Maritime work song in general

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 22 Oct 22 - 11:23 PM

Correction it's: The Man-o'-war's-man,Stewart, 1843.

“...Then, coming aft to the capstan, he said, Now, my lads, I expect to see you walk away with her with life and spirit. Not in the dead-and-alive way, mind me, you've lately been accustomed to see on board of a guard-ship, but smart and bravely, like the active service you now belong to. Come, serjeant, where's your fifer? Oh, I see the fellow. Come this way, my little man; stick your body up there, on the back of that carronade, and let's have something lively from you.”—“All ready in the tier, sir,” bawled the master.—“Very well, Stowage,” answered the lieutenant: “Look out there, forward!—Go round; play up fifer,” and away they all stamped, to the favourite air of the fleet, Shove her up! amid the cries of, “Well behaved, my lads; that's it, stick to her: keep it up, fifer!—Surge there, surge; gunner's-mates, look to your nippers!—Pay down, my hearties, pay down! Are you all asleep in the tier there? Light out the small bower, will you?—Come, another rally, my hearts, and away she goes!” &c. &c. until the anchor was right under; which, after a few cheering and desperate rallies, at length gave way, and was speedily at the bows….”

“...Fore-top there, main-top there!” bawled the first lieutenant, are you ready aloft ?" which being answered in the affirmative, he immediately sung out, Let fall-Sheet home! and away scampered the deck bands with the sheets until the blocks smacked together. “Belay, belay, men!” cried the officer. "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 have all our hands got to? Fore-top there, main-top there! come down here all of you. Masters Ettercap and Pinafore, 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 a spirit, and off she goes. Play up, fifer!"—And round went the capstan to a good smart step, the men beating excellent time on the hollow-sounding deck with their feet, amid the aceumulated vociferations of officers of all ranks, who, with their potent commander in presence, vied with each other in the notes of alternate encouragement and sarcasm….”
[The Man-o'-war's-man,Stewart, 1843]

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

“'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! Master Ettercap and Master Pinafore, kick every soul of them out of the tops—a parcel 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 a spirit, and off she goes—play up fifer; and round went the capstan to a good smart step, the men beating excellent time on the hollow, sounding deck with their feet, amid the accumulated vociferations of officers of ranks, who, with their potent commander in presence, vied with each other in the notes of alternate encouragement and ridicule.”
[Sketches of Society –– Sailing of a Man-of-War, The Atheneum, Vol.11, 1822]

See also: Life in a Man-of-war: Or Scenes in "Old Ironsides" During Her Cruise in the Pacific, Mercier, Gallop, 1841 (following.)

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 22 Oct 22 - 11:12 PM

“Calomar, v.n. Mar. Zalomar, cantar un marinero con cierta montonia y compás, para que todos los que estan halando de algun cabo, izando alguna vela, etc., trabajen á una. V. ZALOMAR.”
[Diccionario Nacional, ó, Gran Diccionario Clásico de la Lengua Española, Vol.1, Dominguez, 1840]


A bit over one page of Latin and Greek on Aeschylus and the celeuma.
[Aischylou Persai: Aeschyli Persae, Blomfield ed., 1840]
Aeschylus (c. 525/524 – c. 456/455 BC)


“CELEUSMA, in antiquity, a naval shout serving as a signal for the mariners to ply their oars, or to cease from rowing. It was also also made use of to signify the joyful acclamation of vintagers, and the shouts of the conquerors over the vanquished.”
[The Scientific and Literary Treasury: A New and Popular Encyclopaedia of the Belles Lettres, Maunder, 1841]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 22 Oct 22 - 11:09 PM

“It seems that the crew, in order to pull in concert, and with greater regularity, were sometimes guided by the singing of a man, and sometimes by the sound of an instrument; and this grateful harmony served not only to regulate the motion of their oars, but to diminish and sooth their toil. This practice was anciently directed by a person called Celeustes, who gave the signal for the rowers to strike, and encouraged them by his song or cry. The song, called the celeusma, was either sung by the rowers, or played upon instruments, or effected by a symphony of many or striking sonorous tones. The commander of the rowers carried a staff, with which he gave the signal, when his voice could not be heard….”
[A Classifical and Archaeological Dictionary of the Manners, Customs, Laws, Institutions, Arts, Etc. of the Celebrated Nations of Antiquity, and of the Middle Ages, Nuttall, 1840]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 22 Oct 22 - 11:07 PM

“Or cette époque était celle où les Bretons insulaires émigraient en masse en Armorique. Le premier passage avait eu lieu sous les ordres du tyran Maxime vers 390, du plein consentement des habitants de l'ile; les autres furent forcés : les Bretons fuyaient la domination saxonne.

En allant par-delà les mers chercher leur nouvelle patrie, dit un auteur contemporain, ils chantaient sous leurs voiles, au lieu de la chanson des rameurs : « Vous nous avez livrés, Seigneur, comme des brebis pour un festin, et vous nous avez dispersés parmi les nations*. »

*Celeusmatis vice sub velorum finibus cantantes (Gildas, De excidio Bilanniæ).”
[Barzas-Breiz Chants Populaires de la Bretagne, Théodore Hersart Vicomte de La Villemarqué, 1840]

See also: Camden, 1637 (above.)

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 21 Oct 22 - 02:38 AM

“Professor Orpheus (before mentioned) when belonging to the good ship Argo, under Captain Jason, was of course the originator of heaving up the anchor to a lively tune-more classic of course than our modern means of inspiration, “Off she goes,” and “Nancy Dawson,” “played up” by a fifer, and followed up by a quick step….”
[Naval Sketches, Moore, 1840]



Walker Pits to the tune of Off She Goes: Byker Hill: background info anyone?
[The Tyne Songster, 1840]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 21 Oct 22 - 02:35 AM

“MÉMOIRE N° 9.
Sur Les Navigations de Pantagruel, un Passage Maritime de la Complaynt of Scotland, et une Chanson Matelote Anglaise du Quator Zième Siècle. [p.496-554]

Voilà frère Jean en belle humeur; il chante un refrain de Noël: « Gestuy céleume, dist Épistemon, n'est hors de proposer et me plaist. » Tous les travaux de peine , toutes les manœuvres de force étaient faites à bord, — et cette habitude se conserva en France sur les bâtiments de guerre jusqu'à 1820 environ, — au bruit d'un chant rhythmé, ou d'un cri cadencé, auquel l'excitation du sifflet a fini par succéder. C'est un chant que Rabelais , avec ses habitudes grecques, appelle le celeume ou mieux celeusme, du grec celeusma. Le chanteur s'appelait celeustes(*): « Celeusma est clamor nauticus ad hortandum; ut: Nunc, nunc incumbite remis! » Servius, Æneid. , lib. viii.

Après avoir doublé le cap qui défend l'entrée du port, et les basses, ou battures, roches à la surface de la mer et bas-fonds, la nauf et son convoi entrent dans le havre (haven (angl.)). A leur arrivée , les gens de l'ile envoient, pour aider nos navigateurs à réparer leurs avaries: « deux luts (voir Mémoire n° 6 , p. 162);

(*) « On entendait le bruit monotone et mesuré de cette multitude de
« rames qui, s'élevant, ou s'arrétant, à la voix du celeuste, semblaient
« frapper toutes à la fois , et en cadence , le fleuve qui retentissait des
« cris des matelots. » Arrien, Expéditions d'Alexandre, liv. vi, chap. I

                Lentos tingitis ad celeusma remos.
                        Martial, épig. LXVII, liv. iii.

                                .... Sonmo
                Quem nec rumpere naulicus celeusma
                Nec clamor...
                        Id., épig. LXIV, liv. iv.

CÉLEUSME, chant dont les matelots grecs suivaient le rhythme, soit qu'ils halassent sur les manœuvres, soit qu'ils fissent mouvoir les rames. II, 522.

CÉLEUSTE, le chanteur, le hortator. II , 522. [p.594]
[Archeologie Navale, Vol.II, Jal, 1840, pp.496, 594]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 21 Oct 22 - 02:34 AM

“Ahissa. f. Náut. saloma.
Ahissar. a. Náut. izar, salomar.
––als gossos. azuzar, zuzar.
––en la cassa. jalear.”
[Diccionario Manual Castellano-Catalan, F.M.F. P. y M.M., 1839]



“AH. Int. de dolor equivalent á AY. Ah. Ah, hem, vah. ? Denotant alegría. Ah, oh, bueno. Evax. ? Denotant indignacío. Com AH murri. Ah, oh. Oh, hem. ? De animar ó cridar, com AH minyons. Ah, hea. Heus, hau, ah.
AHISSA. Naut. Crit que serveix per avisar als que alsan algun pes peraque tiren tots á un temps. Saloma. Nautica opera canendi acta.
AHISSAR. v.a. Titar ó pujar algun pes. Izar. Solvo, is, levo, as. ? Incitar, provocar, instigar, induhir á algú á que fassa alguna cosa. Instigar, incitar, provocar. Stimulo, as, moveo, es, impello, is. ? Abordar al gos.”
[Diccionari de la Llengua Catalana, Labernia, Pere, 1839]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 21 Oct 22 - 02:32 AM

“By Jove you'd better skip for it, or you'll have what Captain M—— says. He's hailing your station,” said Courtenay, laughing—a piece of advice immediately acted upon by Price, who was up the ladder and on the forecastle in a few seconds.— “And I must go up too. How cursed annoying to be stationed in the waste! Nothing to do, except to stop my ears against the infernal stamp-and-go of the marines and after-guards, over my head; sweet music to a first-lieutenant, but to me discord most horrible. I could stamp with vexation.”

“Had you not better go first, and stamp afterwards?” observed the surgeon, drily.”
[The King's Own, Vol.I, Marryat, 1839]



“Saloma, sf. Sorte de cri ou de chant des matelots pendant la manœuvre
Salomar, vn * ado. mar. On le dit des matelots qui crient ou chantent tous à la fois en manœuvrant”
[Dictionnaire Français-Espagnol, Espagnol-Français, Vol.2, López, 1839]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 21 Oct 22 - 02:29 AM

“After a bit the savages sits down in the circle, all of us mortally afeard, while poor young madam begins crying bitterly. We were all of us, ye see, as we expected soon to be with the can'bals––down in the mouth. After a bit in comes Mattee Waboo, the chief as saved us from being killed on the raft, along with a boy carrying Jack's fiddle-case, which he puts on the ground, when the Mattee pointed to it and wanted us to tell him the use on't––for fortinately, as we larnt afterwards, it had been shoved aside as being of no valey, until the chief had overhauled it again, and now brought it afore us.

Honest Jack's face brightened up a bit as he laid hold on his old friend, and as the savages had carried off his keys, why he breaks open the case, and takes out his wi-o-lin, as fresh as when he'd last put it by, with a long store o' fiddle-strings. When Jack, after ros'ning his bow, began to tune a bit, it would have done your hearts good jist to see how the Indees jumped up and got round him. But when Jack struck up the “Sailors' Hornpipe," the savages began shouting with pleasure, and dancing like mad. Well, the news flew like wildfire, as we a'terwards larnt, that among the strangers there was a mighty geolee waukum, or “great spirit.” Well, Jack seeing how the wind lay, and knowing the ways o' the Indees, wouldn't play without they gave him plenty o' sea room, as they got crowding too close agin him. The chiefs soon kept the others off, and Jack began a sort o' die away, “Wapping Old Stairs,” if I 'member rightly, as made the savages as soft as child's milk, until all o' a sudden he strikes up “Off she goes.” Talk of that chap Off-horse, as our booklarned bow'son's mate talks o', as made every body follow his music!––why three years pay to a glass o' grog, it warnt any thing like Jack's power over the savages with his wi-o-lin!”
[The Magic Fiddle, The Gentleman's Magazine, Vol.5, 1839]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 21 Oct 22 - 02:27 AM

“BOAT SONG.
BY CHARLES F. HOFFMAN, ESQ.

The songs written for rowers being rarely composed by practical craftsmen, are generally useless, save in the drawing-room; because the measure of the music is not timed to the stroke of oars. Placide's drinking song as the gardener in "The Marriage of Figaro,” has always been a favourite with the Boat Clubs, when rowing with a quick stroke; as “Long time ago" is, when pulling with a slow one. The following, evidently written to the air of "In early life I took a wife" substitutes some more appropriate words for those of Placide's popular favourite.

We court no gale with wooing sail,
        We fear no squall a-brewing;
Seas smooth or rough, skies fair or bluff,
        Alike our course pursuing.
For what to us are winds, when thus
        Our merry boat is flying,
While bold and free, with jocund glee,
        Stout hearts her oars are plying!

At twilight dun, when red the sun
        Far o'er the water flashes,
With buoyant song our barque along
        His crimson pathway dashes.
And when the night devours the light,
        And shadows thicken o'er us,
The stars steal out, the skies about,
        To dance to our bold chorus.

Sometimes near shore we ease our oar,
        While beauty's sleep invading,
To watch the beam through her casement gleam,
        As she wakes to our serenading;
Then with the tide we floating glide,
        To music soft receding,
Or drain one cup, to her filled up
        For whom those notes are pleading.

Thus on and on, till the night is gone,
        And the garish day is breaking,
While landsmen sleep, we boatmen keep
        The soul of frolic waking.
And though cheerless then our craft looks, when
        To her moorings day has brought her,
By the moon amain she is launched again,
        To dance o'er the gleesome water.”
[Hoffman, Boat Song, American Turf Register and Sporting Magazine, Vol.10, 1839]

Note: The c.1817 English version of The Marriage of Figaro was by Henry Bishop (composer)(1787-1855.) No sources as yet.

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 20 Oct 22 - 08:30 AM

“La música del baile habia cesado en aquel momento, y solo alteraban el silencio los marineros de la flota con su melancólica saloma a llevar las anclas, para ponerse en franquía antes de amanecer, y los gritos agudos de una ave marina, que desvelada ó hambrienta, volaba inquieta por aquellos alrededores.”
[La Cartera Cubana, Vol.2, Vicente Antonio de Castro, 1839]



“It comes––the blue ripple curls––a narrow dark line stretches across the horizon in the offing––a slight rushing sound strikes the ear––the sails flap––and now they shake, loudly proclaiming the crisis arrived––they are filled––huzza! “Cast off the tow rope" "up boats” “brace forward the yards” “band strike up, off she goes” “huzza––Richard's himself again! Heaven be praised.”
[Nautical Rambles, The Nautical Magazine and Naval Chronicle for 1839]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 20 Oct 22 - 08:27 AM

“...The New Zealanders are decidedly a maritime people. They are fond of the sea, and make excellent sailors, and they only require virtuous and industrious Europeans to reside among them to render their services in this way most advantageous to themselves and to the British empire.*

* I was much gratified at hearing the New Zealand coxswain of an English boat; in which two of my fellow-passengers per the Roslyn Castle and myself were rowed across the Bay of Islands on a beautiful moonlight night, by four of his countrymen, calling out to them in good English, and scarcely with a foreign accent, "Pull away, my lads," “Stand to it, my boys." The New Zealanders, in reply, struck up their native boat-song in a sort of recitative, of which the chorus, like that of the Canadian boat song, is “Tohi, Tohi,” or Row, brothers, row.”
[New Zealand in 1839, Lang, 1839]
John Dunmore Lang (1799–1878)

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 20 Oct 22 - 08:24 AM

“The Chang wang has charge of the king's boats. The forecastle is commanded by a P,han hoa, the stem by a P,han Thaai. The rowers or Seep,hai, are seated on benches, their feet reaching the hold or lower deck. They sing the He roo-a, or boat song, keeping time with their oars.

Boat Song.––Air Phleng rúa
        rai ue! rai chang
        cha rop kun tai sia leo doei rai rúa úe, &c, &c.
        yo tha phi-doei yo tha pi-doei

O beloved! a hundred catties of gold would not weigh against you. I use all my efforts and beat my boatmen to reach you—but still you fly my presence.

The King's Bargemen's Song.––Air Hè rú-a.

        hem ú-e kang kan um heo ka kee
        Su yang chim pha li pli-rom som Saman

The mighty bird Garudá––fled to Limphalee––with the Princess Karf, supporting her all unwilling close to his heart, under his umbrageous wings.”
[On the Government, the Literature, and Mythology, of the Siamese, Low, 1839]
James Low (1791–1852)

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 20 Oct 22 - 08:22 AM

“The boatswain's pipe was heard, but it was in this instance mere matter of form, for the men had quietly shipped and swifted the capstan bars; the nippers were already passed, and as soon as the summons had been given, almost the same breath piped “Heave away." Round went the lads at the capstan, at first “stamp and go;" but when they had once started the ship on end, they danced merrily to the shrill sound of the fifes as they played up “Off she goes,” and in a few minutes the Master's commands were heard, “Thick and dry for weighing.” This checked them in their speed, but the tune changed to “Come cheer up my lads, 'tis to glory we steer!" and steadily did the noble fellows walk the anchor up to the bows. “Loose sails,” shouted the first Lieutenant, as the gallant vessel no longer held to the ground was obedient to her helm, and in three minutes and a half she was clothed in canvas, from her deck to her trucks; the anchor was stowed; the studden-sails set; and onward she went”
[Leaves From My Log-Book, by Flexible Grummet, P.M., Third Series, No.II, United Service Journal and Naval and Military Magazine, Pt. I, Vol.29, 1839]

Heart of Oak

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 20 Oct 22 - 08:20 AM

As forebitters, which also have not been invented yet(??) --

“Between seven in the evening and nine at night was the only interval during the twenty-four hours in which, after the dreary and monotonous duties of the day, relaxation on board the Nonsuch was ever allowed.

At this,––
                “The witching time of night,"

the belles aboard (who, to their credit be it said, ever exerted their best endeavours to convert moping into merry men), were to be seen attired in their always becoming, and often captivating “shorts,”* dancing away in the waist; and despite of the rolling, lurching, and pitching of the ship, reeling with Bob and Bill, “setting” to Sam, and “footing it fine” to some such favourite lilt as “Off-she-goes,” “Jack's Delight,” “Nancy Dawson,” “Morgan Rattler,” or any other rattler, which “Black Pompey,” “Marc Antony,” or “Julius Cæsar," (for Nero never fiddled afloat) was able to “scrape-up, or knock-off,” in the way of a rattling reel.”
[Land Sharks and Sea Gulls, Vol.2, Glascock, 1838]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 20 Oct 22 - 08:18 AM

oops.

“Jerry Jones, when fidler in, (I think,) H.M.S. Isis, touched at that port; and being in very good circumstances, with the advantage of youth on his side, he “wooed and won the fair Kathleen.” She gave him her hand, (“bad luck to the day,” she was sometimes heard in her moments of irritation to confess;) and soon afterwards Jerry Jones was seated on the capstan of the ship, playing “Off she goes," as it was heaving up the anchor, which was to release the Isis from the shores of Erin.”
[The Greenwich Pensioners, Vol.I, By Hatchway (lieut, R.N., pseud.) 1838]

Subject: RE: Maritime work song in general
From: GUEST
Date: 20 Oct 22 - 08:15 AM

“† CÉLEUSME. s.m. (cé-leusm) […, encourager]. … Cri des matelots qui rament pour s'encourager les uns les autres. – Signal aux matelots et aux rameurs, pour marquer les différentes manœuvres.
† CÉLEUSTE. s.m. (cé-leust). … Celui qui a soin de prescrire le devoir aux matelots, aux rameurs, et aux autres ouvriers d'un bátiment.”
[Dictionnaire de l'Académie Française, Tom.I, Académie Française, 1838]


“The morning was bright and beautiful; the sun, just risen, had shed his early radiance on the wooded summits of Elephantia; the fishermen were returning with their spoils; the merry capstan songs resounded from the decks of the English merchantmen; and, far as the eye could gaze, it rested on a scene teeming with interest and animation.”
[Cutch: Or, Random Sketches of Western India, Postans, 1838]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 19 Oct 22 - 09:28 AM

Method to use paddlewheel without a head of steam up. See also: Bonwicke's rowing engine, 1705, above –

“This hawser is rove as follows:––one end is first passed through the after-hole, then through the foremost fair-leader over the iron lugs alternately, then through the aftermost fair-leader, (crossing the feeding part between the fair- leaders,) and brought out through the foremost hole, where it is lashed with small line to the other end, which in the mean time has been rove through the after and foremost leading blocks, and brought to the foremost hole in readiness. When the lashing is secured, the after leading block is braced taught with a jigger—the larboard and starboard watches man their respective messengers, the band strikes up, and off she goes."...

...Thus the Medea was occasionally moved, when the shortness of the distance, or other circumstances rendered it inconvenient to use steam, and in one instance proceeded through the entrance of Malta harbour against a light breeze, at the rate of two knots an hour.”
[Baldock, Memoir of Her Majesty's Steam Ship Medea, On the Steam Engine, Vol.2, Tredgold, 1838]
Thomas Tredgold (1788–1829)
“HMS Medea (1833) was one of the initial steam-powered vessels built for the Royal Navy.” [wiki]

PS: "Knots an hour" is like "ATM machine." Just had to get that out of my pedantic system.

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 19 Oct 22 - 09:14 AM

“SALOMARE. (Marin.) Sa-lo-mà-re. N. ass. V.Spagn. Dare la voce. (Salomar presso gli Spagnuoli è cantare, come fanno i marinai, nell' atto della manovra. In ebr. tsahal alzar la voce, mandar fuori la voce profe lieta, e jam mare.) (S)”
[Vocabolario Universale Italiano, Vol.6, Società Tipografica Tramater, Naples, 1838]


Can't transcribe it here, just surprised there were 1838 Ch? Nôm translations from the Latin celeusma (as heus or hò.)
[Dictionarium Anamitico-Latinum, Taberd, Béhaine, 1838]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 19 Oct 22 - 09:08 AM

“As I proceeded to the house, I saw two negroes and a peon making a kind of basket for catching fish; they had just returned from town with Senor Josef, and were singing a canoe song, very common among the Spanish boatmen of the Gulf of Paria, the chorus of which was “Sopla, Sopla, Sopla, San Antonio,” a favourite saint to invoke when a wind is required, though sometimes so unreasonably deaf is the saint to their entreaties that I have heard him cursed heartily by Spanish mariners.”
[Going to Bed Without Your Dinner, From Leaves From a Log. A West India Story. Atkinson's Casket, 1835]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 19 Oct 22 - 09:06 AM

“CELEUSMA, grido di molte persone, che si eccitano vicendevolmente al combattimento, alla fatica: Nequaquam (dice Geremia cap. XXXXVIII.) calcator uvce solitum celeusma cantabit. E nel cap. xxv. Celeusma quasi calcantium concinetur adversus onnes habitalores terræ; cioè, come coloro, che pestano le uve, cacciano fuori dei gridi bia per incoraggirsi al travaglio, o per rallegrarsi; così i Babilonesi s'incoraggiranno gli uni cogli altri per aventarsi contro Gerusalemme, e rallegrarsi della sua perdita.”
[Dizionario Portatile della Bibbia, Vol.1, Aquila, 1833]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 19 Oct 22 - 09:04 AM

“Bolívar then invited him to attend a review of the army, which was about to take place; but Päez declined it, being determined to retire immediately to Cunavíchi. A flechéra, or long light canoe, carrying twelve paddles, was in readiness at the landing place, to convey the chief of the savannas and his lance-bearer over the river. As they paddled across, so rapidly as scarcely to deviate from a straight course, the Indians sung the Marri-Marri, or Orinoco canoe-song, which is generally an extemporaneous effusion, prompted by any existing circumstances that may strike their imagination.

[13] "Marrimarri! Pachócos hermanos
        "Rompen canalétes con brío;—
"Pues llevamos el flor de los Llanos,
        "Päez, el guapo invencído Caudillo.

"Sus lancéros le estan atizbando
        "En la playa dedonde saliò;
"Pues, al llegar el Xefe a su mando,
        "Los llenara de gloria ý valòr.

"No desmayen al soplar el viento!—
        "Los chuvascos no hay que temer!—
Voguémos, llenos de contento,
        "Desde el Alva hasta al anochecer."

“Note 13, p. 155.
The following is an imitation of the Marri-Marri, or Orinoco canoe song.

"Márrimárri! why so slow,
"Brethren of the lance and bow?
"Let each Indian strain his oar;––
"The Chieftain seeks Varínas' shore.

"On the bank his lancers stand,
"Waiting Päez's lov'd command:
"He shall lead them on to fame;
"Ever honour'd be his name.

"Márrimárri! brothers row;
"Fear not tho' chuvascos blow:
"Through mid-day heat and ev'ning dew,
"Brothers! speed the light canoe."
[Tales of Venezuela, Pt. 2: The Savannas of Varinas, Vowell, 1831]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 19 Oct 22 - 09:03 AM

“As Lodewyk assured him, with not a few oaths in his peculiar dialect, that there was nothing else of value in the vessel, he again shook hands, and stepping into his boat, ordered her to be shoved off. The pirates pulled merrily for their schooner, singing in chorus the well-known West Indian canoe song;––

        “The captain's gone ashore;
        “The mate has got the key;
        “Hurrah! my jolly boys,—
        “'Tis grog time o’day.”

The boat was cleared and hoisted up, and the schooner filled her sails and stood away for the Westward, before Sluiker recovered from his astonishment at this unwelcome visit….”
[Tales of Venezuela, Pt.I, The Earthquake of Caraccas, Vol.II, Vowell, 1831]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 18 Oct 22 - 05:17 PM

“The talent of one of the itinerant musicians was put in requisition; seated upon the capstan head, with a shrill fife he struck up a lively air, and away we gyrated with the capstan bars spinning round and round with a “stamp and go,” keeping time to the measure: the anchor was aweigh, the wind fair, and I soon took my farewell gaze at Britain.”

“Accordingly nineteen canoes, each containing, on average, fifteen persons, set off one afternoon, and a very animating spectacle it was. The air resounded with their different songs and energetic shouts, the paddles keeping time to the measure; each canoe had a singer; but the one in ours was the most famous on the river: the refrain was joined in by all hands, and the canoe would seem to be ploughing through the water.”

“A - - - way!
Away! Away! The white man's here,
The morn shines bright, the stream runs clear;
Row, brothers, row! Cheer, brothers, cheer!
        Te - - - na!”
Refrain of a New Zealander's Boat-song.”
[Rovings in the Pacific, 1837-1849, Vol.I, anon, 1851, pp. 16, 91, 124]

“It is a great treat on moonlight nights to listen to them chanting beneath the umbrageous grove; the women taking the first part, the men the second… I was desirous of procuring the original and took a person well skilled in the language to write them down for me; when, to my great surprise, I discovered that both the words and the air we a beautiful modulation of our sailors' capstan song of “Round the corner, Sally!”
[Rovings in the Pacific, 1837-1849, Vol.II, anon, 1851, p. 82]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 18 Oct 22 - 05:15 PM

“CONSONAR. a. ant. SALOMAR. || n. Sonar un cuerpo sonoro, instrumento musico ó bélico, dando el mismo tono ó la tercera, quinta y octava del que da otro con quien está acorde. Musicè consonare. || met. Tener algunas cosas igualdad, conformidad ó relación entre sí. Convenire, congruere. || Poet. Tener dos voces las mismas letras desde la vocal en que carga el acento hasta el fin. Voces similiter desinere, cadere.
CONTRAMAESTRE. m. Náut. Oficial de mar que manda las inaniobras del navio, y cuida de la marinería bajo las órdenes del oficial de guerra. Navis, nautarumque subpræfectus. || En algunas fábricas de seda y de lana cierto veedor que hay sobre los maestros de tejidos. Textrina subpræfectus.
SALOMA. F. La accion de salomar. Nautica opera canendo acta.
SALOMAR. n. Náut Gritar el contramaestre ó guardian diciendo varias retahilas para que al responder a ellas tiren todos á un tiempo del cabo que tienen en la mano.”
[Diccionario de la Lengua Castellana, Real Academia Española, 1837]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 18 Oct 22 - 05:13 PM

“* CELEUMA, atis, n, Asc. Ped. et CELESMA, atis, n. (…., exhorter). Cri par lequel les rameurs s'encouragent. ? Signal qui indique aux matelots les differentes manœuvres.
CELEUSTES, æ, m. Bud. Celui qui veille sur des matelots ou des ouvriers comite, inspecteur de travaux.”
[Dictionnaire Latin-Français, Noël, Forcellini, 1837]


“leis] Celeuma est canticum nautarum vel messorum, een schippers of maijers leis G. leyssen. Un lay ou chanson qu'on chante à Noel. Cantio natalitia P. Cantio natalitia, sic dicta quod eleison et kyrie - elei - son saepius in ea repetatur K.”
[Horae Belgicae, Studio Atque Opera Henrici Hoffman Fallerslebensis, Vol.2, 1837]


“A cet encombrement se joignait encore un tapage assourdissant: c'était le bruit aigu des sifflets des contre-maitres, le cri des matelots qui halaient à bord le chevaux et les bœufs, le retentissement du marteau des sculpteurs et des calfats, les reprises bruyantes des trompettes et des hautbois qui s'exerçaient à l'avant;...”
[Jean Bart et Louis XIV Drames Maritimes du XVII Siecle, Beauce, 1837]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 18 Oct 22 - 07:14 AM

“Venetianischer Schiffergesang (Salve Regina). XXIX. 500”
[Allgemeine Musikalische Zeitung, Vol.1-50, 1798]


“schëf?LIET g. liedes n. schiffergesang.
schëf?SANC g. -nges n. Schiffergesang; celeuma Sum. 24.”
[Mittelhochdeutsches Wörterbuch zum Handgebrauch, Ziemann, 1837]


“CELEUMA, sf. (t. De mar.) cris des matelotes.
SALEMA, sf. stokfiche. V. Celeuma.”
[Nouveau Dictionnaire Portatif des Langues Française et Portugaise, Constâncio, 1837]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 18 Oct 22 - 07:11 AM

c.1794
“...On board the yachts constant mirth and good humour prevailed among the seamen. When the weather was calm, the vessels were generally pushed on by means of two large sculls or oars turning upon pivots that were placed in projecting pieces of wood near the bow of the vessel, and not the stern, as is the practice of most other nations. From six to ten men are required to work one of these oars, which, instead of being taken out of the water, as in the act of rowing, are moved backwards and forwards under the surface, in a similar manner to what in England is understood by sculling. To lighten their labour, and assist in keeping time with the strokes, the following rude air was generally sung by the master, which the whole crew used to join in chorus:

[Note: Hai-yo hai-yau –– Master and crew call and reply w/sheet music included.]

On many a calm still evening, when a dead silence reigned upon the water, have we listened with pleasure to this artless and unpolished air, which was sung, with little alteration through the whole fleet. Extraordinary exertions of bodily strength, depending, in a certain degree, on the willingness of the mind, are frequently accompanied with exhilarating exclamations among the most savage people; but the Chinese song could not be considered in this point of view; like the exclamations of our seamen in hauling the ropes, or the oar song of the Hebridians, which, as Doctor Johnson has observed, resembled the proceleusmatick verse by which the rowers of Grecian galleys were animated, the chief object of the Chinese chorus seemed to be that of combining chearfulness with regularity.

“Verse sweetens toil, however rude the sound.”

Of their honesty, sobriety, and carefulness, we had already received convincing proofs. Of the number of packages, amounting to more than six hundred, of various sizes and descriptions, not a single article was missing nor injured, on their arrival at the capital, notwithstanding they had been moved about, and carried by land, and transhipped several times.”
[Travels in China, Barrow, 1804]
Sir John Barrow, 1st Baronet (1764–1848)

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 17 Oct 22 - 07:03 PM

“He heard the merry notes of the fife as the men worked at the capstan to the stamp and go, keeping time with the music on board the Glasgow; and when the 'Away aloft!' was shouted, away went the hands scudding up the rigging to obey the orders….”
[Ben Brace, the Last of Nelson's Agamemnons, Vol.1, Chamier, 1836]


“Neadling a slave, mariner, v. nydling.
Nydling, nedling, nidling, neadling, es; m. [nyd, neod need, ling a condition, state] One who serves of necessity, a slave, bondman, servant, mariner; qui ex necessitate servit, nauta, Bd. 3, 15.
Sæ-leoð a sea song, a sailor's shout in hoisting an anchor or sail; marina cantilena: nautica hortatio. Keleusma, Cot. 53.”
[A Dictionary of the Anglo Saxon Language, Bosworth, 1837]

See also: Vocabularium Anglo-Saxonicum, 1701 (above.)

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 17 Oct 22 - 07:00 PM

Thought there was a dedicated Captain Gone Ashore/Grog Time thread but can't find it now. The Advent thread has quite a bit on it:

“...Messieurs the people have no mercy for their servants, but goad them on, beyond their strength––and hunt them for cowards, whenever they show any signs of fatigue, or love of life. Every body can remember when it was preferred as a serious charge against a naval officer, that he stooped to dodge a chainshot!

“Hello!” continued the steward, "where dat blood for, on dog's nose? Guess you Bill British been 'noculate him for coward."

“Get out, you Hethiopian, or I'll shoot you!”

“Oh don't, now; who sarve a de grog, nigger gone to he wooden jacket?

        'When de cap’un go ashore,
        An de mate he hab de key,
        You want a nigger steward
        When it's grog time o' day.
                Grog time o' day!'”

A sharp, angry bark from the dog, and he had the soldier by the neck. He had watched him, till he saw him off his guard, and then pounced on him, like a Tiger, as he was. Immediate interference was necessary, to save the soldier's life, for the dog would most assuredly have finished him, had he been let alone. The steward was in the very ecstacy of delight—he hugged Tiger, and jumped round the forecastle, like a baboon. “Hee! choke a dam Cholo nigger! Top his weason, a brack sojer—good feller, Tiger !” The gambols of the dog and his friend had become too annoying—it was evident that it had been grog time with the steward. His eyes protruded from his head, and were, at the same time, dim with the mist with which alcohol smothers the vision.

“I tell ye, you Hethiopian, I'll shoot you, if you don't quit your monkey shines!”

        “'When a buckra man come,
        Hol ’um gun up higher,
        Tell a nigger shoot him,
        Nigger he tan fire!'

’pecially when a gun hab no powder in him! Hee!" And Ebony turned a somerset over the heel of the bowsprit.

        “'Possum up a gum tree,
        Racoon in de holler,'—….”
[Tar Brush Sketches, At Sea, by Benjamin Fiferail, Corrected Proofs, Weld, 1836]
Horatio Hastings Weld (1811–1888)


Lyr Req: Old Zip Coon
rabbit up a gummy stump poem or song?

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 17 Oct 22 - 03:54 AM

“...No language can convey an idea of the dexterity exhibited by the Canadian boatmen, who pass safely through rapids, whirlpools, and narrow channels, where by the strength of such an immense body of water forcing its way, the stream, as in the present instance, is lifted in the middle, to a perfect convexity. In such places, where you think the next moment must dash the frail skiff and its burden of human beings to destruction among the steep rocks, these fellows approach and pass over with astonishing coolness and skill, encouraging themselves and one another with a lively and exulting boat-song. We reached the junction of the Spokan River the same afternoon, having in the short space of eight hours accomplished a distance of ninety miles, which will give some idea of the rapidity of the current; ...”
[Companion to the Botanical Magazine, Vol.2, Hooker, 1836]
William Jackson Hooker (1785–1865)

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 17 Oct 22 - 03:51 AM

“The navigation of the Nile employs a great number of the native of Egypt. The boatmen of the Nile are mostly strong, muscular men. They undergo severe labour in rowing, poling, and towing; but are very cheerful; and often, the most so when they are most occupied; for when they frequently amuse themselves by singing….

The boatmen of the Nile very often use an earthen dar'abook'keh; but of a larger size than that used in hharee'ms: generally from a foot and a half to two feet in length. This is also used by some low storytellers, and others. The boatmen employ, as an accompaniment to their earthen drum, a double reed pipe, called zoomma'rah. There is also another kind of double reed pipe, called arghoo'l; of which one of the reeds is much longer than the other, and serves as a drone, or continuous base. This, likewise, is used by boatmen; and sometimes it is employed, instead of the na'y, at zikrs….”

The natural liking of the Egyptians for music is shown by their habit of regulating their motions, and relieving the dulness of their occupations, in various labours, by songs or chants. Thus do the boatmen, in rowing, &c.; the peasants raising water; the porters in carrying heavy weights with poles; men, boys, and girls, in assisting builders, by bringing bricks. Stones, and mortar, and removing rubbish: so also, the sawyers, reapers, and many other labourers….

In many boats, the crews amuse themselves and their passengers by singing, often accompanied by the darabook'keh and zooma'rah; and some private parites hire professional musicians to add to their diversion on the river.”
[An account of the manners and customs of the modern Egyptians, Vol.2, Lane, 1836]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 17 Oct 22 - 03:48 AM

“All except the top and forecastle men walked in well trained tactics to the music of the drum and fife around the capstan; and while the boatswain's mates piped loudly the signal to unfurl the sails, the top men scaled the shrouds and laid out upon the yards—loosed the main sails, the quartermaster stood prepared to cun*, and in five minutes the anchor was catted—the canvass sheeted home, and the gallant ship under a press of sail.”
[The Voyages and Five Years Captivity in Algiers, Pfeiffer, Rupp, 1836]

*The interweb/wiki dictionary universe is conflicted on this word but one route is: Alternative form of conn (“direct or steer a ship”.) From the obsolete spelling cond.

Fwiw: It's some type of pilot's task and the old world instrument and symbol of office was the sounding pole or contus.

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 17 Oct 22 - 03:47 AM

“They are dextrous boatmen, vigorous and adroit with the oar and paddle, and will row from morning unto night without a murmur. The steersman often sings an old traditionary French song, with some regular burden in which they all join, keeping time with their oars; if at any time they flag in spirits or relax in exertion, it is but necessary to strike up a song of the kind to put them all in fresh spirits and activity. The Canadian waters are vocal with these little French chansons, that have been echoed from mouth to mouth and transmitted from father to son, from the earliest days of the colony; and it has a pleasing effect, in a still, golden summer evening, to see a batteau gliding across the bosom of a lake and dipping its oars to the cadence of these quaint old ditties, or sweeping along, in full chorus, on a bright sunny morning, down the transparent current of one of the Canadian rivers.”
[Irving, Astoria; or Enterprise beyond the Rocky Mountains, Museum of Foreign Literature & Science, Vol.II, 1836]
Washington Irving (1783–1859)

Rip Van Winkle (1819) & The Legend of Sleepy Hollow (1820) &c.

Subject: RE: Maritime work song in general
From: Steve Gardham
Date: 16 Oct 22 - 02:13 PM

Interesting that 'Cheerily Men' gets by far the most mentions. We have had this before in the British revenue cutters.

Do we have some text to 'Captain gone ashore'? I seem to remember Gibb has several early references to this one. The others are probably just mentions of shore songs being tried out and then discarded.

Also interesting that some of the mentions of worksong use refer to steeving hides, quite similar to screwing cotton.

Also of note is the reference to Americans (likely African Americans) using the songs to greater effect. A lot of Gibb's early references to the earlier songs are of African American rowers, in e.g., the Georgia Sea islands.

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 16 Oct 22 - 03:01 AM

“When we came to mast-head the topsail yards, with all hands at the halyards, we struck up "Cheerily, men," with a chorus which might have been heard half way to Staten Land.” [p.356]

“Sail after sail, for the hundredth time, in fair weather and in foul, we furled now for the last time together, and came down and took the warp ashore, manned the capstan, and with a chorus which waked up half the North End, and rang among the buildings in the dock, we hauled her in to the wharf.” [p.459]
[Two Years Before the Mast, Dana, c.1835]

Note: The page numbers above are from the 1911ed.

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 16 Oct 22 - 02:59 AM

“For a few minutes, all was uproar and apparent confusion: men flying about like monkeys in the rigging; ropes and blocks flying; orders given and answered, and the confused noises of men singing out at the ropes.” [p.301]

“Our spirits returned with having something to do; and when the tackle was manned to bowse the anchor home, notwithstanding the desolation of the scene, we struck up "Cheerily ho" in full chorus. This pleased the mate, who rubbed his hands and cried out — "That's right, my boys; never say die! That sounds like the old crew!" and the captain came up, on hearing the song, and said to the passenger, within hearing of the man at the wheel, — "That sounds like a lively crew. They'll have their song so long as there're enough left for a chorus!" [p.341]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 16 Oct 22 - 02:58 AM

“Among her crew were two English man-of-war's-men, so that, of course, we soon had music. They sang in the true sailor's style, and the rest of the crew, which was a remarkably musical one, joined in the choruses. They had many of the latest sailor songs, which had not yet got about among our merchantmen, and which they were very choice of. They began soon after we came on board, and kept it up until after two bells, when the second mate came forward and called “the Alerts away!” Battle-songs, drinking-songs, boat-songs, love-songs, and everything else, they seemed to have a complete assortment of, and I was glad find that “All in the downs,” “Poor Tom Bowline,” “The Bay of Biscay,” “List, ye landsmen!” and all those classical songs of the sea, still held their places. In addition to these, they had picked up at the theatres and other places a few songs of a little more genteel cast, which they were very proud of; and I shall never forget hearing an old salt, who had broken his voice by hard drinking on shore, and bellowing from the mast-head in an hundred north-westers, with all manner of ungovernable trills and quavers – in the high notes, breaking into a rough falsetto – and in the low ones, growling along like the dying away of the boatswain's “all hands ahoy!” down the hatchway singing, “Oh no, we never mention him.”...

The next day, the California commenced unloading her cargo; and her boats' crews, in coming and going, sang their boat-songs, keeping in time with their oars. This they did all day long for several days, until their hides were all discharged, when a gang of them were sent on board the Alert, to help us steeve our hides. This was a windfall for us, for they had a set of new songs for the capstan and fall, and ours had got nearly worn our by six-weeks' constant use. I have no doubt this timely reinforcement of songs hastened our work several days.” [pp.290-91]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 16 Oct 22 - 02:57 AM

The sailors' songs for captains and falls are of a peculiar kind, having a chorus at the end of each line. The burden is usually sung by one alone, and, at the chorus, all hands join in, — and the louder the noise, the better. With us, the chorus seemed almost to raise the decks of the ship, and might be heard at a great distance, ashore. A song is as necessary to sailors as the drum and fife to a soldier. They can't pull in time, or pull with a will, without it. Many a time, when a thing goes heavy, with one fellow yo-ho-ing, a lively song, like 'Heave, to the girls!" "Nancy oh!" "Jack Cross-tree," etc., has put life and strength into every arm. We often found a great difference in the effect of the different songs in driving in the hides. Two or three songs would be tried, one after the other, with no effect; — not an inch could be got upon the tackles — when a new song, struck up, seemed to hit the humor of the moment, and drove the tackles "two blocks" at once. "Heave round hearty!" "Captain gone ashore!" and the like, might do for common pulls, but on an emergency, when we wanted a heavy, "raise- the-dead" pull, which should start the beams of the ship, there was nothing like "Time for us to go!" "Round the corner," or "Hurrah hurrah! my hearty bullies!"

This was the most lively part of our work. A little boating and beach work in the morning; then twenty or thirty men down in a close hold, where we were obliged to sit down and slide about, passing hides, and rowsing about the great steeves, tackles, and dogs, singing out at the falls, and seeing the ship filling up every day.” [p.286]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 16 Oct 22 - 02:56 AM

“The yards were then trimmed, the anchor weighed, the cat-block hooked on, the fall stretched out, manned by "all hands and the cook," and the anchor brought to the head with "cheerily men!" in full chorus.” [p.197]

“The great sail bellied out horizontally as though it would lift up the main stay; the blocks rattled and flew about; but the force of machinery was too much for her. "Heave ho! Heave and pawl! Yo, heave, hearty, ho!" and, in time with the song, by the force of twenty strong arms, the windlass came slowly round, pawl after pawl, and the weather clue of the sail was brought down to the water-ways.” [pp.219-20]

“The watch, too, seemed very busy trampling about decks, and singing out at the ropes.” [p.235]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 16 Oct 22 - 02:56 AM

“There was only one point in which they had the advantage over us, and that was in lightening their labors in the boats by their songs. The Americans are a time and money saving people, but have not yet, as a nation, learned that music maybe "turned to account." We pulled the long distances to and from the shore, with our loaded boats, without a word spoken, and with discontented looks, while they not only lightened the labor of rowing, but actually made it pleasant and cheerful, by their music; So true is it, that—

        "For the tired slave, song lifts the languid oar,
                And bids it aptly fall, with chime
        That beautifies the fairest shore,
                And mitigates the harshest clime.” [p.169]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 16 Oct 22 - 02:54 AM

“Soon after breakfast, a large boat, filled with men in blue jackets, scarlet caps, and various colored under-clothes, bound ashore on liberty, left the Italian ship, and passed under our stern ; the men singing beautiful Italian boat-songs, all the way, in fine, full chorus. Among the songs I recognised the favorite "O Pescator dell' onda.” [p.160]

“After breakfast, we had the satisfaction of seeing the Italian ship's boat go ashore, filled with men, gaily dressed, as on the day before, and singing their barcarollas.” [p.167]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 16 Oct 22 - 02:52 AM

“At twelve o'clock the Ayacucho dropped her fore topsail, which was a signal for her sailing. She unmoored and warped down into the bight, from which she got under weigh. During this operation, her crew were a long time heaving at the windlass, and I listened for nearly an hour to the musical notes of a Sandwich Islander, called Mahannah, who 'sang out" for them. Sailors, when heaving at a windlass, in order that they may heave together, always have one to sing out; which is done in a peculiar, high and long-drawn note, varying with the motion of the windlass. This requires a high voice, strong lungs, and much practice, to be done well. This fellow had a very peculiar, wild sort of note, breaking occasionally into a falsetto. The sailors thought that it was too high, and not enough of the boatswain hoarseness about it; but to me it had a great charm. The harbor was perfectly still, and his voice rang among the hills, as though it could have been heard for miles.” [pp.134-35]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 16 Oct 22 - 02:52 AM

“In no operation can the disposition of a crew be discovered better than in getting under weigh. Where things are done "with a will," every one is like a cat aloft: sails are loosed in an instant; each one lays out his strength on his handspike, and the windlass goes briskly round with the loud cry of "Yo heave ho! Heave and pawl! Heave hearty ho! " But with us, at this time, it was all dragging work. No one went aloft beyond his ordinary gait, and the chain came slowly in over the windlass. The mate, between the knight-heads, exhausted all his official rhetoric in calls of "Heave with a will!" — "Heave hearty, men! — heave hearty!" — "Heave and raise the dead! — Heave, and away!" etc.; but it would not do. Nobody broke his back or his handspike by his efforts. And when the cat-tackle-fall was strung along, and all hands — cook, steward, and all — laid hold, to cat the anchor, instead of the lively song of "Cheerily, men! " in which all hands join in the chorus, we pulled a long, heavy, silent pull, and — as sailors say a song is as good as ten men — the anchor came to the cat- head pretty slowly. "Give us ' Cheerily!' " said the mate; but there was no "cheerily " for us, and we did without it. The captain walked the quarter-deck, and said not a word. He must have seen the change, but there was nothing which he could notice officially.” [pp.117-18]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 16 Oct 22 - 02:50 AM

“The wind was whistling through the rigging, loose ropes flying about; loud and, to me, unintelligible orders constantly given and rapidly executed, and the sailors "singing out" at the ropes in their hoarse and peculiar strains.” [p.8]

Hugill/Dana's missing shanties

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 16 Oct 22 - 02:49 AM

Wiki on Dana in 70 words or less: Such simple or brief chants survived into the 19th century. First-hand observers such as Frederick Pease Harlow, a sailor of the 1870s, attested to their ubiquity, saying that they were brought into use whenever a brief task required one.[29] In historical hindsight these items have come to be generically called "sing-outs"; yet even before the known advent of the term shanty, Richard Henry Dana referred to "singing out".

The Advent thread has quite a lot on the author as well but only as it relates to the shanty that is still yet to come. Neither source addresses the Italians &c on their own terms.

Granted, the term is relatively new here as compared to the practice done under other names but more than one dictionary above literally defines zalomar (&c.) as a “sing out.”

So, maritime work song in general on Dana is going to be more like +1500 words. I was tempted to open a dedicated thread but, here it is in multiple posts.

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 16 Oct 22 - 02:21 AM

“...He informed us that he had despatched a two-oared boat to meet us with bait on the river; and while he was yet speaking, Mr. Dalton's splendid eight oared canoe Devilfish, which had been launched from her hiding place in the swamp, was rowed gallantly up to the landing in sight, her oarsmen, with their shirt sleeves rolled up to the shoulders, exhibiting the powerful muscular development of their black arms, as they made the tough ash of their oars buckle, and buried the prow in foam, keeping time the while to a merry boat-song, in which was extemporized a welcome, general and particular, to the party on shore.”
[Captain Willick's Times, Southern Literary Journal and Monthly Magazine, Vol.1, Nov., 1835]

Subject: RE: Maritime work song in general
From: GUEST,Phil d'Conch
Date: 15 Oct 22 - 05:43 AM

“The moment the steamer reached the ship's side, she was there stoutly secured by hawsers. The bars which had been lying against the windlass were shipped, and a dozen or more jolly tars, headed by a stout, boatswain-looking second mate, rose upon them with the energy of strong bodies and stout hearts, making the palls of the windlass rattle as they hove round, and the whole harbour resound with the long-drawn and monotonous, yet not unpleasing song with which they accompanied and gave concert to their labour.

Our anchor was soon apeak; the steamer started her engine, and we moved boldly ahead, despite the flood tide which was still running….


...The handspike was heard striking three times on the forecastle; “All hands ahoy!" was the cry that followed. Our topsails were close reefed, with many a plaintive “ho, heave ho!" as they tugged at the struggling canvass; the mainsail too was furled;...”
[The American in England, Vol.1-2, Mackenzie, 1835]
Alexander Slidell Mackenzie (1803–1848)

Subject: RE: Maritime work song in general
From: GUEST,Pl d'Conch
Date: 15 Oct 22 - 05:41 AM

Long winded one for the “Bo'shoo Mumdsal”––“Moshoo! adieu" cohort (Bonjour mademoiselle –– Monsieur adieu) –

“ACCORDER (s'). v.a. Agir simultanément, ensemble; cette expression s'emploie pour exprimer l'action de plusieurs hommes ou de plusieurs forces agissant dans un même but, et sur un même objet. Dans une embarcation, il est de rigueur que les rameurs s'accordent, qu'ils impriment parfaitement ensemble la force que leurs rames transmettent au canot pour lui donner de l'impulsion. Les rames devant être tour à tour dans l'eau et hors de l'eau, il faut, pour que cela soit, accorder les rames.

Lorsque les matelots abraquent et tirent sur un cordage pour que la force des actions réunies soit plus complète ils s'accordent; c'est en chantant qu'ils obtiennent de résultat. Il est pen de personnes qui, étant allées dans un port de mer, ne se souviennent d'avoir entendu, le long des quais, les marins s'aidant dans leur travail par ces chants pleins d'harmonie, et dans lesquels l'entente des parties musicales, les rapports des tierces, des toniques, des faussets et des basses sont admirablement combinés. Il y a de ces chants dont les motifs hardis et riches en accords fourniraient des thêmes fort brillans à une imagination d'artiste; ce qu'il y a de plus étonnant dans cette aptitude qu'ont la plupart des marins à chauter avec leur voix puissante, âpre, sauvage et mélancolique à la fois, c'est la facilité avec laquelle ils passent aisément dans ces chants, dans ces chorus, d'un mode musical à l'autre. Ainsi, presque tous les chants de corde ont un premier motif majeur et une reprise en ton mineur; le couplet est chanté par celui des matelots qui possède la voix la plus timbrée; celui-là, comme on dit, donne la voix; le mineur, qui est presque toujours une sorte de ritournelle, est chanté en chorus par les autres matelots; la reprise est en majeur. Tous n'ont pas de voix, mais au moins fort peu d'entre eux ne sont-ils pas capables de se joindre au chorus, et l'oreille ne leur manquera pas. C'est des Américains que sont venus ces chants matelotesques qui appartiennent à la poétique de la marine. Cela est quelquefois d'un saisissant effet. Je me souviens de ces nuits d'orage, où les voix du vent jettent de lugubres menaces dans l'air, ou d'ironiques sifflemens dans les cordages. Les lames roulent de graves mélodies, les mâts et la charpente crient et gémissent sous les efforts de la voilure; parfois on entend sur sa tête des bruits sinistres qui flottent dans le vent, sans qu'on puisse les attacher à quelques idées: on dirait des cris de naufragés en détresse; quelquefois ce sont de pauvres oiseaux qui se plaignent en rasant le contour des lames; cette grande nature s'envoloppe d'un sombre manteau que traversent parfois de curieux éclairs, les cordages chantent des notes graves aux vibrations que leur imprime la brise, et à tout cela les matelots viennent mêler leurs chants! Le vent les emporte ou les mêle à ses voix aiguës, le matelot n'en tient pas compte, il chante, parce qu'il faut s'accorder; la voile obéit à la transmission de la force qu'on lui imprime, la voix du matelot domine à l'accalmie; quand il s'entend au milieu de cette atmosphère menaçante, il est heureux.

Les paroles des chants du marin ne sont pas une poesie spéciale. Il y a bien dans les travaux des ports, au débarquement des marchandises, quelques couplets dont le sens a pour but d'inviter au travail; les promesses du délassement au cabaret sont les refrains obligés de ces strophes libres, souvent improvisées sur in air adopté. Mais le plus souvent les paroles ne sont que des monosyllabes, dont les consonnes trainantes se fondent dans les notes du chant. Beaucoup de mots de la langue maritime anglaise sont à la mode dans les chants de mer. Le mot hourra, qui est un synonyme de courage, y est souvent répété.

Dans les colonies françaises, les nègres ont une merveilleuse facilité d'improvisation pour s'accorder par ces sortes de chants. L'accident le plus futile, l'impression la plus passagère va leur inspirer une douzaine de couplets, pauvres de rhythme et misérablement rimés sans doute, mais empreints d'une certaine causticité d'un instinct d'observation remarquable. En revanche, leur mélodie est moins riche, elle roule sur des tierces seulement; mais cela lui donne une allure plus hardie, plus guerrière peut-être. Dans l'inde seulement, les chants des noirs sont plus riches de combinaisons musicales, et présentent plus motifs.

A bord des bâtimens de l'Etat les marins ne chantent guère, et c'est au son du sifflet du maitre d'équipage qu'ils s'accordent. Ce commandement musical sera expliqué au mot Sifflet.”
[Dictionnaire Pittoresque de Marine, Lecomte, 1835]