Thanks to shipcmo for introducing "Around Cape Horn..." to this discussion. I am going to give some more details from it, now that I have my hands on a copy.

1926[1925]        Briggs, L. Vernon. _Around Cape Horn to Honolulu on the Bark "Amy Turner" 1880_. Boston: Charles E. Lauriat Co.

Bark leaves Boston in July 1880, for Honolulu. Briggs had a copy of "Two Years Before the Mast" with him, though he does not make any comparisons re: shanties that I can see.

Shantying or singing-out is ascribed to the officers. Pg. 84

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We often heard the "Haw-haw" and the call of the Mate in pulling at the sheets, but the songs or shanties on our vessel were reserved for use in bad weather to inspire the men to put forth their best efforts after long hours of duty or when their task was unusually difficult.
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Pg. 85

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During the four weeks that we were off Cape Horn we heard the shanties every time the men were able to get on deck and pull at a rope. Such songs as "The Ship Neptune", "Here Comes Old Wabbleton a-Walking the Deck", "Wey, Hey, Knock a Man Down", "Whiskey for My Johnny" or "Orenso was no Sailor, Boys", encouraged the sailors to lay out twice their usual strength. The men would take hold of the sheet in a sort of half-hearted way—their clothes had been wet for days, their hands were sore and they had had no hot food to eat. In a few minutes the Second Mate or one of the crew with a good voice would start a favorite shanty. Immediately the sailors would brace themselves, grip the rope with a firmer hold and, remaining in position until the line or verse was finished, would heave their bodies with a tremendous movement and bend all their strength to the rope, as they sang the refrain "Pull, ye devils, pull!"—varying it between the verses with "Pull, ye landlubbers, pull", "Pull, ye hellions, pull!", "Pull, ye seadogs, pull!" and other variations which would not look well in print.
        Many of these shanties (or "chanteys") are quaint and very old. Their verses are legion and vary on every ship. I will give some of the words sung on the "Amy Turner", which I have taken down or had written for me by the sailors.
        There are several kinds of shanty: the capstan or hoisting shanty, sung when at the capstan, warping or weighing anchor or hoisting topsails; the halyard shanty, sung when the topsails and topgallantsails are being mast-headed; and the sheet-tack and bowline shanty, used when the fore, main and other sheets are hauled aft and the bowlines made taut. There is also the bastard shanty, so-called; it is a runaway chorus, sung by all hands as they race across the deck with a rope; you hear it in tacking ship. It is sung to a vigorous tune, in quick time and increasing in volume. One of the most popular bastard shanties is the following:

WHAT SHALL WE DO WITH A DRUNKEN SAILOR?

What shall we do with a drunken sailor? [X3]
        Early in the morning.

Wey, hey, there she rises!
        Early in the morning.

Chuck him in the longboat till he gets sober.
        Early in the morning.

Wey, hey, there she rises!
        Early in the morning.
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I believe that's only the second reference so far to DRUNKEN SAILOR in this thread.
In the following note, Briggs seems to imply that BLOW THE MAN DOWN was also a stamp 'n' go, however, he later states its use for halyards. I suppose he was just noting that the "way hey" is similar. The theme of this is a bit of "The Black Ball Ship" and "The Dreadnought" combined.

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        In the shanties with a "Wey, hey" chorus, the men pound the decks with their feet when they say "Wey, hey", as in the following shanty:

THE SHIP "NEPTUNE"

Solo:--Now the "Neptune" is bound out on a float
        Chorus: Wey, hey, knock the man down!
Solo:-- Now the "Neptune" is bound out on a float
        Chorus: Oh, give me some time to knock the man down!

Oh! The "Neptune"'s a hard one—Oh, Lord let her go![x2]

Oh! Don't you see Wabbleton walking the poop? [x2]

Oh! Here's to the "Neptune" and her officers too—[x2]

Oh! Along comes the Mate with his big sea boots on—[x2]

If you don't be aware he'll alight you along—
With the toe of his boot he'll alight you along—

Next come the greaser, the pride of the day—[x2]

He'll sing out, "Lay aft, one—Lay aft one and all!" [x2]

For right over your head there flies the black ball—[x2]

Oh, there is a crew here—Oh, guess who was there!—[x2]

There was butchers and bakers and tinkers and Quakers—[x2]

There was soldiers and sailors and horse-hair braiders [x2]

Oh, the "Neptune"'s arrived, she's in Liverpool town—[x2]
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It's almost all "stringing-out". I wonder how that practice might be mapped. In which eras or places, or amongst which crews, was it more common? Why did some sailors seem capable of creating rhymes while others stretched out "bachelor" lines? I understand the reasons for why one would "string-out". What I am wondering is if there was any observable shift towards that practice as a *general* style or trend that we might see. because its not so common in the earlier references -- leaving aside the possibility that the chanties were *written down* in couplet form to be more interesting or save space.

Next comes another BLOW THE MAN DOWN. It's solo themes resemble "Paradise street" and "flying fish sailor" ones.

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Another hoisting shanty with the same chorus was:

AS I WAS A WALKING UP DENNISON STREET

Oh, as I was a walking up Dennison Street—
        Wey, hey, blow the man down!
Oh, as I was a walking up Dennison Street—
        Oh, give me the[/some] time to blow the man down!

Oh, it was a young jaunt that I chanced to meet—[x2]

Oh, she says, "Young man, can't you stand treat?"[x2]

"Oh, yes, young dame, at the head of the street"—[x2]

So we entered the alehouse, so snug and so neat—[x2]

With contentment and pleasure the time passed away—[x2]

And I never did leave her until the next day—[x2]

As I was a walking up Waterloo Road—[x2]

I met with a damsel and these words she said—[x2]

Oh, she say, "Young man, where are you from?" [x2]

"I'm a flying fish sailor—I'm just from Hongkong"—[x2]

Then she says, "Young man, oh give us your arm!" [x2]

"For I'm one of the posies—I'm just on the town!" [x2]

Chock up to the sheave hole this yard it must go—[x2]
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continued...