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diff --git a/20774-8.txt b/20774-8.txt new file mode 100644 index 0000000..f7cbb03 --- /dev/null +++ b/20774-8.txt @@ -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: 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 mediæval 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 Ī 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. Ī 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 nīght äcross the Bight.[7] + +4. Oh we'll run from Dover to Cällis. + +5. Öh drive her captäin, drīve 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 nīght 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-fīre. (_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 + +*** END OF THIS PROJECT GUTENBERG EBOOK THE SHANTY BOOK, PART I *** + +***** This file should be named 20774-8.txt or 20774-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/0/7/7/20774/ + +Produced by Steven Gibbs, Linda Cantoni, and the Online +Distributed Proofreading Team at http://www.pgdp.net. 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