Maritime work song in general

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 05 Oct 22 - 07:09 PM

“The shrill notes of the boatswains' pipes were now heard, a contagious bustle spread along the line, and soon distant music was heard through the fleet, as the men hove round the clattering capstans. Loud voices soon proclaimed, "Short,"—and "Loose sails," was the word.”
[The Night Watch, Vol.I, 1828]



“The bell had just gone one in the first watch, and it was dark. The lobster fifer turned up his whistle, and up we were lugging it, stamp and go, when, by the Lord Harry! I run foul of the Samson's port, and was all but jammed in the snatch-block….”
[The Night Watch, Vol.II, 1828]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 05 Oct 22 - 07:15 PM

“At six o'clock on the morning of the tenth, the sound went forth, all hands up, anchor ho o o ey. Ship the capstain bars there, carpenters, bring too forward, jump down there, tier men, and coil away the cable. Aye, aye, Sir. Are you ready there forward ? All ready Sir. Heave away. What kind of a drawling tune is that you Fifer? Strike up, "Off she goes,” or “drops of brandy.” Aye, that is the tune. Keep step there, all of ye, and stamp and go. Light round the messenger there, aft, hand forward the nippers, you boys. The anchor is a-peak, Sir. Very well. Thick and dry for weighing there below.”
[Sam Spritsail, Chap. IV., The Paisley Magazine, Vol.1, 1828]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 05 Oct 22 - 07:18 PM

“The following morning we had enough to do to replace crippled yards, repair broken rigging, and to get underweigh; for our modest north-easter was peeping out again, and, seeing nothing of the boisterous south, whispered to us that we might lift our anchor; and that was soon done, you may be sure, with a few hearty yeo, heave ho's! The same cheering song, was issuing from about fifty sail of vessels, of all sizes, from a Scotch smack to a seventy-four, the harbour, at the same time, thickly studded with pilot- boats, bomb-boats, and boats of all descriptions.”
[No,XI, Letter of a Traveller, The British Channel – Outward Board, The Kaleidoscope: or, Literary and Scientific Mirror, Vol.9, No,438, 1828]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 09 Oct 22 - 04:45 AM

“1827
...The Laguna Indians were fond of singing, although they knew less about it than even myself. Towards sunset, I used occasionally to sing them the Canadian boat-song, when they would give way, keeping time with their paddles; and Mr. Hinde and his canoe would soon be out of sight, if I did not stop singing, to heave the lead. These people appeared infected with some sullen contagion, that it was not easy to overcome.”
[Maw, Journal of a Passage from the Pacific to the Atlantic, The Eclectic Review, Vol.1, 1829]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 09 Oct 22 - 04:49 AM

“Salomáre. T. di mar. Dare la voce.”
[Dizionario Portatile della Lingua Italiana, Vol.2, Cardinali, 1828]


“The Proceleusmatic, is composed of two pyrrhics, ? ? ? ? hominibus. (celeusma) is the word of command given to sailors or soldiers; probably in double quick time.”
[The Art of Latin Poetry, By and Fellow of a college in Cambridge Master of Arts, 1828]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 09 Oct 22 - 04:50 AM

“The “capstan was manned” in a moment by above fifty of the crew….

..."Now," continued he, addressing the people employed at the capstan, "now, recollect, my lads, I want no more than the "double-quick" step, for I always suspect there's a good deal of "heaving thro' all," when there's any fast running round; so now––

"Left foot––
"Double-quick––
"Heave."

The capstan was instantly set in motion, the seamen marking their quick-measured step to the mellifluous strains of a woolly headed African cat-gut scraper, who, as occasion required, catered for the carnal appetites of the crew below in the galley as cook's-mate, or restrained their brute force like Orpheus of old, by measured modulation.

In consequence of the steady step preserved by the men at the capstan in their circumambulatory march, the cabal was not only hove in with great celerity, but with an equable motion that permitted the people below leisurely to bend and coil it away, without any of those interruptions or stoppages at the capstan, common on such occasions to most ships in the service. A few minutes served to bring the brig near enough to her anchor to render it necessary the circumstance should be announced by Burton, who exclaimed––
"Hove short, Sir."
[Sailors and Saints Or Matrimonial Manœvres, Glascock, 1829]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 09 Oct 22 - 04:52 AM

“...The wind was favourable, and we had a large sail to assist us; so that we very soon had an opportunity of hearing a genuine Canadian boat-song. In it there was a vast deal more noise than music, nor of all the others that I heard these men sing during the voyage, did the melodies bear the slightest resemblance to any I had heard before. The refrein of one of these songs I happen to recollect, and it is as follows*:

        Sommes nous au mi – lieu du bois,
        Sommes nous au ri – vage – – e.

This, they roared out without mercy, in full chorus, and one at a time sang the song itself, which treated of the hardihood of the Voyageurs, the troubles and difficulties they encounter, not forgetting their skill and bravery in surmounting them.”
[Forest Scenes and Incidents, in the Wilds of North America, Head, 1829]

* Includes music.

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 09 Oct 22 - 04:53 AM

“*PROCELEUMATICO e PROCELEUSMATICO. Add. ed anche sust, al masc. Term. de' Poeti greci e latini. Piede di verso cosi detto, perchè lunghissimo e velocissimo, per essere di quattro sillabe brevi composto; ed è anche metro, nel quale entrano piedi proceleumatici. Distico fatto in quel metro e misura di verso che chiamasi proceleumatica (ossia da vogatori) ec. Salvin. Diog. e Cas. (A)”
[Dizionario della Lingua Italiana, Vol.5, M-Q, 1829]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 09 Oct 22 - 04:56 AM

“*SALOMARE. Dare la voce. Termine de Marineria. Salomare è preso dallo Spagnuolo. (S)
[Dizionario della Lingua Italiana, Vol.6, Volumes 1-7, Federici, 1829]


“Consonar, v.a. V. Salomar.
Saloma, f. der Gesang der Matrosen, beim Manöuvriren ze.
Salomar, (beim Manövriren; indem die Matrosen die Taue, Segel ze. regieren) singen ze.”
[Nuevo Diccionario Portátil Español-Aleman, Vol.1, Franceson, 1829]


Just fwiw:
“P. Y en el catalan cuándo usaremos la idzeta?
R. En el catalan apenas tiene uso, pues en su lugar se escriben dos eses asi ss., esceptuando estas palabras zalamar, zarpar, zel, zelós, zisanya., su pronunciacion es mas suave que el de la ese.”
[Elementos de Gramática Castellana-Catalana, Circuns, 1829]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 09 Oct 22 - 04:58 AM

“salomar.                donner la voix.

VOIX. s. f.
angl. voice. –– esp. voz. –– all. laut. –– it. voce. –– prol. voz.

V. porte-voix. Saluer de la voix, passer à portée de voix pour hêler. V. hêler et arraisonner.

La voix est un son formé dans la gorge et dans la bouche, par la glotte. La voix est un instrument fragile, et pour ne pas l'endommager, il faut qu'elle soit habituée à servir. Un officier qui n'a pas l'habitude de commander, 's'enroue dans un moment. Se faire entendre dans une tempête, quand la rapidité du vent ne permet pas à l'air de vibrer au loin sous l'action de la voix, est une chose souvent impossible. Souvent celui qui commande crie, on l'entend moins, et il s'enroue plus vite. On a remarqué que les sons des notes médiantes, et les sons aigus ne sont pas ceux q?i s'entendent le mieus. La voix rauque est la meilleure; elle gêne beaucoup quand on n'y est pas accoutumé, mais quand la glotte y est habituée, on ne s'enroue plus, on commande sans crier, et l'on se fait beaucoup mieux entendre.

        Donner la voix, V. chanter et donner.
        Faire courir la voix, c'est répéter le commandement.

zalomar. Donner la voix en halant.”
[Répertoire Polyglotte de la Marine, à l'usage des Navigateurs et des Armateurs, Louis Marie Joseph O'hier de Grandpré, 1829]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 10 Oct 22 - 12:30 AM

“Liberia, February 15, 1829

I have at length gotten through with this much-talked-off African fever; and, after all, do not think it any great thing. A Carolina or Georgia fever is just as bad, and as for an Alabama fever, it would be worth two of it. I continued to use precautions and take medicines for six weeks after my arrival, and enjoyed perfect health; but I at length became tired and careless, and the consequence was—the fever. I was well taken care of, and had every attention that could be afforded; and since I am through with it, I am glad I have had it, as it will exempt me entirely from it hereafter*….

...The river from its mouth is most beautiful: its banks are high and broken, and covered with the most dense and variegated verdure. Along the banks here and there, we observed an African town, with the thatched huts intermingled with the broad green leaf of the plantain, of which the beautiful pea-green colour distinguishes it from all surrounding verdure. On our approach to one of those villages, which is always announced by our boatmen with their African Boat Song, we generally found all the inhabitants, men, women, and children, assembled on the beach to see and receive us.”
[Randall, Expedition up the St. Paul's, The African Repository and Colonial Journal, Vol.5, 1830]
Richard Randall (1796–1829)

*“Shortly before his death, he was conducting important negotiations with King Boatswain… Randall died of fever in Liberia on April 19, 1829” [wiki]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 10 Oct 22 - 12:34 AM

“NORTH: By the bye, I have a letter this morning from a friend of mine now in Upper Canada. He was rowed down the St Lawrence lately, for several days on end, by a set of strapping fellows, all born in that country, and yet hardly one of whom could speak a word of any tongue but the Gaelic. They sung heaps of our old Highland oar-songs, he says, and capitally well, in the true Hea bridean fashion ; and they had others of their own, Gaelic too, some of which my friend noted down, both words and music. He has sent me a translation of one of their ditties-shall I try how it will croon?

OMNES: O, by all means-by all means.

NORTH: Very well, ye'll easily catch the air, and be sure you tip me vigour at the chorus. [Chants,

CANADIAN BOAT-SONG –– (from the Gaelic.)

Listen to me, as when ye heard our father
        Sing long ago the song of other shores ––
Listen to me, and then in chorus gather
        All your deep voices, as ye pull your oars:

CHORUS.
Fair these broad meads — these hoary woods are grand;
But we are exiles from our fathers' land.

From the lone shieling of the misty island
        Mountains divide us, and the waste of seas ––
Yet still the blood is strong, the heart is Highland,
        And we in dreams behold the Hebrides:
Fair these broad meads — these hoary woods are grand;
But we are exiles from our fathers' land.

We ne'er shall tread the fancy-haunted valley,
        Where 'tween the dark hills creeps the small clear stream,
In arms around the patriarch banner rally,
        Nor see the moon on royal tombstones gleam:
Fair these broad meads — these hoary woods are grand;
But we are exiles from our fathers' land.

When the bold kindred, in the time long-vanish’d,
        Conquer'd the soil and fortified the keep, —
No seer foretold the children would be banish’d,
        That a degenerate Lord might boast his sheep:
Fair these broad meads — these hoary woods are grand;
But we are exiles from our fathers' land.

Come foreign rage-let Discord burst in slaughter!
        O then for clansman true, and stern claymore —
The hearts that would have given their blood like water,
        Beat heavily beyond the Atlantic roar:
Fair these broad meads — these hoary woods are grand;
But we are exiles from our fathers' land.

SHEPHERD. Hech me! that's really a very affectin' thing, now.— Weel, Doctor, what say you? Another bowl?”
[Noctes Ambrosianæ, No. XLVI., Blackwood's Magazine, Vol.26, 1829]
John Wilson of Elleray (1785–1854)
Noctes Ambrosianae

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 10 Oct 22 - 12:35 AM

“The Hallelujah was principally used during the interval between Easter and Whitsuntide. Augustine informs us that, “Alleluja etiam in aliis diebus cantatur alibi atque alibi, ipsis autem Quinquaginta diebus ubique” –– “the Hallelujah was also sung here and there on other days, but during the fifty days every where.” The word is thus illustrated by the same distinguished father: “Our praises are a Hallelujah. But what is a Hallelujah? It is a Hebrew word: Hallelujah, praise the Lord: Hallelujah, praise God. Let us sing it, and mutually excite each other to praise God; and thus while we speak with the heart better than with the harp, let us sing Hallelujah, praise to God; and when we have sung, we retire on account of infirmity to refresh our bodies.” Some of the celebrated theologians of the middle ages, as Anselm, Durandus, Alcuin, and others, finding the word but once in the New-Testament, and nowhere in the Latin or Greek authors, and unacquainted with its Hebrew origin, supposed it to be immediately revealed from heaven as a peculiar gift to the New Testament Church. “From Rev. 19. we know,” says Bona, “that this canticum Hallelujah has descended from heaven into the new Church of Christ.” Isidore of Spain deemed it too sacred to be translated into any other language. It was not always however deemed too sacred for secular purposes. It was taught and sung as a lullaby to infants in the cradle, used as a watchword in the camp and a war cry on the field of battle, and employed by the Romans in their formula of their judicial oath: “Truly as I hope to hear and to sing the Hallelujah.” More appropriate was the use of it made by the inhabitants of Bethlehem, according to Jerome's charming description. “In the village of Christ all is rural, (rusticitas.) Silence reigns throughout, except the singing of psalms. Wherever you turn, the ploughman at his work chants a Hallelujah. The sweating reaper alleviates his toil with psalms; and the keeper of the vineyard, pruning his vines, sings some of David's notes –– aliquid Davidicum. These are the hymns — these are what are called the amatory songs used in this region.” Even the sailor introduced the sacred word into his boat song, and chanted Hallelujah while tugging at the oar.

Curvorum binc chorus helciariorum,
Responsantibus Hallelujah ripis,
Ad Christum levat amnicum celeusma,
Sic, sic psallite nauta et viator.*

The chorus hence of bending oarsmen,
The shores re-echoing Hallelujah,
To Christ address the mariner's song.
Thus sing, O sailor, thus, O traveller!
* Sidonius Appollinaris, Ep. Lib. II. ep.10

Among the authorities consulted, we find no notice of any thing like a Psalm-book, or collection of Church poetry, earlier than the council of Laodicea, (An. 370,) at which the following Canon was enacted: “The Canonical Cantors, or choristers alone, who stand on an elevated place in the Church, shall sing the psalms, from the parchments lying before them." The precise meaning and object of this Canon are not obvious; and it has accordingly been variously interpreted. Whether the Choristers, in their elevated desks, were required to perform the entire musical service of the Church to the exclusion of the congregation, to avoid the discord often heard in a promiscuous assembly, as is sometimes done by the choirs in modern days; or whether they were merely to select the tunes and lead the music, the congregation accompanying as well as they could, according to the general practice of our own times, seems undecided by the ambiguous expression of the Canon. The latter however is most probable, as the universal practice of the primitive Church made it the duty and the privilege of the whole Church, and not merely of a few select artists, to sing the praises of God their Saviour in psalms and hymns and spiritual songs. The choristers were required to occupy a conspicuous station, and sing, … — from the parchments — then the common material of books. Hence the order was equivalent to requiring them to sing the words from the book lying before them, and not from memory, as they would be liable to errors and inaccuracies. But no description of the book or parchment however is furnished, and we are left to form our opinions from conjecture, or content ourselves without an opinion on the subject. An obscure expression of Socrates, an early historian of the Church, has been thought to refer to this subject….”
[The New Princeton Review, Vol.1, 1829]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 10 Oct 22 - 12:38 AM

“...then the rattling of the ropes on the deck, the heavy tread of the sailors, the singing noise they made in hoisting,...”
[The Children's Robinson Crusoe, Defoe, Farrar, 1830]


“Chanter, v. a. Cantar: dícese de la voz humana, y de algunos pájaros....= Cantar: celebrar en verso las acciones heróicas. = (náut.) Zalomar….”
[Diccionario Francés-Español y Español-Francés, Tomo.I, Taboada, 1830]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 10 Oct 22 - 12:39 AM

“The smooth bosom of the St. Lawrence teemed with life and gaiety; ships, schooners, and brigs passed the shores of the island in rapid succession, while several large canoes traversed the river in all directions, filled with Canadians of both sexes, clad in their holiday clothes, and cheerfully keeping time with their paddles to the boat song; the whole being highly calculated to produce a striking and novel effect on the eye and ear of a European….

...We knocked out the stern-port; several rafts of fine oak were brought alongside, and a stevedore, with a gang of thirteen Canadians, came on board, who commenced stowing the timber in the hold, while our own crew was employed hoisting it in. I was and still am highly amused by the lively strains of the different crews, while at their work; the whole port seems a scene of bustle and cheerfulness: the sounds of 'Haul, boys, haul!'   'Pull away, my jolly boys!'   'Haul, Nancy, O!' 'Hurra, for pretty Nancy, O!' resound from thousands of voices.

...The ships decked with their gayest colours; while the Canadian boat-song floated harmoniously over the bosom of the glassy stream. Expressing my admiration of its melody, Mr. C. politely sang it, his son and daughter adding a cheerful chorus. 'Twas thus we spent the happy moments, until 2½ P.M., when we landed on the island.

...But, hark! I hear the pleasing sound of the boat-song, and the regular splashing of, the paddles. With such a prospect, and music too, one might almost fancy one's self in the poets' famed Elysium; every thing around me, but the troublesome flies, invites to soothing melancholy and pensive contemplation.”
[The Fugitives; Or, a Trip to Canada, Chiefly Founded on Facts, Lane, 1830]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 10 Oct 22 - 12:41 AM

“SAILOR'S SONG.
By Dick Wills, the Poet of Greenwich Hospital.

When the topsails are set, and the bars are all shipp'd,
And the drums and fifes merrily play,
Round the capstan we dance, till our anchor is tripp'd,
When the boatswain bawls “Heave and away:”
        To the fife's shrill sound,
        While the joke goes round,
We step with a pleasing delight;
        Dry nippers clapp'd on,
        We soon here the song,
“Heave, heave, my brave boys, and in sight." Then the sails are all trimm'd, and the anchor we stow,
Britain's white cliffs recede from our view,
Boundto sea on a cruise, we look out for the foe––
As one man is the whole of our crew:
        From mast-head they hail,
        “I see a strange sail,”
We obey (hope gladdening each face);
        The boatswain's shrill call,
        And the mate's hoarse bawl,
“All hands to make sail in the chase.”

Old Albion's proud flag at our peak we display,
And the tri-colour plainly discern:
“Cock your locks," cries the captain, now keep her way––
Steady! Point your guns right at her stern,
“Fire! fire! and rake her,
Now the shots shake her,
See, see, how her masts rattle down;
        The helm hard a-lee,
        Bold lads follow me!”
We board, and the frigate's our own
Then our ensign, so brave, o'er the tri-colour flies,
        Back to England our course we pursue;
The breezes are fair-moor'd in port with our prize––
And the king gives poor sailors their due;
        Rigg'd out so fine, oh,
        Plenty of rhino,
Grog, fiddles, and lasses so gay;
        We spend it on shore,
        Till duty once more
Cries “Heave! And the anchor's away.”



“...D'ye see, every order was exposed publicly for the ship's company to read, so that every man fore and aft knew what he had to do. This was his plan; 'Do your duty, and no one shall wrong you; neglect it and I'll punish.' Among other orders, there was one, that no man should sing out either in pulling a rope or any other duty, but all were to be silent as death. One day we we mooring ship, when some one sung out at the capstan, 'Hurrah, my boys, heave!' The captain heard it, 'Send that man on deck, directly.” The officer immediately pick'd him out, and, he was ordered aft under the sentry's charge.”
[Greenwich Hospital, The Log Book, Or, Nautical Miscellany, 1830]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 11 Oct 22 - 05:17 AM

XLong post and then some:
“...»Mais à l'époque déjà fort reculée, où l'on avait en marine l'usage bruyant et pittoresque de commander et d'exécuter la manoeuvre, par versets et répons en quelque sorte, selon un rituel nautique assez compliqué, –– au coup de sifflet suivi d'un commandement du maître d'équipage, les gens de quart répondaient: –– A la bonne heure! –– Les manœuvres manquant alors de la précision qu'elles ont acquise depuis, s'exécutaient en effet au petit bonheur; on a vu la même idée se traduire dans le vieux commandement: A Dieu vat!

Au cri à la bonne heure, succéda le répons commande qui paraît s'être perpétué jusqu'au commencement de ce siècle, car l'amiral Willaumez le mentionne en ajoutant: –– Ce cri n'est plus guère permis.–– (Dict. de mar., art: Commande.)

On rencontre dans Rabelais plusieurs exemples des ripostes collectives des gens de l'équipage aux commandements du pilot (sic).

–– Vien du lo. Pres et plain. Hault la barre!
–– Haulte est, respondoyent les matelotz.
–– Haye, haye, dist le pilot, double le cap et les basses.
–– Doublé est, respondoyent les matelotz.

Au nombre des licencieuses coutumes de l'ancienne marine se trouvait le charivari, burlesque clameur usitée en virant au cabestan. Un loustic criait gaiement: — « Charivari! » les camarades demandaient en masse: « Et pour qui? » à quoi le premier ripostait par quelque grossière pasquinade rimant en i, généralement caustique, souvent brutale, et n'épargnant personne, sous-officiers, officiers, capitaine, ni amiral.

–– « Pour qui? –– Pour le capitaine d'armes, un pousse-caillou fini. –– Pour qui? –– Pour le lieutenant, un vieil abruti!..» Tous les maris étaient affublés de l'épithète si fréquemment employée par Molière et que M. Paul de Cock arbora un beau jour sur la couverture d'un roman in-8º, aussi, marri, couci-couci venant parfaire l'indispensable rime. On se demande comment la discipline put jamais tolérer ainsi jusqu'à l'insulte publique? –– Nous douterions des excès du charivari, si, depuis 1830, nous ne l'avions entendu chanter à bord d'un navire de guerre mal tenu, –– sur une barque du bon Dieu où naviguaient de pair la faiblesse et tous les désordres.

A propos des cris de veille: Bon quart! –– et ouvre l'eil aux bossoirs! on a vu que chanter fut le verbe propre pour tous les cris qui, généralement, tiennent du chant et sont encore usités sur les bâtiments de pêche, de cabotage ou de long cours. –– On fit le commandement: chante! qui obligeait quelques hommes, proprement dits chanteurs, à psalmodier un certain refrain pour donner la mesure quand on exécutait une manœuvre de force.

Le voyageur qui, pour la première fois, visite un port de commerce, est frappé tout d'abord par les cris cadencés, sortes de mélodies sauvages ou au moins bizarres, qui se font entendre à bord des navires où travaillent les matelots. Suivant leur nation, suivant les travaux qu'ils exécutent, ils varient leurs chants de manœuvre.

Parfois, sur les bâtiments hanovriens, prussiens et hambourgeois, ou encore sur quelques navires de l'Adriatique, on entend des chœurs qui ne sont pas dépourvus des charmes de l'harmonie. Certaines notes gutturales, fréquemment répétées, étonnent et plaisent à la fois. Mais, en général, c'est à l'unisson , sans le moindre sentiment autre que celui de l'ensemble, que les cris de hâlage ou de guindage sont poussés par les marins.

Ainsi, les Anglais, les Américains du nord, les Français se bornent à marier leurs efforts à l'aide d'un motif de la plus monotone simplicité: un éternel refrain « la-houra, cheerly-men, hálihaló, hissâ-hissoué », à peine interrompu par le soliste qui donne la mesure , reviendra sans cesse.

Tel est le chant maritime proprement dit.

Il remonte à la plus haute antiquité; on le retrouve chez tous les peuples.

Les Grecs donnaient le nom de ... au cri d'ensemble des rameurs et des marins à l'ouvrage. On a déjà vu que le ...; le Céleuste, était le chanteur qui donnait le signal; mais il n'est pas sans intérêt de faire remarquer combien la racine de ces mots, c'est-à-dire le verbe ..., ordonner, exhorter, d'où ..., encourager les matelots et les rameurs par des cris , chanter le ..., se rapproche d'un troisième verbe ... que Planche traduit aborder, arriver au port, démarrer, courir vite, sens techniquement trop divers pour être des traductions exactes. ... signifie généralement manœuvrer, et manœuvrer à l'aviron, soit pour aborder, soit pour démarrer ou déborder, pour entrer dans le port comme pour en sortir, pour naviguer, ramer en souquant.

Les matelots grecs qui lèvent l'ancre, chantent: ... ou ... suivant que le mouvement se précipite ou se ralentit. –– « Cette cantilène, dit M. Fauriel, est d'un grand effet en mer, et surtout dans le voisinage des côtes , quand elle est répétée et prolongée par les échos. Elle exerce sur les marins Grecs le même empire que le Ranz des vaches sur les pâtres suisses, et, selon toute apparence, elle est aussi ancienne que la navigation. Déjà vieille lors de la guerre de Troie, elle aurait présidé aux manœuvres des Argonautes. »

Les Chinois , les Hurons, les Polynésiens ont des cris d'ensemble pour ramer, guinder et touer.

Les nègres, libres ou esclaves, affectionnent ces mélodies sans fin qui retentissent incessamment dans leurs pirogues.

Les chants des pirates scandinaves sont demeurés célèbres; ils avaient pour refrains des cris analogues à notre La-houra et à l’... des Grecs.

Sévèrement bannis des navires de guerre, où les remplacent le sifflet du contre-maître, le fifre ou même le clairon, les chants de manœuvre sont, en résumé, peu nombreux. Chaque nation en compte deux ou trois au plus; et encore le matelot, cosmopolite par métier, adopte-t-il fort souvent la mélodie de la nation voisine, au détriment de la sienne qui tombe en désuétude; en sorte que le nombre des refrains usités tend plutôt à diminuer qu'à s'accroître.

C'est ainsi que le cri anglais Cheerly men! (gaiement les hommes) a été emprunté depuis vingt ans au plus, par nos matelots aux marins des États-Unis. Il s'est propagé ensuite sur nos bâtiments de long cours, nos navires de guerre et notre littoral, où il a subi les plus étranges métamorphoses. On chante, par exemple, chélimen! Célimène ou sel hymen, chérie mène, etc..., etc... Sans attacher à ces mots plus de sens qu'à tous les houra, la houra, hissa-hó! hissoué ! charivari ! Boulinâ-ha, et autres cris successivement usités, puis tombant en désuétude, puis redevenant en vogue.

« Boulina-ha-ha! –– Arrache! –– Boulina-ha-ha! Déralingue! –– dit l'amiral Willaumez, est l'ancien chant des matelots français, pendant qu'ils hâlent les boulines. Il est si ridicule que plusieurs capitaines militaires le défendent. » (Dict. de mar.) –– Ridicule est une épithète singulièrement adoucie; car obscène ou ignoble ne diraient rien de trop, attendu tout ce que les hâle-bouline se permettaient d'arracher, déralinguer ou casser en paroles.

Au commandement du maître pour faire hâler les boulines, les matelois criaient en chantant: –– Oh! Saille! — et au moment où le sifflet leur ordonnait de tenir bon pour amarrer, ils terminaient par Blaie ou belay en allongeant sur la dernière syllabe. –– Nous avons connu plusieurs officiers qui affectaient de commander à l'anglaise Belay (de to Belay, amarrer) au lieu de se servir du commandement français, cent fois plus sonore: Amarre!

Pour prouver qu'il a bien entendu les commandements de l'officier de service, le timonnier ou l'homme de barre qui gouverne , doit les répéter textuellement à haute voix:

–– Loffe!... Arrive!... Pas au vent!... Près et plein!... Plein la voile!... Comme ça!

Comme cà, le seul de ces commandements qui n'ait pas encore été expliqué porte son explication avec lui. — Lorsque le navire qui loffe ou qui arrive en vient à avoir le cap dans la direction voulue ,l'officier dit: Comme cà! –– ni en decà, ni au delà, ne loffez plus! n'arrivez plus, assez, bien, gouvernez droit comme nous voici maintenant, –– comme cà!

Si simple que soit ce commandement, il effarouche toujours les passagers, qui le trouvent barbare.”
[Le Langage des Marins, Landelle, 1830]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 11 Oct 22 - 05:20 AM

““Man the capstan! Jump cheerily, my lads. “Look out there, forward! Down there, tierers! Are you ready below?”– “All ready, sir.”-“Yo, ho! where the devil has all our hands 'got to? Fore-top there! main-top there! Come down here, all of you! kick every soul of them out of the tops—a parcel of skulking lubbers!”—“Ay, ay, sir," cried the young gentlemen; and the capstan was speedily crowded, “Look out there, forward!” again bawled the first lieutenant; “Come, my lads, pluck up spirit, and “off she goes—play up fifer;" and round went the capstan to a good smart step, and the men beating excellent time on the hollow sounding deck with their feet, amid the accumulated vociferations of officers of all ranks, who, with their potent commander in presence, vied with each other in the notes of alternate encouragement and ridicule.”
[Three Weeks in the Downs, Or, Helen and Edmund: A Sea Tale, Comprehending a View of Naval Society and Manners, Founded on Fact by an Officer's Widow, Vol.2, 1830]
The Downs (ship anchorage)

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 11 Oct 22 - 05:27 AM

RE: J'ai Trop Grand Peur Des Loups (above) and another Mudcat thread –

“Edward Ermatinger, fur trader with the Hudson's Bay Company, heard and took down this song c.1830, while traveling with voyageurs, along with ten other songs. These were the first folk songs recorded from Canada.

Marius Barbeau, 1954, The Ermatinger Collection of Voyageur Songs, JAFL, vol. 67, no. 264, 1954. Also p. 159, En Roulant Ma Boule.”
French Canadian songs

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 11 Oct 22 - 05:27 AM

“ALARIDO, s.m. vozeria (dos que rompem a batalla) celeuma; gritos (de quem bulha com o:i-trem).
CELEUMA, ou CELEUSMA, s.f. vozeria dos maritmos.
CELEUMEAR, v.n. levantar celeuma.
SALAMEAR, v.n. naut. cantar alternadamente.”
[Novo Diccionario da Lingua Portugueza, Fonseca, 1831]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 11 Oct 22 - 05:29 AM

“CACHUCHA. s.f. A.N. Segun algunos de los diccionarios que se han tenido á la vista, es una embarcacion de remos que se usa en los puertos 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, asi como cachumbon por buque malo ó marchante estrafalario.

Chanter. Salomar.
Chanteur. Salomador.

CONSONA R. v. a. ant. Man. V. Salomar.

Salma. Carga, Saloma.
Salmastra. Mogel.
Salmastrare. Amogelar.
Salomare. Salomar.

SALOMA. s.f. Man. Especie de grito ó canto de 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.

SALOMAR. v.a. Man. Animar el que manda á los marineros, y llevar estos unidos sus movimientos ó esfuerzos en una faena, con el canto llamado saloma. En lo antiguo se decia consonar, segun alguno de los diccionarios consultados”
[Diccionario Marítimo Español, 1831]

Folklore: The Cachucha (song & dance)

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 11 Oct 22 - 05:33 AM

“After his emigration to the borders of the Mississippi, his chief occupation became that of a boatman, and none pulled a better oar, or sung with truer cadence the animating notes of the boat song, than Michel de Coucy. The Canadian boatmen are the hardiest and merriest of men; if their boat is stranded, they plunge into the water, in all weathers, diving and swimming about as if in their native element; if it storms, they sleep or revel, under the protection of a high bank; and when pulling down the stream, or pushing laboriously against it, the shores ring with their voices. One will recount his adventures, another will imitate the Indian yell, the roar of the aligator, the hissing of the snake, or the chattering of the paroquet, and anon the whole will chant their rude ditties concerning the dangers of rapids, snags, and sawyers, or the pleasures of home, the vintage, and the dance. Michel was an adept at all these things, and he loved them, as a Cossack loves plunder, or Dutchman hard work and money. He was the darling of the crew; for he could skin a deer, cook a fish, scrape a chin or a fiddle, with equal adroitness; and always performed such offices so good humouredly, that his companions in compliment to his universal genius, kept it in continual employment. When the boat was in motion he was always tugging at the oar, or the fiddle-bow; when it landed, and the crew sat round their camp fire, he cooked, sung, and told merry stories; on Sunday he shaved the whole company, even at the risk of neglecting his own visage, and was after all the merriest and most respectable man in the boat."
[Michel de Coucy, Illinois Monthly Magazine, Vol.1, 1831]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 11 Oct 22 - 06:29 PM

“Facevano que'marinari quello, che sogliono tutti gli altri, quando vogliono alleggerirsi dalla fatica del vogare. Uno di loro capo degli altri intuonava certe canzoni marinaresche; al quale tutti gli altri, a guisa di coro, con gran concordia di voci rispondevano a tempo. La qual cosa quando essi facevano in aperto mare, la voce. dispersa ió quell'immenso spazio d'aria svaniva: ma quando peryennero a passare una certa punta di scoglio, ed entrarono in una insenata a mezza luna, concava, e larga, udivasi lo strepitare de' femi più forte, e giungeva a testa benissimo scolpita l'intonazione e la risposta del coro. Imperocchè il terreno in quel luogo al mare vicino, era una vota vallata sotto ad una costa di monte, la quale ricevendo in sè, come canna d'organo, ogni voce, fatta imitatrice di tutt’i suoni, quelli puntualmente ripeteva, facendo sentire a parte le percosse de' remi in acqua, e a parte il canto de marinari, una consolazione ad udire.”
[Opere in Versi e in Prosa del Contr Gasparo Gozzi Viniziano, Vol.11, 1794]
Gasparo, count Gozzi (1713–1786)

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 11 Oct 22 - 06:49 PM

Another Canadian Boat Song. This from the Alexandria Gazette & Daily Advertiser, 16 January, 1822. Posted in: Lyr ADD: A La Claire Fontaine

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 12 Oct 22 - 06:58 AM

“LUFF'S LAY.
Mr. Editor, Having these several days past swept the “Political Horizon” with my Dollond's day and night telescope, I have, in common no doubt with many of my old shipmates, been highly elated with the idea of once more getting our corns soaked in salt-water; musing by the space of a dog-watch over my nuts and swizzle, I yesterday spun the following yarn, which is at your service.         Luff!

Air—“A reg'lar capstan, stamp and go.”

BRING to, clap on, both thick and dry,
Heave round, my lads, so cheerly;
Once more “Blue Peter” bids good b'ye
To the land we love so dearly.
The sheets are home, the haulyards man,
Our ship she casts to sea, boys,
Up-cheer the man who leads the van,
Our King! with three times three, boys.

Come clear the decks, in order place
The bottles and the glasses;
All hands a-hoy! splice the main-brace,
And toast our favourite lasses:
Now fill a bumper, all prepare,
So hearty and so free, boys;
Up—cheer the fairest of the fair,
Our Queen! with three times three, boys.

Britannia's made of good old stuff,
And trimly put together;
She’ll wear and stay, in smooth and rough,
In calm or stormy weather:
No vessel boasts a stauncher crew,
Her officers ne'er fail her,
Commanded by a Captain too,
Who's every inch a sailor.

Close-hauled, and free, and all aback,
Strange sails strange courses steer now;
Britons! keep on your good old tack,
With “very well, thus”—“no near” now:-
But should they dare to cross our hawse,
And brave our flag so free, boys,
Up-cheer the tar who'll lead our cause—
The King! with three times three, boys.

Huzza! huzza! huzza! &c.
Our King! with three times three, boys.”
[Luff's Lay, The United Service Journal, Pt.I, 1831, p.356]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 12 Oct 22 - 06:59 AM

“IORRAM. A boat song; a rowing song.
IURRAM. -AIM, -AN, s.f. See Iorram.
[A Dictionary of the Gaelic Language, Macleod, Dewar, 1831]



“†CELEUSME. s.m. Cri des matelots qui rament pour s'encourager les uns les autres.– Signal qu'on donne aux matelots et aux rameurs, soit de vive voix, soit avec un sifflet, pour leur marquer les differentes manœuvres.
†CELEUSTE. s.m. Celui qui a soin de faire ou preserire le devoir aux matelots, aux rameurs, et aux autres ouvriers d'un bàtiment.
HOURA*. s.m. Cri de guerre des Cosaques, des troupes russes, etc.– † mar. mot répété à haute voix par les matelots lorsqu'ils hàleut ensemble un cordage”
[Dictionnaire Général de la Langue Française, Raymond, 1832]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 12 Oct 22 - 07:00 AM

“Nódítás. Celeusma. M.A.

ONSZOL, onszolja. Cohortatur, clamore, impellit. M.A.L. Unszol.
ONSZOLÁS. Hortatus, instinctus, cohortatio clamosa, celeusma. M.A.
ONSZOLÓ. Instigator. vide Onzoló. M.A.
        Onszoló kiáltás. Celeusma. M.A.

ONZOL. Lásd Onszol, Unszol.
ONZOLÁS. Instigatio, instinctus, cohortatio. M.A.
        Onzolásnak kiáltása. Celeusma. M.A.
ONZOLÓ. Instigator. M.A.

UNSZOL, unszolja, Instigat, instimulat. it. Invitat. M.A.
Unszolás, Instigatio, abhortatio, instimulatio. M.A. A' gyakor unszolás indítja a' gyermeket. km.
Unszolat. Celeusma, stimulus, incitamentum. S.I.”
[Magyar Szotar Gyökerrenddel es Deakozattal, Vol.II, L-Z, Kresznerics, 1832]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 12 Oct 22 - 07:03 AM

“Vogue á la calmie! (commandement aux rameurs.) Pull away now the wind lulls!”
[Le Nouveau Dictionnaire Universel, Garner, Boyer, 1832]



“Celeusma, âtis, g.m. Algazara de marineros cuando descubren tierra y alabanzas divinas.
Celeustes, æ, g m. Cómitre de galera.
[Compendium Latino-Hispanum, Salas, 1832]

Subject: RE: Maritime work song in general
From: Steve Gardham
Date: 12 Oct 22 - 03:02 PM

Hi Phil,
Can you please explain the relevance of the Dibdinesque piece by Luff?

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 12 Oct 22 - 08:07 PM

Steve: In this thread only, relevance = search term = stamp and go = Air—“A reg'lar capstan, stamp and go.

Been on the list here since year one but no hits until just lately. So far, so few, it's all capstan work. Obviously, something will have to give before the expression makes it to the Sea Shanty wiki style “stamp & go.”

And one suspects “Sam Spritsail” and “Landsman Hay” might share a branch somewhere on the old family tree.

Small world: Lay's new King here is William IV, aka: The Sailor King. We've chatted about the HRH's mistress Dorothea Jordan 's stage work here: Lyr Add: I Am a Brisk and Sprightly Lad. Jordan & Latour co-published at least one piece as well.

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 13 Oct 22 - 07:13 AM

Just a quick reminder on the thread title: However, in recent, popular usage, the scope of its definition is sometimes expanded to admit a wider range of repertoire and characteristics, or to refer to a "maritime work song" in general. [Sea Shanty wiki]

This one's on the wiki proper. The East India Fleet crew is singing to a fiddle and working a capstan. The wiki authors themselves can't really relate it to shanties or shantying and 1832 is a long ways from “recent” ––


“Always giving a fillip to conversation by some anecdote or enlivening jest:–– the capstan bars move at the word heave, when accompanied by his usual exclamation of “cheerly, my lads! Cheerly!…”

HEAVING AT THE CAPSTAN.
All who have been on board ship must recollect heaving at the capstan. It is one of the many soul-stirring scenes that occur on board when all hands are turned up; the motley group that man the bars, the fiddler stuck in a corner, the captain on the poop encouraging the men to those desperate efforts that seem, to the novice, an attempt at pulling up the rocks by the root. It's a time of equality; idlers, stewards and servants, barbers and sweepers, cooks' mates and cooks-mate's ministers, doctors' mates, and loblolly boys; every man runs the same road, and hard and impenetrable is that soul that does not chime in with the old ditties, "Pull away now, my Nancy, O!" and the long" Oh!" that precedes the more musical strain of

"Oh her love is a sailor,
His name is Jemmy Taylor,
He's gone in a whaler,
To the Greenland sea:"

or

"Oh ! if I had her,
Eh then if I had her,
Oh! how I could love her,
Black although she be."
[The Quid or Tales of my Messmates, anon, 1832]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 13 Oct 22 - 07:15 AM

“CRÓCCHIA. Sust. f. Canzone rozza. (Dal verbo Crocchiare in senso di quel cantare che fa la chioccia quando ha i polcini.) Come sogliono i marinari per alleggiamento della lor fatica, vogando e cantando, n'andavano; e nel cantare avevano tra loro un commandatore che a guisa di papasso stando in prua, e dando il tempo del remo, era il primo ad imporre certe crocchie marinaresche; ed imposto ch'egli avéa, tutti li altri, al calar della sua voce, come un coro a voce pari con la battuta de'remi rispondevano. Car. Daf. rag. 3, p. 118. (Nel test. gr. a crocchie marinaresche corrisponde nauticas odas. Il Gozzi tradusse semplicemente canzoni marinaresche. V. anche CELEUSMA nel Forcellini.)
[Supplimento a' Vocabolarj Italiani: C-E, Gherardini, 1833]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 13 Oct 22 - 07:16 AM

“CELEUS'MA (Ant.) ..., a shout of encouragement, which mariners make to one another whilst they are engaged in any work, similar to “Ho up,” and such like words, used among sailors in modern times.
Mart. 1.4, ep.64, v.21.

Quem nec rumpere nauticum celeusma.

Serv. in Æn.1. 8; Gloss. Cyrill.; Gyrald. de Navig. c.16; Bud. in Pandect. p. 106; Scheff. de Mil. Nav. l.3, c.1.

CELE'USTES (Ant.) he who shouted the celeusma to the mariners. [vide Celeusma]”
[Universal Technological Dictionary, Vol.1, Crabb, 1833]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 13 Oct 22 - 07:22 AM

“...and when it is recollected, that the “best bower,” of ninety hundred weight, has often to be dragged out of a muddy anchorage, some idea may be formed of the immense power demanded; it accordingly requires the simultaneous effort of sixty or eighty men, who “man the capstan,” to effect it: a drum and fife play a lively air to encourage them in their exertions, and to time their efforts.”
[Some Account of a Ship, The Saturday Magazine, Vol. III, July Supplement, 1833]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 13 Oct 22 - 07:26 AM

“I wrote the foregoing a day or two since, and have now to address you on the part of O'Doggrell, who having insisted on going aloft to hand the gaff topsails, when he was " three sheets in the wind," slipped the sixth or seventh ratline, and though he fortunately fell inboard, yet has he received an ugly "confusion" on his skull, besides spraining his right hand. The effect of said "confusion" has been to make him thrice more poetical than ever, and he has "bothered" the ship's company ever since, with alternate poetical effusions, on all subjects, and nautical imprecations in good prose on his accident. In order to quiet him I have volunteered to be his amanuensis, and present you with a song of his on the "Revenge," which he intends should send both Dibdin and Campbell "hull down to leewards."

It blows a merry breeze— Ho, boys, cheerily.
We can work her as we please— Ho, boys, cheerily.
Her sails are fast asleep,
And fast a-head we creep.
Along the slumbering deep,
                Ho, boys, cheerily.

But let it blow a gale— Ho, boys, cheerily,
With a double-reefed main sail—Ho, boys, cheerily.
'Tis then that shell make way,
Heeding neither wind nor sea;—
Give the old Revenge fair play.
                Ho, boys, cheerily.

As for your Sunday craft—Ho, cheerily,
Square rigged—or fore and aft— Ho, cheerily.
'Tis now as 'twas of yore,
We're at sea, when they're on shore;
While the stormy winds do roar,
                Ho, boys, cheerily.

In a calm they make some play—Ho, cheerily,
And will boast for many a day—Ho, cheerily.
But let them but be seen,
Where the tempest's path has been,
And they'll own her for their queen.
                Ho, boys, cheerily.

Still ready shall we be—Ho, cheerily,
To meet friend or enemy—Ho, cheerily.
With a friend our all to share,
We both hands and hearts prepare,—
But let a foe beware,
                Ho, boys, cheerily.

Then here's to the ship and crew—Ho, cheerily,
Both are staunch, and brave, and true—Ho, cheerily.
And while they can stretch a sail,
Be it calm, or breeze, or gale,
Neither ship nor crew will fail,
                Ho, boys, cheerily.”

PATRICK O'DOQGRELL.

Thus you have my trusty and well beloved cousin's production.
P.O.T.
[Irish Monthly Magazine, Vol.I, May'32-Apr.33, 1833]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 13 Oct 22 - 07:28 AM

“Athenæus has preserved the Greek names of different songs as sung by various trades, but unfortunately none of the songs themselves. There was a song for the corn-grinders; another for the workers in wool; another for the weavers. The reapers had their carol; the herdsmen had a song which an oxdriver of Sicily had composed; the kneaders, and the bathers, and the galley-rowers, were not without their chant. We have ourselves a song of the weavers, which Ritson has preserved in his 'Ancient Songs' and it may be found in the popular chap-book of 'The Life of Jack of Newbury;' and the songs of anglers, of old Isaac Walton, and Charles Cotton, still retain their freshness.

Mr Heber has beautifully observed, in his Bampton Lectures, that among the Greeks the hymn which placed Harmodius in the green and flowery island of the Blessed was chanted by the potter to his wheel, and enlivened the labours of the Piræn mariner.

Dr Johnson is the only writer I recollect who has noticed something of this nature which he observed in the Highlands. 'The strokes of the sickle were
timed by the modulation of the harvest song, in which all their voices were united. They accompany every action which can be done in equal time with an appropriate strain, which has, they say, not much meaning, but its effects are regularity and cheerfulness. There is an oar song used by the Hebrideans.'

But if these chants 'have not much meaning,' they will not produce the desired effect of touching the heart, as well as giving vigour to the arm of the labourer. The gondoliers of Venice while away their long midnight hours on the water with the stanzas of Tasso. Fragments of Homer are sung by the Greek sailors of the Archipelago ; the severe labour of the trackers, in China, is accompanied with a song which encourages their exertions, and renders these simultaneous. Mr Ellis mentions, that the sight of the lofty pagoda of Tong-chow served as a great topic of incitement in the song of the trackers toiling against the stream, to their place of rest. The canoe-men, on the Gold Coast, in a very dangerous passage, 'on the back of a high-curling wave, paddling with all their might, singing or rather shouting their wild song, follow it up,' says M'Leod, who was a lively witness of this happy combination of song, of labour, and of peril, which he acknowledges was ' a very terrific process.' Our sailors at Newcastle, in heaving their anchors, have their ' Heave, and ho ! rum-below !' but the Sicilian mariners must be more deeply affected by their beautiful hymn to the Virgin! A society instituted in Holland for general good do not consider among their least useful projects that of having printed at a low price a collection of songs for sailors.

It is extremely pleasing, as it is true, to notice the honest exultation of an excellent ballad-writer, C. Dibdin, who in his Professional Life, p. 8, writes — 'I have learnt my songs have been considered as an object of national consequence; that they have been the solace of sailors and long voyagers, in storms, in battle ; and that they have been quoted in mutinies, to the restoration of order and discipline.' It is recorded of the Portuguese soldiery in Ceylon, at the siege of Colombo, when pressed with misery and the pangs of hunger, that they derived, during their marches, not only consolation, but also encouragement, by rehearsing the stanzas of the Lusiad.”
[Songs of Trades, or Songs for the People, Vol.III, D'Israeli, 1833]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 13 Oct 22 - 07:33 AM

“Ô!...
Ô! hisse. ô! Hale, ô! Saille, ô! Saque, ô! Ride, (method of singing out as a signal to hoist, haul or rouse together, on a tackle or rope, or to push a beam.)
VOIX [terme de marine] The song (employed by sailors in hoisting, heaving, &c.) Donner la voix. To sing out (as in hauling, hoisting, heaving, &c.) A la voix! Mind the man that sings! Saleur de la voix. V. Saleur.”
[A French and English Dictionary, Vol.1, Wilson, 1833]

Subject: RE: Maritime work song in general
From: Steve Gardham
Date: 13 Oct 22 - 11:05 AM

Some really interesting and intriguing stuff coming out in the 1830s.

The air "A reg'lar capstan, stamp and go." The way that is set out suggests that the title of the air is the title of a song rather than a description if you see what I mean.

Just a little query re work aboard the RN vessels. Okay the capstan was spun to the accompaniment of an instrument, but work aloft couldn't have been co-ordinated in this way. Would for instance reefing a sail have involved the short 'sing out'?

Despite his frequent use of 'Yeo ye' I'm not aware of any Dibdin material ever being used in a chanty, although some of the words of Upton's 'Outward Bound' c1800 did for a while later on, no doubt helped by the popularity of the song in all circles.

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 13 Oct 22 - 03:39 PM

Another from the wiki. There are several snippets in the Advent thread but nothing with the notes to the lyrics and the usual nauticus clamour for ambiance:

“Send the hands aft, Mr. Spunyarn, to loose the mainsail.” The tyers were speedily cast off, and the sail adrift.

“Man the main and peak haulyards;–– away aloft, and ride them down."

In an instant a dozen of the men and boys were at the mast-head, catching hold of the running part of the haulyards, hanging by their hands, descending by their weight, and hoisting the sail much quicker than by any other means.

“Belay that,” said the mate, when the sail was properly set. “Heave short, Mr. Spunyarn,––keep a range of the cable on deck. Here, you cook! where's Scaldings, the cook? let him take down the chain. How does the cable grow, Mr. Spunyarn?"
        “Two points on the starboard bow, Sir.”
        “Port your helm, Mr. Blowhard."
        “Hard-a-port, Sir,” exclaimed the gunner, who was at the helm.
        “Heave away, lads !"
        “She's short, Sir,” bawled the boatswain.
        “Very well, Mr. Spunyarn; man the jib and fore haulyards––hoist away––keep the starboard fore-sheet to windward.”

The handspikes were again manned, and in a few minutes the anchor was at the bows, catted and fished.

“Heave diwn the bob-stay––there, belay that––all hands sweat up the jib.”

On board a well-disciplined man-of-war, no person except the officers is allowed to speak during the performance of the various evolutions. When a great many men are employed together, a fifer or fiddler usually plays some of their favourite tunes; and it is quite delightful to see the glee with which Jack will “stamp and go,” keeping exact time to “Jack's the lad,” or the “College Hornpipe.” On board a revenue cruiser for want of music, it is customary for one of the men to give them a song, which makes the crew unite their strength, and pull together. The following is a specimen of this species of composition:

O, haul pulley, yoe.
[Chorus, piano.]
Cheerly men,
O long and strong, yoe, O.
Cheerly men,
O, yoe, and with a will,
Cheerly men,

        [Grand Chorus, forte.]
        Cheerly, cheerly, cheerly, O.

A long haul for widow Skinner,
Cheerly men,
Kiss her well before dinner,
Cheerly men,
At her, boys, and win her,
Cheerly men,
Cheerly, cheerly, cheerly, O.

A strong pull for Mrs. Bell,
Cheerly men,
Who likes a lark right well,
Cheerly men,
And, what's more, will never tell,
Cheerly men,
Cheerly, cheerly, cheerly, O.

O haul and split the blocks,
Cheerly men,
O haul and stretch her luff,
Cheerly men
Young Lovelies, sweat her up,
Cheerly men,
Cheerly, cheerly, cheerly, O.

For time out of mind this song has been attached to revenue cutters, and sometimes the burden is not celebrated for its decency.”
[R.B., A Cruise of a Revenue Cutter, The United Service Journal and Naval and Military Magazine, Pt.I, 1834]

Instrumental = Sailor's Hornpipe
Accompanied, chanted, sung, &c = Jack's the Lad
Lyr Req: Sailor's Hornpipe

Fwiw: I would mark Spunyard, Blowhard &Co. as copper-bottom hokum, but that's just me.

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 13 Oct 22 - 03:43 PM

Steve: If the evolution were performed in proper “...away aloft, and ride them down" United Service Spunyard & Blowhard fashion, I would think no music, singing or chanting would be effective. Splints & bandages oth… The Bricklayer's Song .

Fwiw: Fife and drum had the most range but any audible method was impractical over any considerable distance, vertical or horizontal, ambient noise only made things worse. In real world rowing, the interaction is just with the aft-most benches (strokesmen.) Everybody else guides on sight.

On more than one Caribbean island guidon oarsmen were “Bonnie Boys,” and very well paid crew but darned if I can find any sources as yet.

Subject: RE: Maritime work song in general
From: Steve Gardham
Date: 13 Oct 22 - 05:26 PM

Ah, that's THE quotation. Nice to see it in full here. I like to think of that as the earliest English chanty as opposed to the Gulf chanties.
And we know this is real stuff because there are plenty of later versions and quotes.

Spunyard and Blowhard, yes hokum, but definitely a solid part of writers about maritime as used extensively by Dibdin and his contemporaries and imitated later. it has the dual purpose here of using expected generic names and keeping the real participants anonymous.

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 14 Oct 22 - 10:00 AM

“Acclamatio, onis. f. verb. A calling alound, Col. a shouting in applause, a huzza, Cic. Sometimes, a crying against, an exploding, Id.
Acclamo, as. (1) To shout, to huzza by way of honor, or rejoicing. (2) Sometimes, to cry out against. (1) Populus cum acclamavit ita esse, Cic. (2) Hostis omnibus qui acclamássent, Id..
Charge [burden] Onus. ¶ Ease me of this charge, Leva me hoc onere.
The charge [of a bishop, or judge, &c.] Hortatio, adhortatio, cohortatio, exhortatio.
*Evax. Interj. Exsultantis, A voice of joy, a huzza, Plaut.
Hip [interj.] Eho, heus.
Ho! Hem! heus! eho!
Holla! Heus! Hem!
A huzza, Clamor, lætus clamor, vociferatio.
To huzza, Vociferor.
Nauticus cantus, The seamen's holloa or huzza, Cic.

NOISE,…
The mariner's noise, * Celeusma.
[Latin Dictionary: Morell's Abridgment, Ainsworth, Jamieson, 1828]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 14 Oct 22 - 10:02 AM

“The vast expanse of water undulating onward, until it softened into the distant line of the horizon; the gentle curling of the crisp blue waves, as they were agitated by the passing breeze; the hoarse scream of the sea mew, as it blended with the lulling cadence of the billows; the occasional dash of distant oars, as the pleasure-boat or fishing smack glided gaily past upon the glassy surface before them; the cheerful note of the rower, as he timed the stroke of his oar to the rough measure of his song; the distant shouts of yo heave ho from the small trading vessels, as they were unlading or taking in their cargoes on the opposite shore,–– all imparted a variety and picturesque harmony to the scene, producing those lively emotions, which make us forget for a while the progress of time, when the objects that surround us are such as to entrance our attention and to elate our feelings.”
[The Sand Bank, The Athenæum Journal of English Literature and the Fine Arts, Vol.IV, 1833]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 14 Oct 22 - 10:03 AM

“BOULINE. s.j. … Bouline, ha! Ha! Ancien cri des marins halant sur les Boulines, pour s'encourager et pour agir ensemble; il vaut mieux réunir ses efforts au coup du sifflet….
CHANTER, v.n. To sing out. (zalomar) Ancien usage des matelots quic onsiste à manœuvrer et à agir ensemble à la voix d'un d'entre eux; aujourd'hui, à bord bâtimens de guerre, le chant est interdit; le sifflet peut indiquer l'elan; et s'il faut un effort soutenu, on enploie le fifre et le tambour.
COMMANDE!, Cri des matelots en réponse au comp du sifflet d'attention du maitre; ce cri n'est plus permis.
DONNER, v.a. et n. To order, to get, to spare, to run, to shape, to run right. (dar, dirigir). Donner la voix: marquer un effort simultané à faire, par un cri convenu….
VOIX (DONNER LA). To sing out. (salomar), Pour l'exp. Voy. au mot Donner.”
[Dictionnaire Abrégé de Marine, Bonnefoux, 1834]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 14 Oct 22 - 10:04 AM

“Celeuma, tis. ó Celeusma, tis. n. Canto, grita ó algazara de marineros cuando descubren tierra, y para divertir el trabajo.
Celeustes, æ. m. El cómitre de galera.”
[Diccionario Manual Latino-Español, Gimenez, 1834]


“...The axe of the woodman still is heard in the distant forest, the splash of the water fall keeps music with the wheel of the manufacturer, the "yeo heave
ho” of the sailor enlivens the wharves of our cities, and the sound of the hammer is cheering our country with the honest and useful labours of the mechanic.”
[The Gleaner (Boston) 24 May, 1834]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 14 Oct 22 - 08:17 PM

““Let fall—sheet home and hoist away the topsails—cheerly with the main, cheerly.” At the word, all the canvass, which heretofore had been concealed by being neatly folded on the yards, fell at the same instant into beautiful festoons, and the men briskly descended to the deck. The next moment the topsails were hoisting, and the fifes playing “The girls we left behind us," as the crew marched along the deck with the haulyards, keeping time to the music.

“Tramp the deck boys, tramp the deck," cried the second lieutenant in an encouraging tone, and the time was marked louder than ever.

“High enough with the mizen—belay the mizen topsail haulyards,” cried the fifth lieutenant. “Belay the mizen topsail haulyards,” echoed a midshipman in a youthful key, and the boatswain's mate piped, belay!

“Belay the fore-topsail haulyards—high enough with the main-belay the main topsail haulyards," succeeded pretty rapidly, attended by the same echoing and piping as before.

Again the capstan bars were placed, or rather "shipped,” and the order given to “heave round." The next moment, the “second” cried, “high enough.”

“Pall the capstan—unship the bars—forward to the cat—move, lads, move—” replied the “first” in the full tone of a manly voice, unaided by his trumpet. A few seconds only passed, and the anchor rested on the bows.”
[Three Years in the Pacific: Including Notices of Brazil, Chile, Bolivia, and Peru, Ruschenberger, 1834]
William Ruschenberger (1807–1895)

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 14 Oct 22 - 08:19 PM

“† SALOMARE, v.a. Dare la voce T. di mar. Donner la voix.”
[Dictionnaire Francais-Italien et Italien-Francais, Vol.II, Alberti di Villanuova, 1834]


“VOCE...
19. Dare la voce. dicesi quando con un grido come o issa ec. Si avverte l' equipagio a fare I suoi sforzi di conserva, Id.”
[Dizionario Enciclopedico delle Scienze, Vol.8, T-Z, Bazzarini, 1835]


“SALOMÁRE, att. (Marin.), v. spagnuola che significa dare la voce. Str.”
[Ortografia Enciclopedica Universale Della Lingua Italiana, Vol.VII, S, Bazzarini, 1835]


“Saloma, sf. Chant des matelots m.
Salemar, va. Chanter en manœuvrant.”
[Nouveau Dictionnaire de Poche Français—Espagnol et Espagnol—Français, Berbrugger, 1835]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 14 Oct 22 - 08:21 PM

“And now, let us leap over those jealous bulwarks which hide the interior operations of a man-of-war, and stand on the deck of the United States' frigate C— .

In that motley throng of officers and men on the quarter-deck, — in that hubbub of voices, in which are distinguishable only the hoarse growl of a boatswain's mate, or the shrill command of a junior midshipman, — a landsman perceives nothing but confusion — a man-of-war's man, the most perfect order. Just abaft the main-mast, the deck resounds heavily to the tramp of the crew, as they slowly, but steadily, heave round the capstern. With a measured tread, which keeps time with the animating music of the fife, they struggle with cheerful ardor against the formidable force of the rocks beneath, though there is yet no sign that their labor will be rewarded by success. In every part of the quarter-deck, at the different sheets and halyards, are groups of seamen, waiting but the signal to 'hoist away!' while officers are seen scattered in every direction, — here a lieutenant, there a midshipman, — who repeat, at short intervals, the inspiriting order of 'Heave cheerly, my lads, — heave cheerly!' Every man is at his station. The captain, mounted on the lee horse-block, looks with cool collectedness, now toward the quarter from whence the gale comes rushing on, then at the reef of rocks to leeward; and the first lieutenant, now the ostensible commander, at a few paces from him on the deck, from time to time makes the hoarse tones of the trumpet distinctly heard, amid the discordant din of creaking masts, — the heavy tramp of the crew heaving round the capstern, — the shrill whistling of the boatswain and his mates, — and the fearful roaring of the wind through the rigging.”
[Breakers, The Knickerbocker Monthly, Vol.VI, No.6, December, 1835]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 14 Oct 22 - 08:22 PM

“At a signal from the judges, the oarsmen stopped, and the usual signal of victory—the hoisting of oars—announced to Harby his discomfiture. Both boats wheeled for the shore, one with a quick stroke, the other with a measured sweep, keeping time to the gay song her oarsmen were echoing over the flowing waters. The songs of the southern boatmen are at all times imposing. Nothing can be more like martial music than the songs in which the whole crew repeat with their leader. On a stilly night their songs are rich with melody. It is really astonishing to hear a full chorus at midnight—all nature seems hushed, save the wild notes gladdening along the moon-lit waters.”
[Cassimer Saral: A Tale, Reyonds, 1835]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 14 Oct 22 - 08:27 PM

Earliest New Orleans ref. so far (I think) –

“We are hourly expecting our tow-boat the Whale. When she arrives we shall immediately, in the company of some other ships, move up for New-Orleans. The morning is delightful, and we have the prospect of a pleasant sail, or rather tow, up the river. A hundred snow-white sails are reflecting the rays of the morning sun, while the rapid dashing of the swift pilot-boats about us, and the slower movements of ships getting under weigh to cross the bar, and work their own way up to the city-together with the mingling sounds of stern commands, and the sonorous "heave-ho-yeo!" of the labouring seamen, borne upon the breeze, give an almost unparalleled charm and novelty to the scene….


...If the market at New Orleans represents that city, so truly does New-Orleans represent every other city and nation upon earth. I know of none where is congregated so great a variety of the human species, of every language and colour. Not only natives of the well known European and Asiatic countries are here to be met with, but occasionally Persians, Turks, Lascars, Maltese, Indian sailors from South America and the Islands of the sea, Hottentots, Laplanders, and, for aught I know to the contrary, Symmezonians.

Black women, with huge baskets of rusks, rolls and other appurtenances of the breakfast table, were crying, in loud shrill French, their “stock in trade,” followed by milk-criers, and butter-criers and criers of every thing but tears: for they all seemed as merry as the morning, saluting each other gayly as they met, “Bo'shoo Mumdsal”––“Moshoo! adieu," &c. &c., and shooting their rude shafts of African wit at each other with much vivacity and humor.


...After the grinding is finished, the negroes have several holidays, when they are quite at liberty to dance and frolic as much as they please; and the cane-song––which is improvised by one of the gang, the rest all joining in a prolonged and unintelligible chorus—now breaks night and day upon the ear, in notes “most musical, most melancholy." This over, planting recommences, and the same routine of labour is continued, with an intermission except during the boiling season, as above stated upon most, if not all plantations, of twelve hours in twenty-four, and of one day in seven throughout the year.”
[The South-West, Vol.1, A Yankee*, 1835]
* Penciled in underneath: Joseph Holt Ingraham (1809–1860).