Maritime work song in general

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 12 Jul 24 - 10:34 PM

1843 New Orleans.
“...The steamboats a blaze of light from stem to stern-some letting off their steam with deafening noise, whilst some were extinguishing their fires with hissing sounds, as the water was thrown upon the red hot brands under the boilers; whilst, at the same time, lights from the decks and the cabin windows of the shipping, extended an illumination, until it was lost in distant littleness; from which lurid glare Jack tar, with merry laugh and song, could be seen and heard furling his sail and tackle, above the shouts of porters, and the rattling of drays and hacks;...”
[Travels in Mexico, During the Years 1843 and 44, Gilliam, 1847]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 12 Jul 24 - 10:36 PM

1849, Chagres River, Gatun to Millaflores.
“...Our native rowers plied their broad paddles vigorously and swiftly, singing incessantly, and sometimes screeching like a whole flock of peacocks, with a hundred-horse power of lungs, Indian songs, with Spanish words; one of which songs was rather remarkable, inasmuch as, instead of being, as usual, full of the praises of some chosen fair, it was nothing but a string of commendations on the beauty and grace of the singer. “I have a beautiful face,” “I am very beautiful,” &c.”
[Travels in the United States, Etc., During 1849 and 1850, Vol.2, Stuart-Wortley, 1851]
Lady Emmeline Stuart-Wortley (1806-1855)

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 20 Jul 24 - 12:58 AM

1st ed. in Dutch. 1850 Ohio River, somewhere between Cincinnati, OH & Louisville, KY:
“Een der passagiers vroeg mij, of ik de negers eens wilde horens zingen, en geleidde mij naar het onderste gedeelte der boot, waar ik een zonderling tooneel aanschouwde. De reusachtige vlammen zijn allemaal in dit gedeelte, en men ziet er acht van negen openingen, die allen het uitzigt op gloeijende ovens geven; het schijnen gapende vuurmonden, en naast elk er busje staat een neger naakt tot aan de heupen, die is brandhout inwerpt. Zij vangen het hout van andere negers, de op eenige afstand van de stokers staan, en op dezelfde afstand van een man, die bij een hoogen stapel takkebossen geposteerd is een met krachtige armen voedsel aan de monsters op het dek toewerpt. Mijn vriend noodigde de negers uit om te zingen, en terstond begon de man bij de houtstapel een geïmproviseerd lied in coupletten, die allen met een refrein aangevuld, dat door het koor der benedenstaande negers werd aangeheven. Het was een fantastisch en indrukwekkend tooneel, die krachtige zwarte atleten te zien, door den gloed der ovens verlicht, terwijl zij op de maat van hun zelfs fantastisch lied, het eene stuk hout na het andere in de vuurzee wierpen. Alles ging met zoo veel leven en zoo regelmatig toe, en het gansche tooneel was in al zijne delen zoo geheel in harmonie, dat het op ieder tooneel een zeer goed effect zou hebben gemaakt. De improvisatie eindigde met eene wending, waarin de zanger vertelde dat het zingen dubbele zoo goed zou gaan, wanneer er bij de aankomst te Louisville wat brandewijn overschoot, en dat er brandewijn kon worden gekocht, als mannen een weinig geld ontvangen. Mijn vriend zei dat zijn verwachting niet te leur was.”
[De Nieuwe Wereld (Homes of the New World,) Bremer, 1854]
Fredrika Bremer (1801-1865)

English translation follows.

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 20 Jul 24 - 01:00 AM

See previous. 1850.
“I must tell you of a pleasure which he prepared for me one evening on the Ohio. He asked me whether I should like to hear the negroes of the ship sing, and led me for this purpose to the lowest deck, where I beheld a strange scene. The immense engine-fires are all on this deck, eight or nine apertures all in a row; they are like yawning fiery throats, and beside each throat stood a negro naked to his middle, who flung in fire-wood. Pieces of wood were passed onward to these feeders by other negroes, who stood up aloft on a large open place between them and a negro, who, standing on a lofty stack of firewood, threw down with vigorous arms food for the monsters on deck. Lerner H. encouraged the negroes to sing; and the negro up aloft on the pile of fire-wood began immediately an improvised song in stanzas, and at the close of each the negroes down below joined in vigorous chorus. It was a fantastic and grand sight to see these energetic black athletes lit up by the wildly flashing flames from the fiery throats, while they, amid their equally fantastic song, keeping time most exquisitely, hurled one piece of fire-wood after another into the yawning fiery gulf. Every thing went on with so much life, and so methodically, and the whole scene was so accordant and well arranged, that it would have produced a fine effect upon any theatre whatever. The improvisation was brought finally to a close with a hint that the singing would become doubly merry, and would sing twice as well, if they could have a little brandy when they reached Louisville, and that they could buy brandy if they could have a little money, and so on.

Nor did Mr. H. allow them to be mistaken in their anticipations.”
[The Homes of the New World: Impressions of America, Vol.2, Bremer, Howitt trans, 1854]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 21 Dec 24 - 05:24 PM

1825:
“When the blocks were made secure to the chain, (comprizing twenty-five   tons weight of iron*) two capstans, and also two preventive capstans, commenced working, each capstan being propelled by thirty-two men.

To preserve an equal force and tension in the rotatory evolutions of the two principal capstans, two fifers played several enlivening tunes, to keep the workmen regular in their steps, for which purpose they had been previously trained.”
[Particulars of the Grand Suspension Bridge, 3rd ed., Pring, 1826]
Menai Suspension Bridge

*39.5 ton load @ designed curvature.

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 21 Dec 24 - 05:27 PM

Slightly different version:
“...One end of the chain was then bolted to that which hung down the face of the Caernarvon pier; whilst the other was attached to ropes connected with strong capstans fixed upon the Anglesea side, the ropes passing by means of blocks over the top of the pyramid of the Anglesea pier. The capstans for hauling in the ropes bearing the main chain were two in number, manned by about 150 labourers. When all was ready, the signal was given to 'Go along!' A band of fifers struck up a lively tune; the capstans were instantly in motion, and the men stepped round in a steady trot. All went well. The ropes gradually coiled in. As the strain increased, the pace slackened a little, but 'Heave away! Now she comes!' was sung out. Round went the men, and steadily and safely rose the ponderous chain. The tide had by this time turned, and bearing upon the side of the raft, now getting freer of its load, the current floated it away from under the middle of the chain, still resting on it, and it swung easily off into the water. Until this moment a breathless silence pervaded the watching multitude, and nothing was heard amongst the working party on the Anglesea side but the steady tramp of the men at the capstans, the shrill music of the fife, and the occasional order to 'Hold on!' or 'Go along!' But no sooner was the raft seen floating away, and the great chain safely swinging in the air, than a tremendous cheer burst forth from both sides of the Straits....”
[The Bridge Over the Menai Straits, John Cassell's Illustrated History of England, Smith, 7th ed., 1863]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 21 Dec 24 - 05:29 PM

“CALUMARE. Att. Term. di Marina. Allentare, Fare scorrere a poco a p???, detto di funi; ed anche Tirare lentamente da un luogo a un altro, detto di barche o simili. Forse è affine d'origine a Calare; seppure non viene dal lat. celeusma o celeuma, grec. ???e?sµa, voce con la quale il comito comandava alla ciurma di remare, ed anche il canto de'rematori stessi; senso che ha ritenuto lo spagnuolo calomar. – Ar. Orl. Fur. 19, 53: E caluma la gomona, e fa pruova Di duo terzi del corso ritenere.”
[Vocabolario degli Accademici della Crusca, Vol. 2, 1863]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 21 Dec 24 - 06:26 PM

Canterbury, New Zealand:
“We were amused with seeing the Maoris at work. They struck, shovelled, &c., altogether, keeping time to a song, like sailors at a windlass.”
[A Selection from the Writings and Speeches, Godley, 1863]
John Robert Godley (1814–1861)


South Devon:
“We are so primitive that we actually have no windlass, no capstan, among us; so that when the smacks, which come broadside on, are grounded on the beach, all the available pulling and hauling force sits down in a line behind each other, and, with a cheery “Yo-ho” song, by sheer manual strength drags the boat out of tide-reach.”
[Yates, On Kicking Up One's Heels, Temple Bar, Vol. 9, 1863]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 21 Dec 24 - 06:27 PM

“CACHUCHA. s.f. A.N. Embarcacion de remos, que se usa en algunos puerfos y rios de América; y tan pequeña, que no caben en ella arriba de tres personas.
CACHUCHO. s.m. fig. A.N. y Nav. Apodo que se da á un barco muy pequeño, que tambien se dice cachumbo, cachumbillo, así como cachumbon por buque malo ó de feo aspecto.
CONSONAR. v. a ant. Man. V. Salomar.
Celeste. El que llèvaba la saloma para animar á los remeros.
Chanter. Salomar.
Chantuer. Salomador.
Ciurmare. Salomar.
Salma. Carga. ? Saloma.
SALOMA. s.f. Man. Especie de grito ó canto acompasado, que, en los barcos mercantes, usan los marineros al trabajar en alguna faena ó maniobra.
SALOMADOR. s.m. Man. El que saloma; y el que lleva la voz en la saloma.==Fr. Chanteur.
SALOMAR. v.a. Man. Animar á los marineros, con la saloma, á fin de que hagan simulataneamente sus movimientos ó esfuerzos en una faena. Lo general es que lleve uno la voz y los demas contesten en coro; pero algunas veces canta uno solo y los demas callan y se guian por él, y otras cantan todos á un tiempo.==Fr. Chanter.==Ing. To sing.
Salomare. Salomar.
Sing out (To). Salomar.”
[Diccionario Marítimo Español, Lorenzo, 1864]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 22 Dec 24 - 02:32 PM

“To one not accustomed to such scenes as slavery presents, the condition of the slaves is inexpressibly shocking. In the course of my walks, I was every where a witness to their wretchedness. Like the brute creation of the north, they are driven about at the pleasure of all who meet them. Half nakes and half starved, they drag out a pitiful existence, apparently almost unconscious of what they suffer. A threat accompanies every command, and a batinado is the usual reward of disobedience. Along the wharves they are to be seen transporting the cargoes of ships to and from the warehouses. The accompany all their labour with a kind of monotonous song, at times breaking out into a yell, and then sinking into the same drawl.” [pp.13-14]

“I embarked at Ogdensburgh to descend the St. Lawrence in an open boat of perhaps three tons burthen. It was rowed by four Canadians, who accompanied the motion of the oar with a constant song….” [p.119]

“...As we entered the rapid, the sun was fast setting behind the western hills, and gilded with his rays the white foam of the curling seas. The song of the oarsmen was instantly hushed, and each, with anxious eyes, watched the motions of the pilot who guided the helm….

...At length we almost leaped over a sudden pitch that terminates the rapids, and the river soon became smooth. The oars gilded the water, and the song of the oarsmen broke the silence of the night;...” [pp.120-121]
[Travels in North America, Mead, 1820]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 22 Dec 24 - 02:34 PM

“Pendant la flotte voguait vers Corinthe, l'urne cinéraire se montrait du haut de la poupe à tous les regards, décorée de la pourpre royale et du diadème, et entourée de jeunes gens en armes, qui lui formaient une garde. Auprès était assis le plus célèbre des joueurs de flûte de ce temps, Xénophante, qui exécutait la plus religieuse des mélodies; et les rames, au son de l'instrument, s'élevant avec un rhythme particulier, répondaient, par leur bruit cadencé, aux airs modulés de la flûte, comme dans une lamentation où les coups accompagnent les cris.

Ici l'air des rameurs a pris le caractère lent et lugubre d'une marche funèbre.

Si le chœur des Grenouilles n'eut donc rien de commun avec l'air nautique du côté des paroles, il s'y rattachait évidemment par la musique. Mais, avant de quitter le celeusma, nous avons encore à examiner deux questions qui ne sont pas sans intérêt.”
[Mémoires de l'Institut de France, Académie des Inscriptions et Belles-Lettres, Vol.21, 1857]