Next comes...

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HAULING CHANTIES.

Of these, there is first the hand-over-hand song, in very quick time; then the long-pull song, when there are, perhaps, twenty or thirty men pulling on a rope. To be effective, the pull must be made unanimously. This is secured by the chanty, the pulling made at some particular word in the chorus. For example, in the following verse the word "handy" is the signal, at each repetition, for a long pull, a strong pull, and a pull all together:—

Chorus.—Oh, shake her up, and away we'll go,
So handy, my girls, so handy;
Up aloft from down below,
So handy, my girls, so handy.

For heavier work, or where hands are few, one of longer metre is used, such as "O Long Storm, storm along, Stormy," which must not, however, be confounded with the capstan chanty," Old Storm Along."
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HANDY MY BOYS has been taken from Chambers's 1869. Smith lists the whole thing as "Chorus," as if it were done hand-over-hand style, although the description makes it out to be a double-pull halyard chanty.

The note about the "longer metre" had been in the 1868 article, followed by a sheet chanty. The 1869 got it messed up, by making a false contrast between "So Handy" for halliards and other examples for halliards. Furthermore, "O Long Storm, storm along, Stormy" had been lifted from the Atlantic Monthly 1858 (where it was a pump chanty) and plopped into the 1869 in the wrong place. Smith is perpetuating the error, I think. Again I think that Smith really did not get the difference between types of chanties, and how she categorizes them should be viewed with skepticism.

Smith is the "first" to name BLOW THE MAN DOWN in print. We are forced to conclude that she collected it, though she does say it was "one of the most well-known."

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One of the best and jolliest quick-time songs, and certainly one of the most well-known, is "Blow the Man Down." It is very tuneful, and though, perhaps, the words are scarcely to be admired, still it is a genuine chanty, and has a verve and vigour about it that speak of its value as an incentive to the labour of hoisting the topsail-yards or any other hauling work :— [with score]

I'm a true English sailor, Just come from Hong-Kong,
Tibby, Heigh, ho, blow the man down!
My stay on the old English shore won't be long,
Then give me some time to blow the man down.

Then we'll blow the man up, and well blow the man down,
Tibby! Heigh, ho, blow the man down !
So we'll blow the man up, and we'll blow the man down!
Then give me some time to blow the man down.

Solo.—As I was a-walking down Winchester Street—
Heigh-ho, blow the man down;
A pretty young girl I happened to meet,
Oh, give me some time to blow the man down.
Chorus.— So we'll blow the man up, and we'll blow the man down,
Heigh-ho, blow the man down.
We'll blow the man up, and we'll blow the man down,
Oh, give me some time to blow the man down.
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Funny how she has divided Solo and Chorus -- not like a halyard chanty at all. My guess is that someone sang it for her solo, and she did not understand where the chorus parts would come in.