretty young gel.</span><br />
+<span style="margin-left: 1em;">For we're bound for the Rio Grande.</span><br />
+</p>
+
+<p>2. Sing good-bye to Sally, and good-bye to Sue, Oh Rio, <i>etc.</i><br />
+<span style="margin-left: 1em;">And you who are listening, good-bye to you. And we're bound, <i>etc.</i></span><br />
+<br /></p>
+
+<p>3. Our <span class="note">ship<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>&#160;<span class="note">went<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;sailing out over the Bar</p>
+<p><span style="margin-left: 1em;"><span class="note">And<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">we<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;pointed her nose for the South-er-en Star.</span>
+<br /></p>
+
+<p>4. Farewell and adieu to you ladies of Spain</p>
+<p><span style="margin-left: 1em;"><span class="note">And<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">we're<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;all of us coming to see you again.</span><br />
+<br /></p>
+
+<p>5. <span class="note">I&#160;&#160;<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">said<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>&#160;<span class="note">fare<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" />well<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>&#160;<span class="note">to<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;Kitty my dear,</p>
+<p><span style="margin-left: 1em;"><span class="note">And<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">she<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;waved her white hand as we passed the South Pier.</span>
+<br /></p>
+
+<p>6. The oak, and the ash, and the bonny birk tree<br />
+<span style="margin-left: 1em;">They're all growing green in the North Countrie.</span>
+</p>
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_6" id="Page_6">[Pg&#160;6]</a></span></p>
+<h1><a name="Good-bye_fare_ye_well" id="Good-bye_fare_ye_well"></a>3. Good-bye, fare ye well.</h1>
+
+
+<p style="text-align: center"><a href="music/03goodbye.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/03agoodbye.png" width="662" height="732" alt="Good-bye, fare ye well" title="Good-bye, fare ye well" /></p>
+
+<p><span class="pagenum"><a name="Page_7" id="Page_7">[Pg&#160;7]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/03bgoodbye.png" width="657" height="615" alt="Good-bye, fare ye well" title="Good-bye, fare ye well" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. I thought I heard the old man say<br />
+<span style="margin-left: 1em;">Good-bye, fare ye well,</span><br />
+<span style="margin-left: 1em;">Good-bye, fare ye well.</span><br />
+<span style="margin-left: 1em;">I thought I heard the old man say,</span><br />
+<span style="margin-left: 1em;">Hooray my boys we're homeward bound.</span><br />
+</p>
+
+<p>2. We're homeward bound, I hear the sound. (<i>twice</i>)</p>
+<p>3. We sailed away to Mobile Bay. (<i>twice</i>)</p>
+<p>4. But now we're bound for Portsmouth Town. (<i>twice</i>)</p>
+<p>5. And soon we'll be ashore again. (<i>twice</i>)</p>
+<p>6. I kissed my Kitty upon the pier</p>
+<p><span style="margin-left: 1em;"><span class="note">And<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">it's<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;oh to see you again my dear.</span></p>
+<p>7. We're homeward bound, and I hear the sound. (<i>twice</i>)</p>
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_8" id="Page_8">[Pg&#160;8]</a></span></p>
+<h1><a name="Johnny_come_down_to_Hilo" id="Johnny_come_down_to_Hilo"></a>4. Johnny come down to Hilo.</h1>
+
+<h3>(WINDLASS AND CAPSTAN.)</h3>
+
+
+<p style="text-align: center"><a href="music/04johnny.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/04ajohnny.png" width="661" height="749" alt="Johnny come down to Hilo" title="Johnny come down to Hilo" /></p>
+
+<p><span class="pagenum"><a name="Page_9" id="Page_9">[Pg&#160;9]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/04bjohnny.png" width="657" height="546" alt="Johnny come down to Hilo" title="Johnny come down to Hilo" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. I nebber see de like since I bin born,<br />
+<span style="margin-left: 1em;">When a big buck nigger wid de sea boots on,</span><br />
+<span style="margin-left: 10em;">Says "Johnny come down to Hilo.</span><br />
+<span style="margin-left: 10em;">Poor old man."</span><br />
+<span style="margin-left: 1em;">Oh wake her, oh, shake her,</span><br />
+<span style="margin-left: 1em;">Oh wake dat gel wid de blue dress on,</span><br />
+<span style="margin-left: 10em;">When Johnny comes down to Hilo.</span><br />
+<span style="margin-left: 10em;">Poor old man.</span><br />
+</p>
+
+<p>2. I lub a little gel across de sea,<br />
+<span style="margin-left: 1em;">She's a Badian<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> beauty and she sez to me,</span><br />
+<span style="margin-left: 10em;">&quot;Oh Johnny,&quot; <i>etc.</i></span></p>
+
+<p>3. Oh was you ebber down in Mobile Bay<br />
+<span style="margin-left: 1em;">Where dey screws de cotton on a summer day?</span><br />
+<span style="margin-left: 10em;">When Johnny, <i>etc.</i></span><br />
+<br /></p>
+
+<p>4. <span class="note">Did<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">you<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;ebber see de ole Plantation Boss<br />
+<span style="margin-left: 1em;">And de long-tailed filly and de big black hoss?</span><br />
+<span style="margin-left: 10em;">When Johnny, <i>etc.</i></span></p>
+
+<p>5. I nebber seen de like since I bin born<br />
+<span style="margin-left: 1em;">When a big buck nigger wid de sea boots on,</span><br />
+<span style="margin-left: 10em;">Says &quot;Johnny come down,&quot; <i>etc.</i></span>
+</p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_10" id="Page_10">[Pg&#160;10]</a></span></p>
+<h1><a name="Clear_the_track_let_the_Bullgine_run" id="Clear_the_track_let_the_Bullgine_run"></a>5. Clear the track, let the Bullgine run.</h1>
+
+<h3>(WINDLASS AND CAPSTAN.)</h3>
+
+
+<p style="text-align: center"><a href="music/05clear.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/05aclear.png" width="667" height="769" alt="Clear the Track" title="Clear the Track" /></p>
+
+
+<p><span class="pagenum"><a name="Page_11" id="Page_11">[Pg&#160;11]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/05bclear.png" width="660" height="701" alt="Clear the Track" title="Clear the Track" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. Oh, the smartest clipper you can find.<br />
+<span style="margin-left: 1em;">Ah ho Way-oh, are you most done.</span><br />
+<span style="margin-left: 1em;">Is the Marget Evans of the Blue Cross Line.</span><br />
+<span style="margin-left: 1em;">So clear the track, let the Bullgine run.</span><br />
+<span style="margin-left: 1em;">Tibby Hey rig a jig in a jaunting car.</span><br />
+<span style="margin-left: 1em;">Ah ho Way-oh, are you most done.</span><br />
+<span style="margin-left: 1em;">With Lizer Lee all on my knee.</span><br />
+<span style="margin-left: 1em;">So clear the track, let the Bullgine run.</span><br />
+<br /></p>
+
+<p>2. Oh the Marget <span class="note">Ev<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" />ans<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">of<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">the<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;Blue Cross Line<br />
+<br />
+<span style="margin-left: 1em;">She's <span class="note">nev<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" />er<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;a day behind her time.</span>
+<br /></p>
+
+<p>3. Oh the gels are walking on the pier<br />
+<br />
+<span style="margin-left: 1em;"><span class="note">And<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">I'll<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;soon be home to you, my dear.</span>
+<br /></p>
+
+<p>4. Oh when I come home across the sea,<br />
+<span style="margin-left: 1em;">It's Lizer you will marry me.</span>
+<br /><br /></p>
+
+<p>5. Öh shake her, wake <span class="note">her,<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">be<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" />fore<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">we're<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">gone;<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span><br />
+<span style="margin-left: 1em;">Oh fetch that gel with the blue dress on.</span><br />
+</p>
+
+<p>6. Oh I thought I heard the skipper say<br />
+<span style="margin-left: 1em;">&quot;We'll keep the brig three points away.&quot;</span>
+<br /></p>
+
+<p>7. Oh the smartest clipper you can find<br />
+<br />
+<span style="margin-left: 1em;">Is the Marget <span class="note">Ev<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" />ans<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">of<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">the<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;Blue Cross Line.</span></p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_12" id="Page_12">[Pg&#160;12]</a></span></p>
+<h1><a name="Lowlands_away" id="Lowlands_away"></a>6. Lowlands away.</h1>
+
+<h3>(WINDLASS AND CAPSTAN.)</h3>
+
+
+<p style="text-align: center"><a href="music/06lowlands.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/06alowlands.png" width="663" height="755" alt="Lowlands Away" title="Lowlands Away" /></p>
+
+
+<p><span class="pagenum"><a name="Page_13" id="Page_13">[Pg&#160;13]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/06blowlands.png" width="661" height="869" alt="Lowlands Away" title="Lowlands Away" /></p>
+
+<p><span class="pagenum"><a name="Page_14" id="Page_14">[Pg&#160;14]</a></span></p>
+
+
+<p style="text-align: center">
+<img src="images/06clowlands.png" width="665" height="881" alt="Lowlands Away" title="Lowlands Away" /></p>
+
+
+<p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg&#160;15]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/06dlowlands.png" width="656" height="731" alt="Lowlands Away" title="Lowlands Away" /></p>
+
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+(INTRODUCTION.)<br />
+<br />
+Lowlands, Lowlands,<br />
+Away my John,<br />
+Lowlands, away,<br />
+I heard them say,<br />
+My dollar and a half a day.<br />
+<br />
+1. A dollar and a half a day is a Hoosier's pay.<br />
+<span style="margin-left: 1em;">Lowlands, Lowlands,</span><br />
+<span style="margin-left: 1em;">Away my John.</span><br />
+<span style="margin-left: 1em;">A dollar and a half a day is very good pay.</span><br />
+<span style="margin-left: 1em;">My dollar and a half a day.</span><br />
+<br />
+2. Oh was you ever in Mobile Bay.<br />
+<span style="margin-left: 1em;">Lowlands, Lowlands,</span><br />
+<span style="margin-left: 1em;">Away my John.</span><br />
+<span style="margin-left: 1em;">Screwing the cotton by the day.</span><br />
+<span style="margin-left: 1em;">My dollar and a half a day.</span><br />
+<br />
+3. All in the night my true love came,<br />
+<span style="margin-left: 1em;">Lowlands, Lowlands,</span><br />
+<span style="margin-left: 1em;">Away my John.</span><br />
+<span style="margin-left: 1em;">All in the night my true love came.</span><br />
+<span style="margin-left: 1em;">My dollar and a half a day.</span><br />
+</p>
+
+<p>4. She came to me all in my sleep. (<i>twice</i>)<br />
+<br />
+5. And hër eyes were white my love. (<i>twice</i>)<br />
+<br />
+6. And then I knew my love was dead. (<i>twice</i>)</p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_16" id="Page_16">[Pg&#160;16]</a></span></p>
+<h1><a name="Sally_Brown" id="Sally_Brown"></a>7. Sally Brown</h1>
+
+<h3>(WINDLASS AND CAPSTAN.)</h3>
+
+
+<p style="text-align: center"><a href="music/07sally.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/07asally.png" width="659" height="676" alt="Sally Brown" title="Sally Brown" /></p>
+
+<p><span class="pagenum"><a name="Page_17" id="Page_17">[Pg&#160;17]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/07bsally.png" width="655" height="548" alt="Sally Brown" title="Sally Brown" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>1. Sally Brown she's a bright Mulatter.<br />
+<span style="margin-left: 1em;">Way Ay-y Roll and go.</span><br />
+<span style="margin-left: 1em;">She drinks rum and chews terbacker.</span><br />
+<span style="margin-left: 1em;">Spend my money on Sally Brown.</span><br />
+</p>
+
+<p>2. Sally Brown shë has a daughter<br />
+<span style="margin-left: 1em;">Sent me sailin' 'cross the water.</span><br />
+<br />
+3. Seven long years Ď courted Sally. (<i>twice</i>)<br />
+<br />
+4. Sally Brown I'm bound to leave you<br />
+<span style="margin-left: 1em;">Sally Brown I'll not deceive you.</span><br />
+<br />
+5. Sally she's a 'Badian' beauty. (<i>twice</i>)<br />
+<br />
+6. Sally lives on the old plantation<br />
+<span style="margin-left: 1em;">She belongs the Wild Goose Nation.</span><br />
+<br />
+7. Sally Brown is a bright Mulatter<br />
+<span style="margin-left: 1em;">She drinks rum and chews terbacker.</span></p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_18" id="Page_18">[Pg&#160;18]</a></span></p>
+<h1><a name="Santy_Anna" id="Santy_Anna"></a>8. Santy Anna.</h1>
+
+<h3>(WINDLASS AND CAPSTAN.)</h3>
+
+
+<p style="text-align: center"><a href="music/08santy.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/08asanty.png" width="659" height="700" alt="Santy Anna" title="Santy Anna" /></p>
+
+<p><span class="pagenum"><a name="Page_19" id="Page_19">[Pg&#160;19]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/08bsanty.png" width="656" height="597" alt="Santy Anna" title="Santy Anna" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. Oh Santy Anna won the day.<br />
+<span style="margin-left: 1em;">Way-Ah, me Santy Anna.</span><br />
+<span style="margin-left: 1em;">Oh Santy Anna won the day.</span><br />
+<span style="margin-left: 1em;">All on the plains of Mexico.</span><br />
+</p>
+
+<p>2. He beat the Prooshans fairly. Way-Ah, <i>etc.</i><br />
+<span style="margin-left: 1em;">And whacked the British nearly. All on, <i>etc.</i></span><br />
+<br />
+3. He was a rorty gineral;<br />
+<span style="margin-left: 1em;">A rorty snorty gineral.</span><br />
+<br />
+4. They took him out and shöt him.<br />
+<span style="margin-left: 1em;">Oh when shall we forgët him.</span><br />
+<br />
+5. Oh Santy Anna won the day<br />
+<span style="margin-left: 1em;">And Gin'ral Taylor run away.</span></p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_20" id="Page_20">[Pg&#160;20]</a></span></p>
+<h1><a name="Shenandoah2" id="Shenandoah2"></a>9. Shenandoah.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></h1>
+
+<h3>(WINDLASS AND CAPSTAN.)</h3>
+
+
+<p style="text-align: center"><a href="music/09shenandoah.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/09ashenandoah.png" width="660" height="730" alt="Shenandoah" title="Shenandoah" /></p>
+
+
+<p><span class="pagenum"><a name="Page_21" id="Page_21">[Pg&#160;21]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/09bshenandoah.png" width="655" height="662" alt="Shenandoah" title="Shenandoah" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. Oh Shenandoah, I long to hear you.<br />
+<span style="margin-left: 1em;">Away you rolling river.</span><br />
+<span style="margin-left: 1em;">Oh Shenandoah, I long to hear you.</span><br />
+<span style="margin-left: 1em;">Away, I'm bound to go</span><br />
+<span style="margin-left: 1em;">'Cross the wide Missouri.</span><br />
+</p>
+
+<p>
+2. Oh Shenandoah, I love your daughter. (<i>twice</i>)<br />
+<br />
+3. 'Tis seven long years since last I see thee. (<i>twice</i>)<br />
+<br />
+4. Oh Shenandoah, I took a notion<br />
+<span style="margin-left: 1em;">To sail across the stormy ocean.</span><br />
+<br />
+5. Oh Shenandoah, I'm bound to leave you.<br />
+<span style="margin-left: 1em;">Oh Shenandoah, I'll not deceive you.</span><br />
+<br />
+6. Oh Shenandoah, I long to hear you. (<i>twice</i>)</p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_22" id="Page_22">[Pg&#160;22]</a></span></p>
+<h1><a name="Stormalong_John" id="Stormalong_John"></a>10. Stormalong John.</h1>
+
+<h3>(WINDLASS AND CAPSTAN.)</h3>
+
+
+<p style="text-align: center"><a href="music/10stormalong.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/10astormalong.png" width="655" height="683" alt="Stormalong John" title="Stormalong John" /></p>
+
+
+<p><span class="pagenum"><a name="Page_23" id="Page_23">[Pg&#160;23]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/10bstormalong.png" width="658" height="701" alt="Stormalong John" title="Stormalong John" /></p>
+
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. Oh poor old Stormy's dead and gone.<br />
+<span style="margin-left: 1em;">Storm along boys,</span><br />
+<span style="margin-left: 1em;">Storm along.</span><br />
+<span style="margin-left: 1em;">Oh poor old Stormy's dead and gone.</span><br />
+<span style="margin-left: 1em;">Ah-ha, come along, get along,</span><br />
+<span style="margin-left: 1em;">Stormy along John.</span><br />
+<br /></p>
+
+<p>2. I dug his grave <span class="note">with<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">a&#160;<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;silver spade. (<i>twice</i>)<br />
+<br /></p>
+
+<p>3. I lower'd him down <span class="note">with<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">a&#160;<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;golden chain. (<i>twice</i>)<br />
+<br /></p>
+
+<p>4. I <span class="note">car<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" />ried<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" />&#160;him<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" />&#160;aw<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>ay&#160;to Mobile Bay. (<i>twice</i>)
+<br /></p>
+
+<p>5. Oh poor old Stormy's dead and gone. (<i>twice</i>)</p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_24" id="Page_24">[Pg&#160;24]</a></span></p>
+<h1><a name="The_Hogs-eye_Man" id="The_Hogs-eye_Man"></a>11. The Hog&#8217;s-eye Man.</h1>
+
+<h3>(WINDLASS AND CAPSTAN.)</h3>
+
+
+<p style="text-align: center"><a href="music/11hogseye.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/11ahogseye.png" width="656" height="687" alt="The Hog's-eye Man" title="The Hog's-eye Man" /></p>
+
+
+<p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg&#160;25]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/11bhogseye.png" width="654" height="507" alt="The Hog's-eye Man" title="The Hog's-eye Man" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. Oh the hog's-eye man is the man for me,<br />
+<span style="margin-left: 1em;">He were raised way down in Tennessee.</span><br />
+<span style="margin-left: 1em;">Oh hog's eye, oh.</span><br />
+<span style="margin-left: 1em;">Row the boat ashore for the hog's-eye.</span><br />
+<span style="margin-left: 1em;">Steady on a jig with a hog's-eye oh,</span><br />
+<span style="margin-left: 1em;">She wants the hog's-eye man.</span><br />
+</p>
+
+<p>2. Oh who's been here while I've been gone?<br />
+</p><p><span style="margin-left: 1em;">Söme big buck <span class="note">nig<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span><span class="note">ger,<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;with his sea boots on?<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a></span><br />
+<br />
+3. Oh bring me down m˙ riding cane,<br />
+<span style="margin-left: 1em;">For I'm off to see my darling Jane.</span><br />
+<br /></p>
+
+<p>4. Oh <span class="note">Jen<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" />ny's<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">in<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">the<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">gar<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" />den<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;a-picking peas,<br />
+</p>
+<p><span style="margin-left: 1em;">And her <span class="note">gol<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" />den<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;hair's <span class="note">hang<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" />ing<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;down to her knees.</span><br />
+</p>
+
+<p>5. Oh a hog's-eye ship, and a hog's-eye crew,<br />
+<span style="margin-left: 1em;">And a hog's-eye mate, and a skipper too.</span></p>
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_26" id="Page_26">[Pg&#160;26]</a></span></p>
+<h1><a name="The_Wild_Goose_Shanty" id="The_Wild_Goose_Shanty"></a>12. The Wild Goose Shanty.</h1>
+
+<h3>(WINDLASS AND CAPSTAN.)</h3>
+
+
+<p style="text-align: center"><a href="music/12goose.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/12agoose.png" width="659" height="643" alt="Wild Goose Shanty" title="Wild Goose Shanty" /></p>
+
+
+<p><span class="pagenum"><a name="Page_27" id="Page_27">[Pg&#160;27]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/12bgoose.png" width="653" height="617" alt="Wild Goose Shanty" title="Wild Goose Shanty" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. I'm the Shanty-man of the Wild Goose Nation.<br />
+<span style="margin-left: 1em;">Tibby Way-ay Hioha!</span><br />
+<span style="margin-left: 1em;">I've left my wife on a big plantation.</span><br />
+<span style="margin-left: 1em;">Hilo my Ranzo Hay!</span><br />
+</p>
+
+<p>2. Now a long farewell to the old plantation. (<i>twice</i>)<br />
+<br />
+3. And a long farewell to the Wild Goose Nation. (<i>twice</i>)<br />
+<br /></p>
+
+<p>4. Oh the boys <span class="note">and<img class="dotnote" src="images/dot.png" width="14" height="16" alt="dotted eighth" /></span>&#160;<span class="note">the<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">girls<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>&#160;went&#160;a&#160;<span class="note">huc<img class="dotnote" src="images/dot.png" width="14" height="16" alt="dotted eighth" />kle<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" />ber<img class="dotnote" src="images/dot.png" width="14" height="16" alt="dotted eighth" />ry<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;hunting. (<i>twice</i>)<br />
+<br />
+</p><p>5. Then good-bye <span class="note">and<img class="dotnote" src="images/dot.png" width="14" height="16" alt="dotted eighth" /></span>&#160;<span class="note">fare<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" />well<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>&#160;yöu rolling river. (<i>twice</i>)<br />
+<br />
+6. I'm the Shanty-man of the Wild Goose Nation.<br />
+<span style="margin-left: 1em;">I've left my wife on a big plantation.</span></p>
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_28" id="Page_28">[Pg&#160;28]</a></span></p>
+<h1><a name="Were_all_bound_to_go" id="Were_all_bound_to_go"></a>13. We&#8217;re all bound to go.</h1>
+
+<h3>(WINDLASS AND CAPSTAN.)</h3>
+
+
+<p style="text-align: center"><a href="music/13bound.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/13abound.png" width="659" height="742" alt="We're All Bound to Go" title="We're All Bound to Go" /></p>
+
+
+<p><span class="pagenum"><a name="Page_29" id="Page_29">[Pg&#160;29]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/13bbound.png" width="658" height="527" alt="We're All Bound to Go" title="We're All Bound to Go" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. Oh Johnny was a rover<br />
+<span style="margin-left: 2em;">And to-day he sails away.</span><br />
+<span style="margin-left: 7em;">Heave away, my Johnny,</span><br />
+<span style="margin-left: 7em;">Heave away-ay.</span><br />
+<span style="margin-left: 1em;">Oh Johnny was a rover</span><br />
+<span style="margin-left: 2em;">And to-day he sails away.</span><br />
+<span style="margin-left: 7em;">Heave away my bully boys,</span><br />
+<span style="margin-left: 7em;">We're all bound to go.</span><br />
+</p>
+
+<p>2. As I was walking out one day,<br />
+<span style="margin-left: 2em;">Down by the Albert Dock.</span><br />
+<span style="margin-left: 7em;">Heave away, &amp;c.</span><br />
+<span style="margin-left: 1em;">I heard an emigrant Irish girl</span><br />
+<span style="margin-left: 2em;">Conversing with Tapscott.</span><br />
+<span style="margin-left: 7em;">Heave away, &amp;c.</span><br />
+<br />
+3. &quot;Good mornin', Mister Tapscott, sir,&quot;<br />
+<span style="margin-left: 2em;">&quot;Good morn, my gel,&quot; sez he,</span><br />
+<span style="margin-left: 1em;">&quot;It's have you got a Packet Ship</span><br />
+<span style="margin-left: 2em;">All bound for Amerikee?&quot;</span><br />
+<br />
+4. &quot;Oh yes, I've got a Packet Ship,<br />
+<span style="margin-left: 2em;">I <i>have</i> got one or two.</span><br />
+<span style="margin-left: 1em;">I've got the <i>Jenny Walker</i></span><br />
+<span style="margin-left: 2em;">And I've got the <i>Kangeroo</i>.&quot;</span><br />
+<br />
+5. &quot;I've got the <i>Jenny Walker</i><br />
+<span style="margin-left: 2em;">And to-day she does set sail,</span><br />
+<span style="margin-left: 1em;">With five and fifty emigrants</span><br />
+</p><p><span style="margin-left: 2em;"><span class="note">And<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">a&#160;<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span> thousand bags o' male.&quot;<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a></span><br />
+<br />
+</p><p>6. <span class="note">Bad<img class="note" src="images/line.png" width="18" height="17" alt="line" /></span><span class="note">luck<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">to<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">thim<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;Irish sailor boys,<br />
+<span style="margin-left: 2em;">Bad luck to thim I say.</span><br />
+</p><p><span style="margin-left: 1em;"><span class="note">For<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">they<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;all got <span class="note">drun<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>k,&#160;<span class="note">and<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">brok<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>e&#160;into me bunk</span><br />
+<span style="margin-left: 2em;">And stole me clo'es away.</span></p>
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_30" id="Page_30">[Pg&#160;30]</a></span></p>
+<h1><a name="What_shall_we_do_with_the_drunken_sailor" id="What_shall_we_do_with_the_drunken_sailor"></a>14. What shall we do with the drunken sailor?</h1>
+
+<h3>(WINDLASS AND CAPSTAN.)</h3>
+
+
+<p style="text-align: center"><a href="music/14drunken.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/14adrunken.png" width="662" height="666" alt="What Shall We Do with the Drunken Sailor?" title="What Shall We Do with the Drunken Sailor?" /></p>
+
+
+<p><span class="pagenum"><a name="Page_31" id="Page_31">[Pg&#160;31]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/14bdrunken.png" width="655" height="667" alt="What Shall We Do with the Drunken Sailor?" title="What Shall We Do with the Drunken Sailor?" /></p>
+
+
+<p>&#160;</p>
+
+
+<div class="blockquot">
+
+<p>
+1. What shall we do with the drunken sailor,<br />
+<span style="margin-left: 1em;">What shall we do with the drunken sailor,</span><br />
+<span style="margin-left: 1em;">What shall we do with the drunken sailor</span><br />
+<span style="margin-left: 1em;">Early in the morning?</span><br />
+<span style="margin-left: 1em;">Hooray and up she rises,</span><br />
+<span style="margin-left: 1em;">Hooray and up she rises,</span><br />
+<span style="margin-left: 1em;">Hooray and up she rises</span><br />
+<span style="margin-left: 1em;">Early in the morning.</span><br />
+<br /></p>
+
+<p>2. <span class="note">Put<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">him<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;in the long-boat until he's sober. (<i>thrice</i>)<br />
+<br /></p>
+
+<p>3. Pull out the plug änd <span class="note">wet<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">him<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;all over. (<i>thrice</i>)<br />
+<br /></p>
+
+<p>4. <span class="note">Put<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">him<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;in the <span class="note">scup<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" />pers<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;with a hose-pipe on him. (<i>thrice</i>)<br />
+<br /></p>
+
+<p>5. <span class="note">Heave<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">him<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;by the leg in a running bowlin'. (<i>thrice</i>)<br />
+<br /></p>
+
+<p>6. <span class="note">Tie<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">him<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;to the <span class="note">taff<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" />rail<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;when she's yard-arm under. (<i>thrice</i>)</p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_32" id="Page_32">[Pg&#160;32]</a></span></p>
+<h1><a name="Blow_my_bully_boys" id="Blow_my_bully_boys"></a>15. Blow my bully boys.</h1>
+
+<h3>(HALLIARD SHANTY.)</h3>
+
+
+<p style="text-align: center"><a href="music/15blow.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/15ablow.png" width="661" height="665" alt="Blow My Bully Boys" title="Blow My Bully Boys" /></p>
+
+
+<p><span class="pagenum"><a name="Page_33" id="Page_33">[Pg&#160;33]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/15bblow.png" width="654" height="477" alt="Blow My Bully Boys" title="Blow My Bully Boys" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. A Yankee ship came down the river,<br />
+<span style="margin-left: 1em;">Blow, boys blow.</span><br />
+<span style="margin-left: 1em;">Her masts and yards they shine like silver.</span><br />
+<span style="margin-left: 1em;">Blow my bully boys blow.</span><br />
+<br /></p>
+
+<p>2. And how d'ye know <span class="note">she'<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>s&#160;<span class="note">a&#160;<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;Yankee packet?<br />
+<span style="margin-left: 1em;">The Stars and Stripes they fly above her.</span><br />
+<br />
+3. And who d'ye think was skipper of her. (<i>twice</i>)<br />
+<br />
+4. 'Twas Dandy Jim, the one-eyed nigger;<br />
+</p><p><span style="margin-left: 1em;">'Twas Dandy Jim, <span class="note">with<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">his<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;bully figure.</span><br />
+<br />
+5. And what d'ye think they had for dinner?<br />
+<span style="margin-left: 1em;">Why bullock's lights and donkey's liver.</span><br />
+<br />
+6. And what d'ye think they had for supper?<br />
+<span style="margin-left: 1em;">Why weevilled bread and Yankee leather.</span><br />
+<br />
+7. Then blow my boys, and blow together.<br />
+<span style="margin-left: 1em;">And blow my boys for better weather.</span><br />
+<br />
+8. A Yankee ship came down the river.<br />
+<span style="margin-left: 1em;">Her masts and yards they shine like silver.</span></p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_34" id="Page_34">[Pg&#160;34]</a></span></p>
+<h1><a name="Blow_the_man_down" id="Blow_the_man_down"></a>16. Blow the man down.</h1>
+
+<h3>(HALLIARDS.)</h3>
+
+
+<p style="text-align: center"><a href="music/16blowtheman.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/16ablowtheman.png" width="655" height="656" alt="Blow the Man Down" title="Blow the Man Down" /></p>
+
+
+<p><span class="pagenum"><a name="Page_35" id="Page_35">[Pg&#160;35]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/16bblowtheman.png" width="650" height="511" alt="Blow the Man Down" title="Blow the Man Down" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. Oh blow the man down, bullies, blow the man down.<br />
+<span style="margin-left: 1em;">To me Way-ay, blow the man down.</span><br />
+<span style="margin-left: 1em;">Oh blow the man down, bullies, blow him away.</span><br />
+<span style="margin-left: 1em;">Oh gimme some time to blow the man down.</span><br />
+</p>
+
+<p>2. We went over the Bar on the thirteenth of May.<br />
+<span style="margin-left: 1em;">To me Way-ay, blow the man down.</span><br />
+<span style="margin-left: 1em;">The Galloper jumped, and the gale came away.</span><br />
+<span style="margin-left: 1em;">Oh gimme some time to blow the man down.</span><br />
+</p>
+
+<p>3. Oh the rags they was gone, and the chains they was jammed,<br />
+</p><p><span style="margin-left: 1em;"><span class="note">And<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">the<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;skipper sez he, &quot;Let the weather be hanged.&quot;</span><br />
+<br />
+4. Äs I was a-walking down Winchester Street,<br />
+<span style="margin-left: 1em;">A saucy young damsel I happened to meet.</span><br />
+<br />
+5. Ď sez to her, &quot;Polly, and how d'you do?&quot;<br />
+<span style="margin-left: 1em;">Sez she, &quot;None the better for seein' of you.&quot;</span><br />
+<br />
+6. Oh, it's sailors is tinkers, and tailors is men.<br />
+</p><p><span style="margin-left: 1em;"><span class="note">And<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">we're<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;all of us coming to see you again.</span><br />
+<br />
+7. So we'll blow the man up, and we'll blow the man down.<br />
+</p><p><span style="margin-left: 1em;"><span class="note">And<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;<span class="note">we'll<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;blow him away into Liverpool Town.</span></p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_36" id="Page_36">[Pg&#160;36]</a></span></p>
+<h1><a name="Cheerly_men5" id="Cheerly_men5"></a>17. Cheer&#8217;ly men.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></h1>
+
+<h3>(HALLIARDS.)</h3>
+
+
+<p style="text-align: center"><a href="music/17cheerly.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/17acheerly.png" width="656" height="738" alt="Cheer'ly Men" title="Cheer'ly Men" /></p>
+
+
+<p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg&#160;37]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/17bcheerly.png" width="650" height="474" alt="Cheer'ly Men" title="Cheer'ly Men" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. Oh, Nancy Dawson, I-Oh.<br />
+<span style="margin-left: 1em;">Chee-lee men.</span><br />
+<span style="margin-left: 1em;">She robb'd the Bo'sun, I-Oh.</span><br />
+<span style="margin-left: 1em;">Chee-lee men.</span><br />
+<span style="margin-left: 1em;">That was a caution, I-Oh.</span><br />
+<span style="margin-left: 1em;">Chee-lee men.</span><br />
+<span style="margin-left: 1em;">Oh Hauly, I-Oh,</span><br />
+<span style="margin-left: 1em;">Chee-lee men.</span><br />
+</p>
+
+<p>2. Oh Sally Racket. I-Oh, &amp;c.<br />
+<span style="margin-left: 1em;">Pawned my best jacket. I-Oh, &amp;c.</span><br />
+<span style="margin-left: 1em;">Sold the pawn ticket. I-Oh, &amp;c.</span><br />
+<br />
+3. Oh Kitty Carson<br />
+<span style="margin-left: 1em;">Jilted the parson,</span><br />
+<span style="margin-left: 1em;">Married a mason.</span><br />
+<br />
+4. Oh Betsy Baker<br />
+<span style="margin-left: 1em;">Lived in Long Acre,</span><br />
+<span style="margin-left: 1em;">Married a quaker.</span><br />
+<br />
+5. Oh Jenny Walker<br />
+<span style="margin-left: 1em;">Married a hawker</span><br />
+<span style="margin-left: 1em;">That was a corker.</span><br />
+<br />
+6. Oh Polly Riddle<br />
+<span style="margin-left: 1em;">Broke her new fiddle.</span><br />
+<span style="margin-left: 1em;">Right through the middle.</span></p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_38" id="Page_38">[Pg&#160;38]</a></span></p>
+<h1><a name="Good_morning_ladies_all" id="Good_morning_ladies_all"></a>18. Good morning, ladies all.</h1>
+
+<h3>(HALLIARDS.)</h3>
+
+
+<p style="text-align: center"><a href="music/18morning.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/18amorning.png" width="656" height="658" alt="Good morning, ladies all" title="Good morning, ladies all" /></p>
+
+
+<p><span class="pagenum"><a name="Page_39" id="Page_39">[Pg&#160;39]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/18bmorning.png" width="656" height="506" alt="Good morning, ladies all" title="Good morning, ladies all" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. Now a long good-bye to you, my dear,<br />
+<span style="margin-left: 11em;">With a heave-oh haul.</span><br />
+<span style="margin-left: 1em;">And a last farewell, and a long farewell.</span><br />
+<span style="margin-left: 11em;">And good morning, ladies all.</span><br />
+</p>
+
+<p>
+2. For we're outward böund to New York town;<br />
+<span style="margin-left: 11em;">With a heave, <i>etc.</i></span><br />
+<span style="margin-left: 1em;">And you'll wave to us till the sun goes down.</span><br />
+<span style="margin-left: 11em;">And good morning, <i>etc.</i></span><br />
+<br />
+3. Änd when we get to New York town,<br />
+<span style="margin-left: 1em;">Oh it's there we'll drink, and sorrows drown.</span><br />
+<br />
+4. When we're back once möre in London Docks,<br />
+<span style="margin-left: 1em;">All the pretty girls will come in flocks.</span><br />
+<br />
+5. Änd Poll, and Bet, and Sue will say:<br />
+<span style="margin-left: 1em;">&quot;Oh it's here comes Jack with his three years' pay.&quot;</span><br />
+<br />
+6. So a long good-bye to you, my dear,<br />
+<span style="margin-left: 1em;">And a last farewell, and a long farewell.</span></p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_40" id="Page_40">[Pg&#160;40]</a></span></p>
+<h1><a name="Hanging_Johnny" id="Hanging_Johnny"></a>19. Hanging Johnny.</h1>
+
+<h3>(HALLIARDS.)</h3>
+
+
+<p style="text-align: center"><a href="music/19hanging.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/19ahanging.png" width="654" height="642" alt="Hanging Johnny" title="Hanging Johnny" /></p>
+
+
+<p><span class="pagenum"><a name="Page_41" id="Page_41">[Pg&#160;41]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/19bhanging.png" width="651" height="562" alt="Hanging Johnny" title="Hanging Johnny" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. Oh they call me hanging Johnny.<br />
+<span style="margin-left: 1em;">Away, boys, away.</span><br />
+<span style="margin-left: 1em;">They says I hangs for money.</span><br />
+<span style="margin-left: 1em;">Oh hang, boys, hang.</span><br />
+</p>
+
+<p>2. Änd first I hanged my daddy. (<i>twice</i>)<br />
+<br />
+3. Änd then I hanged my mother,<br />
+<span style="margin-left: 1em;">My sister and my brother.</span><br />
+<br />
+4. Änd then I hanged my granny. (<i>twice</i>)<br />
+<br />
+5. Änd then I hanged my Annie;<br />
+<span style="margin-left: 1em;">I hanged her up see canny.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></span><br />
+<br />
+6. Wë'll hang and haul together;<br />
+<span style="margin-left: 1em;">We'll haul for better weather.</span><br />
+</p>
+</div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_42" id="Page_42">[Pg&#160;42]</a></span></p>
+<h1><a name="Hilo_somebody" id="Hilo_somebody"></a>20. Hilo somebody.</h1>
+
+<h3>(HALLIARDS AND INTERCHANGEABLE.)</h3>
+
+
+<p style="text-align: center"><a href="music/20hilo.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/20ahilo.png" width="660" height="650" alt="Hilo Somebody" title="Hilo Somebody" /></p>
+
+<p><span class="pagenum"><a name="Page_43" id="Page_43">[Pg&#160;43]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/20bhilo.png" width="656" height="580" alt="Hilo Somebody" title="Hilo Somebody" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. The blackbird sang unto our crew.<br />
+<span style="margin-left: 1em;">Hilo boys, Hilo.</span><br />
+<span style="margin-left: 1em;">The blackbird sang unto our crew.</span><br />
+<span style="margin-left: 1em;">Oh Hilo somebody, Hilo.</span><br />
+</p>
+
+<p>2. The blackbird sang so sweet to me. (<i>twice</i>)<br />
+<br />
+3. We sailed away to Mobile Bay. (<i>twice</i>)<br />
+<br />
+4. And now we're bound for London Town. (<i>twice</i>)<br />
+<br />
+5. The up aloft this yard must go. (<i>twice</i>)<br />
+<br />
+6. I thought I heard the old man say:&#8212;<br />
+<span style="margin-left: 1em;">&quot;Just one more pull, and then belay.&quot;</span><br />
+<br />
+7. Hooray my boys, we're homeward bound. (<i>twice</i>)<br />
+<br />
+8. The blackbird sang unto our crew. (<i>twice</i>)</p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_44" id="Page_44">[Pg&#160;44]</a></span></p>
+<h1><a name="Oh_run_let_the_Bullgine_run" id="Oh_run_let_the_Bullgine_run"></a>21. Oh run, let the Bullgine run.</h1>
+
+<h3>(HALLIARDS.)</h3>
+
+
+<p style="text-align: center"><a href="music/21run.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/21arun.png" width="654" height="647" alt="Oh run, let the Bullgine run" title="Oh run, let the Bullgine run" /></p>
+
+
+<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg&#160;45]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/21brun.png" width="651" height="539" alt="Oh run, let the Bullgine run" title="Oh run, let the Bullgine run" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. Oh we'll run all night till the morning.<br />
+<span style="margin-left: 1em;">Oh run, let the Bullgine run.</span><br />
+<span style="margin-left: 1em;">Way-yah, Oh-I-Oh, run, let the Bullgine run.</span><br />
+</p>
+
+<p>2. Oh we sailed all day tö Mobile Bay.<br />
+<br />
+3. Oh we sailed all nďght äcross the Bight.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a><br />
+<br />
+4. Oh we'll run from Dover to Cällis.<br />
+<br />
+5. Öh drive her captäin, drďve her.<br />
+<br />
+6. Öh captain make her nöse blood.<br />
+<br />
+7. She's a dandy packet and a flier too.<br />
+<br />
+8. With a dandy skipper, and a dandy crew.<br />
+<br />
+9. Oh we'll run all nďght till the mörning.<br />
+</p>
+</div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_46" id="Page_46">[Pg&#160;46]</a></span></p>
+<h1><a name="Reuben_Ranzo" id="Reuben_Ranzo"></a>22. Reuben Ranzo.</h1>
+
+<h3>(HALLIARDS.)</h3>
+
+
+<p style="text-align: center"><a href="music/22reuben.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/22areuben.png" width="653" height="657" alt="Reuben Ranzo" title="Reuben Ranzo" /></p>
+
+
+<p><span class="pagenum"><a name="Page_47" id="Page_47">[Pg&#160;47]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/22breuben.png" width="653" height="654" alt="Reuben Ranzo" title="Reuben Ranzo" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. Oh poor old Reuben Ranzo,<br />
+<span style="margin-left: 1em;">Oh Ranzo boys, Ranzo.</span><br />
+<span style="margin-left: 1em;">Ah pity poor Reuben Ranzo.</span><br />
+<span style="margin-left: 1em;">Ranzo boys, Ranzo.</span><br />
+</p>
+
+<p>
+2. Oh Ranzo was no sailor<br />
+<span style="margin-left: 1em;">He shipped on board a whaler.</span><br />
+<br />
+3. Old Ranzo couldn't steer her,<br />
+</p><p><span style="margin-left: 1em;"><span class="note">Did<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">you<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">ev<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" />er<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;hear&#160;<span class="note">an<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" />yt<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>hing&#160;queerer?</span><br />
+<br />
+4. Oh Ranzo was no beauty<br />
+</p><p><span style="margin-left: 1em;">Why <span class="note">could<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" />n't<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;he do his duty?</span><br />
+<br />
+</p><p>5. Oh Ranzo washed <span class="note">onc<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>e&#160;<span class="note">a&#160;<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;fortnight<br />
+<span style="margin-left: 1em;">He said it was his birthright.</span><br />
+<br />
+</p><p>6. They triced <span class="note">up<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">this<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;man so dirty<br />
+<span style="margin-left: 1em;">And gave him five and thirty.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a></span><br />
+<br />
+7. Oh poor old Reuben Ranzo<br />
+</p><p><span style="margin-left: 1em;">Ah <span class="note">pi<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" />ty<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;poor Reuben Ranzo.</span><br />
+</p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_48" id="Page_48">[Pg&#160;48]</a></span></p>
+<h1><a name="The_dead_horse" id="The_dead_horse"></a>23. The dead horse.</h1>
+
+<h3>(HALLIARDS, or PUMPING SHIP.)</h3>
+
+
+<p style="text-align: center"><a href="music/23dead.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/23adead.png" width="654" height="646" alt="The Dead Horse" title="The Dead Horse" /></p>
+
+
+<p><span class="pagenum"><a name="Page_49" id="Page_49">[Pg&#160;49]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/23bdead.png" width="651" height="571" alt="The Dead Horse" title="The Dead Horse" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. A poor old man came riding by.<br />
+<span style="margin-left: 1em;">And they say so, and they hope so.</span><br />
+<span style="margin-left: 1em;">A poor old man came riding by.</span><br />
+<span style="margin-left: 1em;">Oh poor old man.</span><br />
+</p>
+
+<p>
+2. I said &quot;Old man your hoss will die.&quot; (<i>twice</i>)<br />
+<br />
+3. And if he dies I'll tan his skin. (<i>twice</i>)<br />
+<br />
+4. And if he lives you'll ride again. (<i>twice</i>)<br />
+<br />
+5. I thought I heard the skipper say. (<i>twice</i>)<br />
+<br />
+6. Oh one more pull and then belay. (<i>twice</i>)<br />
+<br />
+7. A poor old man came riding by. (<i>twice</i>)</p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_50" id="Page_50">[Pg&#160;50]</a></span></p>
+<h1><a name="Toms_gone_to_Hilo" id="Toms_gone_to_Hilo"></a>24. Tom&#8217;s gone to Hilo.</h1>
+
+<h3>(HALLIARDS.)</h3>
+
+
+<p style="text-align: center"><a href="music/24tom.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/24atom.png" width="654" height="641" alt="Tom's Gone to Hilo" title="Tom's Gone to Hilo" /></p>
+
+
+<p><span class="pagenum"><a name="Page_51" id="Page_51">[Pg&#160;51]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/24btom.png" width="653" height="533" alt="Tom's Gone to Hilo" title="Tom's Gone to Hilo" /></p>
+
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. Tommy's gone and I'll go too,<br />
+<span style="margin-left: 6.5em;">Away down Hilo.</span><br />
+<span style="margin-left: 1em;">Oh, Tommy's gone and I'll go too.</span><br />
+<span style="margin-left: 6.5em;">Tom's gone to Hilo.</span><br />
+</p>
+
+<p>
+2. Tommy's gone to Liverpool,<br />
+<span style="margin-left: 6.5em;">Away, &amp;c.</span><br />
+<span style="margin-left: 1em;">Oh, Tommy's gone to Liverpool,</span><br />
+<span style="margin-left: 6.5em;">Tom's gone to Hilo.</span><br />
+<br />
+3. Tommy's gone to Mobile Bay.<br />
+<span style="margin-left: 1em;">Oh, Tommy's gone to Mobile Bay.</span><br />
+<br />
+4. Tommy's gone, what shall I do?<br />
+<span style="margin-left: 1em;">Oh, Tommy's gone, what shall I do?</span><br />
+<br />
+5. Tommy fought at Tr&#225;falg&#225;r.<br />
+<span style="margin-left: 1em;">Oh, Tommy fought at Trafalgar.</span><br />
+<br />
+</p><p>6. The old Vic<span class="note">to<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" />ry<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;led the way.<br />
+</p><p><span style="margin-left: 1em;">The brave old Vic<span class="note">to<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" />ry<img class="note" src="images/sixteenth.png" width="10" height="17" alt="sixteenth" /></span>&#160;led the way.</span><br />
+<br />
+7. Tommy's gone for evermore.<br />
+<span style="margin-left: 1em;">Oh, Tommy's gone for evermore.</span></p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_52" id="Page_52">[Pg&#160;52]</a></span></p>
+<h1><a name="Whisky_Johnny" id="Whisky_Johnny"></a>25. Whisky Johnny.</h1>
+
+<h3>(HALLIARDS.)</h3>
+
+
+<p style="text-align: center"><a href="music/25whisky.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/25awhisky.png" width="654" height="656" alt="Whisky Johnny" title="Whisky Johnny" /></p>
+
+
+
+<p><span class="pagenum"><a name="Page_53" id="Page_53">[Pg&#160;53]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/25bwhisky.png" width="653" height="518" alt="Whisky Johnny" title="Whisky Johnny" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. Oh whisky is the life of man.<br />
+<span style="margin-left: 1em;">Whiskey Johnny.</span><br />
+<span style="margin-left: 1em;">Oh whisky is the life of man.</span><br />
+<span style="margin-left: 1em;">Whisky for my Johnny.</span><br />
+</p>
+
+<p>
+2. Oh whisky makes me pawn my clothes.<br />
+<span style="margin-left: 1em;">And whisky gave me this red nose.</span><br />
+<br />
+3. Oh whisky killed my poor old dad.<br />
+<span style="margin-left: 1em;">And whisky druv my mother mad.</span><br />
+<br />
+4. Oh whisky up, and whisky down.<br />
+<span style="margin-left: 1em;">And whisky all around the town.</span><br />
+<br />
+5. Oh whisky here and whisky there.<br />
+<span style="margin-left: 1em;">It's I'll have whisky everywhere.</span><br />
+<br />
+6. Oh whisky is the life of man.<br />
+<span style="margin-left: 1em;">It's whisky in an old tin can.</span></p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_54" id="Page_54">[Pg&#160;54]</a></span></p>
+<h1><a name="Boney_was_a_warrior" id="Boney_was_a_warrior"></a>26. Boney was a warrior.</h1>
+
+<h3>(HALLIARDS.)</h3>
+
+
+<p style="text-align: center"><a href="music/26boney.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/26boney.png" width="650" height="456" alt="Boney was a Warrior" title="Boney was a Warrior" /></p>
+
+
+<p style="text-align: center">
+<img src="images/26boneyfn.png" width="72" height="15" alt="Francois" title="Francois" /></p>
+
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. Boney was a warrior.<br />
+<span style="margin-left: 1em;">Way-ay Yah.</span><br />
+<span style="margin-left: 1em;">Boney was a warrior.</span><br />
+<span style="margin-left: 1em;">John France-Wah.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a></span><br />
+</p>
+
+<p>
+2. Boney beat the Rooshians. (<i>twice</i>)<br />
+<br />
+3. Boney beat the Prooshians. (<i>twice</i>)<br />
+<br />
+4. Boney went to Möscow. (<i>twice</i>)<br />
+<br />
+5. Moscow was a-fďre. (<i>twice</i>)<br />
+<br />
+6. Boney he came back again. (<i>twice</i>)<br />
+<br />
+7. Boney went to Elbow. (<i>twice</i>)<br />
+<br />
+8. Boney went to Waterloo. (<i>twice</i>)<br />
+<br />
+9. Boney was defeated. (<i>twice</i>)<br />
+<br />
+10. Boney was a prisoner<br />
+<span style="margin-left: 1.5em;">'Board the Billy Ruffian.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a></span><br />
+<br />
+11. Boney he was sent away,<br />
+<span style="margin-left: 1.5em;">'Way to St. Helena.</span><br />
+<br />
+12. Boney broke his heart, and died. (<i>twice</i>)<br />
+<br />
+13. Boney was a warrior. (<i>twice</i>)<br />
+</p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_55" id="Page_55">[Pg&#160;55]</a></span></p>
+<h1><a name="Johnny_Boker" id="Johnny_Boker"></a>27. Johnny Boker.</h1>
+
+<h3>(FORE-SHEET.)</h3>
+
+
+<p style="text-align: center"><a href="music/27johnny.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/27johnny.png" width="650" height="478" alt="Johnny Boker" title="Johnny Boker" /></p>
+
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. Oh do my Johnny Boker,<br />
+<span style="margin-left: 1em;">Come rock and roll me over.</span><br />
+<span style="margin-left: 1em;">Do my Johnny Boker, do.</span><br />
+</p>
+
+<p>
+2. Oh do my Johnny Boker,<br />
+<span style="margin-left: 1em;">The skipper is a rover.</span><br />
+<span style="margin-left: 1em;">Do my Johnny, &amp;c.</span><br />
+<br />
+3.<span style="margin-left: 1.8em;">Oh do, &amp;c.</span><br />
+<span style="margin-left: 1em;">The mate he's never sober.</span><br />
+<span style="margin-left: 2.5em;">Do my, &amp;c.</span><br />
+<br />
+4.<span style="margin-left: 1.8em;">Oh do, &amp;c.</span><br />
+<span style="margin-left: 1em;">The Bo'sun is a tailor.</span><br />
+<span style="margin-left: 2.5em;">Do my, &amp;c.</span><br />
+<br />
+5.<span style="margin-left: 1.8em;">Oh do, &amp;c.</span><br />
+</p><p><span style="margin-left: 1em;">We'll all go on a <span class="note">jam<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span><span class="note">bo<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span><span class="note">ree.<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span></span><br />
+<span style="margin-left: 2.5em;">Do my, &amp;c.</span><br />
+<br />
+6.<span style="margin-left: 1.8em;">Oh do, &amp;c.</span><br />
+<span style="margin-left: 1em;">The Packet is a Rollin'.</span><br />
+<span style="margin-left: 2.5em;">Do my, &amp;c.</span><br />
+<br />
+7.<span style="margin-left: 1.8em;">Oh do, &amp;c.</span><br />
+<span style="margin-left: 1em;">We'll pull and haul together.</span><br />
+<span style="margin-left: 2.5em;">Do my, &amp;c.</span><br />
+<br />
+8.<span style="margin-left: 1.8em;">Oh do, &amp;c.</span><br />
+<span style="margin-left: 1em;">We'll haul for better weather.</span><br />
+<span style="margin-left: 2.5em;">Do my, &amp;c.</span><br />
+<br />
+9.<span style="margin-left: 1.8em;">Oh do, &amp;c.</span><br />
+</p><p><span style="margin-left: 1em;">And soon we'll be in <span class="note">Lon<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span><span class="note">don<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;Town.</span><br />
+<span style="margin-left: 2.5em;">Do my, &amp;c.</span><br />
+<br />
+10.<span style="margin-left: 1.3em;">Oh do, &amp;c.</span><br />
+<span style="margin-left: 1.4em;">Come rock and roll me over.</span><br />
+<span style="margin-left: 2.6em;">Do my, &amp;c.</span></p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_56" id="Page_56">[Pg&#160;56]</a></span></p>
+<h1><a name="Haul_away_Joe" id="Haul_away_Joe"></a>28. Haul away, Joe.</h1>
+
+<h3>(FORE-SHEET.)</h3>
+
+
+<p style="text-align: center"><a href="music/28haul.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/28ahaul.png" width="654" height="636" alt="Haul Away, Joe" title="Haul Away, Joe" /></p>
+
+
+<p><span class="pagenum"><a name="Page_57" id="Page_57">[Pg&#160;57]</a></span></p>
+
+<p style="text-align: center">
+<img src="images/28bhaul.png" width="653" height="292" alt="Haul Away, Joe" title="Haul Away, Joe" /></p>
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. Way, haul away, We'll haul away the bowlin'.<br />
+<span style="margin-left: 1em;">Way, haul away, Haul away Joe.</span><br />
+</p>
+
+<p>
+2. Way haul away. The packet is a-rollin'.<br />
+<br />
+3. Way haul away. We'll hang and haul together.<br />
+<br />
+4. Way haul away. We'll haul for better weather.<br />
+<br />
+</p><p>5. <span class="note">Once<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>&#160;<span class="note">I&#160;&#160;<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">had<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>&#160;<span class="note">a&#160;&#160;<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">nig<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" />ger<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">girl,<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>&#160;and she was fat and lazy.<br />
+<br />
+</p><p>6. <span class="note">Then<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>&#160;<span class="note">I&#160;&#160;<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">had<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>&#160;<span class="note">a&#160;&#160;<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span> <span class="note">Span<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span><span class="note">ish<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;girl, she nearly druv me crazy.<br />
+<br />
+</p><p>7. <span class="note">Geor<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" />die<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">Charl<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" />ton<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">had<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>&#160;<span class="note">a&#160;&#160;<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">pig,<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>&#160;and it was double jointed.<br />
+<br />
+</p><p>8. <span class="note">He<img class="note" src="images/line.png" width="18" height="17" alt="line" /></span><span class="note">too<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>k&#160;<span class="note">it&#160;<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">to<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>&#160;<span class="note">the<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;blacksmith's shop to get its trotters pointed.<br />
+<br />
+</p><p>9. <span class="note">King<img class="note" src="images/line.png" width="18" height="17" alt="line" /></span><span class="note">Lou<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" />is<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">was<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>&#160;<span class="note">the<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">king<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>&#160;<span class="note">o'&#160;<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">Franc<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>e&#160;before the Revolution.<br />
+<br />
+</p><p>10. <span class="note">King<img class="note" src="images/line.png" width="18" height="17" alt="line" /></span><span class="note">Lou<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" />is<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">got<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>&#160;<span class="note">his<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">head<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>&#160;<span class="note">cut<img class="note" src="images/eighth.png" width="10" height="15" alt="eighth" /></span>&#160;<span class="note">off,<img class="note" src="images/quarter.png" width="10" height="15" alt="quarter" /></span>&#160;and spoiled his Constitution.<br />
+<br />
+11. Oh when I was a little boy and so my mother told me.<br />
+<br />
+12. That if I didn't kiss the girls my lips would all go mouldy.<br />
+<br />
+13. Oh once I had a scolding wife, she wasn't very civil.<br />
+<br />
+14. I clapped a plaster on her mouth and sent her to the divvle.</p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_58" id="Page_58">[Pg&#160;58]</a></span></p>
+<h1><a name="Well_haul_the_bowlin" id="Well_haul_the_bowlin"></a>29. We&#8217;ll haul the bowlin&#8217;.</h1>
+
+<h3>(FORE-SHEET.)</h3>
+
+
+<p style="text-align: center"><a href="music/29haul.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/29haul.png" width="653" height="509" alt="We'll Haul the Bowlin'" title="We'll Haul the Bowlin'" /></p>
+
+
+<p style="text-align: center">
+<img src="images/29haulfn.png" width="420" height="15" alt="footnote" title="footnote" /></p>
+
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. We'll haul the bowlin' so early in the morning.<br />
+<span style="margin-left: 1em;">We'll haul the bowlin', the bowlin' haul!<a
+name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></span><br />
+</p>
+
+<p>
+2. We'll haul the bowlin' for Kitty is my darlin'.<br />
+<br />
+3. We'll haul the bowlin'; the fore-to-gallant bowlin'.<br />
+<br />
+4. We'll haul the bowlin', the skipper is a growlin'.<br />
+<br />
+5. We'll haul the bowlin', the packet is a rollin'.<br />
+<br />
+6. We'll haul the bowlin' so early in the morning.</p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_59" id="Page_59">[Pg&#160;59]</a></span></p>
+<h1><a name="Paddy_Doyles_boots" id="Paddy_Doyles_boots"></a>30. Paddy Doyle&#8217;s boots.</h1>
+
+<h3>(BUNT SHANTY.)</h3>
+
+
+<p style="text-align: center"><a href="music/30paddy.midi">[Listen]</a></p>
+
+
+<p style="text-align: center">
+<img src="images/30paddy.png" width="653" height="656" alt="Paddy Doyle's Boots" title="Paddy Doyle's Boots" /></p>
+
+
+<p>&#160;</p>
+
+<div class="blockquot">
+
+<p>
+1. To my way-ay-ay-ah,<br />
+<span style="margin-left: 1em;">We'll pay Paddy Doyle for his boots.</span><br />
+</p>
+
+<p><i>Alternative verses.</i></p>
+
+<p>
+2. We'll all throw dirt at the cook.<br />
+<br />
+3. We'll all drink brandy and gin.<br />
+</p>
+</div>
+
+
+
+<hr style="width: 65%;" />
+
+<p style="text-align: center">
+<img src="images/ad.png" width="741" height="1009" alt="advertisement" title="advertisement" /></p>
+
+<hr style="width: 65%;" />
+
+<h2>FOOTNOTES</h2>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span> </a> i.e. Barbadian, to wit, a native of Barbados.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span> </a> The small notes in the piano part are to be played when
+there is no violin.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span> </a> This verse was sometimes sung:&#8212;
+</p>
+<p>
+&quot;Now where have you been gone so long<br />
+You Yankee Jack wid de sea boots on?&quot;<br />
+</p>
+</div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span> </a> meal.</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span> </a> Pronounced &quot;Chee-lee men.&quot;</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span> </a> Northumbrian equivalent of &quot;so nicely&quot; or &quot;so gently.&quot;</p></div>
+
+<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span> </a> Of Australia.</p></div>
+
+<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span> </a> i.e. 35 lashes.</p></div>
+
+<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span> </a> Francois.</p></div>
+
+<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span> </a> Sailor pronunciation of &quot;Bellerophon.&quot;</p></div>
+
+<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span> </a> The last word ("haul") of the
+chorus is not sung but shouted <i>staccato</i>.</p></div>
+
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Shanty Book, Part I, Sailor
+Shanties, by Richard Runciman Terry
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+</body>
+</html>
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@@ -0,0 +1,2959 @@
+The Project Gutenberg EBook of The Shanty Book, Part I, Sailor Shanties, by
+Richard Runciman Terry
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Shanty Book, Part I, Sailor Shanties
+
+Author: Richard Runciman Terry
+
+Contributor: Sir Walter Runciman
+
+Release Date: March 8, 2007 [EBook #20774]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE SHANTY BOOK, PART I ***
+
+
+
+
+Produced by Steven Gibbs, Linda Cantoni, and the Online
+Distributed Proofreading Team at http://www.pgdp.net. This
+file is gratefully uploaded to the PG collection in honor
+of Distributed Proofreaders having posted over 10,000
+ebooks.
+
+
+
+
+
+
+
+
+
+The Shanty Book
+
+Part I
+
+Sailor Shanties
+
+(Curwen Edition 6308)
+
+
+Collected and Edited, with Pianoforte Accompaniment, by RICHARD
+RUNCIMAN TERRY, with a Foreword by SIR WALTER RUNCIMAN, Bart.
+
+
+LONDON
+
+J. Curwen & Sons Ltd., 24 Berners Street, W. 1
+
+Copyright, 1921, by J. Curwen & Sons Ltd.
+
+
+
+
+FOREWORD
+
+By SIR WALTER RUNCIMAN
+
+
+It is sometimes difficult for old sailors like myself to realize that
+these fine shanty tunes--so fascinating to the musician, and which no
+sailor can hear without emotion--died out with the sailing vessel, and
+now belong to a chapter of maritime history that is definitely closed.
+They will never more be heard on the face of the waters, but it is
+well that they should be preserved with reverent care, as befits a
+legacy from the generation of seamen that came to an end with the
+stately vessels they manned with such skill and resource.
+
+In speech, the old-time 'shellback' was notoriously reticent--almost
+inarticulate; but in song he found self-expression, and all the
+romance and poetry of the sea are breathed into his shanties, where
+simple childlike sentimentality alternates with the Rabelaisian humour
+of the grown man. Whatever landsmen may think about shanty words--with
+their cheerful inconsequence, or light-hearted coarseness--there can
+be no two opinions about the tunes, which, as folk-music, are a
+national asset.
+
+I know, of course, that several shanty collections are in the market,
+but as a sailor I am bound to say that only one--Capt. W.B. Whall's
+'Sea Songs, Ships, and Shanties'--can be regarded as authoritative.
+Only a portion of Capt. Whall's delightful book is devoted to
+shanties, of which he prints the melodies only (without
+accompaniment); and of these he does not profess to give more than
+those he himself learnt at sea. I am glad, therefore, to welcome
+Messrs. Curwen's project of a wide and representative collection. Dr.
+Terry's qualifications as editor are exceptional, since he was reared
+in an environment of nineteenth-century seamen, and is the only
+landsman I have met who is able to render shanties as the old seamen
+did. I am not musician enough to criticize his pianoforte
+accompaniments, but I can vouch for the authenticity of the _melodies_
+as he presents them, untampered with in any way.
+
+WALTER RUNCIMAN.
+
+_Shoreston Hall_,
+  _Chathill_, 1921.
+
+
+
+
+CONTENTS
+
+
+                                                PAGE
+
+FOREWORD by Sir Walter Runciman                  iii
+
+INTRODUCTION                                       v
+
+NOTES ON THE SHANTIES                           xiii
+
+
+WINDLASS & CAPSTAN SHANTIES:
+
+ 1  Billy Boy                                      2
+
+ 2  Bound for the Rio Grande                       4
+
+ 3  Good-bye, fare ye well                         6
+
+ 4  Johnny come down to Hilo                       8
+
+ 5  Clear the track, let the Bullgine run         10
+
+ 6  Lowlands away                                 12
+
+ 7  Sally Brown                                   16
+
+ 8  Santy Anna                                    18
+
+ 9  Shenandoah                                    20
+
+10  Stormalong John                               22
+
+11  The Hog's-eye Man                             24
+
+12  The Wild Goose Shanty                         26
+
+13  We're all bound to go                         28
+
+14  What shall we do with the drunken sailor?     30
+
+
+HALLIARD SHANTIES:
+
+15  Blow, my bully boys                           32
+
+16  Blow the man down                             34
+
+17  Cheer'ly, men                                 36
+
+18  Good morning, ladies all                      38
+
+19  Hanging Johnny                                40
+
+20  Hilo Somebody                                 42
+
+21  Oh run, let the Bullgine run                  44
+
+22  Reuben Ranzo                                  46
+
+23  The Dead Horse                                48
+
+24  Tom's gone to Hilo                            50
+
+25  Whisky Johnny                                 52
+
+26  Boney was a warrior                           54
+
+
+FORE-SHEET OR SWEATING-UP SHANTIES:
+
+27  Johnny Boker                                  55
+
+28  Haul away, Joe                                56
+
+29  We'll haul the bowlin'                        58
+
+
+BUNT SHANTY:
+
+30 Paddy Doyle's boots                            59
+
+
+ALPHABETICAL INDEX OF SHANTIES
+
+                                                PAGE
+
+Billy Boy                                          2
+
+Blow, my bully boys                               32
+
+Blow the man down                                 34
+
+Boney was a warrior                               54
+
+Bound for the Rio Grande                           4
+
+
+Cheer'ly, men                                     36
+
+Clear the track, let the Bullgine run             10
+
+
+Dead Horse, The                                   48
+
+
+Good-bye, fare ye well                             6
+
+Good morning, ladies all                          38
+
+
+Hanging Johnny                                    40
+
+Haul away, Joe                                    56
+
+Hilo Somebody                                     42
+
+Hog's-eye Man, The   24
+
+
+Johnny Boker                                      55
+
+Johnny come down to Hilo                           8
+
+
+Lowlands away                                     12
+
+
+Oh run, let the Bullgine run                      44
+
+
+Paddy Doyle's boots                               59
+
+
+Reuben Ranzo                                      46
+
+
+Sally Brown                                       16
+
+Santy Anna                                        18
+
+Shenandoah                                        20
+
+Stormalong John                                   22
+
+
+Tom's gone to Hilo                                50
+
+
+We'll haul the bowlin'                            58
+
+We're all bound to go                             28
+
+What shall we do with the drunken sailor?         30
+
+Whisky Johnny                                     52
+
+Wild Goose Shanty, The                            26
+
+
+
+
+INTRODUCTION
+
+
+APOLOGIA
+
+It may reasonably be asked by what authority a mere landsman publishes
+a book on a nautical subject. I may, therefore, plead in extenuation
+that I have all my life been closely connected with seafaring matters,
+especially during childhood and youth, and have literally 'grown up
+with' shanties. My maternal ancestors followed the sea as far back as
+the family history can be traced, and sailor uncles and grand-uncles
+have sung shanties to me from my childhood upwards. During boyhood I
+was constantly about amongst ships, and had learnt at first hand all
+the popular shanties before any collection of them appeared in print.
+I have in later years collected them from all manner of sailors,
+chiefly at Northumbrian sources. I have collated these later versions
+with those which I learnt at first hand as a boy from sailor
+relatives, and also aboard ship. And lastly, I lived for some years in
+the West Indies, one of the few remaining spots where shanties may
+still be heard, where my chief recreation was cruising round the
+islands in my little ketch. In addition to hearing them in West Indian
+seaports, aboard Yankee sailing ships and sugar droghers, I also heard
+them sung constantly on shore in Antigua under rather curious
+conditions. West Indian negro shanties are movable wooden huts, and
+when a family wishes to change its _venue_ it does so in the following
+manner: The shanty is levered up on to a low platform on wheels, to
+which two very long ropes are attached. The ropes are manned by as
+many hands as their length will admit. A 'shantyman' mounts the roof
+of the hut and sits astride it. He sings a song which has a chorus,
+and is an exact musical parallel of a seaman's 'pull-and-haul' shanty.
+The crowd below sings the chorus, giving a pull on the rope at the
+required points in the music, just as sailors did when hauling at sea.
+Each pull on the rope draws the hut a short distance forward, and the
+process is continued till its final resting-place is reached, when the
+shantyman descends from the roof. The hut is then levered off the
+platform on to _terra firma_ and fixed in its required position.
+
+
+WHAT A SHANTY IS
+
+Shanties were labour songs sung by sailors of the merchant service
+only while at work, and never by way of recreation. Moreover--at
+least, in the nineteenth century--they were never used aboard
+men-o'-war, where all orders were carried out in silence to the pipe
+of the bo'sun's whistle.
+
+Before the days of factories and machinery, all forms of work were
+literally _manual_ labour, and all the world over the labourer,
+obeying a primitive instinct, sang at his toil: the harvester with his
+sickle, the weaver at the loom, the spinner at the wheel. Long after
+machinery had driven the labour-song from the land it survived at sea
+in the form of shanties, since all work aboard a sailing vessel was
+performed by hand.
+
+The advent of screw steamers sounded the death-knell of the shanty.
+Aboard the steamer there were practically no sails to be manipulated;
+the donkey-engine and steam winch supplanted the hand-worked windlass
+and capstan. By the end of the seventies steam had driven the sailing
+ship from the seas. A number of sailing vessels lingered on through
+the eighties, but they retained little of the corporate pride and
+splendour that was once theirs. The old spirit was gone never to
+return.
+
+When the sailing ship ruled the waters and the shanty was a living
+thing no one appears to have paid heed to it. To the landsman of those
+days--before folk-song hunting had begun--the haunting beauty of the
+tunes would appear to have made no appeal. This may be partly
+accounted for by the fact that he would never be likely to hear the
+sailor sing them ashore, and partly because of the Rabelaisian
+character of the words to which they were sung aboard ship. We had
+very prim notions of propriety in those days, and were apt to overlook
+the beauty of the melodies, and to speak of shanties in bulk as 'low
+vulgar songs.' Be that as it may, it was not until the late
+eighties--when the shanty was beginning to die out with the sailing
+ship--that any attempt was made to form a collection.
+
+
+ORIGIN OF THE WORD
+
+Here let me enter my protest against the literary preciosity which
+derives the word from (_un_) _chante_ and spells it 'chanty'--in other
+words, against the gratuitous assumption that unlettered British
+sailors derived one of the commonest words in their vocabulary from a
+foreign source. The result of this 'literary' spelling is that
+ninety-nine landsmen out of every hundred, instead of pronouncing the
+word 'shanty,' rhyming with 'scanty' (_as every sailor did_),
+pronounce it 'tchahnty,' rhyming with 'auntie,' thereby courting the
+amusement or contempt of every seaman. The vogue of '_ch_anty' was
+apparently created by the late W.E. Henley, a fine poet, a great man
+of letters, a profound admirer of shanty tunes, but entirely
+unacquainted with nautical affairs. Kipling and other landsmen have
+given additional currency to the spelling. The 'literary' sailors,
+Clark Russell and Frank Bullen, have also spelt it '_ch_anty,' but
+their reason is obvious. The modest seaman always bowed before the
+landsman's presumed superiority in 'book-larnin'.' What more natural
+than that Russell and Bullen, obsessed by so ancient a tradition,
+should accept uncritically the landsman's spelling. But educated
+sailors devoid of 'literary' pretensions have always written the word
+as it was pronounced. To my mind the strongest argument against the
+literary landsman's derivation of the word is that the British sailor
+cultivated the supremest contempt for everything French, and would be
+the last person to label such a definitely British practice as
+shanty-singing with a French title. If there had been such a thing in
+French ships as a labour-song bearing such a far-fetched title as
+(_un_) _chante_, there might have been a remote possibility of the
+British sailor adopting the French term in a spirit of sport or
+derision, but there is no evidence that any such practice, or any such
+term, achieved any vogue in French ships. As a matter of fact, the
+Oxford Dictionary (which prints it '_sh_anty') states that the word
+never found its way into print until 1869.
+
+The truth is that, however plausible the French derivation theory may
+sound, it is after all pure speculation--and a landsman's speculation
+at that--unsupported by a shred of concrete evidence.
+
+If I wished to advance another theory more plausible still, and
+equally unconvincing, I might urge that the word was derived from the
+negro hut-removals already mentioned. Here, at least, we have a very
+ancient custom, which would be familiar to British seamen visiting
+West Indian seaports. The object moved was a _shanty_; the music
+accompanying the operation was called, by the negroes, a _shanty_
+tune; its musical form (solo and chorus) was identical with the sailor
+_shanty_; the pulls on the rope followed the same method which
+obtained at sea; the soloist was called a _shanty_man; like the
+shantyman at sea he did no work, but merely extemporized verses to
+which the workers at the ropes supplied the chorus; and finally, the
+negroes still pronounce the word itself exactly as the seaman did.
+
+I am quite aware of the flaws in the above argument, but at least it
+shows a manual labour act performed both afloat and ashore under
+precisely similar conditions as to (_a_) its nature, (_b_) its musical
+setting; called by the same name, _with the same pronunciation_ in
+each case; and lastly, connected, in one case, with an actual hut or
+_shanty_. Against this concrete argument we have a landsman's abstract
+speculation, which (_a_) begs the whole question, and (_b_) which was
+never heard of until a few years before the disappearance of the
+sailing ship. I do not assert that the negroid derivation is
+conclusive, but that from (_un_) _chante_ will not bear serious
+inspection.
+
+
+BIBLIOGRAPHY
+
+The material under this head is very scanty. Nothing of any
+consequence was written before the eighties, when W.L. Alden, in
+_Harper's Magazine_, and James Runciman, in the _St. James's Gazette_
+and other papers, wrote articles on the subject with musical
+quotations. Since then several collections have appeared:
+
+     1887. _Sailors' Songs or Chanties_, the words by Frederick
+     J. Davis, R.N.R., the music composed and arranged upon
+     traditional sailor airs by Ferris Tozer, Mus. D. Oxon.
+
+     1888. _The Music of the Waters_, by Laura Alexandrine Smith.
+
+     1910 and 1912. _Sea Songs, Ships, and Shanties_, by Capt.
+     W.B. Whall.
+
+     1912. _Songs of Sea Labour_, by Frank T. Bullen and W.F.
+     Arnold.
+
+     1914. _English Folk Chanteys_ with Pianoforte Accompaniment,
+     collected by Cecil J. Sharp.
+
+Of all these collections Capt. Whall's is the only one which a sailor
+could accept as authoritative. Capt. Whall unfortunately only gives
+the twenty-eight shanties which he himself learnt at sea. But to any
+one who has heard them sung aboard the old sailing ships, his versions
+ring true, and have a bite and a snap that is lacking in those
+published by mere collectors.
+
+Davis and Tozer's book has had a great vogue, as it was for many years
+the only one on the market. But the statement that the music is
+'composed and arranged on traditional sailor airs' rules it out of
+court in the eyes of seamen, since (_a_) a sailor song is not a
+shanty, and (_b_) to 'compose and arrange on traditional airs' is to
+destroy the traditional form.
+
+Miss Smith's book is a thick volume into which was tumbled
+indiscriminately and uncritically a collection of all sorts of tunes
+from all sorts of countries which had any connection with seas, lakes,
+rivers, or their geographical equivalents. Scientific folk-song
+collecting was not understood in those days, and consequently all was
+fish that came to the authoress's net. Sailor shanties and landsmen's
+nautical effusions were jumbled together higgledy-piggledy, along with
+'Full Fathom Five' and the 'Eton Boating Song.' But this lack of
+discrimination, pardonable in those days, was not so serious as the
+inability to write the tunes down correctly. So long as they were
+copied from other song-books they were not so bad, but when it came to
+taking them down from the seamen's singing the results were
+deplorable. Had the authoress been able to give us correct versions of
+the shanties her collection would have been a valuable one. The book
+contains altogether about thirty-two shanties collected from sailors
+in the Tyne seaports. Since both Miss Smith and myself hail from
+Newcastle, her 'hunting ground' for shanties was also mine, and I am
+consequently in a position to assess the importance or unimportance of
+her work. I may, therefore, say that although hardly a single shanty
+is noted down correctly, I can see clearly--having myself noted the
+same tunes in the same district--what she intended to convey, and
+furthermore can vouch for the accuracy of some of the words which were
+common to north country sailors, and which have not appeared in other
+collections.
+
+If I have been obliged to criticize Miss Smith's book it is not
+because I wish to disparage a well-intentioned effort, but because I
+constantly hear _The Music of the Waters_ quoted as an authoritative
+work on sailor shanties; and since the shanties in it were all
+collected in the district where I spent boyhood and youth, I am
+familiar with all of them, and can state definitely that they are in
+no sense authoritative. I should like, however, to pay my tribute of
+respect to Miss Smith's industry, and to her enterprise in calling
+attention to tunes that then seemed in a fair way to disappear.
+
+Bullen and Arnold's book ought to have been a valuable contribution to
+shanty literature, as Bullen certainly knew his shanties, and used to
+sing them capitally. Unfortunately his musical collaborator does not
+appear to have been gifted with the faculty of taking down authentic
+versions from his singing. He seems to have had difficulty in
+differentiating between long measured notes and unmeasured pauses;
+between the respective meanings of three-four and six-eight time;
+between modal and modern tunes; and between the cases where irregular
+barring was or was not required. Apart from the amateur nature of the
+harmonies, the book exhibits such strange unacquaintance with the
+rudiments of musical notation as the following (p. 25):
+
+[Music illustration]
+
+A few other collections deserve mention:
+
+     1912. _The Esperance Morris Book_, Part II (Curwen Edition
+     8571), contains five shanties collected and arranged by
+     Clive Carey.
+
+     1914. _Shanties and Forebitters_, collected and
+     accompaniments written by Mrs. Clifford Beckett (Curwen
+     Edition 6293).
+
+     _Journal of the Folk-Song Society_, Nos. 12, 18, and 20,
+     contain articles on shanties, with musical examples
+     (melodies only), which, from the academic point of view, are
+     not without interest.
+
+     1920. _The Motherland Song Book_ (Vols. III and IV, edited
+     by R. Vaughan Williams) contains seven shanties. It is
+     worthy of note that Dr. Vaughan Williams, Mr. Clive Carey,
+     and Mrs. Clifford Beckett all spell the word 'shanty' as
+     sailors pronounced it.
+
+     1920. _Sailor Shanties arranged for Solo and Chorus of Men's
+     Voices_ by the present editor; two selections (Curwen
+     Edition 50571 and 50572).
+
+There are one or two other collections in print which are obviously
+compilations, showing no original research. Of these I make no note.
+
+
+SHANTY FORMS
+
+Shanties may be roughly divided, as regards their use, into two
+classes: (_a_) Hauling shanties, and (_b_) Windlass and Capstan. The
+former class accompanied the setting of the sails, and the latter the
+weighing of the anchor, or 'warping her in' to the wharf, etc. Capstan
+shanties were also used for pumping ship. A few shanties were
+'interchangeable,' i.e. they were used for both halliards and capstan.
+The subdivisions of each class are interesting, and the nature of the
+work involving 'walk away,' 'stamp and go,' 'sweating her up,' 'hand
+over hand,' and other types of shanty would make good reading; but
+nautical details, however fascinating, must be economized in a musical
+publication.
+
+Capstan shanties are readily distinguishable by their music. The
+operation of walking round the capstan (pushing the capstan bars in
+front of them) was continuous and not intermittent. Both tune and
+chorus were, as a rule, longer than those of the hauling shanty, and
+there was much greater variety of rhythm. Popular songs, if they had a
+chorus or refrain, could be, and were, effectively employed for
+windlass and capstan work.
+
+Hauling shanties were usually shorter than capstan ones, and are of
+two types: (_a_) those used for 'the long hoist' and (_b_) those
+required for 'the short pull' or 'sweating-up.' Americans called these
+operations the 'long' and the 'short drag.' The former was used when
+beginning to hoist sails, when the gear would naturally be slack and
+moderately easy to manipulate. It had two short choruses, with a
+double pull in each. In the following example, the pulls are marked
+[music accent symbol].
+
+[Music illustration: REUBEN RANZO
+
+     SOLO. Oh pity poor Reuben Ranzo,
+     CHORUS. [accent] Ranzo, boys, [accent] Ranzo,
+     SOLO. Oh poor old Reuben Ranzo,
+     CHORUS. [accent] Ranzo, boys, [accent] Ranzo.]
+
+It is easy to see how effective a collective pull at each of these
+points would be, while the short intervals of solo would give time for
+shifting the hands on the rope and making ready for the next combined
+effort.
+
+When the sail was fully hoisted and the gear taut, a much stronger
+pull was necessary in order to make everything fast, so the shanty was
+then changed for a 'sweating-up' one, in which there was only one
+short chorus and one very strong pull:
+
+[Music illustration: HAUL THE BOWLIN'
+
+     SOLO: We'll haul the bowlin', so early in the morning,
+     CHORUS: We'll haul the bowlin', the bowlin' [accent] haul.]
+
+So much effort was now required on the pull that it was difficult to
+sing a musical note at that point. The last word was therefore usually
+shouted.
+
+
+SOURCES OF TUNES
+
+The sailor travelled in many lands, and in his shanties there are
+distinct traces of the nationalities of the countries he visited.
+Without doubt a number of them came from American negro sources. The
+songs heard on Venetian gondolas must have had their effect, as many
+examples show. There are also distinct traces of folk-songs which the
+sailor would have learnt ashore in his native fishing village, and the
+more familiar Christy Minstrel song was frequently pressed into the
+service. As an old sailor once said to me: 'You can make anything into
+a shanty.'
+
+Like all traditional tunes, some shanties are in the ancient modes,
+and others in the modern major and minor keys. It is the habit of the
+'folk-songer' (I am not alluding to our recognized folk-song experts)
+to find 'modes' in every traditional tune. It will suffice, therefore,
+to say that shanties follow the course of all other traditional music.
+Many are modern, and easily recognizable as such. Others are modal in
+character, such as 'What shall we do with the drunken sailor?' No. 14,
+and 'The Hog's-Eye Man,' No. 11. Others fulfil to a certain extent
+modal conditions, but are nevertheless in keys, e.g. 'Stormalong
+John,' No. 10.
+
+Like many other folk-songs, certain shanties--originally, no doubt, in
+a mode--were, by the insertion of leading notes, converted into the
+minor key. There was also the tendency on the part of the modern
+sailor to turn his minor key into a major one. I sometimes find
+sailors singing in the major, nowadays, tunes which the very old men
+of my boyhood used to sing in the minor. A case in point is 'Haul
+away, Joe,' No. 28. Miss Smith is correct in giving it in the minor
+form which once obtained on the Tyne, and I am inclined to hazard the
+opinion that that was the original form and not, as now, the
+following:
+
+[Music illustration:
+
+     Way, haul away,
+     We'll haul away the bowlin'.
+     Way, haul away,
+     We'll haul away, Joe.]
+
+In later times I have also heard 'The Drunken Sailor' (a distinctly
+modal tune) sung in the major as follows:
+
+[Music illustration:
+
+     What shall we do with the drunken sailor?
+     What shall we do with the drunken sailor? etc.]
+
+I have generally found that these perversions of the tunes are due to
+sailors who took to the sea as young men in the last days of the
+sailing ship, and consequently did not imbibe to the full the old
+traditions. With the intolerance of youth they assumed that the modal
+turn given to a shanty by the older sailor was the mark of ignorance,
+since it did not square with their ideas of a major or minor key. This
+experience is common to all folk-tune collectors.
+
+Other characteristics, for example: (_a_) different words to the same
+melody; (_b_) different melodies to the same or similar words, need
+not be enlarged upon here, as they will be self-evident when a
+definitive collection is published.
+
+Of the usual troubles incidental to folk-song collecting it is
+unnecessary to speak. But the collection of shanties involves
+difficulties of a special kind. In taking down a folk-song from a
+rustic, one's chief difficulty is surmounted when one has broken down
+his shyness and induced him to sing. There is nothing for him to do
+then but get on with the song. Shanties, however, being labour songs,
+one is 'up against' the strong psychological connection between the
+song and its manual acts. Two illustrations will explain what I mean.
+
+A friend of mine who lives in Kerry wished a collector to hear some of
+the traditional keening, and an old woman with the reputation of being
+the best keener in the district, when brought to the house to sing the
+funeral chants, made several attempts and then replied in a distressed
+manner: 'I can't do it; there's no body,' This did not mean that she
+was unwilling to keen in the absence of a corpse, but that she was
+unable to do so. Just before giving up in despair my friend was seized
+with a brain wave, and asked her if it would suffice for him to lie
+down on the floor and personate the corpse. When he had done this the
+old woman found herself able to get on with the keening.
+
+An incident related to me quite casually by Sir Walter Runciman throws
+a similar light on the inseparability of a shanty and its labour. He
+described how one evening several north country ships happened to be
+lying in a certain port. All the officers and crews were ashore,
+leaving only the apprentices aboard, some of whom, as he remarked,
+were 'very keen on shanties,' and their suggestion of passing away the
+time by singing some was received with enthusiasm. The whole party of
+about thirty apprentices at once collected themselves aboard one
+vessel, sheeted home the main topsail, and commenced to haul it up to
+the tune of 'Boney was a warrior,' changing to 'Haul the Bowlin'' for
+'sweating-up.' In the enthusiasm of their singing, and the absence of
+any officer to call ''Vast hauling,' they continued operations until
+they broke the topsail yard in two, when the sight of the wreckage and
+the fear of consequences brought the singing to an abrupt conclusion.
+In my then ignorance I naturally asked: 'Why couldn't you have sung
+shanties without hoisting the topsail?' and the reply was: 'How could
+we sing a shanty without having our hands on the rope?' Here we have
+the whole psychology of the labour-song: the old woman could not keen
+without the 'body,' and the young apprentices could not sing shanties
+apart from the work to which they belonged. The only truly
+satisfactory results which I ever get nowadays from an old sailor are
+when he has been stimulated by conversation to become reminiscent, and
+croons his shanties almost subconsciously. Whenever I find a sailor
+willing to declaim shanties in the style of a song I begin to be a
+little suspicious of his seamanship. In one of the journals of the
+Folk-Song Society there is an account of a sailor who formed a little
+party of seafaring men to give public performances of shanties on the
+concert platform. No doubt this was an interesting experience for the
+listeners, but that a self-conscious performance such as this could
+represent the old shanty singing I find it difficult to believe. Of
+course I have had sailors sing shanties to me in a fine declamatory
+manner, but I usually found one of three things to be the case: the
+man was a 'sea lawyer,' or had not done much deep-sea sailing; or his
+seamanship only dated from the decline of the sailing vessel.
+
+It is doubtless interesting to the folk-songer to see in print
+shanties taken down from an individual sailor with his individual
+melodic twirls and twiddles. But since no two sailors ever sing the
+same shanty quite in the same manner, there must necessarily be some
+means of getting at the tune, unhampered by these individual
+idiosyncrasies, which are quite a different thing from what folk-song
+students recognize as 'variants.' The power to discriminate can only
+be acquired by familiarity with the shanty as it was in its palmy
+days. The collector who comes upon the scene at this late time of day
+must necessarily be at a disadvantage. The ordinary methods which he
+would apply to a folk-song break down in the case of a labour-song.
+Manual actions were the soul of the shanty; eliminate these and you
+have only the skeleton of what was once a living thing. It is quite
+possible, I know, to push this line of argument too far, but every one
+who knows anything about seamanship must feel that a shanty nowadays
+cannot be other than a pale reflection of what it once was.
+
+That is why I deprecate the spurious authenticity conferred by print
+upon isolated versions of shanties sung by individual old men. When
+the originals are available it seems to me pedantic and academic to
+put into print the comic mispronunciations of well-known words by old
+and uneducated seamen.
+
+And this brings me to the last difficulty which confronts the
+collector with no previous knowledge of shanties. As a mere matter of
+dates, any sailors now remaining from sailing ship days must
+necessarily be very old men. I have found that their octogenarian
+memories are not always to be trusted. On one occasion an old man sang
+quite glibly a tune which was in reality a _pasticcio_ of three
+separate shanties all known to me. I have seen similar results in
+print, since the collector arrived too late upon the scene to be able
+to detect the tricks which an old man's memory played him.
+
+One final remark about collectors which has an important bearing upon
+the value of their work. There were two classes of sailing vessels
+that sailed from English ports--the coaster or the mere collier that
+plied between the Tyne or Severn and Boulogne, and the Southspainer,
+under which term was comprised all deep-sea vessels. On the collier or
+short-voyage vessel the crew was necessarily a small one, and the
+shanty was more or less of a makeshift, adapted to the capacity of the
+limited numbers of the crew. Purely commercial reasons precluded the
+engagement of any shantyman specially distinguished for his musical
+attainments. Consequently, so far as the shanty was concerned, 'any
+old thing would do.' On the Southspainer, however, things were very
+different. The shantyman was usually a person of considerable musical
+importance, who sang his songs in a more or less finished manner; his
+melodies were clean, clear-cut things, without any of the
+folk-songer's quavers and wobbles. I heard them in the 'seventies and
+'eighties before the sailing-ship had vanished, consequently I give
+them as they were then sung--undisfigured and unobscured by the
+mixture of twirls, quavers, and hiccups one hears from octogenarian
+mariners who attempt them to-day.
+
+
+METHOD OF SINGING
+
+So far as the music was concerned, a shanty was a song with a chorus.
+The song was rendered by one singer, called the shantyman, and the
+chorus by the sailors who performed their work in time with the music.
+So far as the words were concerned there was usually a stereotyped
+opening of one or more verses. For all succeeding verses the shantyman
+improvized words, and his topics were many and varied, the most
+appreciated naturally being personal allusions to the crew and
+officers, sarcastic criticism on the quality of the food, wistful
+references to the good time coming on shore, etc. There was no need
+for any connection or relevancy between one verse or another, nor were
+rhymes required. The main thing that mattered was that the rhythm
+should be preserved and that the words should be such as would keep
+the workers merry or interested. Once the stereotyped verses were got
+rid of and the improvization began, things became so intimate and
+personal as to be unprintable. It was a curious fact that such shanty
+words as lent themselves most to impropriety were wedded to tunes
+either of fine virility or haunting sweetness.
+
+For 'pull-and-haul' shanties the shantyman took up his position near
+the workers and announced the shanty, sometimes by singing the first
+line. This established the tune to which they were to supply the
+chorus. For capstan shanties he usually did the same. He frequently
+sat on the capstan, but so far as I can learn he more usually took up
+his position on or against the knightheads. The importance of the
+shantyman could not be overestimated. A good shantyman with a pretty
+wit was worth his weight in gold. He was a privileged person, and was
+excused all work save light or odd jobs.
+
+
+THE WORDS OF SHANTIES
+
+I have already noted the shanties which were derived from popular
+songs, also the type which contained a definite narrative. Except
+where a popular song was adapted, the form was usually rhymed or more
+often unrhymed couplets. The topics were many and varied, but the
+chief ones were: (1) popular heroes such as Napoleon, and 'Santy
+Anna.' That the British sailor of the eighteenth century should hate
+every Frenchman and yet make a hero of Bonaparte is one of the
+mysteries which has never been explained. Another mystery is the
+fascination which Antonio Lopez de Santa Anna (1795-1876) exercised
+over the sailor. He was one of the many Mexican 'Presidents' and was
+defeated by the American General Taylor in 1847. That did not prevent
+the British sailor presenting him in the light of an invariable victor
+until he was led out to be shot (he really died a natural death) by
+persons unknown. (2) The sailor had mythical heroes too, e.g. 'Ranzo,'
+already mentioned, and 'Stormy,' who was the theme of many shanties.
+No sailor could ever give the least explanation of them, and so they
+remain the last echoes of long forgotten sagas. (3) High-sounding,
+poetic, or mysterious words, such as 'Lowlands,' 'Shenandoah,'
+'Rolling river,' 'Hilo,' 'Mobile Bay,' 'Rio Grande,' had a great
+fascination, as their constant recurrence in many shanties shows. (4)
+The sailor also sang much of famous ships, such as 'The Flying Cloud,'
+'The Henry Clay,' or 'The Victory,' and famous lines, such as 'The
+Black Ball.' Even famous shipowners were celebrated in song, as
+witness 'Mr. John Tapscott,' in 'We're all bound to go.' (5) Love
+affairs, in which 'Lizer Lee' and other damsels constantly figured,
+were an endless topic. (6) But chiefly did Jack sing of affairs
+connected with his ship. He never sang of 'the rolling main,' 'the
+foaming billows,' 'the storm clouds,' etc. These are the
+stock-in-trade of the landsman; they were too real for the sailor to
+sing about. He had the instinct of the primitive man which forbids
+mention of natural forces of evil omen. But intimate or humorous
+matters such as the failings of his officers, the quality of the food,
+the rate of pay, or other grievances were treated with vigour and
+emphasis. Like the Britisher of to-day, he would put up with any
+hardship so long as he were permitted to grouse about it. The
+shantyman gave humorous expression to this grousing, which deprived it
+of the element of sulks. Steam let off in this way was a wholesome
+preventive of mutiny.
+
+The choruses were usually jingles, with no relevance save maintenance
+of the rhythm.
+
+One feature of the words may be noted. The sailor's instinct for
+romance was so strong that in his choruses, at least, no matter how
+'hair-curling' the solo might be, he always took the crude edge off
+the concrete and presented it as an abstraction if possible. For
+example, he knew perfectly well that one meaning of 'to blow' was to
+knock or kick. He knew that discipline in Yankee packets was
+maintained by corporeal methods, so much so that the Mates, to whom
+the function of knocking the 'packet rats' about was delegated, were
+termed first, second, and third 'blowers,' or strikers, and in the
+shanty he sang 'Blow the man down.' 'Knock' or 'kick,' as I have
+recently seen in a printed collection, was too crudely realistic for
+him. In like manner the humorous title, 'Hog's-eye,' veiled the coarse
+intimacy of the term which it represented. And that is where, when
+collecting shanties from the 'longshore' mariner of to-day, I find
+him, if he is uneducated, so tiresome. He not only wants to explain to
+me as a landsman the exact meaning (which I know already) of terms
+which the old type of sailor, with his natural delicacy, avoided
+discussing, but he tries where possible to work them into his shanty,
+a thing the sailor of old time never did. So that when one sees in
+print expressions which sailors did not use, it is presumptive
+evidence that the collector has been imposed upon by a salt of the
+'sea lawyer' type.
+
+Perhaps I ought to make this point clearer. Folk-song collecting was
+once an artistic pursuit. Now it has become a flourishing industry of
+high commercial value. From the commercial point of view it is
+essential that results should be printed and circulated as widely as
+possible. Some knowledge of seamanship is an absolute necessity where
+folk-shanties are concerned. The mere collector nowadays does not
+possess that knowledge; it is confined to those who have had practical
+experience of the sea, but who will never print their experiences. The
+mere collector _must_ print his versions. What is unprinted must
+remain unknown; what is printed is therefore accepted as
+authoritative, however misleading it may be. Many highly educated men,
+of whom Captain Whall is the type, have followed the sea. It is from
+them that the only really trustworthy information is forthcoming. But
+so far as I can judge, it is uneducated men who appear to sing to
+collectors nowadays, and I have seen many a quiet smile on the lips of
+the educated sailor when he is confronted with printed versions of the
+uneducated seaman's performances. For example, one of the best known
+of all shanties is 'The Hog's-eye man'; I have seen this entitled 'The
+Hog-eyed man,' and even 'The Ox-eyed man.' Every old sailor knew the
+meaning of the term. Whall and Bullen, who were both sailors, use the
+correct expression, 'Hog-eye.' The majority of sailors of my
+acquaintance called it 'Hog's-eye.' Did decency permit I could show
+conclusively how Whall and Bullen are right and the mere collector
+wrong. It must suffice, however, for me to say that the term
+'Hog's-eye' or 'Hog-eye' had nothing whatever to do with the optic of
+the 'man' who was sung about. I could multiply instances, but this one
+is typical and must suffice.
+
+We hear a great deal of the coarseness and even lewdness of the
+shanty, but I could wish a little more stress were laid on the
+sailor's natural delicacy. Jack was always a gentleman in feeling.
+Granted his drinking, cursing, and amours--but were not these, until
+Victorian times, the hall-mark of every gentleman ashore? The
+Rabelaisian jokes of the shantyman were solos, the sound of which
+would not travel far beyond the little knot of workers who chuckled
+over them. The choruses--shouted out by the whole working party--would
+be heard all over the ship and even penetrate ashore if she were in
+port. Hence, in not a single instance do the choruses of any shanty
+contain a coarse expression.
+
+
+EDITORIAL METHODS
+
+As regards the tunes, I have adhered to the principle of giving each
+one as it was sung by some individual singer. This method has not been
+applied to the words. Consequently the verses of any given shanty may
+have derived from any number of singers. Since there was no connection
+or relevancy between the different verses of a shanty, the only
+principle I have adhered to is that whatever verses are set down
+should have been sung to me at some time or other by some sailor or
+other.
+
+Of course I have had to camouflage many unprintable expressions, and
+old sailors will readily recognize where this has been done. Sometimes
+a whole verse (after the first line) has needed camouflage, and the
+method adopted is best expressed as follows:
+
+     There was a young lady of Gloucester
+     Who couldn't eat salt with her egg,
+     And when she sat down
+     She could never get up,
+     And so the poor dog had none.
+
+As regards the accompaniments, I have been solely guided by the
+necessity of preserving the character of the melodies in all their
+vigour and vitality, and have tried, even in obviously modal tunes,
+not to obscure their breeziness by academic treatment.
+
+
+ACKNOWLEDGMENTS
+
+Amongst those to whom I owe thanks, I must number the Editors of _The
+Music Student_ and _Music and Letters_, for allowing me to incorporate
+in this Preface portions of articles which I have written for them.
+Also to Capt. W.J. Dowdy, both for singing shanties to me himself, and
+affording me facilities for interviewing inmates of the Royal Albert
+Institution, over which he presides. I also wish to express my
+gratitude to those sailors who have in recent years sung shanties to
+me, especially Capt. R.W. Robertson, Mr. Geo. Vickers, Mr. Richard
+Allen, of Seahouses, and Mr. F.B. Mayoss. And last, but not least, to
+Mr. Morley Roberts, who has not only sung shanties to me, but has also
+given me the benefit of his ripe nautical experience.
+
+R.R.T.
+
+_Hampstead_, 1921.
+
+
+
+
+NOTES ON THE SHANTIES
+
+
+1. BILLY BOY
+
+This is undoubtedly a coast song 'made into a shanty.' I heard it in
+Northumberland, both on shore and in ships, when I was a boy. The
+theme of a 'Boy Billy' seems common to folk-songs in different parts
+of the country. The tunes are different, and the words vary, but the
+topic is always the same: 'Billy' is asked where he has been all the
+day; he replies that he has been courting; he is then questioned as to
+the qualifications of his _inamorata_ as a housewife. Dr.
+Vaughan-Williams's 'My Boy Billie' is in print and well known, as is
+also Mr. Cecil Sharp's 'My Boy Willie' ['English Folk-Songs,' vol. i,
+page 98]. I have also collected different versions in Warwickshire and
+Somerset. The version of line 1, page 3, bars 2 and 3, is older than
+the one given in my arrangement for male-voice chorus (Curwen Edition
+50572), so, upon consideration, I decided to give it here. There are
+many more verses, but they are not printable, nor do they readily lend
+themselves to camouflage. The tune has not appeared in print until
+now.
+
+
+2. BOUND FOR THE RIO GRANDE
+
+The variants of this noble tune are legion. But this version, which a
+sailor uncle taught me, has been selected, as I think it the most
+beautiful of all. I used to notice, even as a boy, how it seemed to
+inspire the shantyman to sentimental flights of _Heimweh_ that at
+times came perilously near poetry. The words of the well-known song,
+'Where are you going to, my pretty maid?' were frequently sung to this
+shanty, and several sailors have told me that they had also used the
+words of the song known as 'The Fishes.' Capt. Whall gives 'The
+Fishes' on pages 96 and 97 of his book, and says that the words were,
+in his time, sometimes used to the tune of 'Blow the man down.'
+
+
+3. GOOD-BYE, FARE YE WELL
+
+This is one of the best beloved of shanties. So strongly did its
+sentiment appeal to sailors that one never heard the shantyman
+extemporize a coarse verse to it. Whall prints a version, page 71.
+
+
+4. JOHNNY COME DOWN TO HILO
+
+This is clearly of negro origin. I learnt several variants of it, but
+for its present form I am indebted to Capt. W.J. Dowdy.
+
+
+5. CLEAR THE TRACK, LET THE BULLGINE RUN
+
+The tune was a favourite in Yankee Packets. It does not appear in
+Whall. 'Bullgine' was American negro slang for 'engine.' I picked up
+this version in boyhood from Blyth seamen.
+
+
+6. LOWLANDS
+
+For another version see Whall (page 80), who says it is of American
+origin and comes from the cotton ports of the old Southern States. It
+was well known to every sailor down to the time of the China Clippers.
+My version is that of Capt. John Runciman, who belonged to that
+period. I have seldom found it known to sailors who took to the sea
+after the early seventies. The tune was sung in very free time and
+with great solemnity. It is almost impossible to reproduce in print
+the elusive subtlety of this haunting melody. In North-country ships
+the shantyman used to make much of the theme of a dead lover appearing
+in the night. There were seldom any rhymes, and the air was
+indescribably touching when humoured by a good hand. A 'hoosier,' by
+the way, is a cotton stevedore. An interesting point about this shanty
+is that, whether by accident or design, it exhibits a rhythmic device
+commonly practised by mediaeval composers, known as _proportio
+sesquialtera_. Expressed in modern notation it would mean the
+interpolation of bars of three-four time in the course of a
+composition which was in six-eight time. The number of quavers would,
+of course, be the same in each bar; but the rhythm would be different.
+The barring here adopted does not show this.
+
+
+7. SALLY BROWN
+
+For another version of this universally known shanty see Whall, page
+64. Although its musical form is that of a halliard shanty, it was
+always used for the capstan. I never heard it used for any other
+purpose than heaving the anchor. The large-sized notes given in the
+last bar are those which most sailors sing to me nowadays; the small
+ones are those which I most frequently heard when a boy.
+
+
+8. SANTY ANNA
+
+This fine shanty was a great favourite, and in defiance of all history
+the sailor presents 'Santy Anna' in the light of an invariable victor.
+The truth is that Antonio Lopez de Santa Anna (1795-1876) was the
+last President of Mexico before the annexation by America of
+California, Texas, and New Mexico. He defeated the Spaniards at
+Zampico, and held Vera Cruz against the French, but was badly beaten
+at Molina del Rey by the United States Army under General Taylor
+(1847). He was recalled to the Presidency in 1853, but overthrown in
+1855. He attempted to overturn the Republic in 1867; was captured and
+sentenced to death, but was pardoned on condition that he left the
+country. He retired to the United States until 1872, when a general
+amnesty allowed his return to Mexico. Like other Mexican Presidents,
+he lived a stormy life, but unlike most of them he died a natural
+death. Whall gives a version on page 89.
+
+
+9. SHENANDOAH
+
+This is one of the most famous of all shanties. I never met a sailor
+to whom it was unknown, nor have I ever found any two who sang it
+exactly alike. This version (sung to me by Capt. Robertson) is almost,
+but not quite, identical with the one I learnt as a boy. Shenandoah
+(English seamen usually pronounced it 'Shannandore') was a celebrated
+Indian chief after whom an American town is named. A branch of the
+Potomac river bears the same name. The tune was always sung with great
+feeling and in very free rhythm. Whall gives a version on page 1.
+
+
+10. STORMALONG JOHN
+
+This is one of the many shanties with 'Stormy' as their hero. Whatever
+other verses were extemporized, those relating to digging his grave
+with a silver spade, and lowering him down with a golden chain, were
+rarely omitted. Other favourite verses were:
+
+     (_a_) I wish I was old Stormy's son.
+     (_b_) I'd build a ship a thousand ton.
+
+Who 'Stormy' was is undiscoverable, but more than a dozen shanties
+mourn him.
+
+
+11. THE HOG'S-EYE MAN
+
+Of the numberless versions of this shanty I have chosen that of Capt.
+Robertson as being the most representative. Of the infinite number of
+verses to this fine tune hardly one is printable. There has been much
+speculation as to the origin of the title. As a boy my curiosity was
+piqued by reticence, evasion, or declarations of ignorance, whenever I
+asked the meaning of the term. It was only in later life that I learnt
+it from Mr. Morley Roberts. His explanation made it clear why every
+_sailor_ called it either 'hog-eye' or 'hog's-eye,' and why only
+_landsmen_ editors ever get the word wrong. One collector labels the
+shanty 'The hog-eyed man,' and another goes still further wide of the
+mark by calling it 'The ox-eyed man.' The remarks on this shanty in
+the Preface will show the absurdity of both titles. That is all the
+explanation I am at liberty to give in print. Whall gives the shanty
+on page 118, his version differing but slightly from Capt.
+Robertson's.
+
+
+12. THE WILD GOOSE SHANTY
+
+This I learnt from Capt. John Runciman. Allusions to 'The Wild Goose
+Nation' occur in many shanties, but I never obtained any clue to the
+meaning (if any) of the term. The verse about 'huckleberry hunting'
+was rarely omitted, but I never heard that particular theme further
+developed. Whall gives another version (in six-eight time) on page
+131.
+
+
+13. WE'RE ALL BOUND TO GO
+
+I used to hear this tune constantly on the Tyne. It is one of the few
+shanties which preserved a definite narrative, but each port seems to
+have offered variants on the names of the ships that were 'bound for
+Amerikee.' 'Mr. Tapscott' was the head of a famous line of emigrant
+ships. The last word in verse 5 was always pronounced _male_. This has
+led to many shantymen treating it not as _meal_, but as the _mail_
+which the ship carried. As the shanty is full of Irish allusions, the
+probabilities are that the word was _meal_, to which the sailor gave
+what he considered to be the Irish pronunciation. Whenever I heard the
+shanty it was given with an attempt at Irish pronunciation throughout.
+Capt. Whall (page 79) gives additional colour to the supposition that
+this was a general practice, for his version of verse 6 runs:
+
+     'Bad luck unto them _say_-boys,
+        Bad luck to them I say;
+      They broke into me _say_-chest
+        And they stole me clothes away.'
+
+
+14. WHAT SHALL WE DO WITH THE DRUNKEN SAILOR?
+
+This fine tune--in the first Mode--was always a great favourite.
+Although mostly used for windlass or capstan, Sir Walter Runciman
+tells me that he frequently sang to it for 'hand-over-hand' hauling.
+Whall gives it on page 107 under the title 'Early in the morning.' It
+is one of the few shanties that were sung in quick time.
+
+
+15. BLOW, MY BULLY BOYS
+
+This shanty has been included in every collection that I know of. (See
+Whall, page 91.) Most of my sailor relatives sang the last line thus:
+
+[Music illustration: Her masts and yards they shine like silver.]
+
+Spotless decks, and 'masts and yards that shone like silver,' were the
+distinguishing marks of a Yankee Packet, and this immaculate condition
+was the result of a terrible discipline, in which the belaying pin was
+a gruesome factor.
+
+
+16. BLOW THE MAN DOWN
+
+This is the shanty which is perhaps the best known among landsmen.
+'Winchester Street' is in South Shields, and in the old days was the
+aristocratic quarter where only persons of high distinction--such as
+shipowners, and 'Southspainer' skippers--lived. Whall gives the shanty
+on page 92.
+
+
+17. CHEER'LY, MEN
+
+This is a very well-known shanty, and the variants of it are endless.
+This particular version was sung to me by Capt. R.W. Robertson. It
+differs but slightly from the version which I originally learnt from
+Sir Walter Runciman. Very few of the words were printable, and old
+sailors who read my version will no doubt chuckle over the somewhat
+pointless continuation of the verses concerning Kitty Carson and Polly
+Riddle. They will, of course, see the point of my having supplied a
+Chopinesque accompaniment to such a shanty.
+
+
+18. GOOD MORNING, LADIES ALL
+
+The title belongs to other shanties as well; but, so far as I know,
+this tune has never been printed until now. I learnt it from
+Northumbrian sailors when a very small boy, and have never heard of
+its use in any other than Blyth and Tyne ships. It may be a
+Northumbrian air, but from such knowledge as I have gleaned of
+Northumbrian folk-tunes, I incline to the conjecture that it may have
+been picked up in more southern latitudes by some Northumbrian seaman.
+
+
+19. HANGING JOHNNY
+
+This cheery riot of gore is wedded to the most plaintive of tunes, and
+is immortalized by Masefield in his 'Sailor's Garland.' Nowadays one
+occasionally meets unhumorous longshore sailormen who endeavour to
+temper its fury to the shorn landsman by palming off a final verse,
+which gives one to understand that the previous stanzas have been only
+'Johnny's' little fun, and which makes him bleat:
+
+     'They said I hanged for money,
+      But I never hanged nobody.'
+
+I also possess a shanty collection where the words have so clearly
+shocked the editor that he has composed an entirely fresh set. These
+exhibit 'Johnny' as a spotless moralist, who would never _really_ hang
+his parents, but would only operate (in a Pickwickian sense of course)
+on naughty and unworthy people:
+
+     'I'd hang a noted liar,
+      I'd hang a bloated friar.
+
+     'I'd hang a brutal mother,
+      I'd hang her and no other.
+
+     'I'd hang to make things jolly,
+      I'd hang all wrong and folly.'
+
+Imagine a shantyman (_farceur_ as he ever was) making for edification
+in that style!
+
+
+20. HILO SOMEBODY
+
+This is another of the shanties I learnt as a boy from Blyth sailors,
+and which has never been printed before. I fancy that 'blackbird' and
+'crew' must be a perversion of 'blackbird and _crow_,' as the latter
+figure of speech occurs in other shanties.
+
+
+21. OH, RUN, LET THE BULLGINE RUN
+
+The reference to the 'Bullgine' seems to suggest Transatlantic origin.
+There were endless verses, but no attempt at narrative beyond a
+recital of the names of places from which and to which they were
+'running.' This version was sung to me by Mr. F.B. Mayoss, a seaman
+who sailed in the old China Clippers.
+
+
+22. REUBEN RANZO
+
+Alden gives this version, and I fancy it may have once been fairly
+general, as several of my relatives used to sing it. The version I
+mostly heard from other sailors, however, began:
+
+[Music illustration: Oh, pity poor Reuben Ranzo etc.]
+
+But from Mr. Morley Roberts I had the following:
+
+[Music illustration: Oh, pity poor Reuben Ranzo etc.]
+
+Capt. Robertson's version ran thus:
+
+[Music illustration:
+
+     Oh, poor old Reuben Ranzo,
+     Ranzo, boys, Ranzo,
+     Oh, poor old Reuben Ranzo,
+     Ranzo, boys, Ranzo.]
+
+Whall gives another version on page 84.
+
+Who Ranzo was must ever remain a mystery. Capt. Whall suggests that
+the word might be a corruption of Lorenzo, since Yankee Whalers took
+many Portuguese men from the Azores, where Lorenzo would have been a
+common enough name. He adds that in his time the shanty was always
+sung to the regulation words, and that 'when the story was finished
+there was no attempt at improvization; the text was, I suppose,
+considered sacred.' He further says that he never heard any variation
+from the words which he gives.
+
+I think he is right about the absence of improvization on extraneous
+topics, but I used to hear a good deal of improvization on the subject
+of Ranzo himself. I knew at least three endings of the story: (1)
+where the captain took him into the cabin, 'larned him navigation,'
+and eventually married him to his daughter; (2) where Ranzo's hatred
+of ablutions caused the indignant crew to throw him overboard; (3)
+where the story ended with the lashes received, not for his dirty
+habits, but for a theft:
+
+     'We gave him lashes thirty
+      For stealin' the captain's turkey.'
+
+I have also heard many extemporaneous verses relating his adventures
+among the denizens of the deep after he was thrown overboard.
+
+
+23. THE DEAD HORSE
+
+This shanty was used both for hauling and for pumping ship. It seems
+to have had its origin in a rite which took place after the crew had
+'worked off the dead horse.' The circumstances were these: Before any
+voyage, the crew received a month's pay in advance, which, needless to
+say, was spent ashore before the vessel sailed. Jack's first month on
+sea was therefore spent in clearing off his advance, which he called
+working off the dead horse. The end of that payless period was
+celebrated with a solemn ceremony: a mass of straw, or whatever other
+combustibles were to hand, was made up into a big bundle, which
+sometimes did, and more often did not, resemble a horse. This was
+dragged round the deck by all hands, the shanty being sung meanwhile.
+The perambulation completed, the dead horse was lighted and hauled up,
+usually to the main-yardarm, and when the flames had got a good hold,
+the rope was cut and the blazing mass fell into the sea, amid shouts
+of jubilation.
+
+
+24. TOM'S GONE TO HILO
+
+This beautiful tune was very popular. I have chosen the version sung
+to me by Mr. George Vickers, although in the first chorus it differs
+somewhat from the version I learnt as a boy:
+
+[Music illustration: Away down Hilo etc.]
+
+It will be seen how closely the above resembles the version given by
+Whall on page 74. (It will be noted that he entitled it '_John's_ gone
+to Hilo.') I give Mr. Vickers's verses about 'The Victory' and
+'Trafalgar,' as I had never heard them sung by any other seaman. I
+have omitted the endless couplets containing the names of places to
+which Tommy is supposed to have travelled. As Capt. Whall says: 'A
+good shantyman would take Johnny all round the world to ports with
+three syllables, Montreal, Rio Grande Newfoundland, or any such as
+might occur to him.'
+
+
+25. WHISKY JOHNNY
+
+This Bacchanalian chant was a prime favourite. Every sailor knew it,
+and every collection includes some version of it.
+
+
+26. BONEY WAS A WARRIOR
+
+I never met a seaman who has not hoisted topsails to this shanty. Why
+Jack should have made a hero of Boney (he frequently pronounced it
+'Bonny') is a mystery, except perhaps that, as a sailor, he realized
+the true desolation of imprisonment on a sea-girt island, and his
+sympathies went out to the lonely exile accordingly. Or it may have
+been the natural liking of the Briton for any enemy who proved himself
+a 'bonny fechter.'
+
+
+27. JOHNNY BOKER
+
+This popular shanty was sometimes used for bunting-up a sail, but more
+usually for 'sweating-up.' Although I have allowed the last note its
+full musical value, it was not prolonged in this manner aboard ship.
+As it coincided with the pull, it usually sounded more like a staccato
+grunt.
+
+
+28. HAUL AWAY, JOE
+
+The major version of this shanty (which appears in Part II) was more
+general in the last days of the sailing ship; but this minor version
+(certainly the most beautiful of them) is the one which I used to hear
+on the Tyne. The oldest of my sailor relatives never sang any other.
+This inclines me to the belief that it is the earlier version. The
+verses extemporized to this shanty were endless, but those concerning
+the Nigger Girl and King Louis never seem to have been omitted. As in
+No. 27, I have allowed the last note its full musical value, but
+aboard ship it was sung in the same manner as No. 27.
+
+
+29. WE'LL HAUL THE BOWLIN'
+
+This was the most popular shanty for 'sweating-up.' There are many
+variants of it. The present version I learnt from Capt. John Runciman.
+In this shanty no attempt was ever made to sing the last word. It was
+always shouted.
+
+
+30. PADDY DOYLE'S BOOTS
+
+This shanty differs from all others, as (_a_) it was sung _tutti_
+throughout; (_b_) it had only one verse, which was sung over and over
+again; and (_c_) it was used for one operation and one operation only,
+viz. bunting up the foresail or mainsail in furling. In this operation
+the canvas of the sail was folded intensively until it formed a smooth
+conical bundle. This was called a bunt, and a strong collective effort
+(at the word 'boots') was required to get it on to the yard.
+
+Although the same verse was sung over and over again, very
+occasionally a different text would be substituted, which was treated
+in the same manner. Capt. Whall gives two alternatives, which were
+sometimes used:
+
+     'We'll all drink brandy and gin,'
+
+and--
+
+     'We'll all shave under the chin.'
+
+Mr. Morley Roberts also told me that a variant in his ship was--
+
+     'We'll all throw dirt at the cook.'
+
+
+
+
+THE SHANTY BOOK.
+
+PART I.
+
+[Transcriber's Note: Fractions in brackets indicate that the original
+text has a music note symbol over the succeeding word, e.g., [1/4] = a
+quarter note. A vowel with an umlaut indicates that the word or
+syllable has two dots over it in the original text, presumably to
+indicate that it should be prolonged when sung. See the Glossary
+below.]
+
+
+
+
+1. Billy Boy.
+
+(NORTHUMBRIAN CAPSTAN SHANTY.)
+
+
+[Music illustration:
+
+1.   Where hev ye been aeal the day,
+     Billy Boy, Billy Boy?
+   Where hev ye been aeal the day, me Billy Boy?
+     I've been walkin' aeal the day
+     With me charmin' Nancy Grey,
+     And me Nancy kittl'd me fancy
+     Oh me charmin' Billy Boy.]
+
+2.   Is she fit to be yor wife
+     Billy Boy, Billy Boy?
+   Is she fit to be yor wife, me Billy Boy?
+     She's as fit to be me wife
+     As the fork is to the knife
+     And me Nancy, _etc._
+
+3.   Can she cook a bit o' steak
+     Billy Boy, Billy Boy?
+   Can she cook a bit o' steak, me Billy Boy?
+     She can cook a bit o' steak,
+     Aye, and myek a gairdle cake
+     And me Nancy, _etc._
+
+4.   Can she myek an Irish Stew
+     Billy Boy, Billy Boy?
+   Can she myek an Irish Stew, me Billy Boy?
+     She can myek an Irish Stew
+     Aye, and "Singin' Hinnies" too.
+     And me Nancy, _etc._
+
+_Glossary_:--
+
+     aeal = all. Pronounced to rhyme with "shall" only the vowel
+     must be very much prolonged.
+
+     kittled = tickled.
+
+     myek = make.
+
+     gairdle cake = girdle cake, i.e. a cake baked on a griddle.
+
+     Singin' Hinnies--i.e. a species of Sally Lunn teacake only
+     larger. Usually plentifully besprinkled with currants, in
+     which case it is designated by pitmen as "Singin' Hinnies
+     wi' smaea co fizzors" (small coal fizzers.)
+
+
+
+
+2. Bound for the Rio Grande.
+
+(WINDLASS AND CAPSTAN SHANTY.)
+
+
+[Music illustration:
+
+1. I'll sing you a song of the fish of the sea.
+   Oh Rio.
+   I'll sing you a song of the fish of the sea
+   And we're bound for the Rio Grande.
+   Then away love, away,
+   'Way down Rio,
+   So fare ye well my pretty young gel.
+   For we're bound for the Rio Grande.]
+
+2. Sing good-bye to Sally, and good-bye to Sue, Oh Rio, _etc._
+   And you who are listening, good-bye to you. And we're bound, _etc._
+
+3. Our [1/4]ship [1/8]went sailing out over the Bar
+   [1/16]And [1/16]we pointed her nose for the South-er-en Star.
+
+4. Farewell and adieu to you ladies of Spain
+   [1/16]And [1/16]we're all of us coming to see you again.
+
+5. [1/8]I [1/4]said [1/8 1/4]farewell [1/8]to Kitty my dear,
+   [1/16]And [1/16]she waved her white hand as we passed the South Pier.
+
+6. The oak, and the ash, and the bonny birk tree
+   They're all growing green in the North Countrie.
+
+
+
+
+3. Good-bye, fare ye well.
+
+
+[Music illustration:
+
+1. I thought I heard the old man say
+   Good-bye, fare ye well,
+   Good-bye, fare ye well.
+   I thought I heard the old man say,
+   Hooray my boys we're homeward bound.]
+
+2. We're homeward bound, I hear the sound. (_twice_)
+
+3. We sailed away to Mobile Bay. (_twice_)
+
+4. But now we're bound for Portsmouth Town. (_twice_)
+
+5. And soon we'll be ashore again. (_twice_)
+
+6. I kissed my Kitty upon the pier
+   [1/16]And [1/16]it's oh to see you again my dear.
+
+7. We're homeward bound, and I hear the sound. (_twice_)
+
+
+
+
+4. Johnny come down to Hilo.
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+1. I nebber see de like since I bin born,
+   When a big buck nigger wid de sea boots on,
+                            Says "Johnny come down to Hilo.
+                            Poor old man."
+   Oh wake her, oh, shake her,
+   Oh wake dat gel wid de blue dress on,
+                            When Johnny comes down to Hilo.
+                            Poor old man.]
+
+2. I lub a little gel across de sea,
+   She's a Badian[1] beauty and she sez to me,
+                            "Oh Johnny," _etc._
+
+3. Oh was you ebber down in Mobile Bay
+   Where dey screws de cotton on a summer day?
+                            When Johnny, _etc._
+
+4. [1/16]Did [1/16]you ebber see de ole Plantation Boss
+   And de long-tailed filly and de big black hoss?
+                            When Johnny, _etc._
+
+5. I nebber seen de like since I bin born
+   When a big buck nigger wid de sea boots on,
+                            Says "Johnny come down," _etc._
+
+[Footnote 1: i.e. Barbadian, to wit, a native of Barbados.]
+
+
+
+
+5. Clear the track, let the Bullgine run.
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+1. Oh, the smartest clipper you can find.
+   Ah ho Way-oh, are you most done.
+   Is the Marget Evans of the Blue Cross Line.
+   So clear the track, let the Bullgine run.
+   Tibby Hey rig a jig in a jaunting car.
+   Ah ho Way-oh, are you most done.
+   With Lizer Lee all on my knee.
+   So clear the track, let the Bullgine run.]
+
+2. Oh the Marget [1/16 1/16]Evans [1/16]of [1/16]the Blue Cross Line
+   She's [1/16 1/16]never a day behind her time.
+
+3. Oh the gels are walking on the pier
+   [1/16]And [1/16]I'll soon be home to you, my dear.
+
+4. Oh when I come home across the sea,
+   It's Lizer you will marry me.
+
+5. Oeh shake her, wake [1/16]her, [1/16 1/8]before [1/8]we're [1/8]gone;
+   Oh fetch that gel with the blue dress on.
+
+6. Oh I thought I heard the skipper say
+   "We'll keep the brig three points away."
+
+7. Oh the smartest clipper you can find
+   Is the Marget [1/16 1/16]Evans [1/16]of [1/16]the Blue Cross Line.
+
+
+
+
+6. Lowlands away.
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+(INTRODUCTION.)
+
+Lowlands, Lowlands,
+Away my John,
+Lowlands, away,
+I heard them say,
+My dollar and a half a day.
+
+1. A dollar and a half a day is a Hoosier's pay.
+   Lowlands, Lowlands,
+   Away my John.
+   A dollar and a half a day is very good pay.
+   My dollar and a half a day.
+
+2. Oh was you ever in Mobile Bay.
+   Lowlands, Lowlands,
+   Away my John.
+   Screwing the cotton by the day.
+   My dollar and a half a day.
+
+3. All in the night my true love came,
+   Lowlands, Lowlands,
+   Away my John.
+   All in the night my true love came.
+   My dollar and a half a day.]
+
+4. She came to me all in my sleep. (_twice_)
+
+5. And her eyes were white my love. (_twice_)
+
+6. And then I knew my love was dead. (_twice_)
+
+
+
+
+7. Sally Brown.
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+1. Sally Brown she's a bright Mulatter.
+   Way Ay-y Roll and go.
+   She drinks rum and chews terbacker.
+   Spend my money on Sally Brown.]
+
+2. Sally Brown she has a daughter
+   Sent me sailin' 'cross the water.
+
+3. Seven long years I courted Sally. (_twice_)
+
+4. Sally Brown I'm bound to leave you
+   Sally Brown I'll not deceive you.
+
+5. Sally she's a 'Badian' beauty. (_twice_)
+
+6. Sally lives on the old plantation
+   She belongs the Wild Goose Nation.
+
+7. Sally Brown is a bright Mulatter
+   She drinks rum and chews terbacker.
+
+
+
+
+8. Santy Anna.
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+1. Oh Santy Anna won the day.
+   Way-Ah, me Santy Anna.
+   Oh Santy Anna won the day.
+   All on the plains of Mexico.]
+
+2. He beat the Prooshans fairly. Way-Ah, _etc._
+   And whacked the British nearly. All on, _etc._
+
+3. He was a rorty gineral;
+   A rorty snorty gineral.
+
+4. They took him out and shoet him.
+   Oh when shall we forget him.
+
+5. Oh Santy Anna won the day
+   And Gin'ral Taylor run away.
+
+
+
+
+9. Shenandoah.[2]
+
+(WINDLASS AND CAPSTAN.)
+
+[Footnote 2: The small notes in the piano part are to be played when
+there is no violin.]
+
+
+[Music illustration:
+
+1. Oh Shenandoah, I long to hear you.
+   Away you rolling river.
+   Oh Shenandoah, I long to hear you.
+   Away, I'm bound to go
+   'Cross the wide Missouri.]
+
+2. Oh Shenandoah, I love your daughter. (_twice_)
+
+3. 'Tis seven long years since last I see thee. (_twice_)
+
+4. Oh Shenandoah, I took a notion
+   To sail across the stormy ocean.
+
+5. Oh Shenandoah, I'm bound to leave you.
+   Oh Shenandoah, I'll not deceive you.
+
+6. Oh Shenandoah, I long to hear you. (_twice_)
+
+
+
+
+10. Stormalong John.
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+1. Oh poor old Stormy's dead and gone.
+   Storm along boys,
+   Storm along.
+   Oh poor old Stormy's dead and gone.
+   Ah-ha, come along, get along,
+   Stormy along John.]
+
+2. I dug his grave [1/8]with [1/8]a silver spade. (_twice_)
+
+3. I lower'd him down [1/8]with [1/8]a golden chain. (_twice_)
+
+4. I [1/8 1/8]carried [1/8]him [1/8]away to Mobile Bay. (_twice_)
+
+5. Oh poor old Stormy's dead and gone. (_twice_)
+
+
+
+
+11. The Hog's-eye Man.
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+1. Oh the hog's-eye man is the man for me,
+   He were raised way down in Tennessee.
+   Oh hog's eye, oh.
+
+   Row the boat ashore for the hog's-eye.
+   Steady on a jig with a hog's-eye oh,
+   She wants the hog's-eye man.]
+
+2. Oh who's been here while I've been gone?
+   Soeme big buck [1/16 1/16]nigger, with his sea boots on?[3]
+
+3. Oh bring me down my riding cane,
+   For I'm off to see my darling Jane.
+
+4. Oh [1/16 1/16]Jenny's [1/16]in [1/16]the [1/8 1/16]garden a-picking
+     peas,
+   And her [1/16 1/16]golden hair's [1/16 1/16]hanging down to her knees.
+
+5. Oh a hog's-eye ship, and a hog's-eye crew,
+   And a hog's-eye mate, and a skipper too.
+
+[Footnote 3: This verse was sometimes sung:--
+
+     "Now where have you been gone so long
+      You Yankee Jack wid de sea boots on?"]
+
+
+
+
+12. The Wild Goose Shanty.
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+1. I'm the Shanty-man of the Wild Goose Nation.
+   Tibby Way-ay Hioha!
+   I've left my wife on a big plantation.
+   Hilo my Ranzo Hay!]
+
+2. Now a long farewell to the old plantation. (_twice_)
+
+3. And a long farewell to the Wild Goose Nation. (_twice_)
+
+4. Oh the boys [1/8.]and [1/16]the [1/4]girls went a [1/8. 1/16 1/8.
+     1/16]huckleberry hunting. (_twice_)
+
+5. Then good-bye [1/8.]and [1/16 1/4]farewell yoeu rolling river.
+     (_twice_)
+
+6. I'm the Shanty-man of the Wild Goose Nation.
+   I've left my wife on a big plantation.
+
+
+
+
+13. We're all bound to go.
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+1. Oh Johnny was a rover
+     And to-day he sails away.
+            Heave away, my Johnny,
+            Heave away-ay.
+   Oh Johnny was a rover
+     And to-day he sails away.
+            Heave away my bully boys,
+            We're all bound to go.]
+
+2. As I was walking out one day,
+     Down by the Albert Dock.
+            Heave away, &c.
+   I heard an emigrant Irish girl
+     Conversing with Tapscott.
+            Heave away, &c.
+
+3. "Good mornin', Mister Tapscott, sir,"
+     "Good morn, my gel," sez he,
+   "It's have you got a Packet Ship
+     All bound for Amerikee?"
+
+4. "Oh yes, I've got a Packet Ship,
+     I _have_ got one or two.
+   I've got the _Jenny Walker_
+    And I've got the _Kangeroo_."
+
+5. "I've got the _Jenny Walker_
+     And to-day she does set sail,
+   With five and fifty emigrants
+     [1/16]And [1/16]a thousand bags o' male."[4]
+
+6. [1/8]Bad [1/8]luck [1/8]to [1/8]thim Irish sailor boys,
+     Bad luck to thim I say.
+   [1/16]For [1/16]they all got [1/8]drunk, [1/8]and [1/8]broke into me
+     bunk
+     And stole me clo'es away.
+
+[Footnote 4: meal.]
+
+
+
+
+14. What shall we do with the drunken sailor?
+
+(WINDLASS AND CAPSTAN.)
+
+
+[Music illustration:
+
+1. What shall we do with the drunken sailor,
+   What shall we do with the drunken sailor,
+   What shall we do with the drunken sailor
+   Early in the morning?
+   Hooray and up she rises,
+   Hooray and up she rises,
+   Hooray and up she rises
+   Early in the morning.]
+
+2. [1/16]Put [1/16]him in the long-boat until he's sober. (_thrice_)
+
+3. Pull out the plug aend [1/16]wet [1/16]him all over. (_thrice_)
+
+4. [1/16]Put [1/16]him in the [1/16 1/16]scuppers with a hose-pipe on
+     him. (_thrice_)
+
+5. [1/16]Heave [1/16]him by the leg in a running bowlin'. (_thrice_)
+
+6. [1/16]Tie [1/16]him to the [1/16 1/16]taffrail when she's yard-arm
+     under. (_thrice_)
+
+
+
+
+15. Blow my bully boys.
+
+(HALLIARD SHANTY.)
+
+
+[Music illustration:
+
+1. A Yankee ship came down the river,
+   Blow, boys blow.
+   Her masts and yards they shine like silver.
+   Blow my bully boys blow.]
+
+2. And how d'ye know [1/8]she's [1/8]a Yankee packet?
+   The Stars and Stripes they fly above her.
+
+3. And who d'ye think was skipper of her. (_twice_)
+
+4. 'Twas Dandy Jim, the one-eyed nigger;
+   'Twas Dandy Jim, [1/8]with [1/8]his bully figure.
+
+5. And what d'ye think they had for dinner?
+   Why bullock's lights and donkey's liver.
+
+6. And what d'ye think they had for supper?
+   Why weevilled bread and Yankee leather.
+
+7. Then blow my boys, and blow together.
+   And blow my boys for better weather.
+
+8. A Yankee ship came down the river.
+   Her masts and yards they shine like silver.
+
+
+
+
+16. Blow the man down.
+
+(HALLIARDS.)
+
+
+[Music illustration:
+
+1. Oh blow the man down, bullies, blow the man down.
+   To me Way-ay, blow the man down.
+   Oh blow the man down, bullies, blow him away.
+   Oh gimme some time to blow the man down.
+
+2. We went over the Bar on the thirteenth of May.
+   To me Way-ay, blow the man down.
+   The Galloper jumped, and the gale came away.
+   Oh gimme some time to blow the man down.]
+
+3. Oh the rags they was gone, and the chains they was jammed,
+   [1/16]And [1/16]the skipper sez he, "Let the weather be hanged."
+
+4. Aes I was a-walking down Winchester Street,
+   A saucy young damsel I happened to meet.
+
+5. I sez to her, "Polly, and how d'you do?"
+   Sez she, "None the better for seein' of you."
+
+6. Oh, it's sailors is tinkers, and tailors is men.
+   [1/16]And [1/16]we're all of us coming to see you again.
+
+7. So we'll blow the man up, and we'll blow the man down.
+   [1/16]And [1/16]we'll blow him away into Liverpool Town.
+
+
+
+
+17. Cheer'ly men.[5]
+
+(HALLIARDS.)
+
+[Footnote 5: Pronounced "Chee-lee men."]
+
+
+[Music illustration:
+
+1. Oh, Nancy Dawson, I-Oh.
+   Chee-lee men.
+   She robb'd the Bo'sun, I-Oh.
+   Chee-lee men.
+   That was a caution, I-Oh.
+   Chee-lee men.
+   Oh Hauly, I-Oh,
+   Chee-lee men.
+
+If sung without accompaniment the portion within brackets may be
+omitted. If sung with accompaniment the note D (to the word "men") may
+be sung _crescendo_ and held on to the end of the bar.]
+
+2. Oh Sally Racket. I-Oh, &c.
+   Pawned my best jacket. I-Oh, &c.
+   Sold the pawn ticket. I-Oh, &c.
+
+3. Oh Kitty Carson
+   Jilted the parson,
+   Married a mason.
+
+4. Oh Betsy Baker
+   Lived in Long Acre,
+   Married a quaker.
+
+5. Oh Jenny Walker
+   Married a hawker
+   That was a corker.
+
+6. Oh Polly Riddle
+   Broke her new fiddle.
+   Right through the middle.
+
+
+
+
+18. Good morning, ladies all.
+
+(HALLIARDS.)
+
+
+[Music illustration:
+
+1. Now a long good-bye to you, my dear,
+                         With a heave-oh haul.
+   And a last farewell, and a long farewell.
+                         And good morning, ladies all.]
+
+2. For we're outward boeund to New York town;
+                         With a heave, _etc._
+   And you'll wave to us till the sun goes down.
+                         And good morning, _etc._
+
+3. Aend when we get to New York town,
+   Oh it's there we'll drink, and sorrows drown.
+
+4. When we're back once moere in London Docks,
+   All the pretty girls will come in flocks.
+
+5. Aend Poll, and Bet, and Sue will say:
+   "Oh it's here comes Jack with his three years' pay."
+
+6. So a long good-bye to you, my dear,
+   And a last farewell, and a long farewell.
+
+
+
+
+19. Hanging Johnny.
+
+(HALLIARDS.)
+
+
+[Music illustration:
+
+1. Oh they call me hanging Johnny.
+   Away, boys, away.
+   They says I hangs for money.
+   Oh hang, boys, hang.]
+
+2. Aend first I hanged my daddy. (_twice_)
+
+3. Aend then I hanged my mother,
+   My sister and my brother.
+
+4. Aend then I hanged my granny. (_twice_)
+
+5. Aend then I hanged my Annie;
+   I hanged her up see canny.[6]
+
+6. We'll hang and haul together;
+   We'll haul for better weather.
+
+[Footnote 6: Northumbrian equivalent of "so nicely" or "so gently."]
+
+
+
+
+20. Hilo somebody.
+
+(HALLIARDS AND INTERCHANGEABLE.)
+
+
+[Music illustration:
+
+1. The blackbird sang unto our crew.
+   Hilo boys, Hilo.
+   The blackbird sang unto our crew.
+   Oh Hilo somebody, Hilo.]
+
+2. The blackbird sang so sweet to me. (_twice_)
+
+3. We sailed away to Mobile Bay. (_twice_)
+
+4. And now we're bound for London Town. (_twice_)
+
+5. The up aloft this yard must go. (_twice_)
+
+6. I thought I heard the old man say:--
+  "Just one more pull, and then belay."
+
+7. Hooray my boys, we're homeward bound. (_twice_)
+
+8. The blackbird sang unto our crew. (_twice_)
+
+
+
+
+21. Oh run, let the Bullgine run.
+
+(HALLIARDS.)
+
+
+[Music illustration:
+
+1. Oh we'll run all night till the morning.
+   Oh run, let the Bullgine run.
+   Way-yah, Oh-I-Oh, run, let the Bullgine run.]
+
+2. Oh we sailed all day toe Mobile Bay.
+
+3. Oh we sailed all night aecross the Bight.[7]
+
+4. Oh we'll run from Dover to Caellis.
+
+5. Oeh drive her captaein, drive her.
+
+6. Oeh captain make her noese blood.
+
+7. She's a dandy packet and a flier too.
+
+8. With a dandy skipper, and a dandy crew.
+
+9. Oh we'll run all night till the moerning.
+
+[Footnote 7: Of Australia.]
+
+
+
+
+22. Reuben Ranzo.
+
+(HALLIARDS.)
+
+
+[Music illustration:
+
+1. Oh poor old Reuben Ranzo,
+   Oh Ranzo boys, Ranzo.
+   Ah pity poor Reuben Ranzo.
+   Ranzo boys, Ranzo.]
+
+2. Oh Ranzo was no sailor
+   He shipped on board a whaler.
+
+3. Old Ranzo couldn't steer her,
+   [1/8]Did [1/8]you [1/8 1/8]ever hear [1/8 1/8]anything queerer?
+
+4. Oh Ranzo was no beauty
+   Why [1/8 1/8]couldn't he do his duty?
+
+5. Oh Ranzo washed [1/8]once [1/8]a fortnight
+   He said it was his birthright.
+
+6. They triced [1/8]up [1/8]this man so dirty
+   And gave him five and thirty.[8]
+
+7. Oh poor old Reuben Ranzo
+   Ah [1/8 1/8]pity poor Reuben Ranzo.
+
+[Footnote 8: i.e. 35 lashes.]
+
+
+
+
+23. The dead horse.
+
+(HALLIARDS, or PUMPING SHIP.)
+
+
+[Music illustration:
+
+1. A poor old man came riding by.
+   And they say so, and they hope so.
+   A poor old man came riding by.
+   Oh poor old man.]
+
+2. I said "Old man your hoss will die." (_twice_)
+
+3. And if he dies I'll tan his skin. (_twice_)
+
+4. And if he lives you'll ride again. (_twice_)
+
+5. I thought I heard the skipper say. (_twice_)
+
+6. Oh one more pull and then belay. (_twice_)
+
+7. A poor old man came riding by. (_twice_)
+
+
+
+
+24. Tom's gone to Hilo.
+
+(HALLIARDS.)
+
+
+[Music illustration:
+
+1. Tommy's gone and I'll go too,
+               Away down Hilo.
+   Oh, Tommy's gone and I'll go too.
+               Tom's gone to Hilo.]
+
+2. Tommy's gone to Liverpool,
+               Away, &c.
+   Oh, Tommy's gone to Liverpool,
+               Tom's gone to Hilo.
+
+3. Tommy's gone to Mobile Bay.
+   Oh, Tommy's gone to Mobile Bay.
+
+4. Tommy's gone, what shall I do?
+   Oh, Tommy's gone, what shall I do?
+
+5. Tommy fought at Trafalgar.
+   Oh, Tommy fought at Trafalgar.
+
+6. The old Vic[1/16 1/16]tory led the way.
+   The brave old Vic[1/16 1/16]tory led the way.
+
+7. Tommy's gone for evermore.
+   Oh, Tommy's gone for evermore.
+
+
+
+
+25. Whisky Johnny.
+
+(HALLIARDS.)
+
+
+[Music illustration:
+
+1. Oh whisky is the life of man.
+   Whiskey Johnny.
+   Oh whisky is the life of man.
+   Whisky for my Johnny.]
+
+2. Oh whisky makes me pawn my clothes.
+   And whisky gave me this red nose.
+
+3. Oh whisky killed my poor old dad.
+   And whisky druv my mother mad.
+
+4. Oh whisky up, and whisky down.
+   And whisky all around the town.
+
+5. Oh whisky here and whisky there.
+   It's I'll have whisky everywhere.
+
+6. Oh whisky is the life of man.
+   It's whisky in an old tin can.
+
+
+
+
+26. Boney was a warrior.
+
+(HALLIARDS.)
+
+
+[Music illustration:
+
+1. Boney was a warrior.
+   Way-ay Yah.
+   Boney was a warrior.
+   John France-Wah.[9]]
+
+[Footnote 9: Francois.]
+
+2. Boney beat the Rooshians. (_twice_)
+
+3. Boney beat the Prooshians. (_twice_)
+
+4. Boney went to Moescow. (_twice_)
+
+5. Moscow was a-fire. (_twice_)
+
+6. Boney he came back again. (_twice_)
+
+7. Boney went to Elbow. (_twice_)
+
+8. Boney went to Waterloo. (_twice_)
+
+9. Boney was defeated. (_twice_)
+
+10. Boney was a prisoner
+    'Board the Billy Ruffian.[10]
+
+11. Boney he was sent away,
+    'Way to St. Helena.
+
+12. Boney broke his heart, and died. (_twice_)
+
+13. Boney was a warrior. (_twice_)
+
+[Footnote 10: Sailor pronunciation of "Bellerophon."]
+
+
+
+
+27. Johnny Boker.
+
+(FORE-SHEET.)
+
+
+[Music illustration:
+
+1. Oh do my Johnny Boker,
+   Come rock and roll me over.
+   Do my Johnny Boker, do.]
+
+2. Oh do my Johnny Boker,
+   The skipper is a rover.
+   Do my Johnny, &c.
+
+3.   Oh do, &c.
+   The mate he's never sober.
+     Do my, &c.
+
+4.   Oh do, &c.
+   The Bo'sun is a tailor.
+     Do my, &c.
+
+5.   Oh do, &c.
+   We'll all go on a [1/8 1/8 1/4]jamboree.
+     Do my, &c.
+
+6.   Oh do, &c.
+   The Packet is a Rollin'.
+     Do my, &c.
+
+7.   Oh do, &c.
+   We'll pull and haul together.
+     Do my, &c.
+
+8.   Oh do, &c.
+   We'll haul for better weather.
+     Do my, &c.
+
+9.   Oh do, &c.
+   And soon we'll be in [1/8 1/8]London Town.
+     Do my, &c.
+
+10.   Oh do, &c.
+    Come rock and roll me over.
+      Do my, &c.
+
+
+
+
+28. Haul away, Joe.
+
+(FORE-SHEET.)
+
+
+[Music illustration:
+
+1. Way, haul away,
+   We'll haul away the bowlin'.
+   Way, haul away,
+   Haul away Joe.]
+
+2. Way haul away. The packet is a-rollin'.
+
+3. Way haul away. We'll hang and haul together.
+
+4. Way haul away. We'll haul for better weather.
+
+5. [1/4]Once [1/8]I [1/4]had [1/8]a [1/4 1/8]nigger [1/4]girl, and she
+     was fat and lazy.
+
+6. [1/4]Then [1/8]I [1/4]had [1/8]a [1/4 1/8]Spanish girl, she nearly
+     druv me crazy.
+
+7. [1/4 1/8]Geordie [1/4 1/8]Charlton [1/4]had [1/8]a [1/4]pig, and it
+     was double jointed.
+
+8. [1/8]He [1/4]took [1/8]it [1/4]to [1/8]the blacksmith's shop to get
+     its trotters pointed.
+
+9. [1/8]King [1/4 1/8]Louis [1/4]was [1/8]the [1/4]king [1/8]o'
+     [1/4]France before the Revolution.
+
+10. [1/8]King [1/4 1/8]Louis [1/4]got [1/8]his [1/4]head [1/8]cut
+      [1/4]off, and spoiled his Constitution.
+
+11. Oh when I was a little boy and so my mother told me.
+
+12. That if I didn't kiss the girls my lips would all go mouldy.
+
+13. Oh once I had a scolding wife, she wasn't very civil.
+
+14. I clapped a plaster on her mouth and sent her to the divvle.
+
+
+
+
+29. We'll haul the bowlin'.
+
+(FORE-SHEET.)
+
+
+[Music illustration:
+
+1. We'll haul the bowlin' so early in the morning.
+   We'll haul the bowlin', the bowlin' haul![11]]
+
+[Footnote 11: The last word ("haul") of the chorus is not sung but
+shouted _staccato_.]
+
+2. We'll haul the bowlin' for Kitty is my darlin'.
+
+3. We'll haul the bowlin'; the fore-to-gallant bowlin'.
+
+4. We'll haul the bowlin', the skipper is a growlin'.
+
+5. We'll haul the bowlin', the packet is a rollin'.
+
+6. We'll haul the bowlin' so early in the morning.
+
+
+
+
+30. Paddy Doyle's boots.
+
+(BUNT SHANTY.)
+
+
+[Music illustration:
+
+1. To my way-ay-ay-ah,
+   We'll pay Paddy Doyle for his boots.]
+
+_Alternative verses._
+
+2. We'll all throw dirt at the cook.
+
+3. We'll all drink brandy and gin.
+
+
+
+
+BRIEF LIST OF
+
+Morris and Country Dances
+Folk Songs, Singing Games
+
+_Our Folk Music List, gratis and post free, contains full particulars,
+contents, and illustrations of these works._
+
+ALL PRICES ARE NET CASH EXCEPT THOSE MARKED Sec.
+
+       *       *       *       *       *
+
+The Esperance Morris Book
+
+By MARY NEAL
+
+5694 Parts I and II. Price 7/6 each net cash.
+
+
+The Guild of Play Books
+
+By Mrs. C.W. KIMMINS
+
+5634 Parts I-IV. Price 7/6 each net cash.
+
+5735 MASQUE OF THE CHILDREN OF THE EMPIRE. Numbers from the 'Guild of
+Play Book.' Price: Plan, without music, 2/-; Complete, 5/- net cash.
+
+5777 NATIONAL SONGS AND DANCES OF THE ALLIES. Price 5/- net cash.
+
+
+Singing Games
+
+Collected by Miss Alice Gillington
+
+                                           _Net Cash_
+5734 OLD DORSET SINGING GAMES                     1/-
+5673 OLD HAMPSHIRE SINGING GAMES                  1/-
+5668 OLD SURREY SINGING GAMES                     1/-
+5685 OLD ISLE OF WIGHT SINGING GAMES              1/-
+5703 BRETON SINGING GAMES                         1/-
+
+Collected by S.E. Thornhill.
+
+5730 LONDON BRIDGE AND OTHER GAMES                2/-
+
+Collected by Grace Cleveland Porter.
+
+5756 NEGRO FOLK-SINGING GAMES                     2/6
+
+
+Country, Morris, and Folk Dances[12]
+
+Arranged by Mary H. Woolnoth
+
+[Footnote 12: Bells, rosettes, hats, beansticks, maypoles and braids
+may be procured from the Publishers.]
+
+                                           _Net Cash_
+5743 PLAYFORD'S COUNTRY DANCES                    3/-
+
+Revived by Nellie Chaplin.
+
+5675 ANCIENT DANCES AND MUSIC                     3/-
+5707 COURT DANCES AND OTHERS                      5/-
+5746 MINUET AND GAVOTTE                           2/-
+
+Edited by Miss Cowper Coles.
+
+5704 GREENSLEEVES AND OTHER OLD DANCES            3/-
+5681 OLD ENGLISH COUNTRY DANCE STEPS              2/-
+
+Collected by Mildred Bult
+
+5640 OLD DEVONSHIRE DANCES                        1/-
+
+Collected by John Graham.
+
+5623 SHAKESPEAREAN-BIDFORD MORRIS DANCES          2/-
+5713 LANCASHIRE AND CHESHIRE MORRIS DANCES        2/-
+
+Collected by Frank Kidson.
+
+5769 ENGLISH COUNTRY DANCES                       2/-
+  Arranged for children's performance, with Instructions.
+5645 OLD ENGLISH COUNTRY DANCE AND MORRIS TUNES   2/-
+
+By Miss E. Hughes.
+
+5261 MAY-POLE EXERCISES                           2/-
+
+By A. Shaw.
+
+5711  MAY-POLE DANCES                             2/-
+
+Collected and Arranged from Various Sources.
+
+5692 FOLK DANCES OF EUROPE                        3/-
+
+Noted by Miss Cowper Coles.
+
+Sec.1365 THE HORNPIPE                                2/-
+
+
+Folk and National Songs
+
+Collected and Arranged by S. Baring Gould, M.A., and Cecil Sharp, B.A.
+
+Sec.5120 ENGLISH FOLK-SONGS FOR SCHOOLS              5/-
+  Vocal edition, 1/6. Words only, 6d.
+
+Selected and Arranged by W.H. Hadow.
+
+Sec.5462 SONGS OF THE BRITISH ISLANDS                3/6
+  Vocal edition, 1/-. Words only, 3d.
+
+Collected by John Graham
+
+                                           _Net Cash_
+5718 TRADITIONAL NURSERY RHYMES                   3/-
+
+Collected by Mrs. Clifford Beckett.
+
+5772 SHANTIES AND FOREBITTERS                     1/-
+
+Collected by Alice E. Gillington.
+
+5702 OLD CHRISTMAS CAROLS                         1/-
+5627 EIGHT HAMPSHIRE FOLK-SONGS                   1/-
+
+Noted by John Graham.
+
+5712  DIALECT SONGS OF THE NORTH                  1/-
+
+LONDON: J. CURWEN & SONS LIMITED, 24 BERNERS STREET, W.1.
+
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Shanty Book, Part I, Sailor
+Shanties, by Richard Runciman Terry
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE SHANTY BOOK, PART I ***
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