CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 MUSIC 
 
ML 378o!s65" ""'"""^ "-"""y 
 "•lllllilllMiS^ite.BSteAMecBpnof 
 
 3 1924 022 400 059 
 
The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924022400059 
 
THE MUSIC OF THE WATERS. 
 
THE 
 
 MUSIC OF THE WATERS. 
 
 A COLLECTION OF THE SAILORS' CHANTIES, 
 
 OR WORKING SONGS OF THE SEA, OF ALL 
 
 MARITIME NATIONS. 
 
 BOATMEN'S, FISHERMENS, AND ROWING 
 SONGS, AND WATER LEGENDS. 
 
 LAURA ALEXANDRINE SMITH. 
 
 LONDON: 
 KEGAN PAUL, TRENCH & CO., i, PATERNOSTER SQUARE. 
 
 1888. 
 
The li'hts of translation an4 of reproduction are reserved. 
 
DEDICATED, 
 
 BY SPECIAL PERMISSION, 
 
 TO 
 
 HIS ROYAL HIGHNESS 
 
 PRINCE GEORGE OF WALES. 
 
AUTHOR'S PREFACE. 
 
 It is always a pleasant duty to acknowledge kindness 
 and courtesy, but not always an easy one — in my case it 
 would be almost impossible to do so by any other means 
 than that afforded me here — for the world is wide, in spite 
 of the daily assertions to the contrary ; and the world of 
 waters is wider. There is scarcely a port, and never one of 
 any consequence, that I have not to thank for some part of 
 my collection ; and if the Consuls in those ports will accept 
 them, I beg to tender my most cordial thanks to them for 
 all the kindness and cordiality my applications have met 
 with. My gratitude is also due to the Foreign Consuls in 
 Great Britain, more especially to those in Newcastle-upon- 
 Tyne ; to the many authors and editors of periodicals, 
 from whose books and articles I have quoted ; to the 
 numerous friends I know and do not know, who have done 
 so much towards helping me in my work ; to the editor of 
 The Shipping World (Major E. R. Jones, United States' 
 Consul, Cardiff), who originated the idea of a collection of 
 the sailors' songs of all nations, by commissioning me to 
 write for his paper a series of articles containing specimens 
 
viii Authors Preface. 
 
 of each country's " chanties ;" and last, but not least, to the 
 sailors themselves, without whose unwearying patience in 
 singing for me their favourite " chanties," and in supplying 
 me with all necessary information as to their use, &c., I 
 should not have had the honour of inscribing to His Royal 
 Highness Prince George of Wales, and to all who are 
 interested in the sea and its toilers, " The Music of the 
 Waters." 
 
 Laura Alexandrine Smith. 
 
 Newcastle-apon-Tyne. 
 
INTRODUCTORY NOTE. 
 
 Fresh as the breezes of that ocean to which they owe 
 their inspiration, the " chanties " and songs here collected 
 come to us as a most interesting and unique contribution 
 to our literature of the sea. For this volume contains no 
 mere study-compilation of more or less authentic sea- 
 ditties, mingled with the nautical effusions of landsmen. 
 It is original in its conception and execution. With one 
 or two trifling exceptions, it is a collection of what may be 
 styled " the genuine article " — not the creation of landsmen 
 written for or about sailors, but the actual " working songs " 
 of the sea that are in use at the present time. 
 
 Still further, this book contains not merely the ditties of 
 our own Jack Tars, but a selection of the sea-songs of 
 nearly all maritime nations, translated and ably commented 
 on, from a literary, musical, and nautical point of view, 
 together with a good deal of interesting information re- 
 garding them. 
 
 Whoever will drink of an unadulterated stream must go to 
 the fountain-head. This, Miss Laura Alexandrine Smith 
 has done, and that she has drunk deeply, is easy to be 
 seen from the spirit and enthusiasm with which she writes. 
 Possessing literary power of a high order and thorough 
 musical knowledge, besides originality and perseverance, 
 
X INTEODUCTORY NOTE. 
 
 Miss Smith was well qualified for the performance of her 
 task, and being a daughter of Mr. C. S. Smith, Russian 
 Vice-Consul at Newcastle-upon-Tyne, she has had excep- 
 tionally good opportunities of obtaining the assistance of 
 the Consuls of many ports. 
 
 With the courage of an original investigator, our authoress 
 has ventured to " beard the lion in his den." She has per- 
 sonally gone straight to the " fo'c'sle," and interviewed the 
 sailors not only of her own, but of other lands, and thus 
 has gathered from the men's own lips, and from their 
 manly voices, the words and melodies which are most 
 popular among them. At the same time she has learned 
 to understand and appreciate the force and meaning of 
 that music which enables Jack to accomplish " a long pull, 
 and a strong pull, and a pull all together." 
 
 Of course, in language and sentiment, some of these 
 ditties are not all that could be desired, but the work being 
 a collection of curious and genuine sea-songs as they exist 
 not as they should be, the task of selection and translation 
 must have been one of considerable difficulty, and seems to 
 have been ab'.y and judiciously accomplished. 
 
 Doubtless to some minds a good deal of the versification 
 may appear absurd, but it must be borne in mind that, in 
 lyrical poetry, a strict regard for sense is not of so much 
 importance as the rhythmical flow of united words and 
 melody — especially in songs of the sea, where the union of 
 syllables with sounds must be well suited to the " work " 
 which they are meant to enliven and facilitate. Besides 
 is not the odd jumble of ideas and phrases, pathetic and 
 ludicrous, presented in some of the chanties, in keeping 
 with the well-known rough-and-tumble character of the 
 men who sing them ? 
 
Introductory Note. xi 
 
 When merely read, these chanties cannot be fully or 
 fairly appreciated, but when wedded to their appropriate 
 " Music of the Waters," they will doubtless convey to the 
 soul of the landsman somewhat of that interest and satis- 
 faction which they have long afforded to the " toilers of the 
 deep '' all round the world. 
 
 To those who have wandered much over our little globe 
 — especially to those who have done so in ships and seen 
 something of the wonderful works of God in the deep, and 
 become familiar with the hopes, joys, sorrows, sins, and 
 sufferings of the sailor in his selected home — these 
 " chanties " will assuredly bring back, like a half-forgotten 
 — yet never-to-be-forgotten — dream, many a pleasant 
 memory of tramping round the capstan, and heaving at 
 the windlass, and yarns told in low tones when sails were 
 flapping idly, and the starry host was mirrored grandly in 
 the sleeping sea. No puny invention of man — steam or 
 electric — will ever take the romance out of the sea ! Every- 
 thing here is relative. Man may modify his conditions. 
 Some old things may pass away and some things may be- 
 come new ; but, as the great vault of heaven and the 
 mighty ocean will remain unchanged and unchangeable 
 from age to age, so will the music of the waters, not less 
 than the music of the land, continue to well up in human 
 souls, to gladden, strengthen and revive them, until that 
 time comes when all music shall flow into one grand 
 harmony of praise to our God and to the Lamb. 
 
 R. M. Ballantyne. 
 
 HajTOw-on-the-Hill, 
 June, 1887. 
 
CONTENTS. 
 
 PAGE 
 
 Introduction xv 
 
 English and American " Chanties ; " or, Working 
 
 Songs of the Sea i 
 
 Gaelic Boat Songs and Scotch Sea Songs . . 79 
 
 Keelmen's and Fishermen's Songs, and Songs of the 
 
 Press Gang on Tyneside ... -105 
 
 Canadian Boat Songs 127 
 
 French Sailors' and Boatmen's Songs . -137 
 
 Italian Sailors', Neapolitan Fishermen's, and 
 
 Venetian Gondoliers' Songs . . . .171 
 Scandinavian Sea Songs .... 
 German Sailors' Songs .... 
 Dutch Sailors' and Herring-Fishers' Songs 
 Russian Sailors' Songs .... 
 Greek Songs 
 
 225 
 239 
 251 
 271 
 
xiv GONTJEIfTS. 
 
 PAGE 
 
 Japanese Sailors' Songs . . . . -277 
 
 Nile Boatmen's Chants 289 
 
 Indian Water-Songs 297 
 
 From China to Peru '309 
 
 Superstitions, Customs, and Water-Legends of the 
 
 Sea, Rivers, and Lakes ..... 333 
 
INTRODUCTION. 
 
INTRODUCTION. 
 
 " To-day a rude brief recitative, 
 Of ships sailing the seas, each with its special flag or ship-signal, 
 Of unnamed heroes in the ships — of waves spreading and spread- 
 ing far as the eye can reach, 
 Of dashing spray, and the winds piping and blowing. 
 And out of these a chant for the sailors of all nations, 
 Fitful, like a surge." Walt Whitman. 
 
 "May not the agreeable impression produced by the rhythmical 
 flow of the waves, and the soothing murmur of running water, have 
 led various nations, independently of each other, to the wide-spread 
 conception that they obtained their favourite instrument of music 
 originally from the water ? Or is this notion traceable to a common 
 source, dating from a prehistoric age ; perhaps from the early period 
 when the Aryan race is surmised to have diffused its lore through 
 various countries ? Or did it originate in the old belief of the world 
 with all its charms and delights having arisen from a chaos in which 
 water constituted the predominant element?" — EngeVs "Musical 
 Myths and Facts." 
 
 In these days, when, like everything else, shipping has 
 made such rapid strides that journeys which formerly were 
 looked upon with awe, and undertaken only in extreme 
 necessity, are now made with positive indifference, we are 
 too apt to look upon the sea as a liquid railway ; to think 
 that, with the piracy and the lubberly vessels that sailed 
 the main in the olden days, the romance of ocean has 
 
 a 
 
xviii Intboduction. 
 
 passed away, and with the fleet Atlantic " greyhounds " 
 fades the last glamour of mystery from the pages of marine 
 history. But the romance of the sea can never die, and 
 for all time we shall have the storms and calms that alter- 
 nately rule the watery way, the wrecks and losses, the 
 longings, the waitings, and the terrible tales, to remind us 
 of man's inability to cope with the mysterious, trackless 
 deep. 
 
 There is one being though who is never familiar with 
 the sea, and that is the being who knows it best, namely, 
 the sailor. In all he says or sings of the world of water 
 that is his home, Jack is never guilty of any sentiment 
 that breathes of mastery over the element, or exults in the 
 life of the sea ; it is too real a thing for him to adopt the 
 conscious boastful, masterful tone which is attributed to 
 him, and it is only sometimes in the impotence of despair 
 that fierce imprecations on sea or wind will break from 
 him. It is Gibbon who says, " There is but a plank be- 
 tween a sailor and eternity." 
 
 The poetry of the sea is written on shore. Sailors act 
 it, but do not write it. They form part of the poetry of 
 ocean ; they are the heroes that shine from its living, 
 terrible pages ; they are, they must be, brave men who 
 can do their duty 'midst such perils. They must be 
 brave, or nature brands them cowards, for the wind and 
 the wave are infallible tests of all a sailor's knots and 
 splices. Neptune is an unrelenting judge, and hurries 
 his prisoner, without trial or jury, into the Everlasting 
 Presence. 
 
 Three great pleasures, in the midst of all his perils and 
 privations, we may rest assured Jack enjoys : smoking, 
 yarning, and singing. With a pipe, whensoever and 
 
Introduction: xix 
 
 wheresoever he can manage to hold it between his lips, a 
 fairly appreciative audience round the galley fire or at the 
 fo'c'sle head, and a song to enliven his labour when on the 
 briny ocean, our blue-jacket is tolerably happy, and it is of 
 this latter I am purposing to make a short study — for that 
 sailors' songs are worth studying I am convinced, and from- 
 various points of view too. Musically they are most valu- 
 able, as showing how much they are characteristic of their 
 subject, vocationally, as proving the amount of impetus or 
 encouragement needed by the singer in his work, and 
 poetically, by making known the feelings which animate a 
 sailor's breast with regard to his home, his wife, his captain, 
 and indeed all that concerns him, often as an exponent of 
 Jack's intense admiration for the noble and heroic acts of 
 others. With regard to smoking, there is a curious story 
 told of an old salt who when in port was very fond of a 
 churchwarden. On being asked if he always smoked a 
 long pipe ? he replied, " No ; in harbours and in fine 
 weather I smoke a long pipe ; in fresh weather I smoke a 
 cutty, and when it blows a gale of wind I chew." 
 
 Not Dibdin's, not Barry Cornwall's, not Campbell's, not 
 any of the Pirates' Serenades, or " I'm Afloats," which may 
 be seen in music-shop windows, illustrated by lithographic 
 vignettes of impossible ships in impracticable positions, and 
 may be heard sung in comfortable drawing-rooms to the 
 tinkling of pianos by romantic young ladies, or in still 
 waters in sight of green fields by landsmen yachting — not 
 any of these are the songs that come under the heading of 
 " Chanties, or Working Songs of the Sea." The songs of 
 the sailor are sung to the accompaniment of the thrilling 
 shrouds, the booming double bass of the hollow topsails, 
 and the multitudinous chorus of ocean. 
 
 a 2 
 
XX Introduction. 
 
 As the ship is originally wrought from the live oak- 
 forests of Florida, and the pine mountains of Norway, the 
 iron-mines of England, the hemp and ilax fields of Russia, 
 so the song5 current upon her decks are the composite gifts 
 of all sea-loving peoples. In almost all nations we find 
 that each individual trade and occupation has its own 
 particular songs, differing many times even in provinces of 
 the same country, so, naturally, maritime countries have 
 many kinds of sailors' songs, each port often being respon- 
 sible for some particular chanty. Many of these seem 
 lacking in meaning, but to us of the shore only. Depend 
 upon it something commends them to the tar's notice. 
 They must contain good mouth-filling words, with the 
 vowels in the right place, and the rhythmic ictus at proper 
 distance for chest and hand to keep true time ; and at any 
 rate these sea-songs are redolent of the freshness of the sea- 
 breeze. 
 
 Talking of the dangers which menace our sailors 
 reminds me of a story I heard d propos of this. A clergy- 
 man much interested in the blue-jackets was one day talk- 
 ing to one whom he wished to bring round to his way of 
 thinking. 
 
 " How long have you been at sea ? " he began. 
 
 " Twenty years," was the reply. 
 
 " Was your father a sailor ? " 
 
 " Yes. He was drowned at sea." 
 
 " And your grandfather ? " 
 
 " He was also lost at sea." 
 
 " But this is an awfui prospect for you, my poor man. 
 Are you not afraid to go to sea t " 
 
 Jack screwed up his eye, and put a fresh quid into his 
 mouth preparatory to answering. 
 
Introduction. xxi 
 
 " Quits, parson ; where did your father die ? " 
 " In bed, of course, like a good Christian." . 
 " And your grandfather ? " 
 " He died in his bed too." 
 
 "That's bad, parson," says Jack, " are you not afraid to 
 go to bed ? " 
 
 The foregoing may be taken as a sample of a sailor's 
 feelings when interviewed on the subject of his perilous 
 life. The danger is there, and he is fully alive to it, and, 
 as I have said before, is never familiar when speaking of the 
 sea. But in any encounter like that just referred to, in 
 which the slightest shade of doubt as to Jack's daring to 
 trust himself on it, is mooted : the one who hazards the 
 doubt is almost certain to get the worst of it. 
 
 I am quite aware that if I allude to the bad accommo- 
 dation and scanty and coarse fare, as the portion of our 
 sailors, I tread on dangerous ground. Our times are 
 supposed to be changed times, and changed for the 
 better too, for the blue-jackets ; I trust it may be so. 
 In speaking of Jack's lot, I do so comparatively, not 
 from any wish to enter into so vexed a question as our 
 sailor's condition has now become. With regard to the 
 improvidence that is so characteristic of seafaring men, I 
 cannot help thinking that, however much it is to be con- 
 doned on the score of their peculiar life, it is as much to 
 be deplored for the lack of energy that fails to perceive 
 and seize upon the means of remedy which are so palpably 
 at hand, namely, the establishment of a compulsory sea- 
 men's fund. Other trades and ^occupations make provi- 
 sion for their members when age shall have robbed them 
 of their power of labour, or illness have laid them tempo- 
 rarily aside ; but for the sailors there is no such provision. 
 
sxii Introduction. 
 
 The evil arising from the want of it is very apparent ; the 
 remedy seems to lie with themselves. In the Skipping 
 World of July, 1887, there appeared a paragraph stating 
 that Mr. Thomas H. Ismay, head of the White Star Line, 
 had suggested to the Mayor of Liverpool the foundation of a 
 Seanjen's Pension Fund, and promised to give it a start with 
 the princely donation of £20,CX)0. The object of the fund 
 would be to provide pensions for British sailors who have 
 sailed out of Liverpool, or in Liverpool-owned ships, and 
 who have been unable to make adequate provision for their 
 declining years. The pension would be fixed at ^^20 a 
 year, and on no account would be given to other than a 
 British sailor, and no seaman to be eligible for a pension 
 who had not attained the age of fifty years, and could 
 prove twenty-five years' service at sea, either as captain, 
 deck officer, or seaman. The fund, Mr. Ismay suggests, 
 might be invested in the name of the Mercantile Marine 
 Service Association, who will have the power of selecting 
 suitable candidates for the pension. No great home to be 
 erected, the whole of the fund to be applied to the object 
 in view. 
 
 One can scarcely wonder at the style or sentiment 
 of these Sailor Chanties, seeing that they are really, in 
 many cases, the true expression of the feelings of the 
 men who originate them — the strangest men perhaps, 
 taking them all in all, one can meet with ; though, cer- 
 tainly, I think Jack is somewhat less black than he is 
 painted. As Lord Brassey in his work on "British Seamen " 
 says : " Sailors spend their life for the most part far re- 
 moved from the best influences which can elevate human 
 nature, far from their native land, far from their hearths 
 and homes, on the broad and lonely sea, where the 
 
Introduction. xxiii 
 
 authority of the magistrate cannot reach, where public 
 opinion is unfelt, and the Sabbath bell is unheard." He is 
 hardly to be judged by the same standard as a landsman, 
 his life is so different. So much rougher discipline, so 
 much more severe, that no wonder during their sometimes 
 short holidays our tars squander their substance in the 
 riotous manner that has become proverbial of them. Think 
 how many months they spend in exile, enduring many 
 serious hardships, beside which the trials of shore-men 
 seem insignificant ; scanty rations, often of the most re- 
 volting description, always of the coarsest ; hard, rough 
 work in the most terrible degrees of heat and cold, 
 wretched accommodation, and at all times the presence 
 of imminent peril, which, although naturally the case in all 
 lives, always seems to me to be more terribly near at sea. 
 And we must confess a sailor's life has much to make it 
 undesirable, and yet, for all that, taking them as a class, 
 they are healthy, hearty fellows, and well deserving of the 
 epithet of "Jolly Tars." 
 
 Knowing what an impressionable set of men sailors as a 
 rule are, we cannot wonder that anything which appeals so 
 much to the emotional side of nature as music does, should 
 play an important part in their daily round of work. What 
 the " Ranz des Vaches " does for the Swiss herder when 
 minding his flocks on the hills of his country, the " Mar- 
 seillaise " for the eager Frenchman on his way to death or 
 victory, the discordant sound of the bagpipes for the High- 
 lander on a foreign battle-field, that does the chanty for 
 the blue-jacket. It is not recreation, it is an essential part 
 of the work on ship-board, it mastheads the topsail yards 
 when making sail, it starts and weiighs the anchor, it brings 
 down the main-tack with a will, it loads and unloads the 
 
xxiv Introduction. 
 
 cargo, it keeps the pumps a-going ; in fact, it does all the 
 work where unison and strength are required. I have 
 heard many an old salt say that a good chanty was worth 
 an extra hand. At the capstan, on the topsail-halyards, 
 in port and at sea, in calm or in storm, the ropes run 
 smoother, the work is done quicker, when some twenty 
 strong voices are singing : — 
 
 " Haul the bowline, the fore and maintop bowline, 
 Haul the bowline, the bowline haul ! 
 Haul the bowline, the bully, bully bowline, 
 Haul the bowline, the bowline haul ! " 
 
 In his admirably nautical novel, " Two Years before the 
 Mast, or a Sailor's Life at Sea/' Mr. Dana says of the 
 chanties : " The sailors' songs for capstans and falls are ot 
 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. A 
 song is as necessary to sailors as the drum and fife to a 
 soldier. They cannot pull in time, or pull with a will, with- 
 out 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 Crosstree,' &c., 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 it seemed to hit the humour of the 
 moment, and drove the tackles to 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 
 
INTRODVCTION. XXV 
 
 beams of the ship, there was nothing like ' Time for us to 
 go/ ' Round the Corner/ or ' Hurrah ! hurrah ! my hearty 
 Bullies.' ' Cheerily, Men,' when we came to masthead the 
 topsail-yard with all hands at the halyards, might have 
 been heard miles away." 
 
 Speaking again of the advantages of music at sea, the 
 same author says ; " 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 labour 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 crime.' " 
 
 He is alluding to the Americans in San Pedro. 
 
 Besides the working songs, there are others for the fore- 
 castle and dog-watches ; for a sailor, in his moments of 
 leisure, will as soon listen to a ballad as a yarn, and an 
 audience round the galley fire, or at the fo'c'sle-head, re- 
 quires what the hearers of our old ballads demanded, 
 plenty of stirring incident and strong true feeling simply 
 expressed. Our blue-jackets ought to be familiar with the 
 tales of our grand old admirals and their victories, and 
 should have songs in use amongst them as a stimulus to 
 energy and courage that will make Blake, Vernon, and 
 Anson more than mere names to them ; those who man 
 our ironclads should be full of that old spirit which de- 
 feated the Armada and won Trafalgar. There is no doubt 
 that the inimitable sea-songs of Dibdin have done much to 
 keep up the esprit de corps of our British sailors ; they are, 
 
xxvi Introduction. 
 
 in fact, an inheritance which the nation will never, it is to 
 be hoped, undervalue. 
 
 Whatever form naval warfare may hereafter assume^ 
 however the technicalities of the maritime profession may- 
 be altered, the spirit of the British seaman will be un- 
 changed, he will be the same hearty, fearless, generous and 
 simple being that Dibdin describes him, loving his country 
 and his flag, reverencing his ship whether propelled by 
 wind or steam, and adoring his Kate or Nancy. 
 
 Not only are Dibdin's songs popular with seamen, but 
 they have obtained a deep hold on the national heart. 
 There are few, I think, who are not familiar with some at 
 least of them, fewer who have not heard and admired the 
 pathos of " Tom Bowling," perhaps the most perfect of the 
 many hundred songs left us by this great master of the 
 art of writing of the sea. " Poor Jack," and " 'Twas in 
 the good Ship," are also great forecastle favourites, mixed 
 up as they are with frequent quaint technical phrases and 
 expressions, rendering them perfectly characteristic and 
 inimitable, and expressing such thoroughly wise, brave, and 
 gentle sentiments. There is another song, " I'm the Pirate 
 of the Isles," a most thrilling tale of the genuine Pirate of 
 the Isle of Pines, the terror of the Spanish Main, and one 
 that always draws the sympathy and rouses the interest of 
 a forecastle audience. 
 
 But the songs that Jack loves best, the songs that are 
 sung with a will, whether by old or young, are the ones 
 that have for theme " His Nancy," and, whether sailing 
 away with the fresh memory of her last good-bye ringing 
 in his ears, or homeward-bound with the eager thought of 
 the welcome that will be his, she is never far from his 
 thoughts. The sailors' favourite expression, rude though 
 
Introduction. xxvii 
 
 the poetry of it may be, always seems to me to be 
 thoroughly characteristic of their thoughts, viz. that " the 
 girls have hold of the tow-rope and can't haul the slack in 
 fast enough.'' 
 
 There is yet another class of songs that would come 
 under the heading of " Music of the Waters," though they 
 are half of the shore. I mean those which the coasters 
 croon in their lonely watches, those the fishermen sing 
 when mending their nets ; for, though certainly this is 
 properly speaking land work, still the sea is all about them, 
 the very air is laden with its fresh briny smell, the sounds 
 in their ears are the sounds the waves make as they break 
 on the shore, their thoughts are probably far away from 
 the comfortable haven where they sit, so naturally their 
 song follows their thoughts and becomes of the sea. 
 
 Rowing-songs should, I think, also be included in this 
 class. They can scarcely be considered as working-songs, 
 though I have no doubt the tune and swing of the music 
 will have as much effect on the oarsmen as all rhythmical 
 music has on work that requires to be done with strength 
 and in unison. There is a certain charm about music on 
 the water which that of the shore can never give, and pro- 
 bably we all have some pleasant souvenirs in our minds of 
 golden August mornings on the sunny Thames, or soft 
 moonlit nights on some placid lake, when the perfection 
 of the already perfect situation was enhanced by some 
 dreamy, soothing song that seemed to waft itself over the 
 water and find its echo on the distant shore. 
 
 Doubtless more than half the romance we always associate 
 with Venice is due (for those who have been there) to the 
 memory of the gondolas that carried them through the 
 many canals of the City of Doges, and the gondoliers who 
 
XXVlll 
 
 Introduction. 
 
 at one and the same time charmed their sense of Seeing and 
 hearing by the picturesqueness of their costume and the soft 
 snatches of song they trolled out en route, and for those 
 who have not, by the description written and spoken of it, 
 in which these always play so important a rdle. I am afraid 
 I must confess for one that Venice is never so much to my 
 mind the city par excellence of historical Italy, as the place 
 of all others where one may most revel in the delightful 
 dolce far niente of being rowed under soft Italian skies, 
 by quaint and time-worn buildings, under gloomy romantic 
 bridges, with a dark-eyed gondolier singing in his rich 
 musical voice : — 
 
 p s^ms3 , 
 
 ^x=sr- 
 
 Ml 1 Ml — 
 
 In Ven-ice the gold-en to dream, to dr 
 
 With 
 
 i 
 
 
 §1 
 
 :1^ 
 
 love sto - lies old - en for theme, for theme. 
 
 I think most people will be familiar with Moore's exquisite 
 Canadian Boat Song — 
 
 i 
 
 s: 
 
 t^^jE^i^- 
 
 ^=i- 
 
 ±L 
 
 i 
 
 Faint - ly 
 
 w 
 
 ^i=^ 
 
 tolls the ev - 'ning chime. Our 
 
 ^^ f^n 
 
 S3 &c. 
 
 ziz 
 
 z^izMz 
 
 vol - ces keep tune, and our oars keep time, our 
 
 SO suggestive of the motion of the dipping of the oars in 
 the water that one can almost fancy one hears the splash, 
 and sees the spray that rises, when it is sung. 
 
 As far as I have been able to learn, the songs of the sea 
 take very much the same form and character in all nations, 
 that isj they are sung on the same occasions, are much of 
 
iNTEODUCTIOlSr. xxix 
 
 the same type, namely, alternate soli and chorus, are at all 
 times very erratic in metre and varied in theme, and almost 
 always similar, and to be traced to the general music of the 
 country to which they belong. 
 
 In one of the old volumes of Blackwood's Edinburgh 
 Magazine (vol. vii., April, 1820), there is an essay on song- 
 writing, and the author, who signs himself D. T., includes 
 some few remarks on sea-songs. He says : " Incledon and 
 Dibdin did their best to make sea-songs popular, and for a 
 while they succeeded. Dibdin, however, wanted judgment, 
 for from his attempts to clothe grave thoughts in seaman's 
 phraseology, good taste will always revolt. In one of his 
 songs the resurrection is actually alluded to thus — 
 
 ' When he hears the last whistle 
 He'll come upon deck.' 
 
 To be serious, with vulgar slang, grave interest can never 
 amalgamate. Divested of this, however, I do not see why 
 the peculiar vicissitudes of a sailor's life might not give 
 variety to the lyric music, or why the exploits of the Vikings, 
 whether of good old Saxon or more modern times, are 
 not as capable of tuneful commemoration as those of heroes 
 upon dry land. Campbell's ' Battle of the Baltic ' I have 
 read a hundred times, but have never seen the music, if 
 there is any, appended to it. 'Black-eyed Susan' and 
 Glover's 'Admiral Hosier's Ghost' are, I think, hardly to 
 be classed as sea-gongs. The scenes, to be sure, are laid on 
 board ship, but they embody no feelings or incident of any 
 consequence which are peculiar-to a sea-life." 
 
 D. T. can scarcely have made much study of sea-songs in 
 general, if he still labours under the delusion that the 
 Vikings have not formed the subject of many a stirring 
 
XXX Introduction. 
 
 lyric, not only in our country, but in those Northern ones 
 more truly the theatre of the Vikings' exploits. Another 
 point, which I think may be found open to discussion in 
 D. T.'s remarks, is the fact of Dibdin having only tempo- 
 rarily succeeded in popularizing sea-songs. Are the songs 
 of this great master any less popular than they were 1 I 
 doubt it. " Tom Bowling," perhaps his masterpiece, never 
 fails to elicit hearty cheers and rapturous applause whenever 
 and wherever it is heard, and there are many others almost 
 equally well known and well liked. 
 
 Different periods have, of course, great effect on all the 
 arts and sciences of a country, and it would be natural 
 to suppose that Music would undergo much the same 
 change, but she is a vagrant Muse, and ever has been, and 
 is no more to be relied upon than the moods of the wind, 
 "which bloweth where it listeth." Period has made very 
 little difference in the music of the sea. The " Tar " has 
 sung his song and the winds moaned their sad dirges, or 
 thundered their great storm-chords, the waves have mur- 
 mured their lullabies to the waiting shores, and the wild 
 sea-birds have screamed their hoarse choruses through all 
 ages, and will continue to do so as long as man and the 
 world of waters exist. 
 
 The first vocal performance recorded in the Bible is the 
 song of Miriam the prophetess and her companions after 
 the crossing of the Red Sea. Surely this song of praise, 
 commemorative of perhaps the most wonderful event in all 
 the history of the mighty deep, is worthy a place 'midst 
 the music of the waters. 
 
 Mr. Engel, in his valuable book on " The Music of the 
 most Ancient Nations," says, in speaking of this song of 
 Miriam, " that it is in the form of alternate soli and chorus. 
 
Introduction. 
 
 XXXI 
 
 A section, or perhaps a whole period, is sung by one alone, 
 then repeated by a number of singers, either in unison or 
 harmony, or, the chorus, instead of repeating the melody 
 of the solo, takes it up and extends it ; or else the solo 
 singer is now and then interrupted by the chorus, which at 
 intervals interposes a phrase." 
 
 m 
 
 THE SONG OF MOSES OR MIRIAM. 
 
 Andantino. , 
 
 ^^^ 
 
 =t^=t!= 
 
 Az ya - shir Mo - she 
 
 up - ne. 
 
 y's 
 
 ft=f5= 
 
 et ha - shi - ra 
 
 la 
 
 do - 
 
 i 
 
 yo - me - ru 
 
 le 
 
 do - 
 
 i 
 
 ish mil cha ma 
 
 do - 
 
 she 
 
 ^ 
 
 ^=q 
 
 -^— *- 
 
 I 
 
 mar - ke bot Parngho ve che lo. 
 
 Ya 
 
 ^=^^^- 
 
 =tt 
 
 zt 
 
 i 
 
 ba 
 
 yam 
 
 mib char 
 
 sha 
 
 =^ 
 
 shao.. 
 
 tu 
 
 beng 
 
 be - yam suf. 
 
 Sacred history does not tell us what song rose to the 
 lips of those fishermen of old when on the awful fury of the 
 tempest that raged around them fell that calm, majestic 
 command, which won such instant obedience, of " Peace, be 
 
xxxii Introduction. 
 
 still." We are familiar with the fearful question they asked 
 of each other, " What manner of man is this, that even the 
 wind and the sea obey Him ? " And imagination rapidly 
 follows with the thankful " Gloria," and chants in chorus 
 the Fishermen's " Amen." 
 
ENGLISH AND AMERICAN 'XHANTIES;" 
 OR, WORKING SONGS OF THE SEA. 
 
" Sails of silk, and ropes of sendal, 
 Such as gleam in ancient lore ; 
 And the singing of the sailors, 
 And the answer from the shore." 
 
 RULE, BRITANNIA. 
 
 Sailors' talk is a dialect as distinct from ordinary English 
 as is Lowland Scotch. Certainly, English words are used, 
 but their signification is many times remote from the 
 meaning they have in shore parlance. The meaning of 
 many sea-phrases is too subtle for translation ; some fit 
 
 B 2 
 
Music of the Waters. 
 
 vocational conditions so accurately, that any divergence 
 from the exact expression would puzzle a seaman exceed- 
 ingly. The idiosyncrasies of the forecastle are many, and 
 one can readily sympathize with the feelings of the Judge 
 who was so much puzzled by Jack's evidence, which Mr. 
 Clark Russell speaks of in his humorous preface to his 
 book on " Sailors' Language." 
 
 A man must go to sea to understand (as a sailor), the 
 shades of signification in the terms ; no books give them, 
 they cannot be mastered by listening to seamen talking, 
 and to seek for an explanation of any nautical phrase 
 which strikes one as being peculiar, is only to let oneself 
 deeper and deeper into the mire. Therefore, if the words 
 Jack sets to his music seem wanting in meaning and lacking 
 in sense, we must attribute it to the difference that exists 
 between the seamen's mode of expressing themselves and 
 ours. The sailor does not lack for singing ; he sings at 
 certain parts of his work — indeed he must sing if he would 
 work. 
 
 On vessels of war, the drum, fife, or boatswain's whistle 
 furnish the necessary movement regulator. There is a vast 
 difference between the merchant sailor and his fellow " salt,'' 
 the man-o'-war's man, whom they call "Johnny Haul- 
 taut," or " John o' Fight." They hold each other in mutual 
 derision, although without any unfriendly feeling. Accus- 
 tomed to the comparative independence and free life of a 
 merchant-vessel, they look with scorn on the binding disci- 
 pline and severe penalties of a man-o'-war, and laugh 
 contemptuously as they watch the crew in uniform dress 
 walk round the windlass, and weigh anchor like mechanical 
 dummies : — 
 
 " Your work is very hard, my boys, 
 Upon the ocean sea. 
 And for your reefing topsails, 
 I'd rather you as me — 
 I feather my oar unto the shore. 
 So happy as I be in the Guard-ship, ho ! " 
 
Music of the Waters. 
 
 No hearty chanties there — no fine chorus ringing with feel- 
 ing and sentiment, brought out with the sort of despairing 
 wildness, which so often strikes neighbouring landsfolk 
 with the deepest emotion. He Hkes to growl— and he may, 
 so long as he goes about his work. I have heard mates 
 say, " Give me a man that can growl : the more he growls, 
 the more he works." Silence reigns supreme aboard a 
 Queen's ship ; no general order is given by word of mouth, 
 the boatswain's whistle takes its place. There, where the 
 strength of one or two hundred men can be applied at one 
 and the same effort, the labour is not intermittent, but con- 
 tinuous. The men form on either side of the rope to be 
 hauled, and walk away with it like firemen marching with 
 their engine, when the headmost pair bring up at the 
 stern or bow, they part, and the two streams flow back to 
 the starting-point outside the following files. Thus in 
 this perpetual " follow my leader way " the work is done, 
 with more precision and steadiness than in the merchant 
 service. In it the heavier work is done by each man 
 doing his utmost at the same moment. This is regulated 
 by the " Chanty," and here is the true singing of the deep 
 sea — it is not recreation, it is an essential part of the work. 
 It will masthead the topsail-yards, on making sail ; it will 
 start the anchor, ride down the main-tack with a will, it 
 will break out and take on board cargo, and keep the pumps 
 going. A good voice and a stirring chorus are worth an 
 extra man. 
 
 A writer in the Sf. James's Gazette of December 6th, 
 1884, says: "The beau-ideal chanty-man has been rele- 
 gated to the past. His death-knell was the shriek of the 
 steam-whistle, and the thump of the engines. When he 
 flourished British ships were manned by British seamen, 
 and carried mucTi stronger crews in proportion to their 
 tonnage than their successors. In those days gipsy- 
 winches, patent windlasses and capstans, had no existence, 
 and the heaving and hauling had to be performed by- 
 manual strength and labour ; and to make the work ' go ' 
 
Music of the Waters. 
 
 lighter, the chanty-man chanted his strange lays, while the 
 tars with hearty good-will joined in the refrains and 
 choruses. Lieutenant Bassett, in his ' Legends and Super- 
 stitions of the Sea and of Sailors in all Lands and at all 
 Times,' says : ' The old type of sailor, who believed in the 
 mermaid, the sea-snake, and the phantom ship, is fast 
 disappearing, and, with the gradual substitution of the 
 steamship for the sailing-vessel, he is being replaced by the 
 mechanical seaman, who sees no spectre in the fog, nor 
 sign of disaster in the air or beneath the wave.' " 
 
 Lieutenant Bassett's work is such an inexhaustible 
 collection of sea legends and sailors' superstitions, that I 
 feel it would be indeed unnecessary for me here to supple- 
 ment it with any additional remarks concerning these same 
 bgends. Any one interested in the subject cannot do 
 better than read it. Old tars tell us that the chanties are 
 not what they were before steam became so universal : one 
 added, on telling me this, " I'll tell you what it is. Miss, 
 steamboats have not only taken the wind out of our sails, 
 but they have taken the puff out of us too, and them as 
 remembers ship-life as it was, will scarcely recognize it 
 now-a-days." This advocate of the old school was one of 
 many " old salts " whose acquaintance I made, and who 
 goodnaturedly sang for me several of their best-remembered 
 chanties in a Sailors' Home in the North of England. I 
 was very agreeably surprised at the effect of some of these 
 chanty choruses ; some of the men present had really good 
 voices, and they sang with a life and spirit, and with as 
 much rhythmical accuracy as though they were miles 
 away on the briny ocean " heaving the windlass round, or 
 hoisting the ponderous anchor." 
 
 Whilst on the subject of Sailors' Homes, I should like to 
 digress for just one moment to express my cordial thanks 
 to all those connected with the institutions that have so 
 greatly helped me in the matter of collecting these chanties. 
 To the Secretaries, Missionaries, and sailor inmates of 
 many of the English Homes, I am indebted for much of 
 
Music of the Waters. 
 
 the information I have obtained. My thanks are also due 
 in a great measure in many other directions — in so many, 
 indeed, that I feel I have not here adequate space to 
 express them, and I trust to be able to tender them fully 
 and in detail at some other time. 
 
 There are several kinds of chanty, though I believe, 
 properly speaking, they should only be divided into two 
 classes, namely, those sung at the capstan and those sung 
 when hauling on a rope : but there are, over and above 
 these, pumping songs — pumping being part of the daily 
 morning duty of a well-disciplined merchant-vessel, just a 
 few minutes' spell to keep the vessel free and the cargo 
 unharmed by bilge-water ; it is not a dismal sound at all, 
 rather a lively one, on the contrary. There are also chanties 
 used when holy-stoning the decks, and when stowing 
 away the. cargo ; and indeed I think one may safely con- 
 clude that every one of Jack's duties, from Monday morn- 
 ing to Saturday night, is done to some sort of music, and 
 according to the Philadelphia catechism his labours do not 
 end then, for in it we are taught that — 
 
 " Six days shalt thou labour and do all thou art able, 
 And on the seventh, holy-stone the deck and clean-scrape 
 the cable." 
 
 There is one job that sailors seldom fail to get, even when 
 the weather is such as to prevent other work being done, 
 and that is holy-stoning the decks. The men have to 
 kneel down and push backwards and forwards a good- 
 sized stone (usually sandstone), the planks being pre- 
 viously wetted and sprinkled with sand. From the fact 
 of kneeling to it, this unpleasant task is known at sea 
 under the title of " saying prayers." 
 
 There is also, besides the chanties, another class of 
 song, half of the sea and half of the shore, which I men- 
 tioned in the introduction to this collection. They include 
 those the . fishermen and coasters croon in their lonely 
 watches ; the latter in his brief walk, " three steps and 
 
8 Music -of the Waters. 
 
 overboard," as he tramps up and down his little deck 
 through the swathing mists of a Bank fog ; and those of 
 the cook at his galley fire sung in doleful unison with his 
 bubbling coppers. The legend of Captain Cottington, for 
 instance, belongs to this class of songs. It is probably 
 traditionally known to the young gentlemen at Harvard 
 College, and is perhaps most remarkable as a bold and 
 ingenious metrical novelty ; one verse will, I have no 
 doubt, serve to show the animated tenor of the words. 
 The' music I must refrain from giving, as I feel utterly 
 at a loss how best to represent the extraordinary variety 
 of style that pervades the whole ; doubtless a mistake in 
 the notation might prove a relief, but I should be tempted 
 to commit so many that I am afraid to undertake it 
 at all. 
 
 ^' Captain Cottington, he went to sea, 
 Captain Cottington, he went to sea, 
 Captain Cottington, he went to sea-e-e-e-e-e-e-e-e, 
 Captain Cottington, he went to sea," 
 
 and so on, ad libitum. 
 
 There ir, yet another of these crooning songs, namely, 
 " The Rhyme of Uncle Peleg." I believe I am not wrong 
 in stating that this is an historical ballad ; indeed, I quite 
 believe that, from what I have been able to learn of sailors' 
 songs in general, most of them, however degenerate they 
 may have become in the course of time — and in many cases 
 they have certainly descended to a level of utterly maudlin 
 sentiment — have originally been tales of some heroic 
 exploit, or eulogies on some bygone naval genius. 
 It is Macaulay, I think, who says that, " A people which 
 takes no pride in the noble achievements of remote 
 ancestors, will never achieve anything worthy to be re- 
 membered by remote descendants with pride. It is a 
 sentiment which essentially belongs to the higher and 
 purer part of human nature, andwhich adds not a little to 
 the strength of states." 
 
Music of the Waters. 
 
 Our blue-jackets appear to possess this sentiment of 
 hero-worship to a very large extent, if one may judge by 
 the songs and yarns that find most favour with them. 
 
 In the capstan chanties the metre is generally long, and 
 they are of a more pathetic nature than the hauling ones. 
 To those who have heard it as the men run round the cap- 
 stan, bringing up the anchor from the English mud of a 
 ship outward bound for a two or three years' trip, perhaps 
 never to return, what can be more sad or touching, 
 although sung with a hearty good-will, than " Yo, heave 
 ho!" 
 
 i 
 
 fc 
 
 :& 
 
 -f r 
 
 Round the cap - stan go ! 
 
 Yo, heave 
 
 hoi 
 
 --zftfc 
 
 t=t: 
 
 Round, men, with a will ! Tramp, and tramp it still ! The 
 
 i 
 
 ;fc 
 
 S 
 
 i 
 
 an - chor must be 
 Chorus. 
 
 i '^ 
 heaved, The an - chor must be 
 
 heaved. 
 
 fc 
 
 -^-P- 
 
 i^nEz 
 
 Z55: 
 
 -rs f^ 
 
 Yo, ho! 
 
 Yo, ho ! 
 
 Yo, ho ! Yo, ho ! 
 
 or such words as : — 
 
 " To the Liverpool Docks we'll bid adieu ; 
 To Suke, and Sally, and Poll too ; 
 The anchor's weighed, the sails unfurled ; 
 We are bound to cross the watery world. 
 Hurrah ! we're outward bound ! 
 Hurrah ! we're outward bound ! " 
 
 Liverpool, as the sailing-point and homeward goal of so 
 many vessels, naturally figures very prominently in the 
 sailors' chanties, and the air of romance that attaches 
 itself to California, the Brazils, and Mexico also seems to 
 have a peculiar charm for Jack. He has another outward- 
 bound song something to this effect : — 
 
10 
 
 Music of the Waters. 
 
 " Steer, boys, steer, for California, O ! 
 There's plenty of gold in the land, I'm told, 
 On the banks of the Sacramento." 
 
 Another outward-bound chanty is " To Rio Grande we're 
 bound away ;" the tune of this last-named is very mournful, 
 as will be found in the fews bars of the melody which 
 follows : 
 
 i 
 
 i 
 
 i 
 
 
 n 
 
 K K W 
 
 :?sz3s=zf£ 
 
 PM- 
 
 & 
 
 The ship went sail-ing out o - ver the bar, O Ri - o ! O 
 
 3^^^^ 
 
 =t=t 
 
 l it ■ ' ^ 
 
 ■^^^-- 
 
 * li J I 
 
 Ri - o ! They point-ed her nose for the South-ron Star, And we're 
 
 ::5v: 
 
 15=1S — . 
 
 bound for the Ri 
 
 J 
 
 Grande. Then a way, love, a 
 
 S^E 
 
 "I ^ s 
 
 
 _ r 
 
 way, A - way down Ri - o ; Then fare you well, my 
 
 IK ^ 
 
 S^-^=»^-^^ -JV^^^^?J 3 ^ 
 
 pret - ty young girl, We're bound for the Ri - o Grande. 
 
 " Valparaiso," " Round the Horn," and " Santa Anna," 
 are all much in the same style as " Rio Grande." 
 
 Solo. — " Were you ever in Rio Grande ? 
 Chorus. — Away you Rio. 
 
 Solo. — O were you ever in Rio Grande .' 
 Chorus. — I am bound to the Rio Grande. 
 Away you Rio, away you Rio. 
 Fare you well, my pretty young girl, 
 I am bound to the Rio Grande. 
 Solo. — As I was going down Broadway Street, 
 Solo. — A pretty young girl I chanced to meet, 
 
Music of the Waters. 11 
 
 Chorus. — I am bound to Rio Grande. 
 
 Away you Rio, away you Rio, 
 Fare you well, my pretty young girl, 
 I am off to Rio Grande. 
 Solo. — Oh where are you going, my pretty maid ? 
 Solo. — ^Oh where are you going, my pretty maid ? 
 Chorus. — I am bound to the Rio Grande. 
 Away you Rio, &c. 
 Solo. — ^I am going a milking, sir, she said. 
 Solo. — I am going a milking, sir, she said. 
 Chorus. — I am bound to the Rio Grande. 
 Away you Rio, &c. 
 Solo. — What is your fortune, my pretty maid ? 
 Solo. — What is your fortune, my pretty maid .' 
 Chorus. — I am bound to the Rio Grande, 
 Away you Rio, &c. 
 Solo. — My face is my fortune, sir, she said. 
 Solo. — My face is my fortune, sir, she said. 
 Chorus. — I am bound to the Rio Grande. 
 Away you Rio, &c. 
 Solo. — What is your father, my pretty maid ? 
 Solo. — What is your father, my pretty maid ? 
 Chorus. — I am bound to the Rio Grande. 
 Away you Rio, away you Rio. 
 Then fare you well, my pretty young girl, 
 I am bound to the Rio Grande. 
 Solo. — My father's a farmer, sir, she said. 
 Solo. — My father's a farmer, sir, she said. 
 Chorus. — I am bound to the Rio Grande. 
 Away you Rio, &c. 
 Solo. — What is your mother, my pretty maid .? 
 Solo. — What is your mother, my pretty maid t 
 Chorus. — I am bound to the Rio Grande. 
 Away you Rio, &c. 
 Solo. — Wife to my father, sir, she said. 
 Solo.—W\{& to my father, sir, she said. 
 
12 Musrc OF THE Waters. 
 
 Chorus. — I am bound to the Rio Grande. 
 Away you Rio, &c. 
 Solo. — Then I can't marry you, my pretty maid. 
 Solo. — Then I can't marry you, my pretty maid. 
 Chorus. — I am bound to the Rio Grande. 
 Away you Rio, &c. 
 Solo. — Nobody asked you, sir, she said. 
 Solo. — Nobody asked you, sir, she said. 
 Chorus. — I am bound to the Rio Grande. 
 Away you Rio, &c." 
 American vessels, I think, may be charged with the 
 following, which are all capstan chanties, — " Oceanida," 
 " Johnny's Gone," " The Black Ball Line," and " Slapander- 
 gosheka," the last-named with the incomprehensible title 
 is addressed " To all you ladies now on land," and may bp» 
 said to be slightly egotistical ; it commences — 
 
 " Have you got, lady, a daughter so fair .■' 
 Slapandergosheka, 
 That is fit for a sailor that has crossed the Line ? 
 Slapandergosheka." ._^' 
 
 By the foregoing it will be seen that Jack sometimes "fancies 
 himself," and is not always blind to his own merits. 
 
 It is almost impossible to discover which are British and 
 which American, amongst the chanties, they are so mixed 
 up with each other, and any which may formerly have 
 been characteristic of the one country, have become so 
 cosmopolitan, that the sailors themselves have been unable 
 to discriminate between them. I have, therefore, acting 
 upon some very reliable advice, thought it better to classify 
 under one heading all chanties with English words, 
 although there are many cases where the nationality is 
 beyond doubt. Coloured men being, as a rule, such good 
 singers and ingenious poets, may be credited with many ; 
 and most probably "Slapandergosheka' was first pro- 
 nounced by some more than usually clever nigger. One 
 of the best known of the capstan chanties is " Haul the 
 
Musw OF THE Waters. 13 
 
 bowline." When a ship is tacking, the tacks and sheets 
 are let run in order that the yards may be swung round to 
 meet the altered position of the ship. They must then be 
 hauled taut again, and secured, in order to keep the sails 
 in their place, and to prevent them from shaking when the 
 ship's head comes up in the wind ; the sail is for a moment 
 or two edgewise to it, and then is the nice moment, as soon 
 as the head-sails fairly fill, when the main-yard and the 
 yards above it can be swung readily, and the tacks and 
 sheets hauled in. If the crew are too few in number, or 
 too slow at their work, and the sails get fairly filled on the 
 new tack, it is a fatiguing piece of work enough to " board " 
 the tacks and sheets ; you pull at one end of the rope and 
 the gale tugs at the other. The advantages of lungs are 
 all against you, and perhaps the only thing to be done is 
 to put the Aelm down a little, and set the sails shaking 
 again before they can be trimmed properly. If the watch 
 on deck has not been over spry, the consequence is that 
 the big main is slatting and flying out overhead with a 
 might that shakes the ship from stem to stern. The 
 flapping of the mad canvas will be like a giant's fist thump- 
 ing on a drum. The sheets will be jerking at the belaying- 
 pins, the blocks rattling in sharp, castanet-like snappings. 
 The sea is lashing and seething alongside in white particles 
 of phosphorescent foam, whilst overhead all is black with 
 the flying scud. All the most forcible expressions that 
 can be thought of may be used without avail, the sail 
 won't come. " Then give us the song, men," sings out the 
 mate at last. " Pull with a will," " Together, men ! Alto- 
 gether, now ! " And then a voice will strike up — 
 
 i 
 
 Solo. Moderato. 
 
 m 
 
 = 1 V \ ^— t- 
 
 il 
 
 We'll haul the bow - line, so ear - ly in the morn- ing. 
 Chorus. 
 
 =sq: 
 
 :t 
 
 We'll haul the bow - line, the bow - line haul ! 
 
14 Music of the Waters. 
 
 At the last word every man will throw his whole strength 
 into the pull, all singing it in chorus, quickly and explo- 
 sively, and so jump by jump, the sheet will be hauled taut 
 at last. This very practical and certainly nautical ex- 
 planation of the use of a capstan chanty I found in an old 
 number of Chambers' Journal, to whose clever and in- 
 structive columns I owe many hints on the subject of 
 sailors and their songs. 
 
 Another version of " Haulin' the Bowlin'." 
 
 1. Haul on the bowlin', the fore and main-top bowlin'. 
 
 Haul on the bowlin', the bowlin'j Haul. 
 
 2. Haul on the bowlin', the packet she's a rollin'. 
 
 Haul on the bowlin', the bowlin'. Haul. 
 
 3. Haul on the bowlin', the captain he's a growlin', 
 
 Haulin' the bowlin', the bowlin', Haul. 
 
 At the word Haul, which terminates each couplet, the tars 
 give a tremendous jerk on the rope. 
 
 Solo. Alia marcia. 
 
 i 
 
 S^ 
 
 i 
 
 Haul on the bow - lin', the fore and main-top bow- line. 
 Chorus. ,,^ 
 
 -M 1 ^- a 1 
 
 ■^ d H— ; d ^c ! 
 
 --J- -3- -g- 
 
 Haul on the bow line, the bow - line haul. 
 
 I have no words to the next bowline song, which rejoices 
 in the name of " Johnny Polka." 
 
 i 
 
 E 
 
 i 
 
 Htz^; 
 
 -f^— P- 
 
 =t: 
 
 One of the wildest and most mournful of the sailor songs 
 is " Lowlands." The chorus is even more than usually 
 
Music of the Waters. 
 
 15 
 
 meaningless, but the song is the sighing of the wind and 
 the throbbing of the restless ocean translated into 
 melody : — 
 
 Solo. Adagio. 
 
 i 
 
 ^ 
 
 ^ 
 
 ^ 
 
 :t 
 
 fii 
 
 I dreamt a dream 
 Chorus. Ritenuto molto. 
 
 the 
 
 I 
 
 ^ 
 
 o ■ ther 
 Solo. 
 
 night : 
 
 n 
 
 :t=t 
 
 -ha 
 
 I 
 
 Low-lands, Low-lands, Hur- rah, my John ! 
 Chorus. 
 
 I dreamt I saw my 
 
 E?^ 
 
 m 
 
 h 
 
 own true love ; 
 
 -r 
 
 My Low - lands a 
 
 ray ! 
 
 Much care was evidently given to " Lowlands " by the 
 chanty-men. It has often been improved. In its original 
 form the first chorus was shorter and less striking, and the 
 words of the second chorus were, " My dollar and a half a 
 day." 
 
 Solo. — Lowlands, Lowlands, away, my John. 
 Chorus. — My dollar and a half a day. 
 
 Solo. — I took up my clothes and I went away. 
 Chorus. — 'L.owX-a.xidiS, Lowlands, a-ray. 
 Of the same general character as " Lowlands," though in- 
 ferior to it, is the song that was usually known as "Across the 
 Western Ocean." There are several variations of the second 
 chorus, none of which could be called improvements. 
 
 Solo. Adagio. 
 
 =1= 
 
 sO 
 
 ^ 
 
 I 
 
 Chorus. 
 
 wisht 
 
 in Lon 
 
 Solo. 
 
 don town : 
 
 =P2= 
 
 zwzj=-^ 
 
 itt 
 
 Wz 
 
 Oh, say, where you bound to? That high -way I'd cruise 
 Chorus. 
 
 P 
 
 latit 
 
 2i 
 
 ?^=:?dz 
 
 round and round, 
 
 cross the West - em O - cean. 
 
16 
 
 Music of the Waters. 
 
 Sometimes the anchor comes up to a fierce chorus com- 
 pounded of improvised abuse of the ship and captain. 
 " Old Stormy " is a mythical character often mentioned in 
 sailors' songs. Who Stormy was, and why he received 
 that evident nickname, even the most profound and learned 
 chanty-men always confessed themselves unable to explain. 
 The oldest of these songs is rather the best of them. 
 The second one contains a hint of decidedly negro origin 
 in the word "Massa," and suggests that perhaps the 
 legend of " Stormy " is an African rather than a nautical 
 myth. 
 
 i 
 
 Solo. 
 
 Chorus. 
 
 l^=ife 
 
 ;=q= 
 
 1 — r 
 
 -i — I- 
 
 i 
 
 Old Storm - y he is dead and gone : To me, way, hay, 
 ^~. Solo. 
 
 ^H 
 
 — p- 
 
 Z3t=3lZ 
 
 i 
 
 storm a -long, John I 
 Chorus. 
 
 Old Storm-y he is dead and gone ; 
 
 I=F=f= 
 
 -I \- 
 
 q=l- 
 
 3±: 
 
 -& •- 
 
 P 
 
 Ah, ha ! come a long, get a - long, storm a - long, John. 
 Solo. , Chorus. 
 
 -S=i- 
 
 :^?=i2z 
 
 Old Storm - y he was a bul - ly old man : To me. 
 Solo. 
 
 lEz: 
 
 :N==& 
 
 i 
 
 _ ^1 ^ — *— 1 
 
 way, you storm a long. Old Storm - y he was a 
 Chorus. 
 
 ^=t 
 
 >i l>S 1 M ' 1 ^ 
 
 :4=tz 
 
 * s 
 
 H « &- 
 
 bul - ly old man : 
 
 Fi - i - i, mas-sa, storm a long. 
 
 This is a great favourite, and often sung after a gale of 
 wind. 
 
 Solo. — Old Storm Along is dead and gone, 
 Chorus. — Ay ! ay ! ay ! Mr. Storm Along ! 
 
Music of the Waters. 17 
 
 Solo. — When Stormy died, I dug his grave, 
 I dug his grave with a silver spade, 
 I hove him up with an iron crane. 
 And lowered him down with a golden chain 
 Old Storm Along is dead and gone. 
 Chorus. — Ay ! ay ! ay ! Mr. Storm Along. 
 Each line is repeated twice. The solemnity of the air 
 and the mock-seriousness of the words have a most 
 comical effect, and reminded me very much, when I heard 
 them sung, of the tale of " The Death of Cock Robin," the 
 well-known favourite of the children's picture-books. I 
 have since come across a somewhat different version of 
 the v/ords of this chanty, in which " Stormy " was written 
 " Starmy," and of which the ending was — 
 
 Solo. — We carried him along to London town, 
 Chorus. — Starm Along, boys, Starm Along. 
 
 Solo. — We carried him away to Mobille Bay, 
 Chorus. — Starm Along, boys, Starm Along. 
 
 HAULING CHANTIES. 
 
 Of these, there is first the hand-over-hand song, in very 
 quick time ; then the long-pull song, when there are, per- 
 haps, twenty or tljirty men pulling on a rope. To be 
 effective, the pull must be made unanimously. This is 
 secured by the chanty, the pulling made at some parti- 
 cular word in the chorus. For example, in the following 
 verse the word "handy" is the signal, at each repetition, 
 for a long pull, a strong pull, and a pull all together : — 
 Chorus. — Oh, shake her up, and away we'll go, 
 So handy, my girls, so handy ; 
 Up aloft from down below, 
 So handy, my girls, so handy. 
 For heavier work, or where hands are few, one of longer 
 metre is used, such as " O Long Storm, storm along, 
 Stormy," which must not, however, be confounded with 
 the capstan chanty, " Old Storm Along." 
 
 C 
 
18 
 
 Music of the Waters. 
 
 One of the best and jolliest quick-time songs, and cer- 
 tainly one of the most well-known, is " Blow the Man 
 Down." It is very tuneful, and though, perhaps, the words 
 are scarcely to be admired, still it is a genuine chanty, 
 and has a verve and vigour about it that speak of its value 
 as an incentive to the labour of hoisting the topsail-yards 
 or any other hauling work : — 
 
 Solo. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 , < 
 
 -^Mi— fS-^ 
 
 
 
 
 
 L^ — * J — [^_JJ 
 
 
 — • — 
 
 y ' 
 
 I'm a true Eng-lish sail - or, Just come from Hong-Kong, Tib -by,- 
 
 i 
 
 :^s=5=^s 
 
 T 
 
 is=Pe 
 
 =f5I 
 
 i 
 
 Heigh, ho, blow the man down ! My stay on the old Eng- lish 
 ^7^ 
 
 =s=s= 
 
 ^^^ 
 
 — N- 
 
 ::«-•- 
 
 shore won 
 
 't be long, Then give me soine time to blow the man down. 
 
 Chorus. 
 
 U ' 
 
 S w \ 
 
 S « V 
 
 m — a~^ 
 
 1 J 1 fs \ 
 
 ' J 1 S IS 
 
 
 
 
 
 
 */ -J- " 
 
 * -m- ' 
 
 
 Then we'll blow the man up, and we'll blow the man down, Tib - by I 
 
 ^^ 
 
 :s: 
 
 :$s=^5=:1fc 
 
 :f= 
 
 Heigh, ho, blow the man down ! So we'll blow the man up, and we'll 
 
 I 
 
 -A ft N- 
 
 =i3^ 
 
 -f^-»- 
 
 ^- J 
 
 -^ 
 
 blow the man down ! Then give me some time to blow the man down. 
 
 Solo. — As I was a-walking down Winchester Street — 
 Heigh-ho, blow the man down ; 
 A. pretty young girl I happened to meet, 
 Oh, give me some time to blow the man down. 
 Chorus. — So we'll blow the man up, and we|ll blow the 
 man down, 
 Heigh-ho, blow the man down. 
 
Music of the Waters. 
 
 19 
 
 We'll blow the man up, and we'll blow the man 
 
 down, 
 Oh, give me some time to blow the man down. 
 
 " Reuben Ranzo " is, perhaps, the greatest favourite 
 with the men of all the chanties. The tune is mournful 
 and almost haunting in its monotony : 
 
 i 
 
 Solo. 
 
 Chorus. 
 
 EBEf 
 
 i I- 
 
 — I 1-— rt- 
 
 i 
 
 Solo. 
 
 Chorus. 
 
 -9 SZ 
 
 =P «3- 
 
 =t=t 
 
 i 
 
 Solo. 
 
 Chorus. 
 
 i 
 
 Solo. 
 
 Chorus. 
 
 -• — (•- 
 
 :pa= 
 
 X 
 
 Solo. — Pity Reuben Ranzo, 
 Chorus. — Ranzo, boys, a Ranzo. 
 
 Solo. — Oh, pity Reuben Ranzo, 
 Chorus. — Ranzo, boys, a Ranzo. 
 
 Solo. — Reuben was no sailor, 
 Chorus. — Ranzo, boys, a Ranzo. 
 
 Solo, — Reuben was no sailor, 
 Chorus.- — Ranzo, boys, a Ranzo. 
 
 Solo. — By trade he was a tailor. 
 Chorus. — Ranzo, &c. 
 
 Solo. — He went to school on Monday, 
 Chorus. — Ranzo, &c. 
 
 Solo. — Learnt to read on Tuesday, 
 Chorus. — Ranzo, &c. 
 
 The chorus continues the same all through, the pull 
 always being made at the word " Ranzo." Each line of 
 the solo is also repeated. 
 
 C 2 
 
20 Music of the Waters. 
 
 Solo. — He learnt to write on Wednesday, 
 He learnt to fight on Thursday, 
 On Friday he beat the master. 
 On Saturday we lost Reuben, 
 And where do you think we found him ? 
 Why^ down in yonder valley, 
 Conversing with a sailor. 
 He shipped on board of a whaler ; 
 He shipped as able seamen do ; 
 Oh, pity Reuben Ranzo. 
 The captain was a bad man, 
 He took him to the gangway. 
 And gave him five-and-forty. 
 The mate he was a good man. 
 He taught him navigation ; 
 Now he's captain of a whaler. 
 And married the captain's daughter, 
 And now they both are happy. 
 This ends my little ditty, 
 This ends my little ditty. 
 Chorus. — Ranzo, boys, a Ranzo ! 
 Belay there, lads, belay. 
 
 There is yet another song which has for hero this same 
 mysterious and unsailorlike personage, though the cohe- 
 rency of the foregoing is not adopted in the second song. 
 The word " hilo," which is here introduced, is a word of 
 fathomless meaning.' There is a very humorous descrip- 
 tion of this chanty given by a writer in Harper's Magazine 
 (July, 1882), in an article on sailors' songs ; he says : 
 " Perhaps Max Miiller could attach some meaning to 
 ' hilo,' but in that case he would do more than any sailor 
 ever did. It will not do to suggest that it is really two 
 words — ' high ' and ' low.' It occurs in too many other 
 songs, as an active verb, to leave us any room to doubt 
 that to ' hilo ' was to be, to do, or to suffer something. It 
 cannot be gathered from the insufficient data at our com- 
 mand, whether or not the act of ' hiloing ' was commendable 
 
Music of the Waters.- 
 
 21 
 
 in a sailor ; but from the frequency with which the fair sex 
 was exhorted in song to ' hilo,' it is evident that it was 
 held to be a peculiarly graceful act when executed by a 
 young girl." 
 
 I have a song amongst my collection entitled " Tommy's 
 gone to • Hilo,' " which again upsets the theory that " hilo" 
 was an active verb ; at least, in this instance, it rises to the 
 dignity of a proper noun : — • 
 
 Song Allegretto. 
 
 S: 
 
 :T5 
 
 ^ 
 
 =1= 
 
 ^ 
 
 I've just 
 Chorus. 
 
 
 come down from the 
 
 P^— 4 ! 
 
 wild goose na - tion, — 
 
 m 
 
 1=s; 
 
 i 
 
 To me. 
 Solo. 
 
 way., 
 
 hay., 
 
 yah. 
 
 ^^ 
 
 S35E 
 
 I 
 
 i 
 
 I've left 
 Chorus. 
 
 wife 
 
 big plan - ta - lion, — 
 
 It 
 
 =r: 
 
 And sing hi - lo, my Rand - so, way. 
 
 On the whole, Reuben Ranzo's nautical career seems 
 scarcely to have been a bed of roses. It is really much to 
 be wondered at wherein the great fancy for this most ridicu- 
 lous song lies. There is not one line of sense in the whole. 
 
 There is another topsail-yard chorus something like 
 this :— 
 
 Solo. — There once was a family living on a hill. 
 
 And if they're not dead they're living there still. 
 Chorus. — Up, up, my boys, up a hill ; 
 Up, up, my boys, up a hill. 
 
 And it is sung to the tune of " Blow the man down." 
 Then there is the well-known topsail-halyard song, " Sally 
 Racket," greatly used by the sailors when loading their 
 ships with timber at Quebec. In this chanty some of the 
 lines are much longer than others, and to any one not 
 
22 
 
 Music of the Waters. 
 
 acquainted with Jack Tar's style of singing, it would seem 
 impossible to make them come in, but the sailors seem to 
 be able to manage it. Like " Reuben Ranzo," the solo 
 lines of Sally Racket are always repeated, the same chorus 
 occurring after each solo line : 
 
 Solo. 
 
 Chokus. 
 
 Solo. 
 
 Solo. — Sally Racket, hoy oh. 
 Chorus. — Cheerily, men. 
 
 Solo. — Sally Racket, hoy oh ! 
 Chorus. — Cheerily, men. 
 
 Solo. — Sally Racket, hoy oh ! 
 Chorus. — Cheerily, men ; a haughty hoy oh ! cheerily, men. 
 
 Solo. — Pawned my jacket, hoy oh. 
 Chorus. — Cheerily, men. 
 
 Solo. — Pawned my jacket, hoy oh. 
 Chorus. — Cheerily, men ; a haughty hoy oh ! cheerily men. 
 
 Solo. — Sold the ticket, hoy oh. 
 Chorus. — Cheerily, cheerily, men. 
 
 Solo. — Sold the ticket, hoy oh. 
 Chorus. — Cheerily, cheerily, men. 
 
 Solo. — And sold the ticket, hoy oh. 
 Chorus. — Cheerily, men ; a haughty hoy oh ! cheerily men. 
 
 Solo. — That's not the worst, hoy oh. 
 Chorus. — Cheerily, men. 
 
 Solo. — And that's not the worst, hoy oh. 
 Chorus. — And that's not the worst, hoy oh. 
 
 Solo. — ^And that's not the worst, hoy oh. 
 Chorus — Cheerily, men ; a haughty hoy oh ; cheerily, men. 
 
 Solo. — She left me in the lurch, hoy oh. 
 Chorus. — Cheerily, &c. 
 
 Solo. — I don't care a rap, hoy oh. 
 Chorus. — Cheerily, men. 
 
Music of the Waters. 23 
 
 Solo. — If she never comes back, hoy oh. 
 Chorus. — Cheerily, men. 
 
 Solo. — I can get another girl, hoy oh. 
 Chorus. — Cheerily, men. 
 
 Solo. — Good-bye, Sally Racket, hoy oh. 
 Chorus. — Cheerily, men. 
 
 Solo. — You can keep my old jacket, hoy oh. 
 Chorus. — Cheerily, cheerily, men. 
 
 Solo. — And burn the ticket, hoy oh. 
 Chorus. — Cheerily, cheerily, men. 
 (Spoken) That'll do, boys. 
 
 The words at the end of the song are spoken by the man in 
 charge of the work — mate, second mate, or boatswain. In 
 the chorus the word " men " is accented by the pull ; and 
 in the solo lines the word " oh " is where another pull is 
 taken. 
 
 I am told that the oldest chanty on record is one that 
 goes by the name of " Cheerily, men ; oh holly, hi-ho, 
 cheerily, men." But at what time, in what place it is used 
 — or I should say, was used, for I think it is almost obsolete 
 now — I cannot say. It is, however, a typical specimen of 
 an English sailor-song of a remote period, for undoubtedly 
 many of the sailor-songs are of negro origin. They are 
 the reminiscences of melodies sung by negroes stowing 
 cotton in the holds of ships in Southern ports. The 
 "chanty-men" have, to some extent, kept to the silly 
 words of the negroes, and have altered the melodies to suit 
 their purposes. 
 
 Any quick, lively tune, to which you might work a fire- 
 engine, will serve for the music of a pumping song. The 
 words vary with every fancy. " Pay me the money down " 
 is a very favourite pumping chorus. Somehow thus the 
 verse runs (it is known as an English comic song) : — 
 
 Solo. — Your money, young man, is no object to me. 
 Chorus. — Pay me the money down. 
 
 Solo. — Half-a-crown's no great demand. 
 
24 
 
 Music of the Waters. 
 
 Chorus. — Pay me the money down. 
 Solo &■ Chorus. — Money down, money down ; 
 Pay me the money down. 
 
 It seems a very strange song for men so little given to 
 avarice as sailors are. Their parting ceremony on embark- 
 ing is usually to pitch their last shilling on to the wharf, 
 to be scrambled for by the land-sharks. Nor yet does 
 there seem much sense in it, but it serves to man and 
 move the brakes merrily. The following tune is sometimes 
 used for this chanty : — 
 
 PADDLE YOUR OWN CANOE. 
 
 m 
 
 ^ 
 
 itq: 
 
 
 s^ 
 
 -f-^- 
 
 ^^-P 
 
 i 
 
 t 
 
 =1= 
 
 '^m 
 
 -^/>-^- 
 
 ■*^. 
 
 -*-4-ii- 
 
 There is a rollicking, lively chorus of — 
 
 Chorus. — -Highland day and off she goes. 
 
 Off she goes with a flying foretopsail. 
 Highland day and off she goes. 
 
 RUN, LET THE BULL CHIMES RUN. 
 
 
 
 1 
 
 
 — • •— •— ■ — 
 
 This is another favourite pumping song : — 
 
 Chorus. — Run, let the bull chimes run. 
 Chorus. — We'll run, — 
 
 Solo. — Away to America. 
 Chorus. — Way aha, way aha ! 
 Way aha, way aha ! 
 Chorus. — We'll pump her dry and get our grog. 
 
 5(7/(?.— Run, let the bull chimes run. 
 
Music of the Waters. 
 
 25 
 
 Chorus. — We'll pump her dry and away we'll go, 
 Solo. — Away to America 1 
 
 THE LION MAN-O'-WAR, 
 
 A very popular song at Portsmouth is " The L ion 
 Man-o'-War." The following are a few of the words : — 
 
 " Are you the Lion man-o'-war, as we suppose you be ?" 
 " We are the Lion man-o'-war, as you shall quickly see." 
 " Then haul your colours from the mast, and come along 
 with me, 
 Or we'll sink the Lion man-o'-war at the bottom of the sea." 
 
 I 
 
 ^ 
 
 ft: 
 
 We had not sailed twen - ty or thir 
 
 i 
 
 ty miles from 
 
 I. " 
 
 '-^^^^=^ 
 
 shore. 
 
 Be - fore we spied a large ship, and 
 
 I 
 
 SE 
 
 
 down on us she bore ;.. 
 
 She hailed 
 
 i 
 
 " ^ 1 1 3 1 1 ■ 
 
 French, my boys, and asked from whence we came: "We're 
 
 i 
 
 i^^^ 
 
 r 
 
 :r- 
 
 A- 
 
 H=\ 
 
 just come round from Ply-mouth Sound, and the Li -on is our name." 
 
 HOME, DEARIE, HOME. 
 Amongst the favourite chanties of North-country sailors 
 is that most charming and pathetic of songs, "Home, 
 Dearie, Home : " 
 
 Solo. — Oh, Amble is a fine town, with ships in the bay, 
 And I wish with my heart I was only there to-day ; 
 I wish with my heart I was far away from here, 
 A-sitting in my parlour, and talking to my dear. 
 
26 
 
 Music of the Waters. 
 
 Chorus. — And it's home, dearie, home ! oh, it's home I want 
 to be. 
 
 My topsails are hoisted, and I must out to sea, 
 
 For the oak, and the ash, and the bonny birchen 
 tree. 
 
 They're all a-growin' green in the North-countree ; 
 
 Oh, it's home, dearie, home ! oh, it's home I want 
 to be. 
 Solo. — Oh, there's a wind that blows, and it's blowing 
 from the West, 
 
 And of all the winds that blow 'tis the one I like 
 the best ; 
 
 For it blows at our backs, and it shakes the pen- 
 non free. 
 
 And it soon will blow us home to the North- 
 countree. 
 Chorus. — And it's home, dearie, home ! oh, it's home I want 
 to be. 
 
 My topsails are hoisted, and I must out to sea. 
 
 For the oak, and the ash, and the bonny birchen 
 tree. 
 
 They're all a-growin' green in the North-countree ; 
 
 Oh, it's home, dearie, home ! oh, it's home I want 
 to be. 
 Solo. 
 
 ^rr— ^ 
 
 — Fri'* — isr~r«~T" 
 
 ^^=^ 
 
 — N r* ^ 1- 
 
 '~~^\ 
 
 *j -0- 
 
 -r-m ■ i '.. d * 
 
 ^ m- 
 
 S_J!^*z^*_ 
 
 -J^J- 
 
 And if it be a lass, she shall wear a gold-en ring ; And 
 
 =fi=^ 
 
 -l«— «- 
 
 iM^it 
 
 -*— r- 
 
 -Jk=\ 
 
 if it be a lad, he shall live to serve his kiog ; With his 
 
 =1: 
 
 ^S=£ 
 
 =:=fs=^fc 
 
 =«=*= 
 
 buc-kles, and his boots, and his lit - tie jack - at blue, He shall 
 
 i 
 
 35^ 
 
 q= 
 
 BiB 
 
 T g_ 
 
 walk the quar - ter - deck, as his dad- dy used to do. 
 
Music of the Waters. 
 
 27 
 
 Chorus. 
 
 ^SE 
 
 ^^ 
 
 ?I^ 
 
 .^= 
 
 And it's home, dear - ie, home ! Oh, it's home I want to be ! My 
 
 i 
 
 :J^=fs= 
 
 ^ 
 
 =P::=P= 
 
 w 
 
 - li d S - 
 
 * S - 
 
 top - sails are hoist - ed, and I must out to sea ; For the 
 
 - JS-J^-A- 
 
 -P — •- 
 
 d » 
 
 zMmtz 
 
 :^=U=* 
 
 oak, and the ash, and the bon-ny birch-en tree, They're all a-grow-in' 
 
 i 
 
 1^=^ 
 
 T 
 
 ^^^- 
 
 :?=^ 
 
 jdz 
 
 green in the North Coun- tree, And it's home, dear - ie, home I 
 
 Another very favourite song with the Northern seamen 
 is " The Spanish Canoe," somewhat in the same style as 
 the capstan song of " Lowlands : " — 
 
 ::i^=^- 
 
 &^ 
 
 ^=^ 
 
 :ir-wi 
 
 -W- 
 
 Oh, I*ve got a ship in the North Coun-tree, She 
 
 i 
 
 :M- 
 
 P^=f^ 
 
 5 
 
 -4—4 
 
 zrr- 
 
 -^ J. ^ • ' ■ -■ 
 
 goes by the name of the Gold -en Van - i - tee; I 
 
 =a=1^ 
 
 =15=?*= 
 
 =5=1= 
 
 Stat 
 
 ?^ 
 
 =:jS=:^^ 
 
 fear she will be taken by the Span - ish Ca-noe, And they'll 
 
 Jt_4 . , , L 
 
 5f^E^ 
 
 =?^=^*i= 
 
 I£d= 
 
 i 
 
 itfe 
 
 sink her in the Low - lands low. 
 
 Low - lands. 
 
 =sr:^^ 
 
 zci: 
 
 Low-lands, They'll sink her in the Low- lands, low. 
 
 There is also a " Homeward Bound " song very well known 
 to them : — 
 
28 Music of the Waters. 
 
 " At Catherine's Dock I bade adieu 
 To Poll and Bet, and lovely Sue ; 
 The anchor's weighed, the sails unfurled, 
 We're bound to plough the watery world ; 
 Don't you see we're outward bound. 
 
 But when we come back to Catherine's Docks, 
 
 The pretty girls they come in flocks ; 
 
 And Bet to Poll and Sue will say — 
 
 ' Oh, here comes Jack, with his three years' pay ;' 
 
 Don't you see we're homeward bound ? 
 
 Then we all set off to the ' Dog and Bell,' 
 Where the best of liquor they always sell ; 
 In comes old Archy, with a smile, 
 Saying ' Drink, my lads, it's worth your while ; ' 
 Don't you see we're homeward bound ? " 
 
 The chanty known by the name of " Whisky for my 
 Johnny," or "Whisky Johnny," has many different verses, 
 all more or less bearing upon the same subject, and none 
 betraying much delicacy or refinement of expression. It 
 has been sent to me from several different quarters where 
 I have applied for chanties, so I conclude from this fact, 
 that it must be fairly well known amongst the sailors, 
 and may be even a great favourite. As I have before re- 
 marked, the sailors' songs are truly characteristic of the 
 men they belong to, and so long as they adapt themselves 
 to the purpose for which they are intended, and help to 
 lighten the labour and regulate the work at sea, we must 
 be content to take them as they are, and not look for 
 drawing-room rose-water sentiment in the ideas that 
 originate and find favour amongst the hardy toilers of the 
 briny ocean. 
 
 a. Solo. , , _^ Chokus. 
 
 i 
 
 Oh, whis ky is the life of man ; ' Oh, 
 
Music of the Waters. 
 
 29 
 
 Solo. 
 
 
 -A -j- 
 
 ±. 
 
 whis - ky ! 
 
 Oh, John - ny ! 
 Chorus. 
 
 Oh, wbis - ky is 
 
 ¥=^ 
 
 4: 
 
 the 
 
 life of man 
 
 Solo.- 
 Chorus- 
 
 Chorus.- 
 Solo.- 
 
 Oh, whis - ky for my John - ny I 
 
 ■Oh whisky makes me pawn my clothes, 
 
 •Oh whisky, Oh Johnny ; 
 
 Oh whisky makes me pawn my clothes, 
 
 ■Oh whisky for my Johnny. 
 
 ■Oh whisky gave me a broken nose. 
 Oh whisky gave me a broken nose, 
 I thought I heard the old man say, 
 I thought I heard the old man say, 
 I thought I heard the old woman say, 
 I thought I heard the old woman say. 
 Oh whisky up and whisky down, 
 Oh whisky up and whisky down, 
 I thought I heard the steward shout, 
 I thought I heard the steward shout, 
 
 -Here's whisky for my Johnny. 
 If I can't get whisky, I'll have rum, 
 
 -Whisky, Johnny; 
 Oh that's the stuff to make good fun, 
 
 -Oh whisky for my Johnny. 
 For whisky men and women will run, 
 
 -Oh whisky, Oh Johnny ; 
 I'll drink whisky when I can, 
 That's the stuff to make you frisky, 
 
 -Whisky, Johnny ; 
 Give me whisky and I'll give you tin. 
 If you have no whisky give me gin, 
 If you have no whisky give me gin. 
 Belay there ! 
 
 Belay is generally said when the song comes to an end, or 
 " Coil up the ropes there, boys." 
 
 Chorus- 
 Chorus- 
 Chorus.- 
 Chorus.- 
 
 Chorus- 
 
30 Music of the Waters. 
 
 It is not either necessary or would it be interesting for me 
 to relate at any length, the manner in which many of these 
 chanties have been obtained. I have taken down myself 
 the greater part from the sailors ; sometimes at my own 
 house, sometimes at one of theirs, occasionally in a hospital, 
 or on board ship. There have been difficulties often in my 
 way, in spite of the great kindness I have everywhere had 
 shown me, but I have never had the experience of one of 
 my numerous correspondents — namely that of having the 
 chanties sung to him sotto voce. It appears that he, like 
 many others, had entertained the idea of collecting the 
 Sailors' songs and had accordingly made a beginning, which 
 he has since handed over to me. " I was," he says, " some 
 time ago making a ninety days' voyage in an old ' sailer,' 
 and as a pastime I commenced what you have since so ably 
 completed, the task of making a collection of the working 
 songs of the sea. I took notes of the best of the capstan 
 and other songs included in the repertoire of our not very 
 large crew. At first I jotted down the words and music 
 in my note-book while the men were actually hauling at 
 the ropes — but this method promised to yield as many 
 versions of each song as there were sailors (for each man 
 had his own pet way of leading), so that I was constrained to 
 try some other plan. It was this. I selected the most vocal 
 of the crew— a splendid fellow, as supple as a panther, and 
 first at everything. He visited me in my cabin at stated 
 moments, and as his presence was a grave breach of the 
 rules, he had, like Bottom, to ' roar him as gently as any 
 sucking dove.' In a word the songs were given out in a 
 sort of roaring whisper, or whispering roar, which greatly 
 exercised the curiosity of the passengers in the adjacent 
 saloon. Even this chosen songster proved untrue to himself 
 and gave me the same song in different ways, at different 
 times, and this accounts, no doubt, for the discrepancies 
 that exist between some of the songs as given by you, and 
 as taken by myself." I believe it is for this reason, that the 
 chanties have remained so long uncollected. Of course, I 
 
Music of the Waters. 31 
 
 have found these same discrepancies over and over again, 
 and many times have almost given up the idea of the col- 
 lection, in consequence. It is the same amongst all nations 
 of sailors. The writer of the letter just referred to, sent 
 me some of the chanties he had taken down in secret in 
 his cabin, and the versions both of music and words are 
 different to mine. For instance, " Whisky Johnny " he gives 
 as " Whisky " (hauling chanty), and though the sentiment 
 is the same he gives it in quite other words : — 
 
 Solo. — O ! Whisky is the life of man. 
 
 Chorus. — Whisky, Johnny ! 
 
 I drink whisky when I can, 
 
 Chorus. — O ! Whisky for my Johnny. 
 Solo. — I drink it out of an old tin can, 
 Whisky killed my poor old dad, 
 Whisky drove my mother mad, 
 Whisky caused me much abuse. 
 Whisky put me in the Calabouse, 
 Whisky fills a man with care. 
 Whisky makes a man a bear. 
 
 The tune is also different, so I give that to which these 
 words were sung. A query is appended to " Whisky" as to 
 whether it be an anacreontic or a teetotal hymn } The 
 sentiment is mixed, and it might serve for both. 
 Solo. Chorus. 
 
 i 
 
 
 i^ 
 
 :^=P-V^-^^- 
 
 :t= 
 
 1(E*E 
 
 p 
 
 Chorus. 
 Solo. , , I I S 
 
 ,1^.: 
 
 -I — I 
 
 S 
 
 He gives the same melody as I have done for " Blow 
 the Man Down," but different lines. 
 
 I. " Blow the man down, bullies, blow the man down ; 
 Blow the man down, bullies, pull him around. 
 
32 Music of the Waters. 
 
 2. Blow the man down, you darlings, lie down, 
 Blow the man down for fair London town. 
 
 3. When the Black Bailer is ready for sea, 
 That is the time that you see such a spree. 
 
 4. There's tinkers, and tailors, and soldiers, and all, 
 They all ship for sailors on board the Black Ball. 
 
 5. When the Black Bailer hauls out of the dock, 
 
 To see these poor fellows, how on board they flock. 
 
 6. When the Black Bailer gets clear of the land, 
 
 'Tis then you will hear the great word of command. 
 
 7. ' Lay aft here, ye lubbers, lay aft, one and all, 
 
 I'll none of your dodges on board the Black Ball.' 
 
 8. To see these poor devils, how they will all 'scoat,' 
 Assisted along by the toe of a boot. 
 
 9. It's now we are sailing on th' ocean so wide. 
 
 Where the deep and blue waters dash by our black side. 
 
 10. It's now when we enter the channel so wide. 
 All hands are ordered to scrub the ship's side. 
 
 11. And now, my fine boys, we are round the rock. 
 And soon, oh ! soon, we will be in the dock. 
 
 12. Then all our hands will bundle ashore, 
 Perhaps some will never to sea go more." 
 
 Chorus. — Wae ! Hae ! Blow the man down, 
 
 Give me some time to blow the man down. 
 
 " Reuben Ranzo '' (a true story ?), of course is given in 
 yet another form, both as regards music and poetry ; this 
 favourite hauling chanty seems to have as many different 
 versions as a pickpocket has aliases. The remark made 
 by the collector on this song is worth remembering ; he 
 says, " Ranzo is suspiciously like a ' crib ' from a well- 
 known old sea-song concerning a certain ' Lorenzo,' who 
 also 'was no sailor.' However the versions of Reuben 
 Ranzo may alter one salient point in each remains, and 
 that is the fact of ' his being no sailor.' " The last lines of 
 this poem run : — 
 
Music of the Waters. 
 
 33 
 
 " I wish I was old ' Ranzo's ' son." 
 Chorus. — Ranzo, boys, Ranzo. 
 
 " I'd build a ship of a thousand ton ; 
 I'd give my s&iXoxs plenty of rum} 
 Old ' Ranzo ' was a good old man, 
 But now old ' Ranzo's ' dead and gone. 
 And none can sing his funeral song." 
 
 The next song, " Tommy's gone to Hilo," is one of the 
 
 mournful style of chanties, with a very long dragging 
 
 chorus. 
 
 Solo. Chorus. 
 
 I 
 
 :^=f 
 
 EE 
 
 ^ 
 
 *=^£: 
 
 , Solo. 
 
 ^r-r^ — ^=t: 
 
 -I u 
 
 ittiz 
 
 Solo. — Tommy's gone, what shall I do .'' 
 
 Chorus. — Hurrah, Hilo. 
 
 Solo. — Tommy's gone, what shall I do ? 
 
 Chorus. -^'Yoxa!% gone to Hilo. 
 
 Solo. — To Liverpool, that noted school. 
 To Liverpool, that noted school. 
 Tommy's gone to Quebec town. 
 Tommy's gone to Quebec town, 
 There's pretty Sail and Jenny Brown, 
 There's pretty Sail and Jenny Brown, 
 A-dancing on that stony ground, 
 A-dancing on that stony ground. 
 Tommy's gone to Baltimore, 
 A-rolling on the sandy floor. 
 Tommy's gone to Mobille Bay, 
 To roll down cotton all the day. 
 He's gone away to Dixie's Land, 
 
 1 Truly " a fellow-feeling makes us wondrous kind." Old " Ranzo " 
 is a personage that is not mentioned in other accounts of his son's 
 life, but both/eV« et fits appear to be personages in nautical history 
 whom " not to know is to argue oneself unknown." 
 
 D 
 
34 
 
 Music of the Waters. 
 
 Solo. — Where there's roses red and violets blue, 
 Up aloft that yard must go, 
 I thought I heard the skipper say, 
 That he would put her through to-day, 
 Shake her up, and let her go. 
 Stretch her leech and shew her clew, 
 One pull more, and that will do. 
 Chorus. — Hurrah, Hilo. 
 
 Solo. — One pull more, and that will do, 
 Chorus. — Tom's gone to Hilo. 
 Belay ! 
 
 Like most chanties, the lines of "Tommy's gone to 
 Hilo " are repeated every time, the chorus being the same 
 for the first repetition, and changing a little at the second. 
 The pull is made on the word " Hilo." 
 
 The following song was written down for me by a sailor. 
 He is also responsible for the tune, which to my great 
 astonishment, he wrote out. He told me that it was 
 a favourite as a forecastle song, and was always received 
 with enthusiasm at concerts on board ship. The chorus is 
 set to " Rule Britannia,'^ and as the words are really funny, 
 I do not wonder at its popularity : — 
 
 i 
 
 Solo. 
 
 MARRIED TO A MERMAID. 
 
 -1 — I 
 
 :1=t: 
 
 I I I 
 
 1 — \- 
 
 H 
 
 fSE 
 
 lizzt 
 
 t=±: 
 
 i 
 
 1- 
 
 m 
 
 -*—0- 
 
 * 
 
 1 — r- 
 
 =5?=i?= 
 
 Solo. — There was a rich young farmer, 
 And he lived on Salisbury Plain, 
 He loved a ricl^ knight's daughter 
 And she loved him again. 
 But the knight he was distressed 
 That they should sweethearts be, 
 That they got the farmer pressed, 
 And he sent him off to sea. 
 
Music OF THE Waters. 35 
 
 Chorus. — Rule Britannia, Britannia rules the waves. 
 
 For Britons never, never, never shall be slaves. 
 
 Solo. — Oh, 'twas on the deep Atlantic, 
 During the equinoctial gales, 
 That a young feller fell overboard. 
 Among the sharks and whales. 
 He fell right down so quickly. 
 So headlong down fell he. 
 That he tumbled out of sight, like a streak 
 
 of light. 
 To the bottom of the deep blue sea. 
 Singing— 
 
 Chorus. — Rule Britannia. 
 
 Solo. — We lowered a boat to look after him, 
 And we thought to find his corpse. 
 When up to the top he came with a bang. 
 And sung in a voice sepulchrally hoarse — 
 " My comrades and my messmates all. 
 Pray do not grieve for me, 
 For I'm married to a mermaid 
 At the bottom of the deep blue sea." 
 
 Chorus. — Rule Britannia. 
 
 Solo. — He told us how when he first went down 
 The fishes all came round he, 
 And they seemed to think, as they stared at 
 
 him. 
 That he made uncommonly free. 
 But down he went, tho' he didn't know how. 
 And he felt " it's all up with me," 
 When he came to a lovely mermaid 
 At the bottom of the deep blue sea. 
 Singing— 
 
 Chorus. — Rule Britannia. 
 D 2 
 
36 Music of the Waters. 
 
 Solo. — She raised herself on her beautiful tail, 
 And gave him her wet white hand, 
 Saying, " Long have I waited for you, my dear, 
 You are welcome safe to land. 
 Go back to your messmates for the last time, 
 And tell them all from me, 
 That you're married to a mermaid 
 At the bottom of the deep blue sea." 
 
 Chorus. — Rule Britannia. 
 
 Solo. — And the anchor was raised and the sails un- 
 furled, 
 
 And the ship was running free, 
 
 When up we went to our captain. 
 
 And this we told to he. 
 
 Now the captain he came to the old ship's 
 side, 
 
 And out loud bellowed he — 
 
 " Be as happy as you can with your wife, my 
 man, 
 
 (There's no divorce court) At the bottom of 
 the deep blue sea." 
 
 Chorus. — Rule Britannia. 
 
 The words " there's no divorce court " are spoken. 
 
 The following song is perhaps the only sailor-song which 
 has ever been made to do duty on a minstrel stage. The 
 song of the " Railway " is known as, and believed by some 
 to be, an Irish national air : — 
 Solo. , 
 
 i 
 
 ^ 
 
 W^ 
 
 =fs=st 
 
 iF^g 
 
 i 
 
 In eigh teen hun - dred and fif - ty - three, I 
 
 S=S: 
 
 -^ ' *t ' 
 
 sailed a -way be- yond the sea; Oh! I sailed a -way to A 
 
Music of the Waters. 
 
 37 
 
 i 
 
 Chorus. 
 
 m 
 
 $ 
 
 mer - i - kee, To work up - on the rail - way, the 
 ^rs ITS 
 
 m 
 
 E35E 
 
 rail - way. Oh ! I'm wea - ried on the rail - 
 
 -! 1 
 
 i 
 
 m 
 
 way ; Oh ! poor Pad - dy works on the rail - way. 
 
 I have only the tune and two lines of the ballad of 
 "Jean Frangois," or as Jack has it, "Johnny Franswaw." 
 It is a pulling song : — 
 
 n Solo. i , i i Chorus. 
 
 i 
 
 ^SE 
 
 W 
 
 £^ 
 
 I 
 
 Oh! drive her, Cap -tain, drive her! Way- a - yah! 
 Solo. Chorus. 
 
 l. , , . . , '^ '^ 
 
 ^ 
 
 i: 
 
 ^m 
 
 ^gps=^ 
 
 Oh ! drive her. Cap- tain, drive her, To my Johnnie Franswaw. 
 
 The following is a windlass song, in which the expression 
 "hi-lon-day " occurs. Some say this should be interpreted 
 " Allan Dale," but there seems nothing to warrant this idea 
 It strikes me that the pumping chorus I before alluded to, 
 " Highland Day and off she goes," may be more likely " Hi- 
 lon-day and off she goes," at least in nautical correctness. 
 
 ^ 1 
 
 i 
 
 Solo. 
 
 asc 
 
 =t 
 
 i 
 
 Oh,.. 
 Chorus. 
 
 Bo 
 
 ney was 
 
 Solo. 
 
 ^^z 
 
 Oh, sigh her up, my 
 
 Ah, 
 
 hi 
 
 i 
 
 :fc 
 
 Ion - day ! 
 Chorus. 
 
 A- 
 
 ? 
 
 yal - ler gals, — 
 
 izi: 
 
 Z3=t: 
 
 hi. 
 
 hi • Ion 
 
 day! 
 
38 
 
 Music of the Waters. 
 
 A YANKEE SHIP. 
 
 i 
 
 i 
 
 fs-fr- 
 
 ^e1 
 
 W 
 
 $ 
 
 1=^ 
 
 ^ 
 
 1^^ 
 
 ^ 
 
 ^ 
 
 M d 
 
 DSt 
 
 Solo. — A Yankee ship came down the river, 
 Chorus. — Blow, boys, blow. 
 
 Solo. — A Yankee ship came down the river, 
 Chorus. — Blow, my bully boys, blow. 
 
 Solo. — And who do you think was skipper of her ? 
 And who do you think was skipper of her ? 
 Dandy Jim from old Carolina, 
 Chorus. — Blow, my bully boys, blow. 
 Solo. — Dandy Jim from old Carolina, 
 
 And who do you think was second greaser ? 
 Why, Pompey Squash that big buck nigger, 
 And what do you think they had for dinner ? 
 Monkey's lights and donkey's liver. 
 And what do you think they had for supper .' 
 Hard tack and Yankee leather. 
 Then blow, my boys, for better weather. 
 Chorus. — Blow, boys, blow. 
 
 Solo. — Then blow, my boys, for better weather, 
 Chorus. — Blow, my bully boys, blow. 
 
 Solo. — What do you think was the name of this clipper ? 
 The Flying Cloud, with a cranky skipper, 
 Then up aloft that yard must go. 
 One more pull and then belay, 
 I think I heard our old man say. 
 Chorus. — Blow, boys, blow. 
 
 Solo. — He set more sail and give her way, 
 We'll hoist it high before we go. 
 Another good pull and make it stay. 
 And then we've finished for to-day. 
 And then we've finished for to-day, 
 Chorus. — Blow, my bully boys, blow. 
 
Music of the Waters. 39" 
 
 This chanty is sometimes called " Blow, boys, blow," and 
 the verses vary, not so much in the theme or the locale, 
 which is always America, but in the dramatis persona. 
 For instance, in one version I found — 
 
 Solo. — Who do you think was captain of her ? 
 Who do you think was captain of her ? 
 Old John Brown, the boarding master, 
 Old John Brown, the boarding master. 
 Who do you think was looking after ? 
 Who do you think was looking after ? 
 Cock-eyed Bill, the West-end barber. 
 Cock-eyed Bill, the West-end barber. 
 
 In another — 
 
 Solo. — Oh blow, my boys, I long to hear you. 
 Chorus. — Blow, boys, blow. 
 
 Solo. — A Yankee Liner coming down the river. 
 Chorus. — Blow, boys, blow. 
 
 Solo. — And how do you know she's a Yankee Liner ? 
 Chorus. — Blow, boys, blow. 
 
 Solo. — By the stars and stripes she hangs behind her. 
 Chorus. — Blow, boys, blow. 
 
 Solo. — A Colonial packet coming down the river. 
 Chorus. — Blow, boys, blow. 
 
 Solo. — How do you know she's a Colonial packet? 
 Chorus. — Blow, boys, blow. 
 
 Solo. — She fired a gun, I heard the racket. 
 Chorus. — Blow, boys, blow. 
 
 And so on. This version was given me by a young Scotch- 
 man, whose time at sea had been limited to fifteen months, 
 nevertheless he had a very intimate knowledge of ship- 
 life, and sailors' ways and songs, and was furthermore 
 possessed of a good voice and a better ear ; he sang several 
 chanties for me, and acted, as far as he was able in a 
 drawing-room, the heaving and hauling which J:hey accom- 
 panied. 
 
40 
 
 Music of the Waters. 
 
 The tune is, however, the same for both titles, and whether 
 known as " A Yankee Ship " or " Blow, boys, blow," it is 
 always fathered on America. The same may be said of 
 " John Brown," which follows : — 
 Solo. 
 
 i 
 
 :t 
 
 ^ 
 
 fe 
 
 ^^^=^ 
 
 1 !- 
 
 I* M ri 
 
 i=* 
 
 -^ ^ s^ .j i- 
 
 Chorus. 
 
 i rrw:: 
 
 i: 
 
 ^^=t=F 
 
 » s 
 
 3dz 
 
 * • >- 
 
 i 
 
 6"o/i£?. — In eighteen hundred and sixty-one 
 The Yankee war it was begun. 
 In eighteen hundred and sixty-one 
 As we go marching along. 
 Chorus. — Glory, halleluiah ! 
 Glory, halleluiah ! 
 As we go marching along. 
 Solo. — In eighteen hundred and sixty-two 
 The niggers made a great ado. 
 In eighteen hundred and sixty-two 
 As we go marching along. 
 ■Chorus. — Glory, halleluiah ! &c. 
 
 Solo.— In eighteen hundred and sixty-three 
 The niggers they were all set free, 
 In eighteen hundred and sixty-three 
 As we go marching along. 
 Chorus. — Glory, halleluiah ! &c. 
 
 Solo. — In eighteen hundred and sixty-four 
 The Yankee war it was no more. 
 
Music of the Waters. 41 
 
 In eighteen hundred and sixty-four 
 As we go marching along. 
 
 Chorus. — Glory, halleluiah ! &c. 
 
 Solo. — Old John Brown was the Abolition man, 
 Old John Brown was the Abolition man. 
 As we go marching along. 
 
 Chorus. — Glory, halleluiah ! &c. 
 
 Solo. — John Brown's knapsack was number 92, 
 John Brown's knapsack was number 92, 
 As we go marching along. 
 
 Chorus. — Glory, halleluiah ! &c. 
 
 " The exploits of the early American Navy," says The 
 New York Tribune, " can be read on the cold pages of 
 history, but nowhere do they live with such freshness and 
 vigour as in the rude naval songs composed at the time 
 when Paul Jones, Decatur, Hull and Pessy filled the annals 
 of the sea ' with the splendid tumult of their deeds.' There 
 is one old song called the ' Yankee Man-of-war,' descriptive 
 of the cruise of John Paul Jones in the Irish Channel in 
 1778. The air is peculiarly nautical in its character, and 
 the words are vigorous and full of life. The first and last 
 stanzas are as follows : — 
 
 " 'Tis of the gallant Yankee ship 
 That flew the stripes and stars. 
 And the whistling wind from the west-nor'-west 
 
 Blew through the pitch-pine spars. 
 With her starboard tacks about, my boys. 
 
 She hung upon the gale ; 
 On an autumn night we raised the light 
 Of the old Head of Kinsale. 
 
 ***** 
 
 ' Out booms ! out booms ! ' our skipper cried, 
 ' Out booms, and give her sheet.' 
 And the swiftest keel that ever was launched 
 Shot ahead of the British fleet. 
 
42 Music of the Waters. 
 
 And amid a thundering shower of shot, 
 
 With stern-sails hoisted away, 
 Down the North Channel Paul Jones did steal 
 
 Just at the break of day." 
 
 In 1813 there was a popular song sung to the tune of 
 " Ye Mariners of England," and called " The Freedom of 
 the Seas." The chorus is : — 
 
 " Though tyrants frown and cannon roar, and angry 
 tempests blow, 
 We'll be free on the sea in despite of every foe." 
 
 Another song of Paul Jones' victories was sung, in 18 13, 
 descriptive of the Bonhomnte Richard overcoming the 
 English men-of-war Serapis and Countess of Scarborough 
 in 1779. About the same time appeared the glorious old 
 ballad of " The Constitution and Guerri^re," to which the 
 decks of American men-of-war still continue to echo ; " The 
 Siege of Tripoli ;" and "Yankee Tars." A song of this 
 period is called "The Yankee Thunders;" it is largely 
 taken up with praises of the bravery of English sailors, and 
 intimates that only the Yankees are a match for them. 
 The last verse runs — 
 
 " Hence be our floating bulwarks 
 
 Those oaks our mountains yield ; 
 'Tis mighty Heaven's plain decree, 
 
 Then take the watery field. 
 To ocean's furthest barriers, their 
 
 Fair whitening sails shall pour ; 
 Safe they'll ride o'er the tide, 
 
 While Columbia's thunders roar. 
 While her cannon's fire is flashing past, 
 
 And her Yankee thunders roar." 
 
 In one of Mr. Ballantyne's books, " The Red Eric, or the 
 Whaler's Last Cruise," there is a song sung by one Gurney 
 when the men on board of this same whaler were grouped 
 around the windlass. On receiving Gurney's promise to 
 
Music of the Waters. 43 
 
 give them a song, his comrades ask " if there be any chorus 
 to it ? " " Ay, in course there is," is his reply. " Wot's a 
 song without a chorus ? Wot's plum duff without the 
 plums? What's a ship without the helm ? It's my opinion, 
 shipmates, that a song without a chorus is no better than 
 it should be. It's wus nor nothin' ! It puts them wot 
 listens in the blues, an' the man wot sings into the stews — 
 an' sarve him right. I wouldn't, no, I wouldn't give the 
 fag end o' nothin mixed in a bucket o' salt water for a 
 song without a chorus, that's flat ; so here goes ! " 
 
 " Having dehvered himself of these opinions in an ex- 
 tremely vigorous manner, and announced the fact that he 
 was about to begin, Gurney cleared his throat and drew a 
 number of violent puffs from his pipe in quick succession, 
 in order to kindle that instrument into a glow which would 
 last through the first verse and the commencement of the 
 chorus. This he knew was sufficient, for the men, when 
 once fairly started on the chorus, would infallibly go on to 
 the end with or without his assistance, and would there- 
 fore afford him time for a few restorative whiffs. 
 
 " ' It bain't got no name, lads.' 
 
 " ' Never mind, Gurney. All right, fire away.' 
 
 Solo. — Oh, I once know'd a man as hadn't got a nose, 
 An' this is how he came to hadn't — 
 One cold winter night he went and got it froze ; 
 By the pain he was well nigh madden'd. 
 
 Chorus. — By the pain he was well nigh madden'd. 
 
 Solo. — Next day it swoll up as big as my head. 
 An' tough as a junk of leather ; 
 (Ah ! he yelled, so he did, fit to pierce ye through), 
 An' then it fell off altogether ! 
 
 Chorus. — Fell off altogether. 
 
 An' then it fell off altogether. 
 Solo. — But the morial is wot you've now got to hear, 
 An' it's good, as sure as a gun ; 
 
44 Music of the Waters. 
 
 An' you'll never forget it, my messmates dear, 
 For this song it hain't got none. 
 
 Chorus. — Hain't got none ; 
 
 For this song it hain't got none. 
 
 " The applause which followed this song was most en- 
 thusiastic, and evidently gratifying to Gurney, who assumed 
 a modest, deprecatory air, as he proceeded to relight his 
 pipe, which had been allowed to go out at the third verse, 
 the performer having become so engrossed in his subject as 
 to have forgotten the interlude of puffs at that point." 
 
 Mr. Robert C. Leslie, in his " A Sea Painter's Log," says 
 of sailors' songs : ?" Years ago, when the (little) Great 
 Western was fighting an almost solitary battle of steam 
 versus sail power upon the Atlantic, the old Black X sail- 
 ing liners were notable for their musical crews ; and capstan 
 songs, as they were called, always came rolling aft from a 
 liner's forecastle, as the men tramped round winding in the 
 warp that was slowly moving her out of dock (all done 
 now by rattling, whizzing, steam-winch power). I recollect 
 the airs of many of these songs ; but the words, except the 
 choruses, were hard to catch, and some of these were coarse, 
 or not worth much when caught. The following was 
 written down as a very superior piece of poetry, and it was 
 sung by a fellow of most ' comly making ' : — 
 
 Solo. — Late one evening as I vas a valking. 
 Chorus. — Oh, ho, yes — oho. 
 
 Solo. — O there I heard a loving couple talking ; 
 Chorus. — A hundred years ago. 
 
 Solo. — It was a serious good old woman. 
 
 And she vas a saying of things not common. 
 She vas a saying unto her darter, 
 O mind, then, vords o' mine herearter ; 
 Red-nosed men frequent the ale-'ouse, 
 Sandy-'aired men are always jailous ; 
 The fat will coax, the lean will flatter, 
 Oh, marry none of them, my darter : 
 
Music of the Waters. 45 
 
 Solo. — But marry a man of a comly making, 
 For in him there's no mistaking : 
 In so doing of w'ich you'll please me, 
 And so of my troubles ease me. 
 
 " But long before the song reached this point it was 
 usually cut short by the mate singing out : ' Vast heaving 
 there for'ard ; out bass, and lay aft some of ye,' &c. Then 
 soon a fresh song would burst from another part of the 
 ship ; perhaps the following wild kind of thing :" and Mr. 
 Leslie here quotes the sailor's favourite, which I have 
 already given, " Old Starm-along." 
 
 In a tale entitled " The Man-o'-War's Man," there are 
 some excellent choruses, of which I give a few, as they 
 may sometimes be heard sung by our sailors to any tune 
 they can be set to : — 
 
 Chorus. — " O, Greenland is a cold countrie, 
 And seldom is seen the sun ; 
 The keen frost and snow continually blow , 
 And the daylight never is done, 
 
 Brave boys. 
 And the daylight never is done." 
 
 Chorus. — " Nor never will I married be 
 Until the day I die ; 
 
 For the stormy winds and the raging sea 
 Parted my love and I." 
 
 Of totally different sentiment is the following : — 
 
 Chorus. — " O, the rose it is red and the violet is blue. 
 
 And my heart, love, beats steady and constant 
 
 to you, 
 Then let it be early, late, or soon, 
 I will enjoy my rose in June." 
 
 Chorus. — " Farewell and adieu to you, grand Spanish ladies. 
 Farewell and adieu to you, ladies of Spain, 
 For we've received orders to sail for old England, 
 But we hope in short time for to see you again." 
 
46 Music of the Waters. 
 
 The next is a drinking-song : — 
 Chorus. — " Then we'll drink and be jolly, and drown melan- 
 choly, 
 Our spirits to cherish, our hopes and our lives, 
 And we'll pay all our debts with a flying top- 
 sail ; 
 And so bid adieu to our sweethearts and wives." 
 
 The following is very patriotic : — 
 
 Chorus. — " On the glorious, the second of April, all at the 
 
 dawn of the day, 
 We unreefed our topsails, and then we wore 
 
 away ; 
 Lord Nelson on the poop did stand. 
 With his spy-glass all in his hand. 
 And all he said^ as we pushed for the land, . 
 Was, ' Steady, and cheer up, ho.' " 
 
 The following used to be one of the most popular songs 
 in the Black X Line. I make no false statement when I 
 say that it is true melody, and deservedly popular. The 
 words are about as unintelligible as the most of them 
 are •. — 
 
 Solo. Andante. 
 
 ^ 
 
 rs 
 
 q^ 
 
 # 
 
 i 
 
 Oh, the wild est pac ■■ ket you can find, — 
 Chorus. -=.-=>-=. Solo. 
 
 I 
 
 -*- 
 
 « "^ * " " ' 
 
 Ah, he, ah, ho, are you most done? Is the 
 
 Chorus. 
 
 L ] 1 « — « ^ — m 1 ■-•-* — : # . J m M— 
 
 i 
 
 ;t=»z 
 
 =r=^^=^=^ ^'^ ' ->- 
 
 i 
 
 Mar-g'ret Ev-ans, in the Black X Line- So clear the track, let the 
 
 hs ft i M r^~^ >^— ^ — N — X- — - 
 
 bul- gine run, To my high sig - a - jig, in a low-back car, — Ah, 
 
Music of the Waters. 
 
 47 
 
 i 
 
 =J5^=S 
 
 -m ^ -^ ^ ~ ~ . 
 
 he, ah, ho, are you most done ? With E li 
 
 za Lee all 
 
 i 
 
 fc#= 
 
 =S=P£: 
 
 ^ 
 
 -» — i«ii^ 
 
 jn my knee, So clear the track, let the bul - gine run. 
 
 Amongst the Southern negroes the name of " Santa 
 Anna," the Mexican general, is frequently heard in their 
 songs, and the windlass chanty known as " The Plains of 
 Mexico " is a great favourite. 
 
 Solo. — " Did you never hear tell of that general ? 
 Chorus. — Hurrah, you Santy Anna ! 
 
 Solc—Tiid you never hear tell of that general ? 
 Chorus. — All on the plains of Mexico." 
 
 I 
 
 l^S 
 
 Solo. Adagio. 
 
 ^ 
 
 q!sz^ 
 
 -S— V 
 
 Chorus. 
 
 =it=*= 
 
 a^ 
 
 3tZ*I 
 
 fgg 
 
 Solo. 
 
 :5!s=^ 
 
 i- »-*- 
 
 -V— t"" 
 
 i 
 
 fe^=^= 
 
 Chorus. 
 
 ^ 
 
 m 
 
 1=^=F= 
 
 ="^ 
 
 Another well-known windlass song is the following : — • 
 Solo. — " For seven long years I courted Sally, 
 
 Chorus. — Hurrah, you rollin' river ! 
 
 Solo. — I courted Sally down in yon valley, 
 
 Chorus. — Ah, ha! I'm bound away on the wild Missouri " 
 Solo. Chorus. 
 
 i 
 
 ^^ 
 
 -Js 1^ 
 
 -^tW 
 
 ■^—^ 
 
 dii 
 
 i 
 
 Solo. 
 
 ^^ 
 
 T^ 
 
 It?=fe!lltz= 
 
 I*Z3I) 
 
 i 
 
 Chorus. 
 
 
 :s=s; 
 
 5=^^ 
 
 3=:e= 
 
48 
 
 Music of the Waters. 
 
 The pulling song I give next goes by the name of 
 " Shallow Brown " :— 
 
 Soi-o- Chorus. 
 
 i 
 
 ^MTj 
 
 1= 
 
 T 
 
 :t-p=i"^:iE: 
 
 ^^ 
 
 :^ 
 
 Come, get my clothes in or - der Shallovf , shallow, Brown. 
 Solo. Chorus. 
 
 i 
 
 3^ 
 
 The pac - ket sails to - mor - row, Shallow, shallow, Brown, 
 
 There is another capstan chanty known also as " Sally 
 Brown " : — 
 
 Solo. Chorus. 
 
 inpg 
 
 q= 
 
 5B=i= 
 
 s 
 
 ^W^ 
 
 It 
 
 att 
 
 -^ 
 
 il=t: 
 
 Solo. 
 
 m 
 
 f d A 
 
 J J J- 
 
 i 
 
 Chorus. 
 
 T 
 
 *=q= 
 
 q^ 
 
 t= 
 
 -*-*- 
 
 t^ :»- 
 
 5(7/(?. — Sally Brown was a bright mulatto, 
 
 Chorus. — Way ! heigh ! Roll and go. 
 
 Solo. — Oh ! Sally Brown was a bright mulatto, 
 I'll spend my money on Sally Brown. 
 Sally Brown was a bright mulatto. 
 
 Chorus. — Way ! heigh ! &c. 
 
 Solo. — Sally Brown she had a daughter, 
 
 Chorus. — Way ! heigh ! &c. 
 
 Solo. — Oh ! Sally Brown she had a daughter, 
 Her name it was Matilda Jane. 
 Sally Brown she had a daughter. 
 
 Chorus. — Way ! heigh ! &c. 
 
 Solo. — Seven long years I courted Sally, 
 Chorus. — Way ! heigh ! &c. 
 
Music of the Waters. 
 
 49 
 
 So/o. — Oh ! seven long years I courted Sally, 
 I mean to marry Sally Brown. 
 Oh ! seven long years I courted Sally. 
 Chorus. — Way ! heigh ! Src. 
 
 The last verse resembles the other version somewhat. 
 The verses are not at all times consistent with the next 
 song, also a capstan one, and they are too numerous to 
 quote in full, 
 
 I give the melody as I got it from a coloured seaman at 
 the " Home," together with a verbatim copy of his verses : — 
 
 i 
 
 Chorus. 
 
 =1 \ 1 
 
 :iv: 
 
 Heave a - way, heave a - way, heave a - way you 
 
 i 
 
 -^s---— *z 
 
 rul - er king. 
 Solo. 
 
 am, &C, 
 
 fe 
 
 q=l; 
 
 Chorus. 
 
 Solo. 
 
 SE 
 
 ^^ 
 
 5^ 
 
 t=^ 
 
 -*^^ 
 
 q=t 
 
 Chorus. 
 
 J-r-*- 
 
 -^-^ir 
 
 *Solo.- 
 
 Chorus.- 
 
 Solo.- 
 
 Chorus.- 
 
 Solo.- 
 Chorus.- 
 
 Solo.- 
 Chorus.- 
 
 Solo.- 
 
 -South Australia is my native home, 
 -Heave away ! Heave away ! 
 -South Australia, &c. 
 -I am bound to South Australia, 
 
 Heave away ! Heave away ! 
 
 Heave away, you ruler king, 
 
 I am bound to South Australia. 
 -There ain't but the one thing grieves my mind, 
 -Heave, &c. 
 
 -To leave my dear wife and child behind. 
 -I am bound, &c. 
 -I see my wife standing on the quay, 
 
 The tears do start as she waves to me. 
 
 E 
 
50 MusiG OF THE Waters. 
 
 Solo. — When I am on a foreign shore, 
 
 I'll think of the wife that I adore. 
 
 Those crosses you see at the bottom of the lines, 
 
 Are only to put me in mind. 
 
 As I was standing on the pier, 
 
 A fair young maid to me appeared. 
 
 As I am standing on a foreign shore, 
 
 I'll drink to the girl that I adore. 
 
 For I'll tell you the truths and I'll tell you no lie. 
 
 If I don't love that girl I hope I may die. 
 
 Liza Lee, she promised me, 
 
 When I returned she would marry me. 
 
 And now I am on a foreign strand. 
 
 With a glass of whisky in my hand ; 
 
 And I'll drink a glass to the foreign shore. 
 
 And one to the girl that I adore. 
 
 When I am homeward bound again, 
 
 My name I'll publish on the main. 
 
 With a good ship and a jolly crew, 
 
 A good captain and chief mate, too. 
 
 Now fare thee well, fare thee well, 
 
 For sweet news to my girl I'll tell; 
 
 " Haul away." This is a short-rope pulling song of almost 
 equal popularity in the olden days with "Haul the Bowline." 
 It is one of the most characteristic melodies amongst the 
 chanties. At the word "Joe," all hands give a pull. 
 
 " Oh once I had a nigger girl. 
 
 And she was fat and lazy. 
 
 And then I got an Irish girl. 
 
 And she was double-jointed. 
 
 And then I had a Dover lass. 
 
 She ran away with a soldier." 
 " Away, haul away — Haul away, Joe. 
 
 Away, haul away — Haul away, Joe. 
 
 Away, haul away — Haul away, Joe." 
 
Music of the Waters. 
 
 51 
 
 Solo. 
 
 The following is a windlass song of negro origin, River 
 Shenandore : — 
 
 I 
 
 Solo. 
 
 ?V=^ 
 
 ^^ 
 
 1^=^ 
 
 Chorus. 
 
 =1= 
 
 ^ 
 
 fi=t^ 
 
 -M-'- 
 
 You Shan - an 
 
 dore, 
 
 i 
 
 long to hear you ; Hur - 
 Solo. 
 
 i 
 
 ± 
 
 i 
 
 rah, you roll - in' riv - er ! 
 Chorus. 
 
 You Shan- an - dore, I 
 
 :^^=t 
 
 -ri - 
 
 long to hear you ; 
 
 Ah, ha, you Shan -an - dore. 
 
 This is a more pretentious song than the first one I 
 gave of this name, " Rio Grande." The chorus rises and 
 swells with the crescendo of the heaviag Atlantic swell. It 
 is a windlass song of the same style as the preceding, 
 "Shanandore " : — 
 
 i 
 
 P¥ 
 
 Solo. Andante. 
 
 ^^ 
 
 =S=M- 
 
 =ft=B 
 
 =]: 
 
 i 
 
 I'll sing you a song of the fish 
 Chorus. Solo. 
 
 r=F 
 
 It 
 
 of the sea, 
 
 lEi: 
 
 Roll 
 
 ing Ri - o... 
 Chorus. 
 
 I'll sing you a song of the 
 
 fish of the sea, To my roll -ing Ri 
 E 2 
 
 - o Grande. Hur 
 
62 
 
 Music of the Waters. 
 
 ^- 
 
 ±2=f-- 
 
 :^ 
 
 dt± 
 
 rah, you Ri - o, roll - ing Ri - o, So 
 
 fare you well, my 
 
 I 
 
 ^ ^ » ^ -m- 
 
 qs 
 
 :S=^ 
 
 i*=at: 
 
 ^= 
 
 » * s 
 
 — ] 1 , 
 
 bon-ny young girls. For I'm bound to the Ri - o Grande. 
 
 " Handy Jim," a long-rope hauling chanty, I am told is 
 a Portsmouth favourite : — 
 
 i 
 
 Solo. Moderate. 
 
 Chorus. 
 
 S 
 
 ifc 
 
 i 
 
 j^ 
 
 Solo. 
 
 :t=t 
 
 
 i 
 
 Chorus. 
 
 =;=!= 
 
 t^=t -f — S3 E|^=| 
 
 .So/o. — " I'm Handy Jim from Caro-line, 
 Chorus. — So handy, me boys, so handy." 
 
 (The chorus is throughout the same, and follows each 
 line of the solo.) 
 
 Solo. — " I courted a girl named Sarah Jane, 
 So handy, me boys, so handy. 
 Sarah Jane was a kitchen maid, 
 And ofttimes into her kitchen I strayed. 
 And had a good blow-out of something hot. 
 But one fine night, through my good luck, 
 The missus came home — in the copper I got ; 
 But the missus had come the clothes for to wash. 
 The fire being lit the copper got hot, 
 And the missus she came to stir up the pot, 
 And out I jumped, all smoking hot, 
 The missus she fainted, and cried ' Stop thief I ' 
 But I was off like a shot of a gun. 
 
Music of the Waters. 53 
 
 Solo. — When the missus came to there was an awful row ; 
 Poor Sarah, she got the sack next day, 
 Then she came to me straightway, and said, — 
 ' I've lost my character, place likewise.' 
 Says I, ' My dear, now never you mind. 
 Next Sunday morn' we'll go and get wed ; ' 
 Next Sunday morn' I was at sea instead. 
 So now, my boys, when courting you go, 
 If the missus turns up, in the copper don't go, 
 If you're handy there, you're handier here. 
 One more pull, and up she will go, — 
 The mate cries ' Belay !' so below we will go." 
 
 Verily a moral to other young men than Jack, who go 
 courting below stairs ; but let us hope they will not follow 
 his bad example and merit the title " Deceivers ever." 
 
 The following "Bonny" is another hauling chanty, 
 somewhat after the style of " Whisky Johnny." 
 
 1. Oh, Bonny was a warrior. 
 Chorus. — Wae 1 Hae ! Ha ! 
 
 2. Oh, Bonny was no Frenchman, 
 Wae ! Hae ! Ha ! 
 
 (Pronounced as " Day," and " Ha ! " as " Far.") 
 
 3. Bonny beat the Rooshins, 
 
 4. The Prooshians, and the Osstrians, 
 
 5. At the Battle of Marengo. 
 
 6. Bonny went to Moscow, 
 
 7. Moscow was o'foyre.' 
 
 8. Bonny lost his army there, 
 
 9. Bonny retreated back again. 
 
 10. Bonny went to Elbow,^ 
 
 1 1. And soon he did come back again. 
 
 1 Supposed to have some reference to a famous conflagration. 
 = Where is " Elbow"? I think it is a sly hit at Bonny's want of 
 elbow-room when immured. 
 
54 
 
 Music of the Waters. 
 
 12. Bonny fought at Waterloo ; 
 
 13. There he got his overthrow. 
 
 14. Bonny went a cruising, 
 
 15. In the Channel of Old England. 
 
 16. Bonny was taken prisoner, 
 
 17. On board the Bella-Ruffian ("Bellerophon"). 
 
 18. Bonny was sent to St. Helena, 
 
 19. And never will come back again. 
 Wae! Hae! Ha! 
 
 Solo. 
 
 Chorus. 
 
 J ,'_ 
 
 Solo, 
 
 
 m^t 
 
 EisE 
 
 = fri>H-f 
 
 i 
 
 m 
 
 * 
 
 The following are both good capstan songs :- 
 
 HEAVE AWAY, MY JOHNNY 
 Solo. Allegretto. 
 
 m 
 
 -+- 
 
 ^^ 
 
 :&=£ 
 
 d m 
 
 As I was go - ing out one day, Down by the Clarence 
 Chorus. ^^ ^ 
 
 ^ — i^"-"j^ — s^— N — r!!l- 
 
 i 
 i 
 
 =t 
 
 -•— i^- 
 
 H- 
 
 ^^ 
 
 I^PgE^FT 
 
 I - -jp- 
 
 Dock; Heave a - way, my John - ny, Heave a 
 
 Solo. 
 
 m. 
 
 -p — M— p- 
 
 ?=r 
 
 iti2=fc 
 
 way.. 
 
 As I was go - ing 
 
 Chorus. UniT. 
 
 i 
 i 
 
 -•iii'i — Ni — - « 
 
 j l 
 
 ■:^=^- 
 
 -*-»- 
 
 ^JT ^ 
 
 out one day down by the Cla-rence Dock ; Hand a 
 
 -t- 
 
 ^ 
 
 ^ 
 
 fgEil 
 
 s » 
 
 way, 
 
 my jol - ly boys, We're all bound to go. 
 
Music of the Waters. 55 
 
 1. As I was going out one day, down by the 
 
 Clarence Dock, 
 Chorus. — Heave away, my Johnny, heave away. 
 
 As I was going out one day, down by the 
 
 Clarence Dock, 
 Chorus. — Hand away, my jolly boys, we're all bound to 
 
 go- 
 
 2. I overheard an emigrant conversing with Tap 
 
 Scott,' 
 I overheard an emigrant conversing' with Tap 
 Scott. 
 
 3. " Good-morning, Mr. Tap Scott." " Good 
 
 morning, sir," said he. 
 " Have you got any ships bound for New York, 
 in the States oiAinerikey ? " 
 
 4. " Oh, yes ! I have got packet-ships. I have got 
 
 one or two, 
 I've got the/osej/ Walker, besides the Kangaroo. 
 
 5. I've got thejosey Walker, and on Friday she 
 
 will sail, 
 With all four hundred emigrants, and a thou- 
 sand bags o' mail." ^ 
 
 6. Now I am in New York, and I'm walking 
 
 through the street. 
 With no money in my pockets, and scarce a 
 bit to eat. 
 
 7. Bad luck to Josey Walker, and the day that 
 
 she set sail ! 
 For them sailors got drunk, broke into my 
 bunk, and stole out all my meal.' 
 
 ' Tap Scott, a famous emigration agent. 
 
 " " Meal," not " Mail." 
 
 ^ Sufficient provocation tp justify this outburst in rhyme. 
 
56 
 
 Music of the Waters. 
 
 8. Now I'm in Philadelphia, and working on the canal. 
 To go home in one o' them packet-ships, I'm sure 
 
 I never shall. 
 
 9. But I'll go home In a National boat, that carries 
 
 both steam and sail. 
 Where you get soft tack every day, and none of 
 your yellow meal. 
 
 In this song each line is repeated, so that the anchor 
 may be up ere it is finished. 
 
 GOOD-BYE, FARE YE WELL ! 
 
 This is the last of the English chanties I shall quote. 
 It is also a capstan song : — 
 
 Solo. Chorus. 
 
 m 
 
 i=p 
 
 - p — ^ 
 
 E^Ef^^d^S 
 
 It's of a flash pac - ket, a pac - ket I've seen ; Good 
 
 Solo. 
 
 
 IS — K' 
 
 bye, fare ye well ! Good bye, fare ye well ! She's a 
 
 Chorus. 
 
 i 
 
 -I — f- 
 
 ^ 
 
 f 
 
 -j — J- 
 
 ^ 
 
 -m- 
 
 heart - y flash pac - ket, the Dread-naught's her name ; Hur 
 
 i 
 
 I 
 
 =g= 
 
 # 
 
 to 
 
 go. 
 
 - rah, my boys, we're bound 
 
 (Affettuoso.) 
 
 Solo. — It's of a flash packet, a packet I've seen. 
 Chorus. — Good-bye, fare ye well. Good-bye, fare ye well. 
 Solo. — She's a hearty flash packet — the Dreadnoughts 
 her name. 
 Chorus. — Hurrah, me boys ! we're bound to go ! 
 
Music of the Waters. 67 
 
 Solo. — 2. She sails to the westward, where stormy winds 
 blow, 
 Bound away in the Dreadnought, to the west- 
 ward we'll go. 
 
 3. It's now we are hauling right out of the dock, 
 Where the boys and the girls on the pier-head 
 
 do flock. 
 
 4. They give three loud cheers, while the tears 
 
 downward flow, 
 Bound away in the Dreadnought, to the west- 
 ward we'll go. 
 
 5. Oh, now we are lying in the River Mersey, 
 Waiting for the tug-boat to take us to sea. 
 
 6. Slie tows us round the black rocks where 
 
 Mersey does flow, 
 Bound away in the Dreadnought, to the west- 
 ward we'll go. 
 
 7. It's now we are sailing on the wild Irish shore. 
 Our passengers all sick — and our new mates all 
 
 sore. 
 
 8. The crew fore and aft — all round to and fro, 
 Bound away in the Dreadnought, to the west- 
 ward we'll go. 
 
 9. Oh, it's now wes've arrived on the banks of 
 
 Newfoundland, 
 Where the water -is green and the bottom is 
 sand. 
 
 10. Where the fish of the ocean swim round to and 
 
 fro. 
 Bound away in the Dreadnought, to the west- 
 ward we'll go. 
 
 11. Now we are running down Long Island shore, 
 Where the pilot does " board " us, as he's oft 
 
 done before. 
 
58 Music of the Waters. 
 
 Solo. — 12. Then back your main top-sail — rise your main 
 tack also, 
 Bound away in the Dreadnought, to the west- 
 ward we'll go. 
 
 13. It's now we've arrived at New York once more, 
 Where I'll see my dear Polly, the girl I adore. 
 
 14. I'll call for strong liquors, and merry will be, 
 Here's a health to the Dreadnought, where'er 
 
 she may be. ' 
 
 1 5. Here's a health to the captain and all his ,brave 
 
 crew. 
 Here's a health to the Dreadnought and officers 
 too. 
 
 16. And this song was composed when the watch 
 
 went below. 
 Bound away in the Dreadnought, to the west- 
 ward we'll go. 
 
 A collection of English sailors' songs could scarcely be 
 complete without some reference to those which are to be 
 found in Shakespeare's " Tempest." Dr. Johnson says of 
 the first scene in the first act that "This naval dialogue 
 is perhaps the earliest example of sailors' language exhi- 
 bited on the stagej' The second Lord Mulgrave declared 
 that Shakespeare's technical knowledge of seamanship 
 must have been " the result of the most accurate personal 
 observation." The boatswain in "The Tempest" delivers 
 himself in the true vernacular style of the "forecastle." 
 Says Captain Glascock, R.N. : " Heigh, my hearts ; cheerily, 
 cheerily, my hearts ; yare, yare 1 Take in the topsail." 
 "Yare," meaning quick, ready, is several times used by 
 Shakespeare as a sea-term. 
 
 Ariel's beautiful song, " Full Fathom Five," which Ferdi- 
 nand describes so graphically — " This music crept by me 
 upon the waters ; allaying both their fury, and my passion, 
 with its sweet air " — is too well known for me to do more 
 than allude to it. 
 
Music of the Waters. 
 
 69 
 
 Purcell. 
 
 i 
 
 SS^ 
 
 ffiE 
 
 ^ 
 
 ^ 
 
 s^ 
 
 -r-*^ 
 
 i 
 
 [It 
 
 m^ 
 
 =^=p^ 
 
 a^sE 
 
 ^^^ 
 
 
 &^ 
 
 r^J ^ ._ 
 
 i 
 
 :1^^j: 
 
 ^ a r-1 
 
 \ --. 
 
 SIS 
 
 ■ihr-J 
 
 -,M-^ £ 
 
 ■F--- 
 
 jL. * * 
 
 i 
 
 toe 
 
 t-t- 
 
 -e s 
 
 ^=f5= 
 
 ^ 
 
 r d^ d ^-^ 
 
 ^ 
 
 j^ * ^ , 
 
 " Full fathom five thy father lies ; 
 
 Of his bones are coral made ; 
 Those are pearls that were his eyes. 
 
 Nothing of him that doth fade 
 But doth suffer a sea-change 
 Into something rich and strange. 
 
 Chorus. — Sea-nymphs hourly ring his knell ; 
 
 Hark ! now I hear them — ding-dong, bell' 
 
 Then there is Stephano's half-drunken — 
 
 " I shall no more to sea, to sea ; 
 Here shall I die ashore. 
 
 ?PF ^ ?PP ^ V 
 
 The master, the swabber, the boatswain and I, 
 The gunner and his mate 
 
 Loved Mall, Meg and Marian and Margery, 
 But none of us cared for Kate ; 
 For she had a tongue with a tang. 
 Would cry to a sailor ' go hang ! ' 
 Then to sea, boys, and let her go hang ! " 
 
 Caliban, too, like many a modern tar, has a line or 
 on his past hardships in " The Still-vex'd Bermoothes ' 
 
 two 
 
60 Music of the Waters. 
 
 " No more dams I'll make for fish ; 
 Nor fetch in firing 
 At requiring ; 
 Nor scrape trencher, nor wash dish : 
 Ban, Ban, Ca-Caliban, 
 Has a new master : get a new man." 
 
 Towards the close of Queen Elizabeth's reign there was 
 a grand outburst of sea songs. The pages of Charles 
 Kingsley's characteristic novel of that period, " Westward 
 Ho ! " abound in the quaint rhymes that were then in 
 vogue. Captain Oxenham's " Westward Ho ! with a rum- 
 below," seems to set itself to music : — 
 
 " For O, 'tis the herrings and the good brown beef. 
 And the cider and the cream so white ; 
 O, they are the making of the jolly Devon Lads, 
 For to play, and eke to fight. 
 
 O, who will join jolly mariners all ? 
 
 And who will join, says he O ! 
 To fill his pockets with the good red gold, 
 
 By sailing on the sea O ! 
 
 Our bodies in the sea so deep. 
 
 Our souls in heaven to rest ; 
 Where valiant seamen one and all 
 
 Hereafter shall be blest. 
 
 O randy, dandy, dandy O, 
 
 A whet of ale and brandy O ! 
 With a rumbelow and a ' westward ho ! ' 
 
 And heave my mariners all O ! " 
 
 Then there is also Father Neptune's famous song, intro- 
 duced in this most truly nautical book : — 
 
 " See every man the Pelican, 
 
 Which round the world did go. 
 While her stern-post was uppermost 
 And topmasts down below. 
 
Music of the Waters. 61 
 
 And by the way they lost a day, 
 
 Out of her log was stole ; 
 But Neptune kind, with favouring wind. 
 
 Hath brought her safe and whole. 
 I am King Neptune bold, 
 
 The ruler of the seas ; 
 I don't understand much singing upon land. 
 
 But I hope what I say will please." 
 
 As might be expected, there is frequent mention of the 
 Spaniards in these old Cornish and Devonian songs of 
 that period : — 
 
 " Oh, where be these gay Spaniards, 
 Which make so great a boast O ? 
 Oh, they shall eat the grey goose feather, 
 And we shall eat theroast O ! " 
 Many of these rattling old sea-songs are sung, and well- 
 known too, in Devonshire to this day ; there is one, " The 
 Mermaid," with a splendid chorus: "While we jolly 
 ■ sailor-boys were up aloft, And the land-lubbers lying down 
 below, below, below." Then there is another, entitled 
 " John Dory," and one known as " The Spanish Lady." 
 Then again Dr. Boyce's grand song, " Hearts of Oak," 
 was written at the end of the eighteenth century ; and 
 Davy's celebrated " Bay of Biscay," both illustrative of the 
 times of the Elizabethan sea-dogs. 
 
 Some of the old songs of the sea are forecastle favourites 
 with the sailors, and may often be heard wherever sailors 
 are congregated together. Such songs as " Cawsand Bay," 
 " True Blue," &c., are especially popular with Jack. 
 
 CAWSAND BAY. 
 (Still sung when ships of war are on distant stations.) 
 " In Cawsand Bay lying, with Blue Peter flying. 
 And all hands turned up for the anchor to weigh, 
 There came a young lady as fresh as a May-day, 
 And, modestly hailing, this damsel did say,— 
 
62 Music of the Waters. 
 
 ' I wants a young man there, do you hear ? Bear a hand 
 there, 
 
 To hoist me aboard, or to send him to me ; 
 For his name's Henry Grady, and I am a lady 
 
 Just come to prevent him from going to sea.' 
 
 Then the captain, his honour, when he looked upon her. 
 Ran down the ship's side for to help her aboard. 
 
 Says he, with emotion, ' What son of the ocean 
 Can thus be looked after by Elinor Ford ? ' 
 
 Then the lady made answer, ' That there is my man, sir, 
 I'll make him as fine and as free as a lord.' 
 
 ' No, no,' says the cap'n — ' that cannot well happen ; 
 I've got sailing orders, you, sir, stay aboard ! ' 
 
 ' Avast ! ' says the lady. ' Don't hear him, Henry Grady, 
 He once was your captain, but now he's at large. 
 
 Don't you stay aboard here, for all that man's order ; ' 
 And out of her bosom she hauled his discharge. 
 
 Then the captain says he now, ' I'm blowed but he's free 
 now,' 
 Says Hal, ' Let old Weatherface keep all my clothes.' 
 Ashore then he steered her, and the lads they all cheered 
 her ; 
 But the captain was jealous, and looked down his nose. 
 
 ****** 
 
 Then she got a shore tailor to rig her young sailor 
 With tight nankeen breeches and blue long-tailed coat, 
 
 And he looked like a squire, for all to admire. 
 
 With his dimity handkerchief tied round his throat. 
 
 And they had a house greater than e'er a first-rater. 
 With servants in uniform handing the drink. 
 
 And a garden to go in, with flowers a-blowin' — 
 The daisy, the buttercup, lily and pink. 
 
 And he got education quite fit for his station. 
 For you know we are never too old for to larn ; 
 
Music of the Waters. 63 
 
 And his messmates they found him with youngsters around 
 him, 
 All chips of the old block from the stem to the starn." 
 
 FAREWELL TO YOU, YE FINE SPANISH 
 
 LADIES. 
 Mr. Chappell, in his invaluable " Music of the Olden 
 Time," gives the tune and six verses of this old sea-song 
 which I here quote ; the date of it is uncertain. Captain 
 Marryat gives the verses in his " Poor Jack": — 
 
 " Now farewell to you, ye fine Spanish ladies, 
 
 Now farewell to you, ye ladies of Spain, 
 For we've received orders to sail for old England, 
 
 And perhaps we may never more see you again. 
 
 We'll range and we'll rove like true British sailors ; 
 
 We'll range and we'll rove all on the salt seas ; 
 Until we strike soundings in the Channel of England, 
 
 From Ushant to Scilly is thirty-five leagues. 
 
 We hove our ship to, with the wind at sou'west, boys, 
 We hove our ship to, for to strike soundings clear. 
 
 Then filled the main top-sail, and bore right away, boys. 
 And straight up the Channel our course we did steer. 
 
 The first land we made, it is called the Dead-man, 
 
 Next, Ram Head off Plymouth, Start, Portland, and 
 Wight. 
 
 We sailed by Beachy, by Fairly, and Dungeness, 
 And then bore away for the South Foreland Light. 
 
 Then the signal was made for the grand fleet to anchor. 
 
 All in the downs that night for to sleep ; 
 Now stand by your stoppers, see clear your shank painters. 
 
 Haul up your clew garnets, stick out tacks and sheets. 
 
 Now let ev'ry man toss off a full bumper, 
 
 Now let ev'ry man take off his full bowl, 
 For we will be jolly, and drown melancholy, 
 
 With a health to each jovial and true-hearted soul." 
 
64 
 
 Music of the Watees. 
 
 m 
 
 With spirit. 
 
 ■rrx 
 
 ^^ 
 
 T 
 
 £^ 
 
 4i 
 
 
 ^i=i^ 
 
 :i^1= 
 
 ii^ 
 
 *^3^^^ 
 
 4 1- 
 
 -^ — ^- 
 
 i^ 
 
 iP 
 
 ^=*= 
 
 4 — *- 
 
 i 
 
 s^^^^i^^ 
 
 =*:*= 
 
 THE STORMY WINDS DO BLOW. 
 
 The following song I also found in Mr. Chappell's book. 
 It is one of Charles Sloman's (1840) : — 
 
 ' One Friday morn when we set sail, 
 
 Not very far from land, 
 We there did espy a fair pretty maid 
 
 With a comb and a glass in her hand, her hand, her 
 
 hand. 
 With a comb and a glass in her hand. 
 
 While the raging seas did roar, 
 
 And the stormy winds did blow, 
 
 While we jolly sailor-boys were up unto the top. 
 
 And the land-lubbers lying down below, below, 
 
 below. 
 And the land-lubbers lying down below. 
 
 Then up starts the capt'n of our gallant ship. 
 
 And a brave young man was he ; 
 ' I've a wife and child in fair Bristol town, 
 
 But a widow I fear she will be.' 
 For the raging seas, &c. 
 
Music of tee Waters. 
 
 65 
 
 Then up starts the mate of our gallant ship, 
 
 And a bold young man was he ; 
 ' Oh, I have a wife in fair Portsmouth town, 
 
 But a widow I fear she will be,' 
 For the raging seas, &c. 
 Then up starts the cook of our gallant ship, 
 
 And a gruff old soul was he ; 
 ' Oh, I have a wife in Plymouth town, 
 
 But a widow I fear she will be.' 
 For the raging seas, &c. 
 And then up spoke the little cabin-boy. 
 
 And a pretty little boy was he ; 
 ' Oh, I am more grieved for my daddy and my mammy. 
 
 Than you for your wives all three.' 
 For the raging seas, &c. 
 
 Then three times round went our gallant ship. 
 
 And three times round went she ; 
 For the want of a life-boat they all went down. 
 
 And she sank to the bottom of the sea. 
 
 Chorus. 
 For the raging seas did roar, 
 And the stormy winds did blow. 
 While we jolly sailor-boys were up unto the top. 
 And the land-lubbers lying down below, below, 
 below." 
 
 Right jovially, and moderately fast. 
 
 
 Chorus. 
 
 ^f^ 
 
 iiUiSt: 
 
 ^ 
 
 ^^^^ 
 
 -d- 
 
 -*i^^ 
 
66 
 
 Music of the Waters. 
 
 Something in it commends this song to the sailors 
 of to-day ; the sentiment, it may be, is somewhat after the 
 fashion of that expressed by some of their chanties, and 
 it has a good swing about it. Whatever it is, however, 
 it is frequently to be heard amongst forecastle assemblies. 
 
 In Mr. Christie's collection of "Traditional Ballad Airs " 
 (" Traditional Ballad Airs, from copies procured in the 
 countiesof Aberdeen, Banff, and Moray," by W. Christie, 
 M.A., and the late Wm. Christie ; 2 vols.), I found a song 
 called " Sailing in the Lowlands, Low '' : — 
 
 " There was a good ship from the North countrie, 
 And that ship's name was the Golden Vanitee ; 
 Sailing low in the Lowlands, low in the sea, 
 Sailing low in the Lowlands, low." 
 
 The story is that of the cabin-boy boring two holes with 
 an auger in the Spanish galleon, an heroic feat which he 
 had been promised should be rewarded by the master of 
 the Golden Vanitee, with gold, and his eldest daughter's 
 hand ; the crew of the sinking Spanish ship fire on the boy 
 as he swims towards his own, and his cruel master refuses 
 to take him on board again. 
 
 " ' I will not take you up, boy,' the master he replied, 
 ' Though you sink in the Lowlands, low. 
 I will not take you up, boy,' his cruel master cried ; 
 ' I will kill you, if you come on deck, and throw you down 
 the tide, 
 I will sink you in the Lowlands, low in the sea, 
 I will sink you in the Lowlands, low." 
 
Music of the Waters. 
 
 67 
 
 (The boy's strength then fails him, and he is taken on 
 board by his comrades, but only to die.) 
 
 " His messmates took him up, but on the deck he died, 
 It was in the Lowlands, low. 
 
 Then they took the little boy, and sewed him in a hide, 
 And they threw him overboard to go down with the tide, 
 And he sank in the Lowlands, low in the sea, 
 And he sank in the Lowlands, low." 
 
 This song is a type of the nautical ones now so much in 
 vogue in concert-halls and drawing-rooms, and of which 
 Mr. Stephen Adams may be said to be the pioneer. The 
 reason I have mentioned it here is, that I feel almost certain 
 that it suggested the sailors' favourite chanty, " Lowlands," 
 or the chanty suggested the song. Not knowing the date 
 of the song in Mr. Christie's collection, I can only suppose 
 that one of these surmises is correct, and I should be 
 inclined to give the preference to the latter. I may add 
 that the tunes are in no way alike. 
 
 Amongst the numbers denoted as sailors' songs in the 
 index to Mr. Chappell's volumes are the three following : — 
 " We be Three Poor Mariners," an old sea-song of Charles 
 Sloman's; "Britons, Strike Home,"which,however,must not 
 be confounded with Purcell's, and " The Spanish Armada." 
 
 THE SPANISH ARMADA. 
 
 " In eighty-eight, ere I was born, as I can well remember. 
 In August was a fleet prepar'd, the month before 
 September. 
 
 F 2 
 
68 
 
 Music of the Waters. 
 
 Spain, with Biscay and Portugal, Toledo and Grenada, 
 All these did meet, and made a fleet, 
 And call'd it the Armada." 
 
 There are, of course, many verses to this somewhat 
 Hibernian ditty, and, like all the songs in the admirable 
 work from which I have quoted, it is to be found there 
 harmonized. There are, I believe, two versions of the 
 next song. 
 
 WE BE THREE POOR MARINERS. 
 " We be three poor mariners, we be three poor mariners, 
 Newly come from the seas, 
 While others live at ease. 
 Shall we go dance the round, the round, the round. 
 Shall we go dance the round, the round, the round. 
 And he that is a bully (jolly) boy 
 Come pledge me on this ground, a ground, a ground. 
 
 We care not for those martial men 
 
 That do our states disdain, 
 But we care for the merchantmen 
 
 Who do our states maintain. 
 To them we dance this round, around, around, 
 To them we dance this round, around, around. 
 And he that is a bully boy 
 Come pledge me on this ground, a ground, a ground." 
 
 ' We be Three Poor Mariners " is still popular as a fore- 
 castle song, and a glance at it satisfied me that it was a 
 genuine tar's production. 
 
 \ I 
 
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 I J Jr^ Z ^ U 
 
Music of the Waters. 
 
 69 
 
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 ^^ ^: 
 
 BRITONS, STRIKE HOME. 
 " Our ship carried over nine hundred men, 
 And out of nine hundred, five hundred were slain ; 
 For we range the' wild seas, 
 Where the wind blows so strong, 
 While our rakish young heroes cry — 
 ' Britons, strike home, my boys ! Britons, strike home.' " 
 
 Boldly. I I I I 
 
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 ^ 
 
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 The other songs attributed to sailors are " When the 
 Stormy Winds do blow," already given ; " You Gentle- 
 men of England," sung to the tune of "Cease, Rude 
 Boreas " (Early Naval Ballads), sometimes called " Come 
 
70 Music OF THE WATEES. 
 
 Listen to my Ditty ; " " The British Sailors' Lament," sung 
 to the tune of "Hark to Winchester;" Dr. Boyce's 
 famous " Hearts of Oak," with David Garrick's fine words. 
 Many others have been set by seamen to this grand melody ; 
 one is known as " The Keppel's Triumph," commencing — 
 
 " Bear a hand, jolly tars, for bold Keppel appears, 
 In spite of each charge from Sir Hugh Palliser." 
 
 Another is "The Hardy Tars of Old England," or "The 
 True Hearts of Oak": — 
 
 " Come, cheer up, my lads, let us haste to the Main, 
 And rub out old scores with the dollars of Spain." 
 
 TO ALL YOU LADIES NOW AT LAND. 
 (Written at sea, by the late Earl of Dorset, in the first 
 Dutch War.) 
 
 " To all you ladies now at land, 
 We men at sea indite ; 
 But first would have you understand 
 
 How hard it is to write ; 
 The Muses now, and Neptune too, 
 We must implore to write to you. 
 With a fa la, la, la, la." 
 
 There are eleven stanzas to this song, and, if history 
 speaks the truth, it was written the night before the naval 
 engagement in which Opdam, the Dutch admiral, was 
 blown up, with all his crew. The circumstance of such a 
 lively, easy-flowing song having been written on board 
 ship, on the eve of an engagement, was justly held to be 
 a fine instance of courage and gallantry. 
 
 ?_^_>._^. 
 
 . 
 
 1 1 M ^=^"5=^=1 
 
 4^4=—* -L- 
 
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 When the drum beat charms, each bold Brit ish 
 n - ^^ 
 
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 Tar Bids fare - well to his girl, wife, and friend, And 
 
Music of the Waters. 
 
 71 
 
 ^ 
 
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 rt 
 
 no-bly he will fly to the 
 
 ban - ners of 
 Chorus. 
 
 war, His 
 
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 :!«;;= 
 
 1=1 
 
 --r^ 
 
 tM±: 
 
 king and his coun- try to 
 
 de - fend. 
 
 His heart bums for 
 
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 :t 
 
 to 
 
 ry, for hon - our, and gain, De - ter - -mined the 
 
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 a 
 
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 foes to sub - due, He dies by his gun Brit- ain's 
 
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 -^ ^ ^^-^ 
 
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 rights to main-tain. None can e - qual the cou-rage of true blue. 
 
 " If the enemy should dare to meet us once more, 
 Like lightning to our guns then we fly ; 
 Our great guns shall roar like thunder in the air, 
 Determined to conquer or to die. 
 
 None can equal the courage of True Blue, 
 None can equal the courage of True Blue. 
 He dies by his gun, Britain's rights to maintain, 
 None can equal the courage of True Blue. 
 
 Now the prize we have taken and made her our own, 
 To some port or sure harbour we will steer. 
 
 Our officers and crew are both loyal and true ; 
 To our admiral we give a hearty cheer. 
 None can equal, &c. 
 
 Now here's a good health to his true-hearted^ 
 And the girl that will prove loyal and true ; 
 
 For this is the way poor sailors spend their lives, 
 None can equal the courage of the blue. 
 None can equal, &c." 
 
72 Music of the Waters. 
 
 This song was noted down for me by the steward of the 
 Dreadnought Hospital for Seamen, at Greenwich, who per- 
 suaded the one remaining pensioner to sing it. The old 
 fellow was upwards of ninety, and almost stone deaf, so 
 attempting any vocalization at all was, to say the least of 
 it, courageous on his part. He is known as " Daddy." This 
 white-haired old hero, who had been in many perils 
 and braved much danger in his day, now sits calmly 
 talking it all over, and waiting for the end, in the noble 
 home for old mariners at Greenwich. We had some 
 difficulty in explaining to him why I wanted him to sing 
 me something he had known in his younger days, but 
 when he did understand he seemed greatly interested, 
 and assured me over and over again what a fine set of 
 men sailors were, and how well worthy of any com- 
 memoration, for he added, " They've done, something for 
 England, and England hasn't always done much for 
 them." Then he went on to speak of some of the stirring 
 scenes he had taken an active part in, and his face lighted 
 up as he told of them, and the poor old man became 
 quite animated, almost shouting in his eagerness to ex- 
 plain some act of heroism, and trembling with anger at 
 some remembered cowardice. When I left, old Daddy 
 shook me warmly by the hand, and asked me to let him 
 see my book when it was ready ; of course, I promised 
 him I would, but I thought how improbable it was that 
 those nearly sightless eyes would still be gazing on this 
 world when " The Music of the Waters " was ready for 
 publication. 
 
 By the kind permission of Captain Algernon Drum- 
 mond, composer of the music, and his co-author of the 
 words, I am able to quote a very charming and favourite 
 boat-song. It is known as " The Eton Boat-Song," 
 and is much in vogue with the habitues of that place. 
 "In tempo di Barcarola" is indicated at the beginning 
 of the music, and " in tempo di Barcarola " it most 
 certainly is. 
 
Music of the Waters. 
 
 73 
 
 BOATING SONG. 
 
 ^L 
 
 Tempo di barcarola. 
 
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 Jol - ly boat -ing wea-ther, And a hay - har - vest breeze, 
 
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 Blade on the fea - ther. 
 
 Shade off the 
 
 3^^^ 
 
 T 
 
 With your backs be 
 
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 trees; Swing, swing to-geth-er 
 
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 Swing, swing to ge- ther With your 
 
 tween your knees. 
 
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 backs be - tween your knees. 
 
 Skirt - ing past the rush - as, 
 
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 Ruf - fling o'er the weeds. 
 
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 Where the lock stream 
 
 J_ 
 
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 IBZIPZ 
 
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 gush-es, 
 
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 Where the cyg-net feeds Let us see how the 
 
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 wine-glass flush-es 
 
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 At sup- per on Bove-ney Meads, jTi Let us 
 
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 At sup-per on Bove-ney Meads. 
 
 see how the wine-glass flush-es 
 
 There are many verses to this song, but I think four of 
 them will be sufficient to show the style of it : — 
 
 " Harrow may be more clever, 
 Rugby may make more row ; 
 But we'll row, row for ever, 
 
 Steady from stroke to bow. . . . 
 
74 Music of the Waters. 
 
 And nothing in life shall sever, 
 The chain that is round us now ; 
 
 And nothing in life shall sever, 
 The chain that is round us now. 
 
 Others will fill our places. 
 
 Dressed in the old light blue ; 
 We'll recollect our races. 
 
 We'll to the flag be true. . . . 
 And youth will be still in our faces, 
 
 When we cheer for an Eton crew ; 
 And youth will be still in our faces. 
 
 When we cheer for an Eton crew. 
 
 Twenty years hence, this weather 
 
 May tempt us from office stools ; 
 We may be slow on the feather, 
 
 And seem to the boys old fools. . . . 
 But we'll still swing together, 
 
 And swear by the best of schools ; 
 But we'll still swing together. 
 
 And swear by the best of schools." 
 
 THE BALLAD OF JOHN DORY. 
 
 I found the words and tune of "John Dory" in 
 " Hawkins's History of Music." The ballad runs as follows : 
 
 " As it fell on a holiday. 
 And upon a holy-tide. 
 As it fell on a holiday, 
 And upon a holy-tide, 
 John Dory bought him an ambling nag 
 To Paris for to ride a. 
 
 And when John Dory to Paris was come, 
 
 A little before the gate a ; 
 John Dory was fitted, the porter was witted, 
 
 To let him in thereat a. 
 
Music of the Waters. 
 
 75 
 
 The first man that John Dory did meet, 
 Was good King John of France a ! 
 
 John Dory conn'd well of his courtesie, 
 But fell down in a trance a. 
 
 A pardon, a pardon, my liege and my king ; 
 
 For my merry men and for me a ; 
 And all the churles in merrie England, 
 
 I'll bring them all bound to thee a. 
 
 Sir Nichol was then a Cornish man, 
 
 A little beside Boligde a ; 
 And he mann'd forth a good blacke barke, 
 
 With fiftie good oares on a side a. 
 
 Run up, my boy, unto the main-top, 
 And looke what thou canst spie a ; 
 
 Who, oh ! a goodly ship I do see, 
 I trow it be John Dory a. 
 
 They hoist their sailes both top and top. 
 
 The mizen and all was tride a ; 
 And every man stood to his lot, 
 
 Whatever should betide a. 
 
 The roaring canons then were plide. 
 And dub a dub went the drumme a ; 
 
 The braying trumpets loudly cride. 
 To 'courage both all and some a. 
 
 The grappling hooks were brought at length, 
 The browne bill and the sword a ; 
 
 John Dory at length, for all his strength. 
 Was clapt fast under board a." 
 
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76 
 
 Music of the Waters. 
 
 HEY, BOYS, UP GO WE. 
 
 This is an old English sea-song known as "Hey, boys, 
 up go we " ; — 
 
 ,Lj — i u. e — ! — m «j— • — *- 
 
 :^=± 
 
 i*z=t 
 
 \ — ' » — ^—. — i I I J 
 
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 I have had so many kind offers of original sea-songs, 
 and verses for my collection, that I feel a word of thanks 
 is due to those who have made them. I am sure I shall 
 be readily understood, when I say that I have had 
 to confine myself solely to the sailors and seamen 
 generally, as poets and composers. I cannot refrain, how- 
 ever, from quoting a verse entitled " The Sailor Boy," 
 from a poem by a lady of title : — ■ 
 
 " Sometimes in dreams I see him 
 
 Where the sweet spice islands rise, 
 And storms are hushed for ever 
 
 In the deep unclouded skies ; 
 I see my poor wrecked Willie 
 
 Stand alone upon the main, 
 Pining, praying for a friendly ship, 
 
 To bear him home again." 
 
 This most absurd song was given as a specimen of those 
 written by incompetent describers of sailor-life ; in a very 
 amusing article in one of Tinsley's Magazines, the writer 
 marvels not a little at the total suppression of storms in the 
 Spice Islands ; but is simply " lost in wonder at the amazing 
 feat performed by Willie of standing alone upon the main." 
 
Music of the Waters: 77 
 
 As Willie's ship is supposed to have gone to the bottom, 
 he cannot be imagined as standing on the main-deck, and 
 it therefore only remains for us to picture this most 
 heroic young gentleman in an upright position on the 
 open sea. 
 
 This will serve to give some idea of the ridiculous plight 
 poets and poetesses find themselves in when they attempt, 
 without having any knowledge of nautical terms, to write 
 songs for sailors. Jack must be his own poet, his own 
 composer, and his own compiler, if we are to have good, 
 genuine specimens of them. " It must be admitted that, 
 in spite of the simplicity and purity of character ascribed 
 to the sailor by novelists, not a few of the songs which he 
 sang were highly objectionable on the score of morality. 
 They were, however, no worse in this respect than the songs 
 which one occasionally hears in the smoking-car of an 
 excursion train, and were decidedly better than certain 
 op^ra-boufife songs. 
 
 -t* JJ? *!• tS "I* T^ 
 
 " But both the good and the bad ceased when the sailor 
 disappeared, and to revive them on the deck of an iron 
 steamship would be as impossible as to bring back the 
 Roman trireme." (Extract from Harper's Magazine, 
 July, 1882.) 
 
 As I write these few closing remarks on the songs and 
 chanties of English and American sailors, a somewhat 
 curious instance of Jack's musical ideas comes before me in 
 the columns of one of the daily papers. " A piano-organ 
 had just commenced to fill the street with the sounds of a 
 hornpipe when a man having the appearance of a sailor 
 passed along, and was afonce attracted by the music. He 
 then proceeded to the spot, and commenced to dance to 
 the music. His dancing was neat and finished, and he was 
 soon the centre of an admiring crowd. After a fair turn 
 he gave the woman in charge of the machine a few coppers, 
 and she continued with the hornpipe. H e danced again, and 
 was watched by an ever-growing crowd. The man at the 
 
78 Music of the Waters. 
 
 handle turned the barrel, and a waltz was next played. 
 ' Jack,' for such he was, was equally at home with the waltz, 
 but when a gavotte was played his terpsichorean antics were 
 brought to a sudden close. In vain he tried to keep time to 
 the air ; but after giving a few more x;oppers to the woman, 
 he was suited with a schottische. The climax was, however, 
 reached when the 'Marseillaise' was ground out. 'Jack ' 
 brought himself to a standstill, and after making sure of the 
 tune, he beat a hasty retreat, amid the mingled laughter and 
 regret of the onlookers." In spite of the assertion that sing- 
 ing and steam are irreconcilable, and that the chanty-man 
 has passed away, I yet contend that the modern sailor 
 knows much more of music than is generally believed. 
 Jack's whole life and soul seem to be in his legs .when a horn- 
 pipe is played, whether at sea or on shore, and he is not 
 more likely to attempt a jig to a martial air, or a waltz to 
 the time of a gavotte, than a popular prima-donna would be 
 to sing an aria in the wrong key. 
 
GAELIC BOAT SONGS AND SCOTCH 
 SEA SONGS. 
 
 " O lovely in the licht o' sang the Ettrick and the Tweed, 
 Whar shepherd swains were wont to blaw Auld Scotia's lyric 
 
 reed ; 
 The Logan and the Lugar too, but hallowed Meikle Mair 
 The Banks and Braes o' Bonnie Doon, the Afton, and the Ayr." 
 
GAELIC BOAT SONGS. 
 
 In my small collection of Russian sailors' songs, I have in- 
 cluded a specimen of the songs sung by the women when 
 crushing the grain on the wharf, previous to loading the 
 vessels with it. The same custom appears to have existed 
 in the Hebrides ; short, plaintive, Gaelic chants called 
 " Luinigs " were used. The men had what were known as 
 
 i 
 
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 in Wf- 
 
 P I P 
 
 -d ii-*- 
 
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 ^ 
 
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82 Music of the Waters. 
 
 " Jorrams " or rowing songs, to which they kept time with 
 their oars. These " Luinigs " and "Jorrams" differ from, 
 the Highland music in being adapted to the harp, on which 
 a chord was doubtless struck from time to time to serve as 
 a rudimentary accompaniment, and after the harp fell into 
 disuse the Luinigs gradually died out. A very character- 
 istic sample of the style of one of these old " Jorrams," or 
 rowing songs, is to be found in Sir Walter Scott's "Lady 
 of the Lake." The song " Hail to the Chief," which is 
 sung by the clansmen in honour of Roderick Vich Alpine, 
 is an imitation of the Jorrams or boat-songs of the High- 
 landers, which were usually composed in honour of their 
 chief. They are so adapted as to keep time with the sweep 
 of the oars, and it is easy to distinguish between those in- 
 tended to be sung to the oars of a galley, where the stroke 
 is lengthened and doubled as it were, and those which were 
 timed to the rowers of an ordinary boat. 
 
 " Row, vassals, row, for the pride of the Highlands, 
 Stretch to your oars, for the evergreen pine. 
 O' ! that the rosebud that graces yon islands, 
 Were wreathed in a garland around him to twine ! 
 O that some seedling gem, 
 Worthy such noble stem, 
 Honoured and blessed in their shadow might grow. 
 Loud should Clan-Alpine then 
 Ring from his deepmost glen, 
 Roderigh Vich Alpine Dhu, ho ! ieroe ! " 
 
 " In Gaelic music all is modal. The words occupy the first 
 place, words and music implicitly following the idiosyn- 
 crasies of the Gaelic language. 
 
 " In Gaelic there is no such thing as the last syllable of 
 one line being in rhyme with the last syllable of the next, 
 the rhyme being not on the syllable, but on the vowel sound." 
 
 The foregoing remarks, although in no wise applicable 
 to water-songs in particular, I have nevertheless thought 
 advisable to quote from Professor Colin Brown's (Anderson's 
 
Music of the Waters. 83 
 
 College, Glasgow) introduction to the " Killin Collection 
 of Gaelic Songs (with music and translations, by Charles 
 Stewart, Tighn-Duin, Killin)," before giving the very few 
 specimens of genuine Gaelic boat-songs, which, in spite of 
 every endeavour, I have alone been enabled to collect. 
 
 " The gallant seaman has a somewhat light reputation in 
 Gaelic poetry, more perhaps from his wandering life than 
 any inconsistency peculiar to his profession. It is impossible 
 to conceive that an open, honest, sterling character, like the 
 British seaman, could be inconstant in love ; but if a heart- 
 less fickleness is really his character, it is not to be wondered 
 at that a simple, honest-hearted lassie will not believe so. 
 Be that as it may, however, he has ever been the object of 
 ardent love and enduring constancy with the warm-hearted 
 Highland maiden. 
 
 " ' Fear a Bhata ' (literally ' Boatman,' the usual title of a 
 man sailing his own ship in the Highlands) is the title of 
 one of the Gaelic songs, remarkable both for its extreme 
 beauty of sentiment and imagery. Although the Duanagan 
 or lilts are generally of a light, hilarious character, they 
 are not all so, and ' Fear a Bhata ' is one of the excep- 
 tions." The verses and tune of this water-song whicl 
 follow, together with these quotations on the subject, I 
 owe to Mr. Donald Campbell, late Lieutenant of the 
 57th Regiment, author of the valuable treatise' "The 
 Language, Poetry, and Music of the Highland Clans." 
 
 "FEAR A BHATA" (THE BOATMAN). 
 
 (" Fear a Bhata " is pronounced " ear a vata." " Na horo 
 eile " is merely a call used by the boatmen.) 
 I. " How often hunting the highest hill-top, 
 I scan the ocean thy sail to see ; 
 Wilt come to night, love ? Wilt come to-morrow ? 
 Wilt ever come, love, to comfort me ? 
 
 1 Published by D. R. Collie and Son, 19, St. David Street, Edin- 
 burgh. 
 
 G 3 
 
84 Music of the Waters. 
 
 Fear a Bhata, na horo eile, 
 Fear a Bhata, na horo eile, 
 Fear a Bhata, na horo eile, 
 O fare thee well, love, where'er thou goest." 
 
 2. '• They call thee fickle, they call thee false one, 
 
 And seek to change me, but all in vain, 
 No, thou'rt my dream yet throughout the dark night. 
 And every morn yet I watch the main. 
 Fear a Bhata, &c." 
 
 3. " There's not a hamlet — too well I know it— 
 
 Where you go wandering or stay awhile, 
 But all its old folk you win with talking, 
 
 And charm its maidens with song and smile. 
 Dost thou remember the promise made me, 
 
 The tartan plaidie, the silken gown. 
 The ring of gold, with thy hair and portrait ? 
 That gown and ring I will never own. 
 Fear a Bhata, na horo eile. 
 Fear a Bhata, na horo eile. 
 Fear a Bhata, na horo eile, 
 O fare thee well, love, where'er thou goest." 
 
 '■ Fear a Bhata " is sometimes written " Fhir a Bhata." 
 I have not given the Gaelic version of this song, for I 
 am doubtful if many are sufficiently versed in the lan- 
 guage of Ossian to render its insertion necessary, and 
 the English version so admirably sets forth the pathos 
 of this truly Highland gem, that I feel no hesitation 
 in suppressing it. The third verse, and especially the 
 lines — 
 
 " But all its old folk you win with talking, 
 And charm its maidens with song and smile " 
 
 is charming, and one of the most poetic of compliments to 
 sailors. 
 
Music of the Waters, 
 
 85 
 
 
 Solo. 
 
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 :pczs: 
 
 * * 
 
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 A little slower. 
 
 cres. and passionate. 
 
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 Chorus. 
 
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 =f5=^ 
 
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 MOCH'S MI G EIRDLE SA MHADUINN. 
 
 From Lieutenant Campbell's work I also quote the 
 following boat-song. It is known as " Moch's mi g Eirdle 
 sa Mhaduinn." I give one verse in Gaelic : — 
 
 Gaelic. 
 
 I. " Moch's mi g eirdle sa Mhaduinn, 
 Moch's mi g eirdle sa Mhaduinn, 
 'Strom enslainteach m'aigne, 
 'O nach t'eibh iad mi'n caidreamh nam braithrean, 
 'O nach t'eibh iad mi'n caidreamh nam braithrean." 
 
 English Version. 
 
 I. "On rising in the morning, 
 
 Heavy and sorrowful was my mind, 
 
 Since they did not call me to the fellowship of the 
 
 brethren, 
 Since they did not call me to the fellowship of the 
 
 brethren." 
 
86 Music of the Waters. 
 
 2. "Too short has been the time I remained on my visit 
 to James/ 
 From whom I parted yesterday, 
 On the morning of Easter Sunday. 
 From whom, &c." 
 
 " May God guide the helm of the oak. 
 That sailed on the sea, 
 .Before it began to ebb, 
 Before, &c." 
 
 " Although it had been seed-time, 
 I would not have returned from thee ; 
 I should sit in the bow of thy boat, 
 I should, &c." 
 
 " When the rest would be in action. 
 My employment would be a pastime. 
 Drinking bumpers of wine in the cabin, 
 Drinking, &c." 
 
 (I quite agree with him, " the employment " would be so 
 light that the office must have been a perfect sinecure.) 
 
 " The Dew-cuoydertach, swarthy. 
 Broad, high-shouldered, tight, 
 With many spears and iron blades in her bosom. 
 With, &c." 
 
 " It is not the rider of steeds 
 That would gain the racing bet of thee. 
 When thou spreadest thy kerch-white'^ sails over the 
 
 sea. 
 When, &c." 
 
 ^ The Highland chief was always addressed by his Christian name 
 by his own clansmen. 
 
 2 Kerch-white.— The head-dress of the Highland females was 
 called " Creid," a kerchief. Being snowy-white, the creid is often 
 used as a simile for snowy-whiteness. 
 
Music of the Waters. 87 
 
 " When high are the bellying sails, 
 Over the ridges of the proud ocean, 
 And numerous waves are spouting beneath the keel, 
 And numerous, &c." 
 
 " Great is my love to thee. 
 Though I will not make a display of it, 
 Son of the man with whom the Brealseans would rise 
 
 in arms, 
 Son of, &c." 
 
 " Beloved of the women of Loch Treig 
 And Strath Ossian of pleasant meadows. 
 Who have badgers and deer in their pantries, 
 Who, &c." 
 
 " A band would arise with thee from Troy, 
 With the bent yew on their shoulders. 
 And from the cold hills of Caruna, lairge ; 
 And from, &c." 
 
 " Another tribe of the Clan, — 
 The clan Tain from Mnin (the anvil). 
 They are the men that would go into the conflict 
 
 fearlessly. 
 Who go into the conflict fearlessly." 
 
 " Many a youthful hero, 
 With the quiver behind his shield. 
 Will come to thee from the wings of Mel-Na-larig, 
 Will, &c." 
 
 " That would answer thy call ; 
 Without fear, without ailment. 
 
 When thou raisest the fiery cross for deeds illustrious. 
 When, &c." 
 
 Doubtless many of the peculiarities of this song, of which 
 there are a variety, will be known to students of Ossian. 
 For the general reading public, I am unable to offer any 
 
88 
 
 Music of the Waters. 
 
 solution of such lines as " With the bent yew on their 
 shoulders," or the last line of the first verse — " Since they 
 did not call me to the fellowship of the brethren." 
 Probably, both these lines allude to some Gaelic custom. 
 The tune follows : — 
 
 I 
 
 * 
 
 We 
 
 3=^ 
 
 
 - 4 4 - 
 
 ^P- 
 
 ^ — ^1 1 — r-^ ^ — r^- ■ 
 
 '-i-^'^ — I — r* 1 ' — ^ 
 
 ■^ — I— '^1— r-- 
 
 i 
 
 1=:^= 
 
 q=^ 
 
 -i N- 
 
 hS^ •V— I- 
 
 -P^^ 
 
 I 
 
 -1^^ 
 
 -*-. 
 
 -■:—»— I «-«- 
 
 :est:: 
 
 y-r-*-i— p- 
 
 '^^y 
 "^^ 
 
 T- r=-r=i^v- 
 
 n-^ 
 
 -l^ ^B^^ 
 
 i 
 
 :|* 
 
 =l=? 
 
 ^- J *• * I 
 
 ^-Lfl-^ 
 
 OCH NAN OCH, MO LEIR CHRADH. 
 
 " Och Nan och. Mo leir Chradh," or " Oh, my painful 
 Sorrow," is another boatman's favourite, and treats of a 
 bold and adventurous seaman, Jain Garble MacGille 
 Challum of Vlathsay, who was lost on Hesgair. 
 
 Gaelic and English Versions. 
 
 I. " Och nan och, Mo leir chradh 
 Near dh eirich do'n gliaisgeach ! 
 Cha'n eil sealgaer na sinne, 
 'N dingh a rith na'm beamcasa." 
 
Music of the Waters. 89 
 
 Fonn or Chorus. 
 
 " Hu-a ho, io ho, hug riu, O, 
 Hu-a ho, io ho, in ri O, 
 Ho ro, io, ho, hug oriu !" 
 
 1. " Och nan och, my painful sorrow 
 
 At the fate of the warrior ! 
 
 The hunter of the deer 
 
 Is not to-day in the forest of steep mountains. 
 
 Hu-a ho, &c." 
 
 2. " Bha mi nair nach do shavil mi, 
 
 Ged is faoin bhe ga agradh, 
 Gu'n rachadh do bhathadh, 
 Gu brath air cuan farnim. 
 
 Hu-a ho, &c." 
 
 2. " The day has been that I did not think, 
 
 Although it is vain to repeat it. 
 Thou ever couldst have been drowned 
 In an open sea. 
 
 Hu-a ho, &c." 
 
 3. " Fhad sa sheasadh a stinisdhi, 
 
 'Stu air cul a builbhearte, 
 
 Dh' aindeou anradh nan duillean, 
 
 Agus ubraid na mara — 
 
 Hu-a ho, &c." 
 
 3. " While the helm should endure, 
 
 And thou shouldst be in the command. 
 Despite the fierce war of the elements 
 And the angry tumult of the ocean — 
 
 Hu-a ho, &c." 
 
90 
 
 Music of the Waters. 
 
 4. " Fhad sa fhanadh ri cheile 
 A dealeau 's a h-achuinn, 
 'S b'urrainn di geilleadh, 
 Dod' laimhthrein air au aigeal. 
 Hu-a ho, &c." 
 
 4. " So long as should together remain 
 The planks and the gearing, 
 And she could obey 
 The strong arm on the deep. 
 Hu-a ho, &c." 
 
 AnJante. 
 
 By kind permission I am enabled to quote the follow- 
 ing song from the collection entitled " Songs of the 
 North," jointly edited by Annie Macleod and Harold 
 Boulton, music arranged by Malcolm Lawson, and pub- 
 lished by Messrs. Field and Tuer, of the Leadenhall 
 Press, London. The " Skye Boat - Song '' (Jacobite) 
 illustrates an episode in the wanderings of Prince 
 Charlie in the winter of 1745-6, when he made his 
 escape from the net his enemies had spread for him, by 
 putting out to sea with Flora Macdonald and a few 
 devoted Highland boatmen in a rising storm, an example 
 which his pursuers, though well provided with boats, did 
 not venture to imitate. The chorus begins the song and 
 comes in at the end of-each verse. 
 
Music of the Waters. 
 
 91 
 
 C/torus. 
 
 " Speed, bonnie boat, like a bird on the wing-. 
 Onward, the sailors cry. 
 Carry the lad that's born to be king. 
 Over the sea to Skye." 
 
 1. " Loud the winds howl, loud the waves roar. 
 
 Thunder-clouds rend the air ; 
 Baffled, our foes stand by the shore ; 
 Follow, they will not dare. 
 Speed, bonnie boat, &c." 
 
 2. " Though the waves leap, soft shall ye sleep ; 
 
 Ocean's a royal bed ; 
 Rocked in the deep. Flora will keep 
 Watch by your weary head. 
 Speed, bonnie boat, &c.'' 
 
 There are two more verses given by Mr. Boulton, and 
 the Gaelic version is also to be found ; indeed, this is the 
 case with nearly all the songs in this most charming of 
 Scottish song-books. As my collection of Scotch water- 
 songs is so very limited I feel the more grateful to the 
 publishers for their kindness and courtesy in allowing me to 
 make use of the " Skye Boat-Song : " 
 
 '%_ Chorus. 
 
92 Music of the Waters. 
 
 To the following words I have not been able to find any- 
 recognized tune ; it is known as the boat-song of " Domhnul 
 Ruadh Gaolach," and in Mr. Campbell's book (" Language, 
 Poetry, and Music of the Highland Clans "), he gives a very 
 graphic description of the song being sung to him by an 
 old seaman, when he was quite a boy. He says, "When 
 sung by the old seaman, the listener could not help fancy- 
 ing that he heard a voice slowly rising from behind a sea, 
 until it attained the crest of a mountain billow, and burst on 
 his ear in a regular bravura of seamanlike exultation ; it 
 then gradually receded and sunk, until he felt apprehensive 
 that the singer was struggling with the capricious waves, 
 then, after a seeming silence and to his great relief, it 
 began to grow perceptibly on his ear, until the exulting 
 chorus burst upon him afresh, in a gush of melody that 
 made his heart swell in sympathy with the triumphant 
 pluck and stamina of the strong-armed rowers ; the whole 
 crew were supposed to join in thefoitu or chorus." 
 
 DOMHNUL RUADH GAOLACH. 
 
 " Donald, red-haired and beloved, 
 Horiu ova, ro huvo. 
 Who standest firmly by an oak helm, 
 
 Horiu eyle', ova hi, 
 Hi 'ri oyri, nan hi ri'u. 
 
 " Who standest firmly by an oak helm, 
 Horiu ova, ro huvo ; 
 Wild is the course of thy boat, 
 
 Horiu eyle', ova hi, 
 Hi 'ri oyri, nan hi ri'u. 
 
 " Wild is the course of thy boat, 
 
 Horiu ova, ro huvo, 
 Cleaving the roaring sea, 
 
 Horiu eyle', ova hi, 
 Hi 'ri oyri, nan hi ri'u. 
 
Music of the Waters. 93 
 
 " Cleaving the roaring sea, 
 Horiu ova, ro huvo, 
 Keep a sharp eye on the sea-rock Baru. 
 
 Horiu eyle', ova hi, . 
 Hi 'ri oyri, nan h ri'u. 
 
 " Keep a sharp eye on the sea-rock Baru, 
 Horiu ova, ro huvo, 
 Sail on the crest of the phosphoric waves, 
 
 Horiu eyle', ova hi, 
 Hi 'ri oyri, nan hi ri'u." 
 
 This song is descriptive of an expedition of loyal High- 
 landers on their way from the Isle of Skye to join the 
 army of Montrose. The first line is in itself a curiosity ; 
 why should the first adjective applied to Donald qualify 
 the second ? " Donald, red-haired and — as a natural 
 sequence — beloved ;" "and j/^^ beloved " would have seemed 
 the more likely rendering of the Gaelic sentence ; at least, 
 had I been the translator, I should have adopted it. 
 
 William Black's delightful novels, so descriptive of the 
 sea-life of the far west of Scotland, have doubtless rendered 
 many of us familiar with snatches of Gaelic song, and the 
 following, which he mentions in his Yachting Romance, 
 " White Wings," is to be found in its entirety in the Killin 
 collection before mentioned. 
 
 HO, RO ! CLANSMEN. 
 
 " Cheerily, and all together ! 
 
 Ho, ro. Clansmen 1 
 A long, strong pull together 1 
 
 Ho, ro. Clansmen ! 
 Soon the flowing breeze will blow, 
 Will blow the snowy canvas on her. 
 
 Ho, ro. Clansmen ! 
 A long, strong pull together. 
 
 Ho, ro. Clansmen ! 
 
94 
 
 Music of the Waters. 
 
 Wafted by the breeze of morn 
 We'll quaff the joyous horn together. 
 
 Ho, ro, Clansmen ! " 
 
 Another chorus Mr. Black mentions in the same 
 book was given in Gaelic by the men, the refrain he says 
 was : — 
 
 " O boatman, a farewell to yoii, 
 6 boatman, a farewell to yoii, 
 Wherever yoii may be goifiig." 
 
 ---^ I ^ — a-a-H^ 
 
 a= 
 
 drt 
 
 i 
 
 -N- 
 
 i 
 
 -*-*- 
 
 LOVE BOAT SONG. 
 
 The following " Jorram " or " Love Boat Song," is given 
 in the Killin collection, and is of course, like the other 
 melodies in it, harmonized. I merely give the air and the 
 last verses and chorus ; the first seem to be much more 
 suitable for landsmen than boatmen in their sentiments. 
 The latter verses are essentially those of a water-song, and 
 have some touch of the true Hebridean labour rhythm in 
 them : — 
 
 i 
 
 I; 
 
 i'EE 
 
 =P3= 
 
 it3£: 
 
 =t2=t 
 
 att 
 
 i 
 
 s 
 
 =!^3r: 
 
 -^aJt—m-i 
 
 -^- 
 
 -^—^ 
 
 ^S^^. 
 
 -l^r*- 
 
 if^ 
 
 i 
 
 rati. 
 
 SE 
 
 Chorus. Quicker. 
 
 -d-=- 
 
Music of the Waters. 
 
 95 
 
 i 
 
 S^^^ 
 
 ;*^f^ 
 
 *-=- 
 
 itz=t 
 
 t=^ 
 
 =t^ 
 
 =ft3c: 
 
 4= 
 
 i!^ 
 
 =i3t 
 
 4=S:^= 
 
 S5= 
 
 English. 
 
 4. " Row on, row on, my hearties, 
 
 Seize an oar, and raise the boat-song ; 
 Bring her quick to yonder haven, 
 Lest from me my bride be taken." 
 
 Chorus. — " Falv ora ho, Ro shin Robeg, 
 Och ora ho, Ro shin Robeg, 
 Falv ora ho, Ro shin Robeg, 
 Lift up your song, and speed the boatie." 
 
 5. " Heave on, my boatie, dancing lightsome 
 
 Against wind and flood and rushing tide-wave. 
 
 Soon we'll be in Clachan-Sailich, 
 
 Where with trembling heart she waits me." 
 
 Gaelic. 
 
 4. " lomraibh, iomraibh, iomraibh, illean, 
 
 Ghacaibh ramh' us glaaodhaibh iorram, 
 
 Hingaibh i gu cala tioram, 
 
 'S gu'n toir mi mo ghaol ion ghille." 
 
 Chorus. — " Falbh oire ho, c6 sin cob-aig, 
 Falbh oire ho, c6 sin cob-aig, 
 Falbh oire ho, co sin cob-aig, 
 Jorram, ho ro, a suas i'm bata." 
 
 5. "Suas am bata nallach, aotrom, 
 
 'N aghaidh struth tuil agus gaoithe, 
 Tagblaidh sinn 's a' Clachan Shaoileach, 
 Far am bheil mocruinneag ghaolach." 
 
 In an old collection of Scotch ballads and songs ("Ancient 
 Ballads and Songs of the North of Scotland," hitherto un- 
 published, by Peter Buchan, 1828) I found the ballad of 
 
96 Music of the Waters. 
 
 Sir Patrick Spens. I am told, on good authority, that it 
 used to be a great favourite with Scotch seamen, and was 
 often sung by the fishermen of some parts of Scotland. 
 The number of verses contained in this ballad makes it 
 impossible for ffle to quote it at length ; I merely give 
 the first to show the style of the composition, which is 
 doubtless familiar to many. 
 
 " The king sits in Dunfermline town, 
 A-drinking at the wine ; 
 Says, ' Where will I get a good skipper 
 Will sail the saut seas fine ? ' " 
 
 Reading in a Glasgow paper one day an account of a 
 lecture delivered by Professor Blackie on Scottish songs, 
 I was attracted by some remarks he made on the scarcity 
 of sea-songs amongst them, a statement that scarcely 
 coincides with one made some time before by a writer in 
 The Illustrated London News. The writer, after speaking 
 of sailor-songs in general, says : " In speaking of these 
 songs of the sea have I ever, by any chance, used the word 
 ' English ' ? If so, I tremble and retract. The brawny 
 Scot who stands out for ' British ' to be applied as the only 
 allowable term, in cases when it is obviously impossible to 
 say 'Scottish' (as in speaking, for example, of Shakespeare); 
 this stern patriot would be even more in the right than 
 usual in this particular case. Nearly all of the very best of 
 British sea-songs have been written by Scotchmen. There 
 was Campbell, without a rival in any age, whose chants 
 no Tyrtaeus can ever equal, as no battle-field can have the 
 poetry of the surging wave. There was Allan Cunning- 
 ham, of ' The Wet Sheet and the Flowing Sea;' and there 
 was Thomson, of the ' Seasons ' — not that the ' Seasons ' 
 can fairly be described as nautical, but that few people 
 realize that he wrote anything besides that unforgotten 
 and unread poem — while fewer associate him with ' Rule 
 Britannia,' to which magnificent melody he wrote the 
 
Music of the Waters: 97 
 
 splendid and spirited words. Another tune that every- 
 body knows, while but few South-countrymen have ever 
 heard the beautiful words, ' braid Scots ;' this, it must be 
 owned, is Mickle's ' There is nae Luck aboot the Hoose.' 
 Yet I think no other poem in the world gives like this one 
 the excitement, and the passion, and the half-humorous 
 bustle of the sailor's return, nor so brings before one the 
 life of the little seaport town. Burns called it ' one of the 
 most beautiful songs in the Scots' or any other language,' 
 and Burns himself might have written the cry, twice 
 repeated, — 
 
 " ' And will I see his face again .' 
 And will I hear him speak } 
 I'm downright dizzy wi' the thought ; 
 In troth I'm like to greet ! ' 
 
 and the writer might have added the last verse found in 
 the manuscript of William Julius Mickle's — 
 
 " ' If Colin's weel, and weel content, 
 I hae nae mair to crave. 
 And gin I live to mak' him sae, 
 I'm blest aboon the lave.' 
 
 The pith of the whole story, to my mind, lies in these four 
 unpublished lines. Why they were suppressed I know not, 
 but it seems to me that the self-renunciation of the mariner's 
 wife should have been given to the world along with the 
 other verses of the poem." 
 
 The writer of these remarks, should my book ever fall 
 into his hands, must pardon me if I contradict him, and 
 seemingly attempt to pour cold water on his eulogistic 
 summary of Scottish sailor-songs, with all due appreciation 
 of Cunningham's beautiful — 
 
 " A wet sheet and a flowing sea, 
 A wind that follows fast, 
 
 H 
 
98 Music of the Waters. 
 
 And fills the white and rusthng sail, 
 And bends the gallant mast ! " 
 
 and Mickle's " Mariner's Wife." I must own that, compared 
 with our one great master's songs of the sea, these are but 
 sea-songs written for landsmen. There has never been but 
 one man's songs, written on shore, popular with the blue- 
 jackets ; but one man's songs that seafaring men have 
 declared redolent of pitch and tar and oakum, written with 
 the true spirit of a sailor ; but one man's songs that the 
 ship's fiddlers scraped on Saturday nights at sea before 
 the toast of " Sweethearts and Wives," or were sung to 
 cheer the tars as they toiled at the capstan — and that man 
 was Dibdin. His songs sent many a strapping young 
 fellow straight from the Sans-Souci Theatre, where they 
 first heard them, to the Tower Hill to join the navy ; indeed, 
 they became at one time a cheap substitute for the press- 
 gang. He painted the British seaman as he found him, 
 and made him neither better nor worse than he was. He 
 drank much grog, he swore profusely, but he fought like a 
 lion, and he won the First of June, and the Nile, and Tra- 
 falgar. And in return for this true portrait of themselves, 
 the sailors paid Dibdin the compliment of singing his 
 songs as they did their own chanties, at their work on 
 board. 
 
 To return to Professor Blackie's lecture, one of the sea- 
 songs, or, to speak more correctly, songs of the sea, that 
 he mentioned was Lady Nairne's Caller Herrhi', ' which, 
 he added, to be properly appreciated should be heard sung 
 by a Newhaven fish-wife. There is a genuine sea-sadness 
 and at the same time healthy stimulus in this most beau- 
 tiful song, and the " Flower of Strathearne," as its gifted 
 authoress used to be called in the days when she was Miss 
 
 1 It is said that the melody of " Caller Herrin' " was first suggested 
 by the fish-wives' calls through the streets of Edinburgh, and the bells 
 of St. Giles' chiming at the same time. It is a pretty tradition and 
 one that is quite in keeping with the style of the song. 
 
Music of the Waters. 
 
 99 
 
 OUphant of Gask, must have learnt some of the sea-toilers' 
 suffering even in her sheltered home on the brae above the 
 ■lovely, placid Earne, when she wrote — 
 
 " When ye were sleeping on your pillows, 
 Dreamt ye aught o' our puir fellows, 
 Darkling as they face the billows, 
 A' to fill our woven willows. 
 Buy my caller herrin', 
 They're bonnie fish and halesome farin'. 
 Buy my caller herrin', 
 New drawn frae the Forth. 
 Wha'U buy my caller herrin' .'' 
 They're no brought here without brave darin'. 
 Buy my caller herrin', ye little ken their worth ! 
 Wha'll buy my caller herrin' ? 
 O, ye may ca' them vulgar farin' 
 Wives and mithers maist despairin', 
 Ca' them lives o' men." 
 
 Moderaio. 
 
 i 
 
 ^^" J— ^: — aJ ^— = — ^ 1 M . » *■ 
 
 M d 
 
 ^s^=^ 
 
 -TJ.-#- 
 
 i 
 
 -i^-^^^— S i= 
 
 ^_>_ te > =1^ 
 
 -^-g' 
 
 t 
 
 -^^=^ 
 
 ^^^=>r- 
 
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 m 
 
 35^S 
 
 -m—»- 
 
 ^EE^ 
 
 5=!*^: 
 
 E?E^ 
 
 r ^ is 
 
 i 
 
 ^^c^^- 
 
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 With the exception of this song, Burn's " Afton Water," 
 
 H 2 
 
100 . Music of the Waters. 
 
 and " The Boatie Rows," there is not another water-song 
 amongst the ordinary editions of Scotch Melodies, whereas 
 in similar editions of English Standard Songs, a very large 
 proportion are of a nautical nature, though certainly not 
 sufficiently so to please sailor-men. They may seem to us 
 all that can be desired in the way of " go " and salt-like 
 vigour. We may feel that the " Arethusa," the " Bay of 
 Biscay," or " Hearts of Oak," surpass themselves in their 
 heartiness and national pride, and so they doj and when we 
 hear them we are carried away by them, and think what is 
 there in the world to equal them. Well, the sailor evi- 
 dently does not agree with us. I remember an old " salt " 
 once saying to me that " The Bay of Biscay " was a good 
 song in its way, but not to be compared to " Blow the 
 Man down." I wished to humour the speaker, and for 
 more reasons than one to keep him in tune, so I did not 
 contradict him, but merely changed the subject, and mar- 
 velled not a little at the strangeness of taste that could 
 find so much inspiration in a tune associated with such 
 words as— 
 
 " Give me some time to blow the man down ! " 
 
 and fail to see the grandeur in Davy's song. 
 
 I am afraid Mr. Stephen Adams will scarcely thank me 
 if I narrate some of the encomiums I have heard passed 
 upon his favourite drawing-room sea-songs. " Nancy Lee '' 
 is admitted to be somewhat of the right sort, but "Jack's 
 Yarn " they look upon with very mixed feelings ; the com- 
 poser has, however, many admirers and singers of his songs 
 in the young gentlemen in swallow-tailed coats, who delight 
 after-dinner audiences with their yearnings to become bold 
 buccaneers, and can afford to dispense with the approval of 
 the blue-jackets. 
 
 Speaking of Scotch songs, there is an old song attributed 
 to Dunbar of a very plaintive character, used when heaving 
 the anchor. The tune is the same as that of " Old Storm- 
 along " : — 
 
Music of the Waters. 101 
 
 " My feeding was once o' the best corn and hay 
 That ever grew in corn-field or meadow sae gay ; 
 But noo I'm turned out at the back o' a dyke, 
 To keep the blackbirds company on a cauld winter nicht. 
 I'm a puir auld horse. 
 
 Dunbar is responsible for the following ; it was very 
 popular amongst the fishermen there, and I believe was 
 sung to the well-known tune of " There is nae Luck aboot 
 the Hoose": — 
 
 A CRAB SONG. 
 
 " Come, Sandy, man, 
 An' bear a han'. 
 Rax doon anither oar, 
 There's creels to bait, 
 An' creels to set, 
 An' crabs to bring ashore. 
 
 For crabs are east, 
 
 An' crabs are west. 
 
 An' crabs are in the bay ; 
 
 There's fifty dizzen at the least 
 
 In a' the creels the day. 
 
 " Fling in the tow. 
 Steer aff her bow 
 An' get the boat to sea ; 
 There's crabs galore 
 To bring ashore. 
 Just waitin' you an' me. 
 For crabs are east, 8z:c. 
 
 " To glunch and gloom, 
 An' sook yer thoom. 
 Will no buy Jenny's tea, — 
 Nor put a frock 
 On little Jock ; 
 Then let us get to sea. 
 For crabs are east, &c. 
 
102 
 
 Music of the Waters. 
 
 " Let ithers try 
 For fish to fry, 
 At saxteen pence a score ; 
 Our creels we'll get, 
 Our creels we'll set, 
 An' bring the crabs ashore. 
 
 For crabs are meat 
 
 An' crabs are drink 
 
 To fisher-folk, we say, 
 
 An' fifty dizzen at the least 
 
 Are in the creels the day." 
 
 There are many more verses^ all with the same quaint 
 refrain, but I think the sentiment is pretty well expressed 
 in those I have given. 
 
 i 
 
 :i5=t?c 
 
 S^E£ 
 
 S=§ 
 
 
 =^=E 
 
 3E^ 
 
 i^ES 
 
 S:^ 
 
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 3^3- 
 
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 $ 
 
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 =ts=^ 
 
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 B=^ 
 
 The following air is taken from the selections of Scotch 
 National Music given by Dr. Crotch, in his invaluable 
 book of " Specimens " : — 
 
Music of the Waters. 
 
 105 
 
 SCOTCH FISHERMAN'S SONG FOR ATTRACTING 
 THE SEALS. 
 
KEELMEN'S AND FISHERMEN'S SONGS, 
 
 AND SONGS OF THE PRESS GANG 
 
 ON TYNESIDE. 
 
 " We islanders should love the sea, 
 The fresh wind, coiled nets, ballast heap, 
 The full brown sail, but as for me, 
 Again within that harbour's lee, 
 I let the sea-song go to sleep." 
 
 William Bell Scott. 
 
KEELMEN'S AND FISHERMEN'S SONGS, 
 
 AND SONGS OF THE PRESS GANG 
 
 ON TYNESIDE. 
 
 "WEEL MAY THE KEEL ROW." 
 
 The local song of Newcastle-upon-Tyne, " The Keel 
 Row," is intimately connected with Sandgate, the Wapping 
 of Newcastle and the residence of the keelmen and sailors. 
 It is truly the national anthem of the " Canny Toon," and 
 never fails, when heard, to raise the soul of every Tyne- 
 sider. 
 
 There are many who dispute the Tynesider's claim to 
 the song, attributing the origin of it to Glasgow. The 
 Scotch version runs — 
 
 " As I was going thro' Cannongate." 
 
 The Newcastle has it " Sandgate," the locale of the 
 keelmen, and without doubt their original site. The 
 introduction of steamboats, and the general use of staiths, 
 by which the coals "are conveyed direct from the waggon to 
 the ship, have greatly reduced the number of keelmen in 
 Newcastle. Sandgate is now chiefly occupied by the Irish. 
 A keelman's hospital may still be seen there j it was erected 
 for the benefit of aged and infirm keelmen, and chiefly at 
 their own cost : probably this is one of the few instances 
 
108 Music OF THE Waters. 
 
 of seafaring men's forethought, and it may also be said 
 to be a monument to the poor raised by the poor. 
 
 For a genuine description of keels and keelmen, their 
 origin, degeneration, &c., I should recommend a perusal of 
 Mr. Charleton's most interesting book, " Newcastle Town." ' 
 There will be found a true account of these most quaint 
 craft and quainter craftsmen, beginning with their lineal 
 descent from the " Chiules " of the ancient Scandinavian 
 rovers, in which, nearly five hundred years before Columbus 
 saw America, the adventurous Norsemen crossed the 
 Atlantic and visited Labrador, Newfoundland, and New 
 England — in which, in earlier times, they sailed to harass 
 Ireland and Scotland, and in which, after the retire- 
 ment of the Romans, they came to England and took 
 possessiori of the country. " They were," he says, 
 " wonderfully fine sailors, and a beautiful sight it was to 
 see a fleet of keels manned by the Tyne keelmen — the 
 finest sailors and handlers of craft in England — beating 
 up-river against a head-wind." It is probable that the 
 keel has sailed the waters of the Tyne ever since the 
 Saxon invasion. 
 
 WEEL MAY THE KEEL ROW. 
 
 " As I cam thro' Sandgate, thro' Sandgate, thro' Sandgate, 
 As I cam thro' Sandgate, I heard a lassie sing : 
 
 Weel may the keel row, the keel row, the keel row ; 
 Weel may the keel row, that my laddie's in. 
 
 Weel may the keel row, the keel row, the keel row, 
 Oh ! weel may the keel row, that my laddie's in. 
 
 " He wears a blue bonnet, blue bonnet, blue bonnet, 
 He wears a blue bonnet, a dimple in his chin ; 
 
 Weel may the keel row, the keel row, the keel row, 
 Weel may the keel row, that my laddie's in. 
 
 Weel may the keel row, the keel row, the keel row ; 
 Oh ! weel may the keel row, that my laddie's in." 
 
 1 Walter Scott, Warwick Lane, London. 
 
Music of the Waters. 
 
 109 
 
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 The following, " Weel may the Keel Row, that gets the 
 Bairns their Breed," is another old version of the Keel 
 Row : — 
 
 " Weel may the keel row, the keel row, the keel row, 
 Weel may the keel row, 
 And better may she speed ; 
 
 Weel may the keel row, the keel row, the keel row, 
 Weel may the keel row, 
 That gets the bairns their breed." 
 
 1. " We tuik wor keel up te the dyke. 
 
 Up te the dyke, up te the dyke. 
 We tuik wor keel up te the dyke, 
 An^ there we gat her load ; 
 Then sailed away doo'n te Shields, 
 Doon te Shields^ doon te Shields, 
 Then sailed away doon te Shields, 
 And shipped wor coals aboard. 
 
 Singin' — Weel may the keel, &c. 
 
 2. " Then we rowed away up te the fest. 
 
 Up te the fest, up te the fest, 
 
110 
 
 Music of the Waters. 
 
 We rowed away up te the fest — 
 Cheerly every man ; 
 Pat by wor geer and moored wor keel, 
 An' moored wor keel, an' moored wor keel, 
 Pat by wor geer and moored wor keel, 
 Then went an' drank wor can. 
 
 Singin' — Weel may the keel, &c. 
 
 3. " Wor canny wives, wor clean fireside, 
 
 Wor bonny bairns — their parent's pride — 
 Sweet smiles that myek life smoothly glide. 
 We find when we gan hyem ; 
 They'll work for us when we get aud. 
 They'll keep us frae the winter's caud. 
 As life declines they'll us uphaud — 
 When young we uphaud them. 
 
 Singin' — Weel may the keel, &c." 
 Unfortunately this roseate-hued picture of the keelman's 
 domestic bliss is somewhat rudely dispelled by the song 
 entitled, "The Sandgate Lass's Lament," which tells a 
 slightly different tale. 
 
 THE SANDGATE LASS'S LAMENT. 
 
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 " I was a young maiden truly, 
 And lived in Sandgate Street ; 
 I thought to marry a good man. 
 To keep me warm and neat ; 
 
Music of the Waters. Ill 
 
 " Some good-like body, some bonny body. 
 To be with me at noon ; 
 But last I married a keelman, 
 And my good days are done. 
 
 " I thought to marry a parson, 
 To hear me say my prayers — 
 But I have married a keelman, 
 And he kicks me down the stairs. 
 
 " I thought to marry a dyer, 
 To dye my apron blue ; 
 But I have married a keelman, 
 And he makes me sairly rue. 
 
 " I thought to marry a joiner. 
 To make me chair and stool ; 
 But I have married a keelman. 
 And he's a perfect fool. 
 
 " I thought to marry a sailor. 
 To bring me sugar and tea ; 
 But I have married a keelman, 
 And that he lets me see." 
 
 Many of the local songs of Northumberland are full of 
 exquisite humour. Here is one well-known to North- 
 umbrians in general and to Northumbrian fishermen and 
 seamen in particular. It was mentioned amongst a few 
 others in an article which I found in a very old volume of 
 Blackwood^s Magazine. The verses are given somewhat 
 differently in the book of " Northumbrian Minstrelsy " 
 (published by the Society of Antiquaries of Newcastle- 
 upon-Tyne), and the tune that it is set to there is that 
 which is known as " The Wedding o' Blythe ; or. Blue's gaen 
 oot o' the Fashion " — 
 
 ■ " Blue's gaen oot o' the fashion. 
 
 Red's come in with the new ; 
 
 But I'll have a sailor laddie, 
 
 And dye my apron blue." 
 
112 
 
 Music of the Waters. 
 
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 " O ! the lousy cutter, 
 They've ta'en my laddie frae me, 
 They pressed him far away foreign 
 Wi' Nelson ayont the salt sea. 
 
 " They always come in the night, 
 They never come in the day. 
 They always come in the night. 
 And steal the laddies away." 
 
 " Captain Bover,": which follows, was one of the most 
 popular " press-gang " songs : — 
 
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 Where hes ti' been, maw can - ny hin- ny ? Where hej ti' been, 
 
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 maw win-some man ? Aw've been ti' the norrard, cruising back and forravd, 
 
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 Aw've been ti' the nor - rard, cruis • ing sair and lang ; 
 
Music of the Waters. 
 
 113 
 
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 Aw've been ti' the nor- rard, cruis- ing back and for - rard, But 
 
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 daur ■ na come a - shore For 
 
 ver and his gang. 
 
 " The ballads and tunes illustrating the doings of the 
 press-gang in the Newcastle district have deserved greater 
 attention and more searching investigation from the lovers 
 of historical knowledge than has hitherto been accorded 
 them. ' Captain Bover ' and the three following melodies 
 are interesting memorials of these stirring times, and as 
 expressions of the popular feeling towards this tyrannical 
 
 HERE'S THE TENDER COMING. 
 
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 Here's the ten - der com - ing, press - ing all the men, 
 
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 Oh! 
 
 dear 
 
 hin - ny, what shall we do then? 
 
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 Here's the ten der com - ing off at Shields Bar, 
 
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 Here's the ten - der com - ing. Full of men - n' - war. 
 
 mode of appeal to the patriotism of the sailors. This 
 oppressive mode of recruiting for the navy acted with great 
 severity upon the sailors, keelmen, and all others of the 
 working population whose avocations partook in the least 
 degree of the nautical character. The harsh and tyran- 
 nical measures committed by the officers of the navy in 
 the conducting of ' a press/ invited determined resistance, 
 
 I 
 
114 
 
 Music of the Waters. 
 
 and resulted in riot and bloodshed. The arrival of a vessel 
 ' On his Majesty's service ' in the Tyne was regarded 
 with mingled feelings of aversion and fear by those who 
 were liable to be called upon, and the press-gang was a 
 fertile theme for local rhymsters from the earliest period of 
 its operation down to living memory." 
 
 LIBERTY FOR THE SAILORS. 
 
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 " Lasses, call your lads ashore, 
 Lasses, call your lads ashore. 
 Lasses, call your lads ashore. 
 There's liberty for the sailors. 
 
 " Liberty and money free. 
 Liberty and money free. 
 Liberty and money free, 
 There's liberty for the sailors. 
 
 " Let the lubbers lie aboard. 
 Let the lubbers lie aboard, 
 Let the lubbers lie aboard, 
 Because they're nobbut tailors. 
 
 But, lasses, call your lads ashore, &c." 
 
Music of the Watehs. 
 
 115 
 
 THE SAILORS ARE ALL AT THE BAR, 
 
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 " The sailors are all at the bar, 
 They cannot get up to Newcastle ; 
 The sailors are all at the bar, 
 They cannot get up to Newcastle. 
 
 " Up with smoky Shields, 
 And hey for bonny Newcastle ; 
 Up with smoky Shields, 
 And hey for bonny Newcastle." 
 
 The foregoing songs and remarks on the press-gang I 
 have taken from the book of " Northumbrian Minstrelsy," 
 published by the Society of Antiquaries of Newcastle- 
 upon-Tyne. 
 
 The following is to this day a great favourite amongst 
 the watermen of Tyneside : — 
 
 THE KEELMAN OWER LAND. 
 
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 Music of the Waters. 
 
 
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 There is another song to the tune of " The bonny Pit 
 Laddie," named " The bonny Keel Laddie ": — 
 
 " My bonny keel laddie, my canny keel laddie, 
 My bonny keel laddie for me, O ! 
 He sits in his keel as black as the deil. 
 And he brings the white money to me, ! 
 
 " Hae ye seen owt o' my canny man. 
 And are ye sure he's weel, O ! 
 He's gaen o'er land wiv a stick in his hand, 
 To help to moor the keel, ! 
 
 " The canny keel laddie, the bonny keel laddie. 
 The canny keel laddie for me, O ! 
 He sits in his huddock and claws his bare buttock. 
 And brings the white money to me, O ! " 
 
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 THE BONNY PIT LADDIE. 
 
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Music of the Waters. 
 
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 The following air was a great favourite with Tynesiders, 
 but I have failed to discover any verses for it : — 
 
 SANDHILL CORNER. 
 
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 O ! THE BONNY FISHER LAD. 
 
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 O, the bon-ny fish-er-lad, That brings the fish - es frae the sea, 
 
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 O, the bon-ny fish - er - lad. The fish-er-lad gat had o' me. 
 
118 
 
 Music of the Waters. 
 
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 On Bamborough shire's rockyshore, Just as you en-ter Bonmer Raw, There 
 
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 lives the bon- ny fish - er- lad. The fish - er - lad that bangs them a'. 
 
 " My mother sent me out one day 
 To gather cockles frae the sea ; 
 But I had not been lang away, 
 
 When the fisher lad gat had o' me. 
 O ! the bonny fisher lad, 
 
 That brings the fishes frae the sea, 
 O ! the bonny fisher lad. 
 
 The fisher lad gat had o' me. 
 
 " A sailor I will never marry. 
 
 Nor soldier, for he's got no brass ; 
 But I will have a fisher lad, 
 Because I am a fisher lass. 
 O ! the bonny fisher lad, 
 
 That brings the fishes frae the sea, 
 O ! the bonny fisher lad. 
 
 The fisher lad gat had o' me." 
 
 BLAW THE WIND SOUTHERLY. 
 
 ' Blaw the wind southerly, southerly, southerly, 
 Blaw the wind southerly, south, or south-west ; 
 
Music of the Waters. 
 
 119 
 
 My lad's at the b&r, at the bar, at the bar, 
 My lad's at the bar whom I love best." 
 
 Sometimes the last two lines of this song are varied — 
 
 " Blaw the lad ti' the bar, ti' the bar, ti' the bar, 
 Blaw the lad ti' the bar that I love best." 
 
 THE WATER OF TYNE. 
 
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 I can - not get to my love if I would dee, 
 
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 sigh - ing and sick ly my sweet- heart to see. 
 
 " O where is the boatman ? my bonny hinny ! 
 O where is the boatman ? bring him to me, — 
 To ferry me over the Tyne to my honey, 
 And I will remember the boatman and thee. 
 
 " O bring me a boatman, I'll give any money. 
 And you for your trouble rewarded shall be. 
 To ferry me over the Tyne to my honey, 
 Or scull him across that rough river to me." 
 
 Andante. 
 
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120 
 
 Music of the Waters. 
 
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 " Nae mair we'll fish the Coolly Tyne " is the title of 
 another of these quaint songs. I give the words : — 
 
 " Nae mair we'll fish the coolly Tyne, 
 
 Nae mair the oozy Team, 
 Nae mair we'll try the sedgy Pont, 
 
 Or Derwent's woody stream ; 
 But we'll away to Coquetside, 
 
 For Coquet bangs them a'. 
 Whose winding streams sae sweetly glide, 
 
 By Brinkburn's bonny Ha ! 
 
 " At Weldon brigg there's wale o' wine , 
 
 If ye hae coin in pocket ; 
 If ye can thraw a heckle fine. 
 
 There's wale o' trouts in Coquet. 
 And we will quaff the red-blood wine. 
 
 Till Weldon's wa's shall reel, — 
 We'll drink success to hook and line. 
 
 And a' wha bear the creel. 
 
 " And O ! in all their angling bouts. 
 On Coquet, Tyne, or Reed, 
 Whether for maidens or for trouts. 
 May anglers still succeed. 
 
 " By Till or Coquet, Tyne or Reed, 
 
 In sunshine or in rain. 
 May fisher ne'er put foot in stream. 
 
 Or hand in purse in vain. 
 Then luck be to the angler lads. 
 
 Luck to the rod and line ; 
 Wi' morn's first beam, we'll wade the stream, 
 
 The night we'll wet with wine." 
 
Music of the Waters. 121 
 
 The River Coquet, according to the local anglers' songs, 
 is superior to all the other Northumbrian rivers for its 
 fishing. 
 
 " Oh ! freshly from his mountain holds 
 Comes down the rapid Tyne, 
 But Coquet's still the stream of streams, 
 So let her still be mine. 
 " There's mony a sawmon lies in Tweed, 
 And mony a trout in Till, 
 But Coquet, Coquet aye for me, 
 If I may hae my will. 
 
 Another goes : — 
 
 " The Coquet for ever ! the Coquet for aye ! 
 The Coquet, the king of the stream an' the brae, 
 Frae his high mountain throne to his bed in the sea, 
 Oh ! where shall you find such a river as he ? 
 Oh ! where shall you find such a river as he ? 
 
 " Then blessings be on him, and long may he glide, 
 The fisherman's home and the fisherman's pride, 
 Frae Harden's green hill to old Warkworth so grey, 
 The Coquet for ever ! the Coquet for aye ! " 
 
 The following is in favour of the Tyne : — 
 
 " Tyne riv^er, running rough or smooth. 
 Brings bread to me and mine ; 
 Of all the rivers north or south. 
 There's none like coaly Tyne." 
 
 This is sung to the tune of " Auld Lang Syne " :— 
 So/o. — " Tyne river, running rough or smooth, 
 Brings bread to me and mine. 
 Of all the rivers north or south, 
 There's none like coaly Tyne. 
 
 Chorus. — " So here's to coaly Tyne, my lads. 
 Success to coaly Tyne, 
 Of all the rivers north or south. 
 There's none like coaly Tyne, 
 
122 Music of the Waters. 
 
 Solo. — " Our keelmen brave, with laden keels, 
 Go sailing down in line, 
 And with them load the fleet at Shields, 
 That sails from coaly Tyne. 
 Chorus. — " So here's to coaly Tyne, &c. 
 Solo. — " Let us unite with all our might, 
 Protect Queen Caroline, 
 For her will fight, both day and night. 
 The sons of coaly Tyne. 
 Chorus. — " So here's to coaly Tyne, &c." 
 
 There are a number of verses to this song, all more or 
 less patriotic in sentiment ; but, like most local songs, it 
 could only be interesting to those who are acquainted 
 with the people and places alluded to. Tyneside is so rich 
 in songs, that I find myself obliged to confine my selections 
 to those that are best known as the favourites of the water- 
 side population. 
 
 The fisherfolk who belong to that most quaint north- 
 country village, Cullercoats, have acquired for themselves 
 a celebrity that is only rivalled by one or two other similar 
 places. Their fresh vigorous hardihood, fearless boldness, 
 and thrifty ways have long been characteristic of them, but 
 it is perhaps to the Cullercoats fishwives that the fact of 
 their wide-spread popularity is especially due, with their 
 warm and at all times seasonable-looking costumes, their 
 always fresh and comely and sometimes really bonny faces, 
 and their creels of tempting fish; the Cullercoats fish- 
 wives are familiar and welcome objects in the streets of 
 Newcastle-upon-Tyne, and their oft-repeated cries of 
 " Will ye buy any fish .? " and " Shares o' caller ling," are 
 perhaps amongst some of the most original cries to be 
 heard on the banks of the Tyne. The peculiarly pro- 
 longed notes in which the " Buy any fish ? " is called, make 
 it very difficult to render accurately. 
 
 Slow. 
 
 $ 
 
 
Music of the Watebs. 123 
 
 The " Shares o' caller ling," on the contrary, is given 
 much sharper, and repeated very frequently. 
 
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 They have furthermore been immortalized in verse. I 
 am not very certain that the following is correct, but at 
 least it is one version of the poem : — 
 
 THE CULLERCOATS FISHWIVES. 
 
 " The Cullercoats fishwives so cosy and free, 
 They live in their cottages close by the sea, — 
 And they sell their fine fish 
 To the poor and the rich ! 
 Will ye buy ? will ye buy ? 
 Will ye buy my fine fish ? " 
 
 The old cry of the herring-sellers of Newcastle-upon- 
 Tyne was a much more lengthy one, and sometimes con- 
 sisted of a set of doggerel verses which, if they were 
 approved by the good people of the " canny toon," in those 
 bygone days, they must have been scarcely as sensitive and 
 refined as one would hke to imagine the ancestors of the 
 present generation of Novocastrians. 
 
 " 'Ere's yer caller herrin' ! 
 'Ere's yer caller fresh herrin' ! 
 'Ere's yer 'resh heerin' I 
 'Resh heerin' ! 
 Power a penny, hinny ! 
 Fower a penny ! Fower a penny ! 
 Caller heerin' ! " 
 
 Any one who is acquainted with the city on the coaly 
 Tyne will recognize in the " Fower a penny " the vernacular 
 of the vendors of oranges, who line the streets during the 
 winter season, and whose harsh, discordant voices, though 
 they may, being so thoroughly Newcastle, be affectionately 
 associated with the place in the minds of the natives, will 
 
124 Music of the Waters. 
 
 never, I am afraid, prove sufficiently melodious, even when 
 intermixed with the chimes of historic St. Nicholas, to 
 suggest so charming an idea as the blending of the cries of 
 the Newhaven fishwives with the bells of old St. Giles, 
 Edinburgh, did to Lady Nairn. 
 
 " ' Row the boat, Norman, 
 Heave and ho, rumbelow.' 
 
 This roundel is to imitate the merry ringing of the 
 bells on Lord Mayor's Day. 
 
 "In 1453, Sir John Norman, who was then Lord Mayor 
 of London, was the first ' to brake that ancient and olde 
 continued custome of riding with great pomp into West- 
 minster to take his charge, and chose rather to be rowed 
 thither by water.' The watermen made of him a roundel 
 or song, to his great praise, — 
 
 " ' Row the boat, Norman, 
 Heave and ho, rumbelow.' 
 
 The second singer begins two bars after the first, and the 
 third two bars after the second. They continue in that 
 order, without stopping at the end of the line, but recom- 
 mencing and singing it over many times. 
 
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 " There seems to be some reason to suppose that this 
 was rather Whittington, whose famous mayoralty was 
 prior to Norman's. 
 
 " ' Row the boat, Whittington, 
 
 Thou worthy citizen. Lord Mayor of London.' " 
 
 The above quotations and extracts are again from Mr. 
 Chappell's volumes.' 
 
 D'Israeli, in his " Curiosities of Literature," says, " Our 
 .sailors at Newcastle, in heaving their anchors, have (still ?) 
 their ' Heave and ho, rumbelow,' " and he might have 
 
 ' " Popular Music of the Olden Time." 
 
Music of the Waters. 125 
 
 added that the chief magistrate and corporation of New- 
 castle-upon-Tyne still keep up annually one of the most 
 ancient water customs, namely, that of going in a procession 
 in barges down the River Tyne to inspect the boundaries. 
 This ceremony takes place on Ascension Day, or what is 
 now commonly known by the good people of the coaly 
 metropolis as " Barge Day." 
 
 I wonder if this ancient roundel of the Lord Mayor's 
 water-procession suggested Captain Oxenham's song in 
 " Westward Ho ! " to Charles Kingsley ? 
 
CANADIAN BOAT SONGS. 
 
 " Peasants in the field, 
 Sailors on the roaring ocean, 
 Students, tradesmen, pale mechanics. 
 All have sung them." 
 
 Longfellow. 
 
CANADIAN BOAT SONGS. 
 
 Almost as celebrated as the sailors' songs of England, 
 and the gondoliers' of Venice, are the boat-songs of the 
 old Canadian voyageurs. The hymns to their patron 
 saint, Saint Anne, that are so popular with the Breton 
 fishermen of to-day, all owe their origin to the French- 
 Canadian pilgrims of the olden time. The very word 
 " Chanty " I have so often made use of in this book, is 
 the name originally applied to these boat-songs of Canada, 
 derived, of course, from the verb ^'chanter'' (to sing). 
 
 AIR DES BATELIERS DU CANADA. 
 
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 This quaint old tune is one of the oldest known boat- 
 songs in Canada. 
 
 Moore's " Boat Glee " in " M.P., or The Blue-Stocking," 
 is, I believe, supposed to be a translation of one of the 
 Canadian voyageurs' songs : — 
 
 " The song that lightens the languid way 
 When brows are glowing. 
 And faint with rowing. 
 Is like the spell of Hope's airy lay. 
 To whose sound through life we stray. 
 
 K 
 
130 Music OF THE Waters. 
 
 The beams that flash on the oar awhile, 
 As we row along through waves so clear, 
 
 Illume its spray, like the fleeting smile 
 That shines o'er sorrow's tear. 
 
 " Nothing is lost on him who sees 
 
 With an eye that feeling gave, — 
 For him there's a story in every breeze. 
 
 And a picture in every wave. 
 Then sing to lighten the languid way, 
 
 When brows are glowing. 
 
 And faint with rowing, 
 'Tis like the spell of Hope's airy lay. 
 To whose sound through life we pray. " 
 
 I must not omit the same poet's beautiful and ever- 
 familiar Canadian boat-song, written on the River St. 
 Lawrence. He heard it sung by the voyageurs at St. 
 Anne — not the St. Anne where the pilgrims go, but a 
 village, twenty-one miles from Montreal, on the Ottawa 
 river — Sainte Anne de, Bellevue, as it is called now, a 
 flourishing suburban resort of Montreal. 
 
 " The stream was smooth as glass ; we said, 
 
 ' Arise and let's away ! ' 
 The siren sang beside the boat 
 
 That in the rushes lay ; 
 And spread the sail^ and strong the oar, 
 
 We gaily took our way. 
 When shall the sandy bar be cross'd ? 
 
 When shall we find the bay ? " 
 
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Music of the Waters: 
 
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 " Faintly as tolls the evening chime, 
 Our voices keep tune and our oars keep time, 
 Soon as the woods on shore look dim, 
 We'll sing at St. Anne's our parting hymn. 
 Row, brothers, row, the stream runs fast. 
 The rapids are near, and the daylight's past ! 
 
 " Why should we yet our sail unfurl ? 
 There is not a breath the blue wave to curl ! 
 But when the wind blows off the shore, 
 Oh ! sweetly we'll rest our weary oar. 
 Blow, breezes, blow, the stream runs fast, 
 The rapids are near, and the daylight's past ! 
 
 " Utawas' tide ! this trembling moon 
 Shall see us float over thy surges soon. 
 Saint of this green isle ! hear our prayers, 
 Oh ! grant us cool heavens and favouring airs. 
 Blow, breezes, blow, the stream runs fast, 
 The rapids are near, and. the daylight's past ! " 
 
 The following is a favourite voyageurs' song : — 
 
 V'LA L'BON VENT. 
 Chorus. 
 
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 V'lk I'bon vent, v'li I'jo- li vent, V'lk I'bon vent, ma mie m'ap-pel- le ; 
 
 1, Fine. 
 
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 V'lk I'bon vent, v'lii I'jo - li vent, v'lk I'bon vent, ma mie m'at-tend. 
 
 K 2 
 
132 
 
 Music OF THE Waters. 
 
 i 
 
 Solo. 
 
 
 ::?5i 
 
 Der - rib-' chez nous y-a - tun ^ - tang, Der - nir chez nous y-a - 
 
 D. C. 
 
 i 
 
 ^^^ 1 
 
 . t-un e - tang, Trois beauK ca - naids s'en vont baign-ant. 
 
 English Version. 
 
 Chorus. — ■" There's a good wind, 
 There's a fine wind, 
 There's a good wind. 
 And my love is callfng me. 
 There's a good wind, 
 There's a fine wind. 
 There's a good wind. 
 And my love is awaiting me. 
 
 Solo. — " Behind our home 
 There is a pond, 
 Behind our home 
 There is a pond. 
 Three handsome ducks 
 Go there to paddle." 
 
 I have many times had to make excuses for the sailors' 
 verses to their songs, I might do the same for those to this 
 old boat-song, but I think it is beyond apology. 
 
 " En Revenant de la Joli' Rochelle" is another of these 
 rowing-songs : — ■ 
 
 EN REVENANT DE LA JOLF ROCHELLE. 
 
 i 
 
 X 
 
 ^i==t 
 
 A Ut Z 
 
 En 
 
 re - ve - nant de la jo - li' Ro - chel - le, 
 
 i 
 
 ilfcivt 
 
 J'ai ren - con - tre trois jo - li's de - moi- sell's. La voi - Ik ma 
 
Music of the Waters. 
 
 133 
 
 -»—ii- 
 
 *xi: 
 
 mie qu' mon cosur aime tant, La voi - la ma mie qu' r»on cceur aime. 
 
 English Version. 
 
 " In returning from pretty Rochelle,. 
 I met three charming demoiselles,^ 
 There's the dear my heart loves, 
 There's the dear my heart loves." 
 
 From the Century Magazine (May, 1882), I quote the 
 following pilgrim's rowing-song ; it occurs in an article on 
 "The Canadian Mecca," by W. George Beers. The 
 writer says : " But what song is that stealing over the 
 water, like a Canadian voyageur's refrain ? A boat laden 
 with pilgrims from the Isle of Orleans is making, for our 
 shore, and the voices rise and fall with the dip of the oars 
 in the true rhythm of the canotier : " — 
 
 i 
 
 :p=p= 
 
 Se^ 
 
 5E=;zi 
 
 -V— ter 
 
 l2=nr: 
 
 i 
 
 Vers son sanc-tu - ai - re de-puis deux cents ans, Lavieige h sa 
 -~. Refrain. 
 
 SE 
 
 i: 
 
 i 
 
 m& - re con - duit ses en fants. Dai - gnez, Sainte Anne, en 
 
 E5^ 
 
 E^ 
 
 un si beau jour de vos en - fants a - gre - er I'a - mour. 
 
 The French-Canadians are a light-hearted, song-loving 
 people, and the very poorest amongst them have an in- 
 stinctive taste for music ; and many of the boatmen, rafts- 
 men and voyageurs among the Iroquois Indians served 
 under Lord Wolseley in Egypt, and might often be 
 heard singing their quaint old-world songs. I am told 
 that the old Province of Quebec has a peculiarly musical 
 population. 
 
134 Music of the Waters. 
 
 A SAINT-MALO, BEAU PORT DE MER. 
 
 i 
 
 • ix s .»— ft N hi iV— H^ ! I N a S =^i=j^ 
 
 4 K — I- \ — — 1 •— ^^^^A- — • ^ d d d d • — I 
 
 ^^ 
 
 A Saint Ma-lo, beau port de mer, A Saint Ma-lo beau 
 
 i 
 
 i^jg — 1>' — kd-H^ — t^' 
 
 port de mer, Trois gros na-vir's sont ar ri v^s Nous i 
 
 rons sur I'eau, nous y prom', pro-mener, Nous i - rons jou-er dans I'i - le. 
 
 " A Saint-Malo, beau port de mer, (bis) 
 Trois gros navir's sont arrives. 
 Nous irons sur I'eau, 
 Nous y prom' promener. 
 Nous irons jouer dans I'lle. 
 
 " Trois gros navir's arrives, (bis ) 
 Charges d'avoin', charges de bled. 
 Nous irons sur I'eau, &c. 
 
 " Charges d'avoin', charges de bled, (bis) 
 Trois dam's s'en vont las marchander, 
 Nous irons sur I'eau, &c. 
 
 " Trois dam's s'en vont les marchander, (bis) 
 Marchand, marchand, combien ton bled ? 
 Nous irons sur I'eau, &c. 
 
 " Marchand, marchand, combien ton bled ? (bis) 
 Trois francs I'avoin', six francs le bled. 
 Nous irons sur I'eau, &c. 
 
 " Trois francs I'avoin', six francs le bled, (bis) 
 C'est ben trop cher d'un bonn' moitid. 
 Nous irons sur I'eau, &c. 
 
 "C'est ben trop cher d'un bonn' moitie. (bis) 
 Montez, Mesdam's, vous le verrez. 
 Nous irons sur I'eau, &c. 
 
Music of the Waters. 135 
 
 " Montez, Mesdam's, vous le verrez. (bis) 
 Marchand, tu n'vendras pas ton bled. 
 Nous irons sur I'eau, &c. 
 
 " Marchand, tu n'vendras pas ton bled, (bis) 
 Si je I'vends pas, je I'donnerai. 
 Nous irons sur I'eau, &c. 
 
 " Si je I'vends pas, je I'donnerai. (bis) 
 A c'prix-la on va s'arranger. 
 Nous irons sur I'eau, 
 Nous y prom' promener, 
 Nous irons jouer dans I'ile." 
 
 English Version. 
 
 " At St. Malo, beautiful seaport, (repeat) 
 Three big ships arrived. 
 
 We will go on the water, 
 
 We will go and walk, 
 
 We will go and play on the island. 
 
 ' Three big ships have arrived, (repeat) 
 Laden with oats and corn. 
 
 We will go on the water, &c. 
 
 " Laden with oats, laden with corn, (repeat) 
 Three ladies went down to buy. 
 We will go on the water, &c. 
 
 " Three ladies went down to buy, (repeat) 
 ' Merchant, merchant, how" much is your corn 1 ' 
 We will go on the water, &c. 
 
 " ' Merchant, merchant, how much is your corn .' ' (repeat) 
 ' Three francs the oats, six francs the corn.' 
 We will go on the water, &c. 
 
 " ' Three francs the oats, six francs the corn.' (repeat) 
 ' It is too dear by a good half.' 
 
 We will go on the water, &c. 
 
136 Music of the Waters. 
 
 "' It is too dear by a good half.' (repeat) 
 ' Come up, ladies, you'll see it.' 
 
 We will go on the water, &c. 
 
 " ' Come up, ladies, you'll see it,' (repeat) 
 ' Merchant, you'll not sell your corn.' 
 We will go on the water, &c. 
 
 " ' Merchant, you'll not sell your corn.' (repeat) 
 ' If I don't sell it, I will give it.' 
 We will go on the water, &c. 
 
 " ' If I don't sell it, I will give it.' (repeat) 
 ' At that price then, we'll come to terms.' 
 We will go on the water. 
 We will go and walk, 
 We will go and play on the island." 
 
FRENCH SAILORS' AND BOATMEN'S 
 SONGS. 
 
 " As passenger I've taken, 
 The lively muse of song.' 
 
 " I must gaily chant her onward course to cheer." 
 
 LE LANGAGE DES MARINS. 
 
 Allegro. 
 
 
 ^S^^ 
 
 fii 
 
 i 
 
 fefe 
 
 Ma - te - lots, les gens de ter re, Les bour-geois et les sol ■ 
 
 H 
 
 i r— 1- 
 
 i 
 
 dats Trai - tent de cha - ra bi as, 
 
 -I ! N ! N| 9« ^ -\ 
 
 No - tre 
 
 :^=-1 fe 
 
 ::!**= 
 
 vieuj: vo - ca bu lai • re. S'ils n'en font pas plus de 
 
 I 
 
 M 
 
 Voy - ez, done la belle af fai - re ! C'est 
 
 =f5=q?S 
 
 ^!5=q= 
 
 »-^»-^ 
 
 1!5Z=tS 
 
 ^t=J= 
 
 ^-d-J1- 
 
 *i:3i: 
 
 -M — ai- 
 
 qu'fls ne I'en-ten-dent gue- re, C'est qu'ils ne I'en-ten- dent pas. 
 
FRENCH SAILORS' AND BOATMEN'S 
 SONGS. 
 
 In France the system of maritime conscription has been 
 brought to almost mechanical perfection, and 172,000 men 
 between the ages of eighteen and fifty are inscribed on the 
 rolls. It would, however, appear from a statement made 
 by the late much-lamented Captain Goodenough, at a re- 
 cent discussion at the United Service Institution, that all 
 the men liable to the maritime conscription in France are 
 not deep-water sailors. The great majority are merely 
 fishermen. They have had no experience in large ships 
 until they enter the navy. It is not intended to imply a 
 doubt of their value as a naval reserve. On the contrary, 
 they possess many admirable qualities. Mr. Cripperton, in 
 a recent consular reportj says of the Breton fishermen on 
 the French coast, that " their race forms the admirable sailors 
 of whom France is justly proud. Austere in their faith, 
 full of trust in Providence, dauntless in danger, patient in 
 suffering, bearing deep love, but also profound hate, ever 
 ready to lay down their lives when duty or affection re- 
 quireSj they form an admirable light to the shades adverted 
 to in speaking of other classes of the French labouring 
 population." It would appear, nevertheless, that the con- 
 scription does not always furnish the French Navy with 
 men well adapted to the service. This fact cannot be better 
 exemplified than by quoting the following paragraph, 
 which is given in its original language in Lord Brassey's 
 book, "British Seamen" — it is taken from Admiral Jurien 
 de la Gravi^re's " La marine d'autre fois " — he says, " The 
 crew of the Aurora (man-of-war) was composed of con- 
 
140 Music of the Waters. 
 
 scripts, who had never before even seen the sea, and of 
 niggers who had exhausted it in every sense. . . . We 
 learnt at length to manage affairs with this mode of recruit- 
 ing, but not without infinite care, and if we have succeeded in 
 modifying the evils of a system which our inadequate mari- 
 time population imposed upon us, it is above all on board 
 ships where the importance of the individual is sunk in the 
 effort of the many who have to be kept going. It is thus 
 not difficult to see that steam has in a most a-propos fashion 
 come to take the place of these too numerous super- 
 numeraries." 
 
 We hear a great deal in England at the present time 
 about Foreign Seamen, and their superiority over the 
 British Tar. Lord Brassey, whose very comprehensive 
 work on our seamen I have just quoted, referring to 
 this, attributes a great part of the unpopularity of our 
 sailors to the masters that are set over them. He says, 
 quoting Consul Crowe's remarks, " With the school- 
 master abroad, and competition rife on every side, it is not 
 sufficient that the master is conversant with navigation and 
 seamanship ; his education must extend a little further, 
 his intellectual and religious character must be raised. If 
 you ask why the character of the Norwegian and Swedish 
 commercial marine has been rising, commune with masters 
 of their merchant-ships, and the mystery will be revealed. 
 Just in proportion to their education, their real moral worth, 
 and their general knowledge of the world, will they be 
 found to rank in the merchants' good books ; and just as 
 they rank there will they be found to rank everywhere, at 
 home and abroad." How can you expect men to do right 
 who spend eleven months cut off from all sources of enjoy- 
 ment, and the twelfth surrounded by the strongest tempta- 
 tions to sin } Our sailors are the pioneers of civilization. 
 It is from their character and conduct that semi-barbarous 
 peoples form their first impressions of our nation. The 
 officers on whom such great responsibilities devolve deserve 
 the best education it is in our power to bestow. France, 
 
Music of the Waters. 
 
 141 
 
 like many other nations, is to be congratulated on the 
 superiority of its masters. 
 
 My province, however, lies neither with the character of 
 the men nor of their masters ; but simply with their songs, 
 and lively and song-like as France and the French appear 
 to be, there is but little to chronicle with regard to their 
 sailors' or fishermen's repertoire. 
 
 Monsieur Paul Sebillot tells me that out of five hundred 
 songs he has collected from the peasants and people 
 generally of Bretagne, he has rarely come across any at all 
 pertaining to the sea. Indeed only some five or six may 
 lay claim to the title. 
 
 Bretagne is naturally the coast par excellence of France 
 for seamen, and I naturally turned there first for specimens 
 of the sea-songs of the country. I give those I have been 
 able to obtain. In Provence I have fared a little better, 
 though nothing like to the extent I had hoped to do. 
 
 The first is a specimen of the old Corsaire-song of the 
 last century : — 
 
 Moderate. 
 
 \ N 
 
 ^ 
 
 JS — V- 
 
 V 
 
 I 
 
 I i 
 
 :i=S: 
 
 J l> i ^-A- 
 
 S=P 
 
 S^3^ 
 
 S S S i 
 
 ... K N \ 
 
 :^5:^^!=S 
 
 I 
 
 d — d d- 
 
 » • 
 
 < » 
 
 =i=?c: 
 
 =&^=^^ 
 
 &!=^ 
 
 fiz 
 
 3E33S5 
 
 fi 
 
 -l^-v^ ^j^ 
 
 fi^ 
 
 » * 
 
 J, Choeur. 
 
 
 Iv. Is. k^ 
 
 S S N 
 
 , 
 
 
 0/ s 
 
 1 ■ " 1 ' i " 
 
 1 i 1 
 
 iN . ■ V 
 
 J! ^ . V \ 
 
 
 J J m 
 
 J 
 
 ' _] 
 
 
 
 
 ' • 
 
 M ^^_*d 
 
 
 
 
 i^ESE^^^^TS 
 
 3^£ 
 
 S 
 
 -*=j- 
 
 fi: 
 
 ii 
 
 i 
 
 i-s 
 
 s^^ 
 
 
 :S=I' 
 
 ^ 
 
 di; 
 
142 
 
 Music of the Waters. 
 
 French Version. 
 Solo — 
 Le trente et un du mois d'aout, 
 Le trente et un du mois d'aoflt. 
 Nous vlmes arriver sur nous, 
 Nous vimes arriver sur nous, 
 Une fregate d'Angleterre 
 Qui rasait la mer et les flots ; 
 Pour s'en aller jusqu'^ Breslau. 
 
 Chorus — 
 Buvons un coup, buvons deux, 
 A la sante des amoureux, 
 A la sante du roi de France, 
 Merde pour celui d'Angleterre, 
 Qui nous a d^clar^ la guerre. 
 
 Solo — 
 Le Capitairie, en la voyant, 
 Le Capitaine, en la voyant, 
 Fit appeler son lieutenant : 
 Lieutenant, ^tes-vous assez brave, 
 Lieutenant, ^tes-vous asses fort 
 Pour aller accoster son bord ? 
 
 Le lieutenant, fierz et hardi, 
 Lui repondit, " Capitaine, oui. 
 Faites monter votre Equipage ; 
 Braves soudards et matelots, 
 Faites-Ies tous monter en haut." 
 
 Le mattre donne un coup de sifflet, 
 Le maitre donne un coup de sifflet. 
 "En haut!" Largue les perro- 
 
 quets ! 
 Largue les ris, et vent arri^re ; 
 Laisse arriver prfes de son bord, 
 Pour voir qui sera le plus fort ! 
 
 Vire lof pour lof ! En abattant ! 
 Nous I'accostames, par son avant ; 
 A coups de hache d'abordage, 
 A coups de piques et de mousquetons 
 Nous I'avons mis a la raison. 
 
 Que dira-t-on de lui tantot. 
 
 Que dira-t-on de lui tantot. 
 
 En Angleterre et a Breslau, 
 
 En Angleterre et a Breslau, 
 
 D'avoir laisse prendre sa frigate. 
 
 Par un corsaire de'dix canons. 
 
 Qui qu'en avail trent-six et de bons ? 
 
 English Version. 
 Solo — 
 The thirty-first of the month of August, 
 The thirty-first of themonth of August, 
 We saw bearing down upon us, 
 We saw bearing down upon us, 
 An English frigate. 
 She skimmed o'er the sea and the waves 
 To go as far as Breslau. 
 
 Chorus — 
 Let us drink once, twice. 
 To the health of lovers. 
 To the health of the King of France, 
 Merde for that of the English king. 
 Who has declared war to us. 
 
 Solo — 
 The Captain, on seeing her, 
 The Captain, on seeing her, 
 Called for his lieutenant ; 
 Lieutenant, are you brave enough , 
 Lieutenant, are you strong enough. 
 To go and board her ? 
 
 The lieutenant, proudly and valiantly. 
 
 Replied, "Yes, captain; 
 
 Muster your crew. 
 
 Brave veterans and sailors. 
 
 Make them all come up .on deck.'' 
 
 The boatswain blows his whistle. 
 The boatswain blows his whistle, 
 "On deck!" Let go the topsail 
 
 yards ! 
 Tack the sheets, let go the sails ; 
 Let her come up alongside of us. 
 To see who will prove the strongest. 
 
 Keep to her weather side! Heave -to ! 
 We accosted her fore and aft ; 
 We boarded her by common consent. 
 With pikes and cannon-ball 
 We brought her to reason. 
 
 What will be said of her by-and-by, 
 What will be said of her by-and-by. 
 In England and at Breslau, 
 In England and at Breslau, 
 To have let herself be taken 
 By a privateer (corsair) of six cannojis. 
 She that had thirty-six, and such good 
 • ones ? 
 
 This song of the Corsairs I obtained through the kindness 
 of Monsieur Paul S^billot, whose name is known through- 
 out the length and breadth of France, for his valuable 
 
Music of the Waters. 
 
 143 
 
 books on popular traditions, songs, superstitions,' legends, 
 and every sort of folk-lore. The song of the corsairs he 
 introduces in his volume of " Traditions et Superstitions de 
 la Haute Bretagne." He says, in speaking of the corsairs, 
 "That he has not been able to gather much of their 
 history. Their souvenir rests principally in the fishermen's 
 songs, and that the one quoted is a favourite with the 
 Bretons, and seems to have originated in the latter part of 
 the eighteenth century." I have made no attempt at 
 rhyme in my translation of the verses of this most truly 
 nautical but unpoetical song. The music of it was noted 
 by Monsieur Bourgault Du Coudray. In the same work 
 Monsieur S6billot speaks of some extraordinary character- 
 istics of the old Breton seamen. One paragraph aroused 
 my interest in no small degree ; he says : " I myself have 
 met with old sailors whose dream of delight was to be able, 
 before dying to eat the heart of an Englishman quite raw, 
 and one of them it is said, confessed on his death-bed to 
 his confessor, that he would not mind stretching a point 
 and eating it cooked" It is to be hoped that in the event 
 of this slightly unamiable desire being granted, the indi- 
 gestion so richly merited would reward the eifort. 
 
 The following song is known as " Les Marins de Groix," 
 •or " The Sailors of Groix " : — 
 
 |Fyii^^^ij^ 
 
 JS 
 
 $ 
 
 ifct 
 
 Nous e - tions trois ma - rins de Groix, Nous e - tions 
 ien. 
 
 -f— ^— ^ 
 
 It 
 
 trois ma - rins de 
 
 Groix, 
 
 Em -bar - ques 
 
 i 
 
 ■M^ 
 
 =s=^ 
 
 =^=^ 
 
 i=t 
 
 I*=3t 
 
 I 
 
 sur le Saini Fran ■ gois ; Mon tra - d^ - ri, tra, la, la, 
 
 ten. 
 
 li^J ^^^ 
 
 m 
 
 ^ J * 
 
 iS3z 
 
 la Mon tra - &k - ri, tra, la, lai 
 
144 
 
 Music OF THE Waters. 
 
 LES MARINS DE GROIX. 
 
 French Version. 
 Nous etions trois marins de Groix, 
 Embarques sur le Saint Fratifois ; 
 Mon traderi, tra la la la, 
 Mon traderi, tra la la laire. 
 
 Embarques sur le Sciint F}-an(ois, 
 Gagnant quarante-cinq francs par 
 
 mois ; 
 Mon traderi, he. 
 
 Gagnant quarante-cinq francs par 
 
 mois ; 
 Et du vin i tous les repas ; 
 Mon traderi, &c. 
 
 Et du vin a tous les repas ; 
 Un vent de terre vint a monter ; 
 Mon traderi, &c. 
 
 Un vent de terre vint a monter ; 
 II va nous falloir bouliner : 
 Mon traderi, &c. 
 
 THE SAILORS OF GROIX. 
 
 English Version. 
 We were three sailors of Groix, 
 On board of the Saint Franfois ; 
 Tra la la la, tra la la, 
 Mon traderi, tra la la laire. 
 
 Embarked on the Saint Franqois, 
 Gaining forty-five francs per month ; 
 Mon traderi, &c. 
 
 Gaining forty-five francs per month. 
 And \ime with every repast ; 
 Mon traderi, &c. 
 
 And wine with every repast ; 
 
 A land-breeze had just sprung up ; 
 
 Mon traderi, &c. 
 
 A land-breeze had just sprung up ; 
 We were obliged to sail to windward. 
 Mon traderi, &€. 
 
 Each line at the commencement is repeated, and the 
 chorus is always the same throughout. 
 
 French. 
 II va nous falloir bouliner, 
 Et p-tete (peut-etre) bourlinguer. 
 
 Et p-t^te bourlinguer, 
 L'capitaine donne un coup d'sifflet. 
 
 L'capitaine donne un coup d'sifflet ; 
 'Pare a serrer les perroquets. 
 
 'Pare a serrer les perroquets, 
 Le marchepied z-il a casse ! 
 
 Le marchepied z-il a casse, 
 Le matelot tomba z-k I'eau. 
 
 Le matelot tomba z-a I'eau, 
 Et I'on met la chaloupe a I'eau. 
 
 Et I'on met la chaloupe a I'eau, 
 On n'retrouva que son chapeau. 
 
 On n'retrouva que son chapeau. 
 Son garde-pipe et son couteau. 
 
 Son garde-pipe et son couteau. 
 Oh ! plaignez le pauvr' matelot. 
 
 English. 
 We were obliged to sail to windward. 
 And perhaps had just run the gaunt- 
 let. 
 
 And perhaps had just run the gaunt- 
 let, 
 The captain sounds his whistle. 
 
 The captain sounds his whistle, 
 " Prepare to lighten the top-sails.'' 
 
 " Prepare to lighten the top-sails." 
 He has just shaved the towing-path. 
 
 He has just shaved the towing-path, 
 .The sailor falls into the water. 
 
 The sailor falls into the water. 
 And the long-boat is lowered. 
 
 And the long-boat is lowered, 
 But they only find his hat. 
 
 But they only find his hat, 
 His pipe-guard, and his knife. 
 
 His pipe-guard and his knife. 
 Oh ! pity the poor sailor. 
 
 This song was heard sung on the shore of the " Manche' 
 
Music of the Waters. 
 
 145 
 
 by Monsieur Sebillot. He says it is often repeated, or 
 portions of it, in French novels. The sailors of Groix are 
 considered very good seamen. Groix is an island situated 
 not far from the coast of Morbihan. 
 
 The words that follow are those of a French rowing 
 song — " La Chanson des Mariniers," or " The Boatmen's 
 or Watermen's Song." It also hails from Morbihan : — 
 
 French Version. 
 
 Mon p^re a fait batir maison, 
 Tirons done tous sur nos avirons, 
 Tirent, all ! tirent, mariniers, tirent, 
 Tirons done tous sur nos avirons. 
 
 Par quatre-vingts jolis gar9ons, 
 Tirons done tous sur nos avirons, 
 Tirent, ah ! tirent, mariniers, tirent, 
 Tirons done tous sur nos avirons. 
 
 Le Roy a passe aux environs, 
 Tirons done tous sur nos avirons, 
 Tirent, ah ! tirent, mariniers, tirent, 
 Tirons done tous sur nos avirons. 
 
 A qui est-ce done eette maison ? 
 Tirons done tous sur nos avirons, 
 Tirent, ah ! tirent, mariniers, tirent, 
 Tirons done tous sur nos avirons. 
 
 C'est i ma fille Jeanneton, 
 Tirons done tous sur nos avirons, 
 Tirent, ah ! tirent, mariniers, tirent, 
 Tirons done tous sur nos avirons. 
 
 English Version. 
 
 My father has had a house built, 
 Pull, then, with all our strength, 
 Pull, ah I pull, oarsmen, pull, 
 Pull all together with our oars. 
 
 By eighty handsome boys. 
 Pull, then, all together with our oars. 
 Pull, ah ! pull, oarsmen, pull, 
 Pull, then, with all our oars. 
 
 The King has passed in the vicinity, 
 Pull, then, all together with our oars, 
 Pull, ah ! pull, oarsmen, pull, 
 Pull, then, all together with our oars . 
 
 To whom, then, belongs this house ? 
 Pull, then, with all our oars, 
 Pull, ah ! pull, oarsmen, pull, 
 Pull, then, all together with our oars. 
 
 It belongs to my daughter Jeanneton, 
 Pull, then, all together with our oars, 
 Pull, ah I pull, oarsmen, pull, 
 Pull, then, with all our oars. 
 
 The French" chanty so popularly known as " Ali ! alo ! " 
 originates with the sailors and dock-labourers of the Port 
 of Dunkerque. So much does its rhythm appeal to them 
 that it nearly always serves as the tune for all their " com- 
 plaints." Any day in Dunkerque you may hear this 
 " Ali ! alo ! " trolled out by dozens of them as you pass 
 along the quay. Now it comes from the lips of some 
 smart matelot, and the words are as follows : — 
 
 Solo. 
 
 CnoRtis, avec energie. 
 
 ^—w— w=m- 
 
 :^i=^^=^^=^ 
 
 :£t=3: 
 
 =t: 
 
 A - li, a - lo, pour Mas - ehe - ro 1 
 
 A - li, a 
 
 li, 
 L 
 
146 
 
 Music of the Waters. 
 
 P 
 
 Solo.. 
 
 
 ^^£ 
 
 lo., 
 
 i 
 
 All, 
 
 1. II mang' la viande et nous donn' les os. 
 
 2. II boit le vin et nous donn' de I'eau 
 
 P P P 
 
 1 — rs~ H 
 
 =£^ 
 
 V-V-l/- 
 
 J ^lj^—L 
 
 A - li, a - li, a - li, 
 
 lo, 
 
 A - li, a li, a - lo., 
 
 Solo.—'' All, alo, 
 Chorus. — All, ali, alo. 
 Solo. — He eats the meat 
 
 And gives us the bones. 
 Chorus. — Ali, ali, ali, alo, 
 Ali, ali, alo. 
 Solo. — He drinks the wine 
 
 And gives us the water." 
 
 A genuine complaint this, and, if true, one with a good 
 reason. I suppose Ali, alo, may be rendered " Hallo, halli." 
 Sometimes the complaint is of a much less refined nature, 
 and proceeds from one of the hard-worked labourers, who 
 intersperses his song with expressions the reverse of parlia- 
 mentary. 
 
 France is a country where the custom of each port 
 to have its own particular " chanty " is strictly adhered to. 
 There is another song used at Fecamp, which closely re- 
 sembles the Dunkerque one just quoted. 
 
 I cannot find any more beautiful illustration of the 
 Breton mariner's piety and grand faith than in the follow- 
 ing :— 
 
 BRETON SAILORS' LITANY. 
 
 i 
 
 i 
 
 ^ 
 
 ^^^^^^ 
 
 :^=it 
 
 ^ 
 
 -iS- 
 
 
Music of the Waters. 
 
 147" 
 
 i 
 
 -4 ! M ^ -JS^-J ^ - 
 
 i^ 
 
 3=it 
 
 IMZEZaiar 
 
 ±zEzz3z 
 
 =tz=±=t3 
 
 i 
 
 =1= 
 
 ^J^ 
 
 i*=i 
 
 =£i=5£: 
 
 The music is of the truest Breton style, and is known by 
 the name of " Er re goli." 
 
 French Version. 
 
 Dieu puissant, notre p^re, 
 Qui commandez aux flots, 
 ficoutez la priere 
 Des pauvres matelots. 
 lis vous ouvrent leur ime, 
 lis vous ofifrent leurs voeux, 
 En priant Notre-Dame 
 De prier avec eux. 
 
 Pilote des etoiles 
 Qui naviguent aux cieux, 
 Seigneur, guidez nos voiles, 
 Gardez-nous en tous lieux. 
 Quand nous sommes au large 
 Ou nous vous invoquons, 
 Daignez prendre la charge 
 De ceux que nous aimons. 
 Quaud nous sommes au large 
 Oil nous vous invoquons, 
 Daignez prendre la charge 
 De ceux que nous aimons. 
 
 Veillez sur nos families, 
 Prolegez nos parents, 
 Nos femraes et nos fiUes, 
 Et nos jeunes enfants. 
 Nous les laissons a terre. 
 En mer nous vous prions 
 Pour eux d'etre un bon pere ; 
 Nous vous les confions. 
 
 A genoux dans I'eglise, 
 lis demandent pour nous 
 Que le temps et la brise 
 Comme du miel soient doux. 
 Nous, a bord du navire. 
 En regardant le ciel, 
 Nous oserons vous dire : 
 Envoyez-leur le miel ! 
 
 Jesus, sauveur des hommes, 
 Soyez notre amiral ! 
 Vous voyez qui nous sommes, 
 Detournez-nous du mal. 
 
 English Version. 
 
 God all Powerful, our Father, 
 Thou who commandest the sea, 
 Listen to the prayer 
 Of the poor mariners. 
 They open their hearts to Thee, 
 They offer to Thee their vows, 
 In praying the Holy Virgin 
 To join her prayers with ours. 
 
 Thou pilot of the stars 
 Who steers in the heavens, 
 Saviour, guide our sails, 
 Guide us wherever we may go. 
 When we are on the deep. 
 Where we invoke Thy name, 
 Take under Thy heavenly care 
 All those whom we love. 
 When we are on the deep. 
 Where we invoke Thy name, 
 Take under Thy heavenly care 
 All those whom we love. 
 
 Watch, over our families, 
 Protect our parents. 
 Our wives, our daughters. 
 And our little children. 
 We leave them on shore. 
 At sea we pray to Thee 
 To be a father to them, 
 Whom to Thee we confide. 
 
 On their knees in church 
 They ask for us. 
 That the weather and the wind 
 Be soft and sweet as honey. 
 We on board our ship. 
 In looking up to heaven. 
 We dare to say to Thee : 
 Send them the honey. 
 
 Jesus, Saviour of men, 
 Be our admiral ! 
 Thou knowest who we are. 
 Keep us from all evil. 
 
 L 2 
 
148 
 
 Music of the Waters. 
 
 Que votre main puissante, 
 Au gre de vos desseins, 
 Vers le bien oriente, 
 Les coeurs de vos marins. 
 
 Dieu des misdricordes 
 Abaissez vos regards 
 Sur DOS mats et nos cordes, 
 Quand, parmi les brouillards, 
 A la cape, en derive, 
 Affales sous le vent, 
 Nous sommes vers la rive 
 Drosses par le courant. 
 
 Pour notre sauvetage, 
 Patron des sauveteurs, 
 Donnez-nous bon courage 
 En nous rendant meilleurs. 
 Preservez-nous du vice, 
 Et qu'apr^s notre mort 
 Notre barque atterrisse 
 Pres de vous k bon port. 
 
 Let Thy powerful hand 
 Guided by Thy desire. 
 At the golden harbour land 
 The hearts of Thy sailors. 
 
 God of all mercy, 
 Bend we pray Thy looks 
 On our ropes and sails. 
 When we are in danger. 
 At the cape, we drift 
 Weighed dowQ with the wind, 
 And make towards the shore 
 Driven by the tide. 
 
 For our salvation, 
 Patron of Saviours, 
 Give us help and courage 
 By making us better. 
 Keep us from all vice. 
 And after our death 
 Let our barque come safely 
 To the haven of Thy love. 
 
 It is impossible to translate the full beauty of this 
 exquisite poem. It was given to me by an English lady 
 who was for many years resident in Brittany, and whom I 
 met accidentally whilst travelling one day. We had some 
 conversation, in the course of which she asked me if I knew 
 Brittany ? I told her I did not. She then spoke of the 
 fishermen and seamen generally of that part, and told me 
 some stories of the extraordinary superstition that exists 
 among them. " They have some nice customs, too," she 
 added, " for instance, a beautiful litany which they chant 
 before going on a voyage ; I heard it several times and got 
 one of the old fishermen to repeat it to me while I wrote it 
 down, and I also procured the music. I have been thinking 
 lately of sending it to a young lady in the North of England, 
 whom I understand is collecting the sailors' songs of all 
 nations ; I am sure she will like to have it for her book." 
 
 I told her how glad I should be to have it, and after 
 a little more talking I reached my destination. A few 
 days later the Litany and a very kind letter were sent me 
 by my travelling-companion, and a request that I would 
 translate the verses as literally as possible, so that the 
 fervour of the Breton religion might not be destroyed for 
 the sake of a rhymed version. 
 
Music of the Watebs. 
 
 149 
 
 The songs which follow are well known, being always 
 sung to the same tune, whereas many of the Provencal 
 fishermen's favourites are sung to so many different airs 
 that they end by having no special identity. Their verses 
 are all of a romantic type, and very touching. Some of 
 those which follow are peculiar to the sardine fishers, but I 
 am not quite certain which they are. Marseilles ought to 
 have some local chanties, but, if it has, the sailors are 
 loth to make them public property. I believe it was of 
 Marseilles that the verses in which the following lines 
 occur were written : — 
 
 " Where the mud lies black and shiny, 
 Where the waters sweep along. 
 Where the wharfmen stout and grimy 
 Heave and haul with many a song." 
 
 At the moment I am just in receipt of a song from the 
 South of France, said to be a great favourite with the 
 sailors in that part of the country. It is known as " Le 
 Petit Navire," and, as it was sent to me with the following 
 acco mpaniment, I have just given it as sent : — 
 
 LE PETIT NAVIRE. 
 
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 French Version. 
 
 II etait un petit navire, 
 II etait un petit navire. 
 Qui n'avait jamais navigue 
 Qui n'avait jamais navigue. 
 
 Au bout de cinq k six semaines 
 Les vivres vinrent a manquer. 
 
 On fit tirer la courte paille, 
 Pour savoir qui serait mange. 
 
 Le sort tomba sur le plus jeune ; 
 En sauce blanche il fut mange. 
 
 English Version. 
 
 There was once a little ship, 
 There was once a little ship, 
 Which never, never sailed. 
 Which never, never sailed . 
 
 At the end of five or six weeks 
 Provisions began to fail the crew. 
 
 They drew lots with pieces of straw, 
 To know which of them should be 
 eaten. 
 
 The lot fell on the youngest ; 
 
 In white sauce he was to be eaten. 
 
Music of the Waters. 
 
 151 
 
 II monta sur le mit de hune 
 Et vit la mer de tous c6tes. 
 
 " O Sainte Vierge, O ma patronne, 
 Pr^servez-moi de ce danger." 
 
 He climbed the topmast. 
 And saw the sea on every side. 
 
 " O holy Virgin, guardian saint. 
 Preserve me from this danger." 
 
 The prayer must have been granted, for the song ends 
 here. As will be seen by the first verse set to the music, 
 each line throughout is repeated. 
 
 SONGS OF PROVENCE. 
 
 The following song is a very old one, and has for years 
 and years been popular amongst the sailors of fair Pro- 
 vence : — 
 
 CHANSON DE MATELOTS. 
 
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 Allegretta. 
 
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 French Version. 
 
 II etait une barque a trente matelots, 
 II etait une barque a trente matelots, 
 A trente matelots, 
 Sur le bord de I'ile, 
 Qui chargeaient des concauts sur le 
 bord de I'eau. 
 
 Qu'avez-vous done la belle ? 
 
 Qui vous fait tant pleurer ? 
 
 Qu'avez-vous done la belle ? 
 
 Qui vous fait tant pleurer ? 
 
 Qui vous fait tant pleurer sur le bord 
 
 de l'!le ? 
 Qui vous fait tant pler.rer sur le bord 
 
 de I'eau .' 
 
 English Version. 
 
 There was a boat manned by thirty 
 
 men, 
 There was a boat manned by thirty 
 
 men. 
 
 By thirty men. 
 On the shore of the island, 
 Which sent oft' ships to the sea. 
 
 What ails you then, my beauty ? 
 
 What makes your tears flow ? 
 
 What ails you then, my beauty ? 
 
 What makes your tears flow ? 
 
 What makes your tears flow on the 
 island shore ? 
 
 What makes you weep on the sea- 
 shore ? 
 
152 
 
 Music of the Waters. 
 
 Pleurez-vous votre pere ? 
 
 Ou I'un de vos parens ? 
 
 Pleurez-vous votre pere ? 
 
 Ou Tun de vos parens ? 
 
 Ou I'un de vos parens, sur le bord de 
 
 I'tle ? 
 Ou I'un de vos parens, sur le bord de 
 
 I'eau ? 
 
 Je pleure un brig goelette, 
 
 Parti la voile au vent ; 
 
 Je pleure un brig goelette. 
 
 Parti la voile au vent ; 
 
 Parti la voile au vent, sur le bord de 
 
 I'lle, 
 Parti la voile au vent, sur le bord de 
 
 I'eau. 
 
 Est parti vent arrifere, 
 
 Les perroquets au vent. 
 
 Est parti vent arriere, 
 
 Les perroquets au vent, 
 
 Les perroquets au vent, sur le bord de 
 
 I'ile, 
 Les perroquets au vent, sur le bord de 
 
 I'eau. 
 
 Est parti pour la traite, 
 
 Avec mon bel aihant, 
 
 Est parti pour la traite, 
 
 Avec mon bel amant. 
 
 Avec mon bel amant, sur le bord de 
 
 rile, 
 Avec mon bel amant, sur le bord de 
 
 I'eau. 
 
 This song, which was translated for me by Monsieur G. 
 Borell, professor of music at Aix-en-Provence, from the 
 native Provence into French, is somewhat difficult to render 
 in English ; one or two words are beyond translation. 
 
 Several more verses of the next fisherman's song were 
 sent to me, but as no French translation accompanied 
 them, I think it scarcely worth while inserting them, as I 
 doubt if the Proven9al language is known to many English 
 people ; the music, however, is so pretty that I have deemed 
 it worth a place. 
 
 LOU NOUVS; DI PESCAIRE. 
 
 Delille. Musique de G. Borft. 
 
 Do you weep for your father ? 
 
 Or one of your kin ? 
 
 Do you weep for your father ? 
 
 Or one of your kin ? 
 
 Or one of your kin on the island shore ? 
 
 Or one of your kin on the sea-shore ? 
 
 I am weeping for a schooner, 
 Gone with sails flying in the wind, 
 I am weeping for a schooner. 
 Gone with sails flying in the wind. 
 Gone with sails flying in the wind on 
 
 the island shore, 
 Gone with sails flying in the wind from 
 
 the sea-shore. 
 
 Is gone sailing before the wind. 
 
 The topsails to windward. 
 
 Is gone sailing before the wind. 
 
 The topsails to windward, 
 
 The topsails to windward on the island 
 shore, 
 
 The topsails to windward on the sea- 
 shore. 
 
 Is gone for the transport, 
 With my handsome sweetheart. 
 Is gone for the transport. 
 With my handsome sweetheart. 
 With my handsome sweetheart on the 
 
 island shore, 
 With my handsome sweetheart on the 
 
 sea-shore. 
 
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 Sus le mar Clu - ro de In - dfe - io, Dins nn cen 
 
Music of the Waters. 
 
 153 
 
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 au tu - rou so, Dins a - que lo 
 PP. --V ^ rail, ppp 
 
 nine claro e 
 
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 blou - so Per - gra • ma 
 
 k Dieu man- don si - cant. 
 
 There is no regular music to any of these songs ; they 
 are all favourites with the seamen of Provence, and may be 
 heard in a variety of settings. 
 
 LA BARQUE DU PECHEUR. 
 
 French Version. 
 
 Seul dans sa nacelle 
 
 Au declin du jour, 
 
 Le p4cheur fid^e 
 
 Chante son amour. 
 
 Mais les vents barbares 
 
 Rompent les amarres, 
 
 Et I'onde en fureur 
 
 Roule la barque du pScbeur ; 
 
 Et I'onde en fureur 
 
 Roule la barque du pecheur. 
 
 En voyant ses rames 
 Sur des boros cheris, 
 Aux fracas des lames 
 11 mMe ses cris, 
 Pleurant sa chaumiere, 
 11 songe a sa mire ; 
 Mais I'onde en fureur 
 Roule la barque du pecheur. 
 
 Sur la mer profonde 
 Trois nuits et trois jours, 
 La mer vagabonde 
 Roule sans secours. 
 
 THE FISHERMAN'S BARK. 
 
 English Version. 
 
 Alone in his skiff. 
 
 At the close of day. 
 
 The faithful fisherman 
 
 Sings of his love. 
 
 But the barbarous winds 
 
 Cut his moorings, 
 
 And the fury of the wave 
 
 Rocks the fisherman's bark ; 
 
 And the fiiry of the wave 
 
 Rocks the fisherman's bark. 
 
 In seeing his oars 
 On the crested wave, 
 With the roar of the billows 
 He blends his cries. 
 Bewailing his hut. 
 He thinks of his mother ; 
 But the fury of the wave 
 Rocks the fisherman's bark. 
 
 On the deep sea 
 
 Three days and three nights. 
 
 On the roving sea 
 
 He rocks without help. 
 
154 
 
 Music of the Waters. 
 
 C'est en vain qu'il prie, 
 La Vierge Marie ; 
 La vague en fureur 
 Roule la barque du pecheur. 
 
 Aux feux des etoiles 
 
 U'un navire, un soir, 
 
 II crut voir les voiles, 
 
 II sourit d'espoir ; 
 
 Mais loin de I'espace, 
 
 Oil levaisseau passe, 
 
 La vague en fureur 
 
 Roule la barque du pecheur. 
 
 In vain he prays 
 To the Virgin Mary ; 
 The wave in fury 
 Rocks the fisherman's bark. 
 
 By the light of the stars 
 One night, of a vessel 
 He thinks he sees the sails. 
 He smiles with the hope ; 
 But far away where 
 The vessel passes, 
 The fury of the wave 
 Rocks the fisherman's bark. 
 
 The two last lines of each verse are repeated. 
 
 SEA SONG. 
 English Version. 
 Come, come, sailors, all come round. 
 Approach, come all and listen. 
 
 CHANSON MARITIME. 
 French Version. 
 Venez, venez, matelots k la ronde, 
 Approehez-vous ici, venez tous 
 
 ecouter. 
 Oh ! vous qui avez deja fait le tour 
 
 du monde, 
 II faudra ici venir vous delasser, 
 
 Cette chansonnette est pour nos 
 
 marins. 
 Que chacun repete ce joyeux refrain, 
 
 Tra la, la, la, la, &c. 
 
 Tous nos braves marins que I'univers 
 
 rfev^re, 
 Qui la nuit et le jour vont pour fendre 
 
 les flots, 
 Pour servir leur patrie ils quittent 
 
 pere et m^re, 
 Rien d'egal au courage des bons 
 
 matelots ! 
 Gar90ns et fillettes, vivent nos marins ! 
 Que chacun repute ce joyeux refrain, 
 
 Tra la, la, la, la, &c. 
 
 Vous vaillants serviteurs de Triton, 
 Et vous vaillants heros qui montiez 
 
 le vengeur, 
 Ceux de la Belle Poule, honorable 
 
 fregate, 
 Dans les plus grands dangers mon- 
 
 triez votre valeur. 
 En fin tout le monde dira ce refrain, 
 Tra la, la, la, la, &c. 
 
 LE RETOUR DU MOUSSE. 
 French Version. 
 Nous etions entre ciel et terre, 
 Et dans la nuit, et dans la nuit, 
 
 Oh ! you who have already made the 
 tour of the world. 
 
 You must come here to amuse your- 
 selves. 
 
 This little song is for our sailors. 
 
 Let each one repeat this joyous 
 
 refrain, 
 Tra la, la, la, la, &c. 
 
 All our brave sailors that the universe 
 
 reveres, 
 Who night and day go to cleave the 
 
 waves. 
 To serve their country leave father 
 
 and mother, 
 Nothing equals the courage of the 
 
 good sailors ! 
 Boys and girls, long live the sailors ! 
 Let each one repeat the joyous 
 
 refrairi, 
 Tra la, la, la, la, c&c. 
 
 You valiant servitors of Triton, 
 
 And you valiant heroes who ven- 
 geance take, 
 
 Those of the Belle Poule, honourable 
 frigate, 
 
 In the greatest dangers showing your 
 valour. 
 
 In fact every one will repeat, 
 
 Tra la, la, la, la, &c. 
 
 THE CABIN BOY'S RETURN. 
 
 English Version. 
 We were between heaven and earth, 
 And in the night, and in the night, 
 
Music of the Waters. 
 
 155 
 
 Notre vaisseau sur I'onde amfere 
 Voguait sans bniit, voguait sans bruit, 
 Quand une voix plaintive et douce 
 Tout bas chantait, tout bas chantait, 
 C'etait la voix d'un jeune mousse, 
 Qui rep^tait, qui repetait, 
 Adieu, beau del de ma Bretagne 
 Et ma promise et mes amours, 
 Adieu, ma m^re et ma compagne, 
 Je vous regretterai toujours. 
 
 Nous etions entre ciel et terre, 
 Et loin du port, et loin du port, 
 Sa plainte a la brise legire 
 Disait encor, disait encor, 
 Qui me rendra de mon rivage 
 Les bords cheris, les bords cheris, 
 Et les sentiers de mon village 
 Toujours fleuris, toujours fleuris, 
 Et les sentiers de mon village, 
 Toujours fleuris, toujours fleuris? 
 
 Oil done est mon humble masure 
 
 De Landernau, de Landernau ? 
 
 Car le clocher c'est la mature 
 
 De mon vaisseau, de mon vaisseau. 
 
 Je ne vois plus que les mouettes 
 
 Qui sur les mers, qui sur les mers, 
 
 Ont remplace les paquerettes 
 
 De mes pres verts, de mes pres verts. 
 
 Nous etions entre ciel et terre, 
 Et grace au vent, et grSce au vent, 
 Le brik enfin touchait la terre, 
 Le jour suivant, le jour suivant, 
 Apres sa longue traversee, 
 II tend les bras, il tend les bras, 
 A sa m^re, a sa fiancee ; 
 II dit tout bas, il dit tout bas, 
 Salut, beau ciel de ma Bretagne 
 Salut, mon pays, mes amours ! 
 Salut, ma mfere et ma compagne, 
 Je reviens a vous pour toujours. 
 
 Our ship on the salt wave 
 Floated silently, floated silently. 
 When a voice plaintive and svpeet. 
 Quite softly sang, quite sofl;ly sang ; 
 It was the voice of a little cabin boy, 
 Who repeated, vfho repeated. 
 Adieu, lovely sky of my Biittany 
 And my beloved and my loves, 
 Adieu, my mother and my friend, 
 I must always regret you. 
 
 We were between heaven and earth, 
 
 And far from port, and far from port. 
 
 His wail on the light breeze 
 
 Said again, said again. 
 
 Who will give me back my shore, 
 
 The beloved banks, the beloved 
 
 banks. 
 And the paths of my village. 
 Always in flower, always in flower ? 
 
 Where is now my humble cottage 
 01 Landernau, of Landernau ? 
 Now my home is under the mast 
 Of my vessel, of my vessel. 
 I only now see the sea-gulls 
 Which on the sea, which on the sea, 
 Have replaced the daisies 
 Of my green meadows, of my green 
 meadows. 
 
 We were between heaven and earth. 
 And thanks to the wind, and thanks 
 
 to the wind. 
 The keel at last touched the earth. 
 The following day, the following 
 
 day. 
 After his long voyage. 
 He holds out his arms, he holds out 
 
 his arms, 
 To his mother, to his betrothed ; 
 He says quite low, he says quite 
 
 low, 
 I greet the bright sky of my dear 
 
 Brittany, 
 Welcome, my country, my best 
 
 beloved ! 
 I greet my mother and my companion, 
 1 am come back to you for ever. 
 
 LE PECHEUR. 
 
 French Version. 
 Plus legfere que I'hirondelle, 
 Comme ma gentille nacelle 
 Glisse avec grSce sur les eaux. 
 Elle bondit fiere et coquette, 
 
 THE FISHERMAN. 
 English Version. 
 Lighter than the swallow. 
 Lightly my pretty skiff 
 Skims gracefully over the waters. 
 She bounds along, proud and co- 
 quette, 
 
356 
 
 Music of the Waters. 
 
 Semblant defter la tempete 
 Et le choc terrible des flots. 
 Tra la, la, la, la. 
 
 Seul au milieu de I'onde 
 Quand je vogue, ma foi, 
 Le plus grand roi du monde 
 Est moins heureux que moi. 
 Tra la, la, la, la, 
 Tra la, ]a, la, la, 
 Tra la, la, la, la. 
 
 Je ne possede pour rlchesse 
 Que Ninna, ma belle maitresse, 
 Mes filets, ma nacelle, et Dieu. 
 Et qu'a-t-il besoin de fortune 
 Celui que le monde importune, 
 Et qui se contente de peu ? 
 Tra la, la, la, la. 
 
 Qu'apres une gloire ephemere 
 Les ambitieux de la terre 
 Insenses passent tons les jours. 
 Pietro le p6cheur est plus sage. 
 En depit du vent, de I'orage, 
 Joyeux il repute toujours — 
 Tra la, la, la, la, 
 Tra la, la, la, la. 
 
 Seeming to defy the tempest 
 
 And the terrible dashing of the waves. 
 
 Tra la, la, la, la. 
 
 Alone in the midst of the vpaves 
 When I am floating, my faith, 
 The greatest king in the world 
 Is less to be envied than me. 
 Tra la, la, la, la, 
 Tra la, la, la, la, 
 Tra la, la, la, la. 
 
 I only own as riches 
 
 Nina, my lovely queen. 
 
 My nets, my skiff, and my God. 
 
 What need has he of fortune 
 
 Whom the world importunes, 
 
 And who is content with little ? 
 
 Tra la, la, la, la. 
 
 The ambitious people of the earth 
 Stupidly pass all their days 
 In seeking an ephemeral glory. 
 Peter the fisherman is wiser. 
 In spite of the wind and the storm, 
 Joyful he ever repeats — 
 Tra la, la, la, la, 
 Tra la, la, la, la. 
 
 LA CHANSON DU MOUSSE. 
 
 French Version. 
 
 La mer est ma patrie, 
 Ce bord est mon sejour ; 
 J'y dois passer ma vie, 
 J'y dois mourir un jour. 
 Va, petit mousse, 
 Dans un climat Jointain, 
 La mer est douce 
 Pour le pauvre orphelin. 
 
 La vie est bien amere 
 A I'enfant delaisse, 
 Que I'amour d'une mere 
 N'a jamais caresse- 
 Va, petit mousse, 
 Dans un climat lointain, 
 La mer est douce 
 Pour le pauvre orphelin. 
 
 Je vais loin de toi, ma belle, 
 Conserve mon amour ; 
 Je reviendrai, je I'espere, 
 Pour nous unir un jour. 
 Va, petit mousse, 
 Dans un climat lointain. 
 La mer est douce 
 Pour le pauvre orphelin. 
 
 THE CABIN BOY'S SONG. 
 
 English Version. 
 
 The sea is my kingdom. 
 
 This shore is my holiday home ; 
 
 I have to live my life here, 
 
 And here I must one day die. 
 
 Go, little cabin boy. 
 
 To a distant clime, 
 
 The sea is calm 
 
 For a poor orphan boy. 
 
 Life is very sad 
 To the lonely child. 
 Whom a mother's love 
 Has never caressed. 
 Go, little cabin boy, 
 To a distant clime, 
 The sea is calm 
 For a poor orphan boy. 
 
 I am going far from thee, my sweet. 
 
 Keep thou my love ; 
 
 I will return, I hope. 
 
 And then one day we'll wed. 
 
 Go, little cabin boy. 
 
 To a distant clime, 
 
 The sea is calm 
 
 For a poor orphan boy. 
 
Music of the Waters. 
 
 167 
 
 Many will be familiar with the two French sea-songs 
 which follow, " Pauvre Pierre " and the lovely " Une Fleur 
 pour Reponse." They are great favourites amongst the 
 sailors. I well remember hearing a splendid old Breton 
 mariner singing the latter; there was a whole world of 
 pathos in his way of rendering it, and of unconscious 
 rugged grandeur in the picture he himself presented. 
 
 I 
 
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 UNE FLEUR POUR REPONSE. 
 
 Tranquillavienie con amore. -- 
 
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 *ife 
 
 =fc=i5= 
 
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 n 
 
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 j, Sf mf Doux et trh expresse. 
 
 ^1 
 
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 Tris doux. 
 
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 i 
 
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 Con anima. 
 
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 it.i 
 
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 ^ 
 
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 sotto voce. 
 
 French Version. 
 
 " Notre vaisseau va quitter cette 
 
 plage, 
 Oh ! bien longtemps je serai sans 
 
 vous voir. 
 En m'eloignant, emporterai-je un gage, 
 Sinon d'amour, au moins d'un peu 
 
 d'espoir ? 
 
 English Version. 
 
 " Our ship is about to sail, 
 
 And for long 1 shall not see you. 
 
 In going so far away, may I have a 
 
 keepsake, 
 If not for loye, at least for hope ? 
 
158 
 
 Music of the Waters. 
 
 Je pars ; adieu, Marie ! Helas, je pars 
 
 (iemain ! 
 Si vous me regrettez, oh ! je vous en 
 
 supplie, 
 Donnez-moi cette fleur, cherie, que 
 
 toucha votre main ! 
 
 " Si cette fleur, par vous m'etait 
 
 donnee, 
 Mgme, en partant, j'aurais quelque 
 
 bonheur ! 
 Et, loin de vous, cette rose fanee 
 Serait toujours, toujours la, sur mon 
 
 coeur ! " 
 
 La pauvre enfant, qui tremblait a sa 
 
 vue, 
 Triste et reveuse, implorait Dieu tout 
 
 bas ! 
 Et lui, reprit, d'une voix plus emue, 
 "Vous vous taisez ! oh ! vous ne 
 
 m'aimez pas ; 
 Je pars, Vkme fletrie ! Adieu ! je pars 
 
 demain. " 
 II allait s'eloigner, quand cette fleur 
 
 cherie, 
 Seule r^ponse de Marie, s'^chappa de 
 
 sa main. 
 
 I am going ; adieu, Marie ! Alas, I 
 
 leave to-morrow ! 
 If you will regret me, oh ! I beg you, 
 Give me that flower, darling, your 
 
 hand has touched ! 
 
 " If that flower were given me by you. 
 Even in leaving I should feel some 
 
 joy! 
 And when far away from you, that 
 
 faded rose 
 Will be ever, ever there, on my 
 
 heart!" 
 
 The poor child trembled 'neath his 
 
 gaze, 
 Sad and dreaming she implored God's 
 
 help! 
 And he in a voice both tender and 
 
 reproachful, 
 Said, " You are silent, ah ! you do not 
 
 love me ; 
 I am going, my heart is wounded ! 
 
 Adieu, I go to-morrow." 
 He was turning away, when that 
 
 cherished flower, 
 Sole answer from Marie, was dropped 
 
 from her hand. 
 
 i 
 
 PAUVRE PIERRE. 
 
 =sq 
 
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 -^-^- 
 
 m 
 
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Music of the Waters. 
 
 159 
 
 a tempo. 
 
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 F P 
 
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 rail. 
 
 r p^ 
 
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 French Version. 
 
 La voile s'enfle, il va partir, le brick 
 
 a I'allure elegante ; 
 Sur le pont le matelot chante, in- 
 
 soucieux de I'avenir, 
 Mais I'oeil fixe sur I'onde amire, un 
 
 seul la regarde en pleurant, 
 Car sur la grive il voit sa mfere, qui 
 
 pleure et benit son enfant. 
 
 Un jour, helas ! le pain manquait i sa 
 
 famille desol^e, 
 Et sous la cabane isolee, deja I'horrible 
 
 faim entrait, 
 Mais vers le port Pierre s'elance, se 
 
 vend et revient en pleurant, 
 "Mere," dit-il, "plus de souffrance, 
 
 embrasse et benis ton enfant ! " 
 
 Parti pour de lointains climats, errant 
 
 sur la plaine-ecumeuse, 
 Apr^s une course ourageuse, le bon 
 
 Pierre ne revint pas ; 
 Et sur la greve solitaire que le flot 
 
 baigne en s'y brisant, 
 Chaque jour voit la pauvre m^re qui 
 
 prie et pleure son enfant. 
 
 English Version. 
 
 The sails are set of the gallant brig, 
 On deak the sailor sings, regardless 
 
 of the future ; 
 But with his gaze fixed on the bitter 
 
 wave one is silently crying, 
 Foron the shore he sees his mother 
 
 weeping and blessing her child. 
 
 One day, alas ! bread failed the deso- 
 late family, 
 
 And into the isolated cabin, already 
 hunger in its horror has entered, 
 
 But Peter runs towards the port, sells 
 himself, and comes back weeping, 
 
 " Mother," says he, " no more pain, 
 embrace and bless thy child ! " 
 
 Departed to far distant climes, wan- 
 dering over the foaming plain. 
 
 After a stormy voyage, the good 
 Peter never comes back ; 
 
 And on the lonely shore washed by 
 the incoming tide. 
 
 Each day sees the poor mother pray- 
 ing and weeping for her child. 
 
 The story of " Pauvre Pierre " is an undoubted forecastle 
 favourite with Jack in France. 
 
 This is another very favourite song in Provence with the 
 fishermen : — 
 
 i 
 i 
 
 LI MARTEGAN. 
 
 :ft 
 
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160 
 
 Music of the Waters. 
 
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 In a course of more than a hundred and eighty leagues, 
 the " corn-coloured river," as an old chronicle calls the 
 Loire, flows through meadows, vineyards, woods, and great 
 cities, without once finding a barren or a desert spot. 
 From its source to the sea, on either side, the eye sees 
 only flocks feeding, chimneys smoking, and ploughmen 
 who seem singing at their ploughs. The stream glides 
 noiselessly over its sandy bed among islets nodding their 
 plumes of osier, willow, and poplar. In all the landscape 
 there is a delightful though rather unvarying softness, a 
 subdued quiet, which gives to everything around you that 
 attractiveness which is somehow always found with affluence 
 and ease. It is almost a piece of Arcadia, with more water 
 and less scud. Upon the river dwell a race who partake of 
 its character. They have not the jeering turbulence of the 
 Seine boatmen, nor the sullen fierceness of those of the 
 Rh6ne, nor the heaviness of the men who navigate the 
 Rhine. The bargeman of the Loire is of a peaceful dis- 
 position ; vigorous without coarseness, and merry without 
 excess, he lets his life flow on through things as he finds 
 them, like the water which carries him between its fertile 
 banks. With a few exceptions, he has no restraints of locks, 
 no hard labour at the oar, no tedious towing woirk to 
 undergo. The wind, which finds free course through the 
 immense basin of the river, enables him to sail both up and 
 down. Standing at the enormous helm, the boatmaster 
 attends only to the course of the barge, while his mates 
 help it along by " spurring " the bottom of the water with 
 iron-shod poles. At intervals, a few words are exchanged 
 
Music of the Waters. 161 
 
 in the loud tone of people accustomed to talk in the 
 open air ; the youngster hums the famous song of " The 
 Bargemen of the Loire ; ^' the barge that meets them gets a 
 merry cheer as it passes, or gives them some useful bit of 
 news ; and in this way they all reach the evening's 
 anchorage, where the crews who have had equal luck of 
 wind and tide during the day, meet together at the public- 
 house patronized by " the River Service." 
 
 The following verses are often to be heard sung by these 
 bargemen, rarely twice to the same tune, sometimes an opera 
 air is used, anon a hymn tune, anything that adapts itself 
 to the singer's feelings and the rhythm of the words. 
 
 I do not know whether it is generally known that the 
 
 Vaudeville is really an early form of French water-song. 
 It originated with the workmen of a fuller of Vau de 
 
 Vire, or the valley by the River Vire ; these men used to 
 sing while spreading their cloths on the banks of the 
 river, usually the subject was some incident or adventure of 
 the day, and thus from Vau de Vire we get the Vaudeville. 
 It seems strange that so rustic a custom should have 
 originated the gayest songs of France. The Sanjaneus are 
 credited with the authorship of this comical little song : — 
 
 " Fisher, fishing in the sea ; 
 Fish my mistress up for me. 
 Fish her up before she drowns 
 Thou shalt have four hundred crowns. 
 Fish her for me dead and cold 
 Thou shalt have my all in gold." 
 
 The following famous song of the Rhone I have given in 
 its entirety, as it is well deserving of the space it takes up. 
 It is " Le Revestidon, ou Les Equipages du Rhone " — " The 
 Revestidon, or the Boats' Crews of the Rhone.^' The 
 Revestidon means one of the pontoons for embarking and 
 debarking from the steamboats which ply between Lyons 
 and Avignon. I am again indebted to Monsieur Borel for 
 his translation of the Proven9al version ; indeed, what 
 
 M 
 
162 
 
 Music of the Waters. 
 
 Monsieur Sebillot has done for me in Brittany and the 
 North of France generally, Monsieur Borel has done in 
 Provence and the South. Had all my applications for 
 information respecting the sailors' and fishermen's songs of 
 a country met with one half the courtesy and extremely 
 kind help that have been shown them in France, I should 
 have found my task a much less formidable undertaking ; it 
 is, perhaps, by contrasting the unresponsive and many times 
 indifferent treatment of other nations that the kindness and 
 cordiality of the land of the arrowy Rhone, and corn- 
 coloured Loire, stands out in such shining characters. 
 
 Delille. 
 
 Andantino. 
 
 LOU REVESTIDON. 
 
 G. Borel. 
 
 i 
 
 fo^fc^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 Fai ti - ra, moun brave e - qui - pa - ge ! Ja ! Ja ! mi se 
 
 i 
 
 ijsi 
 
 * d 
 
 --I. 
 
 tan - to clii - vau ! D6u Rose ou - nou - ras lou ri - ba - ge, 
 
 #> > > > 
 
 i: 
 
 It 
 
 Qiiand lou tre - pas d'a - mount, d'a vant. 
 
 French Version. 
 
 Fais tirer, mon brave equipage ! 
 Mes septante chevaux, filez ! 
 Du Rlione, il est fier le rivage, 
 Quand bravement vous le foulez ! 
 
 C'est 
 
 droit comme un 
 
 nsi que, 
 
 cierge, 
 A I'avant du maitre-bateau, 
 Crie : A I'eau ! sous I'ceil de la 
 
 Vierge ! 
 Le patron otant son chapean. 
 
 La ! fais tirer ! les chefs repetent. 
 
 La ! La ! La ! mes chevaux vail- 
 lants ; 
 
 Tandis qu'en I'air les fouets claque- 
 sent, 
 
 Vos pieds ont des eclairs brillants. 
 
 English Version. 
 
 Pull ! my brave crew, 
 My seventy horses, shoot by ; 
 The strand of the Rhone is proud 
 When you valiantly crowd by. 
 
 It is thus, straight as a taper, 
 In front of the principal boat, 
 That the coxswain, lifting his cap 
 Under the eye of the Virgin cries, 
 " Take the water." 
 
 " There, pull," the other masters 
 repeat, 
 
 " There, there,there,myvalianthorses; 
 
 Whilst in the air the whips are crack- 
 ing 
 
 Your feet are going like lightning. 
 
Music of the Watebs. 
 
 163 
 
 Grands, beaux, et forts, pleins de 
 
 souplesse, 
 Jarrets tendus, suaiits, courb^s, 
 La maille, k la barque maitresse. 
 Par quatre vous tient accouples. 
 
 Et centre I'eau le train remonte, 
 
 A la file les bateaux vont ; 
 
 II vente, il pleut, rien ne vous 
 
 dompte, 
 Pluie et soleil rien ne vous font. 
 
 Suivant les sentes marinieres, 
 L'on vous voit piaffer et nager ; 
 Vous traversez ruisseaux, rivieres, 
 Sans jamais vous d^courager. 
 
 Et soit d'Arles, soit de Beaucaire, 
 De Tarascon ou d' Avignon, 
 Vous amenez, n'arrStant guere, 
 Le chargement jusqu'a Lyon. 
 
 Que de villes, que de villages, 
 Que de montagnes, de chateaux, 
 Les marins, pendant ces voyages, 
 Ont vus du pont de leurs bateaux ! 
 
 Tout en naviguant, leuvs pensees 
 A ceux qu'ils ont laisses seulets, 
 S'en vont, doucement caress^es, 
 Des femmes aux enfanlelots. 
 
 Mais voici I'endroit difficile, 
 Le Revestidon redout^ 
 Chevaux, allez d'un pas tranquille, 
 Et ne marchez point i c6te. 
 
 Les six bateaux, on les separe, 
 Et deux, par deux ils sont passes, 
 Chevaux et gens, dans la bagarre, 
 Luttant contre eau, sable et fosses. 
 
 Prepares au mauvais passage, 
 Bravement ils en sont sortis, 
 Et les marins, selon I'usage, 
 Dissent, "Nous sommes revesti !" 
 
 Puis la troupe s'en est allee 
 Vers le plus grand mas du terroir ; 
 Sous les peupliers de I'allee, 
 A la Durbane on va s'asseoir. 
 
 Big, beautiful, strong and supple, 
 With legs distended, sweating and 
 
 bent. 
 The ring to the principal boat, 
 By four together holds you coupled. 
 
 And against the tide the train 
 
 remounts, 
 In file the boats go by ; 
 It may blow, it may rain, but nothing 
 
 stops you, 
 Rain and sun are all one to you. 
 
 Following the mariner's path 
 One can see you pawing and swim- 
 ming. 
 Over streams and rivers you go 
 With an almost indomitable courage." 
 
 Be it from Aries, or Beaucaire, 
 From Tarascon or Avignon, 
 You take the cargo to Lyons, 
 Scarely without stopping. 
 
 What numbers of towns and villages. 
 What mountains, vifhat castles. 
 Must the sailors have seen 
 From the bridge of their boats during 
 these voyages ! 
 
 As they sail their thoughts fly 
 
 To those whom they have left all 
 
 alone. 
 Their thoughts fly as softly caressed 
 As women caress their children. 
 
 But here comes the most difficult 
 
 part, 
 The Revestidon so feared, 
 "Horses ! go, step quietly, 
 And don't walk to the side." 
 
 The six boats are then separated. 
 And two by two they pass it ; 
 Horses and men in the hubbub 
 Fighting against water, sand, and 
 ditches. 
 
 Prepared for the bad passage, 
 Bravely they come through it. 
 And the sailors, according to custon:, 
 Say, " We are revesti." 
 
 Then the troops go off 
 Towards the biggek farm in 
 
 district ; 
 Under the poplars of the walks. 
 At the Durbane they go and 
 
 down. 
 
 the 
 
 sit 
 
 M 2 
 
164 
 
 Music of the Waters. 
 
 On trouve la superbe stable ; 
 Cent chevaux n'y seraient point mal. 
 On y bnit le vin delectable 
 De Chateauneuf, le vin papal. 
 
 Et la table est si bien servie ! 
 Plas d'un s'en donne tout son soul. 
 Oh ! la nuit est bientdt finie ! 
 L'on est si joyeux chez " Pecoul ! " 
 
 A la paresse cherchant noise, 
 II faut regagner les bateaux ; 
 Adieu, done, la belle bourgeoise ! 
 A Lyon nous serrons bientdt. 
 
 Et la rejane, la grand maille, 
 Et tous chevaux sont rattaches ; 
 Betes et gens, chacun travaille, 
 Tout attentifs. Ton voit penches. 
 
 Patron et second a la poupe, 
 De vin point on ne manquera ; 
 Le petit mousse fait la soupe ; 
 A son tour chacun dormira. 
 
 Et de nouveau file la troupe 
 De chevaux, d'hommes doux et forts ; 
 11 va peinant, le vaillant groupe. 
 Sans jamais se plaindre du sort. 
 
 Son voyage est comme la vie : 
 Tristesse et gaiete, froid et cliaud ; 
 l^es jours passent, I'ceuvre est finie : 
 Au bout du travail le repos. . . 
 
 " Fais tirer, mon brave equipage ; 
 Mes septante chevaux, filez, 
 Du Rh6ne il est fier le rivage, 
 Quand braveraent vous le foulez.'' 
 
 There they find superb stabling ; 
 
 A hundred horses would not do 
 
 badly in it. 
 They drink delectable wine, 
 Chateauneuf, the papal wine. 
 
 And the table is so well served, 
 More than one drinks his fill ! 
 Ah ! ah ! the night is soon over. 
 One is so joyful at " Pecoul's ! " 
 
 With idleness they soon quarrel. 
 They must regain the boats ; 
 " Good-bye, then, pretty peasant! 
 At Lyons we soon shall be." 
 
 And then the rejane, the great maille ! 
 And all horses are harnessed ; 
 Beasts and men, each one works, 
 All attention one sees them. 
 
 Coxswain and second mate at the 
 
 stern, 
 No one will want for wine ; 
 The little cabin-boy makes the soup ; 
 In his turn each will sleep. 
 
 And again the troop files along. 
 Of horses and men, weak and strong ; 
 It goes labouring, the valiant group. 
 Without complaining of their lot. 
 
 Their voyage is like life : 
 Sadness and gaiety, cold and heat ; 
 The days go by, the work is finished : 
 At the end of labour comes rest. 
 
 "Pull, then, my noble crew ; 
 My seventy horses, fly ; 
 The strand of the Rhone is proud 
 When bravely you crowd by." 
 
 When the boatmen of the Rhone wished to indicate to 
 which side of the river the train of boats had to go, to right 
 or to left, they cried " Reiaume " or " Empeire," because in 
 the Middle Ages the banks on the right of the Rhone were 
 the possessions of the kings of France, and on the left were 
 the provinces of our actual France, taken from the Empire 
 of Germany. 
 
 The ancient crews for remounting the course of the 
 Rhone were often composed of six or seven boats, and of 
 sixty to ninety horses. These animals were coupled by 
 fours together, and the great " Maio," the " Rdjano," the 
 
Music of the Waters. 
 
 165 
 
 " Carato," &c., were the principal cables and tow-ropes 
 that tied the horses to the boats. They designated, under 
 the names of front winds and back winds, the first and 
 the last horse of the file of those horses of the towing-path. 
 Each quadriga with its " baile" or conductor, and the conduc- 
 tor of the foremost quadriga, were named " baile premier." 
 
 The Durbane was a large farm, with beautiful shady- 
 walks of poplars and elms. It was in the old days a 
 public-house of considerable dimensions and repute, and 
 " Joseph P^coul," who is alluded to in one of the verses, 
 was the last of the great publicans of the Durbane. 
 
 Perhaps I may be permitted to quote some verses from 
 Guillaume de la Landelle's dedicatory poem to sailors, with 
 which he prefaces his " Le Gaillard d'Avant." 
 
 Matelots, bon peuple marin, 
 Votre ronde gaiete m'est ch^re, 
 Car je suis un ami sincere 
 Et quelque peu votre cousin. 
 
 J'ai partage votre destin 
 Et vu <ie prfes votre misere, 
 Je sais qu'une chanson legere 
 A bord dissipe le chagrin. 
 
 Et c'est pourquoi j'ai fait ce livre 
 Recueilli dans vos nobles cceurs, 
 Au gaillard d'avant je le livre. 
 
 Vous en Stes les vrais auteurs ; 
 Moi, j'ai simplement mis en rimes 
 Vos franches vertus maritimes. 
 
 J'emprunte i votre magasin 
 Tous mes airs; pouvais-je 
 
 faire ? 
 Et dans votre vocabulaire 
 Je navigue mon droit chemin. 
 
 Sailors, brave sons of the ocean, 
 Your sunny nature pleases me. 
 For I am your sincere friend, 
 Your cousin I might almost be. 
 
 I have often shared your lot 
 And have seen you in your pain, 
 And I know how mucli on board 
 May be done by some joyous strain. 
 
 And that is why I have written this 
 
 book 
 Of the songs that live in your noble 
 
 hearts. 
 And I inscribe it to the "Foc'sle 
 
 Head." 
 
 You are really the authors of it ; 
 I have simply put in rhyme 
 The frank simplicity of your sailor 
 life. 
 
 I borrow from your varied store 
 All my tunes ; could I do better ? 
 And through your strapge vernacular 
 Keep to the very letter. 
 
 De la Landelle seems to have been to France what Mr. 
 Clarke Russell is to England at the present time, namely, 
 the true chronicler of the sailors' sayings and doings, and 
 the genuine historian of the curiosities and credulities of 
 the foc'sle-head and the galley fire. De la Landelle's volume 
 
166 
 
 Music of the Waters. 
 
 (" Poemes et Chants Marins ") is the nearest approach to 
 Dibdin's style of writing of any that I have found, and is full 
 of songs that are often to be heard on the decks of French 
 ships ; some few of them may be said to be of the genuine 
 chanty type. He also published a very interesting volume, 
 " Le Langage des Marins," which gives ample evidence of 
 the study he has made of seamen and of their extraordinary 
 vernacular. 
 
 The following is the French fishermen's " Hymn to Saint 
 Anne " : — 
 
 Andantino. 
 
 fc 
 
 :^ 
 
 ^ 
 
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 Bon - ne Sainte An ne, gran - de Sain - te MS - re de 
 
 la Me - re de Dieu ! Au ciel vous ^ - cou - tez la 
 
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 S i> \ 
 
 -V — h 
 
 plain-te Du pScheur qui vous fait un vceu. Vous 6 - tes 
 
 i 
 
 ^^=^ 
 
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 ^ 
 
 la plus ve - n^ - re • 
 
 De nos sain - tes et de nos 
 
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 saints ! Nous nous som-mes les p6 le rins De la cha 
 
 '^=Ar-^^-M -^=^ 
 
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 pel - le con - sa - ere- k, A votre a - mour par les ma - rins. 
 
 " Good Saint Anne, great Saint Anne, 
 Mother of the mother of God ! 
 In heaven you list to the pleading 
 Of the fisherman who calls on you. 
 You are the most revered of all our saints. 
 We are pilgrims of the chapel consecrated 
 To your love by the seamen." 
 
Music of the Waters. 
 
 167 
 
 " Les Enfants de la Mer " is a favourite rowing-song : — 
 
 French Version. 
 
 " Dis-moi, mon vieux, dis-moi pour- 
 
 quoi 
 Tu ris en douceur k part toi ? " 
 " C'est que je r^pete a part moi : 
 
 Chante, chante, 
 L'ardeur vaillante, 
 l.'air calme et fier 
 Des enfants de ia mer ! " 
 
 English Version. 
 
 " Tell me, my old friend, tell me why 
 
 You sit and softly laugh by your- 
 self?" 
 
 " It is because I am repeating to my- 
 self: 
 
 Sing, smg, 
 
 Of the valiant strength. 
 
 The calm, proud bearing 
 
 Of the sons of the sea ! " 
 
 CHANSON POUR RAMER. 
 
 Allegretto. 
 
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 " La Corsairienne " is another favourite rowing-song : — 
 Chant pour Ramer. 
 
 Allegretto. 
 
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 Au cor-sai - re qui courts au bord, II faut la vie - toire ou la 
 
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 =ai=c--t?=fc 
 
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 mort ! Ha - le des - sus ! Vi - ve la France ! En d4 - bor 
 
 i=jB^Ti=S=^: 
 
 --t 
 
 TEE 
 
 dant de Saint Ma lo Noslongsa vi - ronsbattaientl'eau. 
 
 English Version. 
 
 " For the pirate who goes on board 
 There must be victory or death ! 
 Hallo therej feather gently, 
 Vive la France ! 
 
168 
 
 Music of the Watees. 
 
 When we come alongside of St. Malo 
 Our long oars sweep the waters." 
 
 Both the following are used as Splicing Songs by French 
 sailors : — 
 
 Moderaio. 
 
 -N— N- 
 
 ^^^ 
 
 -IS— IS- 
 
 H^i=fe^ 
 
 \ m — •- 
 
 -j;s^^ 
 
 i 
 
 _S_«s_ 
 
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 x^ — V > r* — I — I— 
 
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 3;;:q5=q: 
 
 iv:::^: 
 
 " * 
 
 Z3t=Mr- 
 
 LE BRIG BLACK. 
 
 Alles^ro. 
 
 ■On 
 
 v 
 
 
 
 
 
 r 
 
 ^ 
 
 — ^ z — 1 
 
 4^—i 
 
 — 1 * 
 
 -P- 
 
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 Mer jo - lie et bon vent, 
 
 Quand 
 
 le temps fa vo 
 
 i 
 
 :=lv: 
 
 Mer jo lie et bon vent, 
 
 Quand 
 
 I 
 
 H 1 1 h 
 
 le temps fa - vo 
 
 La nuit no tre vais 
 
 :?r=== 
 
 beau, 
 
 Ho! 
 
 Si la bri - se Fri - se I'eau, 
 
 i 
 
 X- 
 
 I Cric crac et sa - bot ! Cuil- ler & pot ! 
 
 Si la bri - se 
 
 i 
 
 =f5=qsi= 
 
 m 
 
 Fri - se I'eau Cric crac et sa - bot ! Cuil-ler a pot ! 
 
Music of the Waters. 169 
 
 I could not attempt a translation of this last ; it is essentially- 
 French, almost a Vaudeville in character, and possessing 
 as sole merit the gaiety which is inseparable from that 
 class of French song. To France, I think, belongs the dis- 
 tinction of having produced some of the saddest and most 
 of the brightest songs in the world. They have a saying 
 that, " A song without its tune is a bird without its wings " 
 (" Un chanson sans son air est un oiseau sans ses ailes "), 
 and it is peculiarly true of their songs ; words and music 
 are so absolutely wedded, that to sever them is to lose half 
 their beauty. But, sad or gay, they are all dear to the song- 
 loving French, and from the haunting sorrow that breathes 
 through every line of Alfred de Musset's " Rappelle- 
 Toi ",— 
 
 " Rappelle-toi quand I'aurore craintive," 
 to 
 
 " Au clair de la lune, 
 
 Mon ami Pierrot, 
 
 Pr^tes-moi ta plume 
 
 Pour icnre un mot ! " 
 
 all are beloved, all are popular, on sea and on shore ; 
 and so, quoting the words of the French " King of 
 Songsters," B^ranger, I bid adieu to the blue-jackets of 
 that country : — 
 
 " Go, then, and let the rising race through thee that history 
 know ; 
 Be thou a pilot to their bark, the rocks and sands to show ; 
 And if perchance the pride of France some day they help 
 
 to raise. 
 Go, in their beams of glory warm thine own declining 
 days ; 
 
 Adieu then, songs, adieu ! " 
 
 Farewell Songs. 
 
ITALIAN SAILORS', NEAPOLITAN 
 
 FISHERMEN'S, AND VENETIAN 
 
 GONDOLIERS' SONGS. 
 
 " 'Tis sweet to hear 
 At midnight, on the blue and moonlit deep, 
 The song and oar of Adria's gondolier. 
 By distance mellowed, o'er the waters sweep." 
 
 A Bunch of Sweets.— "QwROa. 
 
 " And over the rest, 
 Italia's peerless compositions." 
 
 Walt Whitman. 
 
ITALIAN FISHERMEN'S AND SAILORS' 
 
 SONGS. 
 
 ITALIAN HYMN. 
 
 3 
 
 lJ I L^ " LJ - 
 
 I 
 
 V > I \ 
 
 m 
 
 m 
 
 5^ 
 
 Every child from his cradle upwards has heard of Italy 
 as the land of music. The world is indebted to it for all 
 that makes the beauty of the art, and for much of its 
 science. Overflowing with natural beauty, rich in historical 
 associations, and in relics which set these forth, peopled by 
 those who are brimful of natural aptitude and that quick 
 nervous sensibility which is so important an element of 
 musical genius, who does not look to Italy as the " Land 
 of Harmony," with its fascinating coast-line, its northern 
 lakes, Naples with its beautiful bay, and Venice with its 
 lazy lagoons ? 
 
 What music in France owes to the intellectual predilec- 
 
174 Music of the Waters. 
 
 tions of the people, in Italy is due to the strong emotions 
 and passionate nature of her natives. In Italy the mari- 
 time population amounts to 225,000, of this the greater 
 part are fishermen, though a large number man the 
 Genoese barques in the general carrying trade. 
 
 The songs of the fishermen and Lazzaroni of Naples are 
 full of whimsical nonsense and impudence, many of them 
 are merely the popular tunes of the day ; but, like those of 
 Venice, the sound of the boat, with its cadence of rowers, is 
 ever and again heard. 
 
 The Mediterranean sailor is popularly supposed to 
 chant snatches of opera over his fishing-nets ; but, after all, 
 his is only a larger sort of lake, with water of a question- 
 able saltness. Sir John Hamner's exquisite sonnet, " The 
 Finmara," or " The Old Fisher,'' is an admirable picture of 
 those poor creatures, whose living, if it may be so called, 
 is made by fishing for a few sardines in the blue waters of 
 the Mediterranean : — 
 
 " Thou art a fisher of Mazorbo ; lone, 
 Drifting a usual shadow o'er the sea. 
 With thine old boat, that like a barkless tree 
 Creaks in the wind a pitiless dreary moan ; 
 And there thy life and all thy thoughts have flown, 
 Pouncing on crabs in shallows, till thy knees 
 Crooked as theirs, now halt unsteadily, 
 Going about to move the anchor-stone ; 
 And when the waves roll inward from the east, 
 Takest thy net, and for some few sardines 
 Toil'st in the morning's wild and chilly ray. 
 Then dost thou go to where yon bell-tower leans. 
 And in the sunshine sit, the poor man's feast, 
 Else abstinent in thy poverty, all the day." 
 
 Mazorbo, a sea-port of Sicily, where is often witnessed 
 the approach of the Marobea, a violent agitation of the sea, 
 announced by the stillness in the atmosphere and a lurid 
 
Music of the Waters. 175 
 
 sky. The Mediterranean can furnish dangerous enough 
 storms upon occasion, and far worse than storms, the 
 terrible white squall which lies ambushed under sunny- 
 skies, and leaps unawares upon the doomed vessel. But 
 the Mediterranean is not the deep sea, nor has it produced 
 the best and boldest navigators, therefore, although we still 
 seek the sources of our maritime law amid the rock-poised 
 huts (once palaces) of Amalfi, we must go elsewhere for our 
 true songs of the sea. 
 
 " Borne on 
 Beyond Sorrento and Amalfi, where 
 The siren waits thee, singing song for song." 
 
 The following song of the well-known composer of 
 Italian popular songs — Paolo Tosti — is a great favourite 
 with the sailors of Italy : — 
 
 PERCHfe VUOI TU FIDAS LA BARCA AL MARE. 
 
 g= ^==^^ 3e^ =s=^=j=^-^ ^ 
 
 i 
 
 i>>>_b'>_"Ji^- 
 
 ^^ ^^SiS^ ^i=j=j^^ 
 
 _|S_N., 
 
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 ^ g S=gz =d::; -g=f-l-g =:z:j=j^ ZgJ:g^ ==j= 
 
 At least, this is the title by which the song is known, but 
 the sailors will improvise their own words to the air, 
 probably of some droll, lazy, impudent nature, such as 
 delight the hearts of the fishermen of that town of glorious 
 colours, softest lights, and sweetest sounds — Naples. 
 
 In a very able article (in the Atlantic Monthly of 
 October, 1858), entitled the " Language of the Sea," we learn 
 how much we are indebted to Italy for the language that 
 
176 Music of the Waters. 
 
 is known as that of the sea. " Upon the Italian main the 
 words ' tack ' and ' sheet,' ' pfow ' and ' poop/ were first 
 heard ; and those most important terms by which the law 
 of the marine highwa)' is given — ' starboard ' and ' lar- 
 board.' For if, after the Italian popular method, we con- 
 tract the words 'questo bordo' (this side) and 'quello 
 bordo ' (that side) into sto bordo and lo bordo, we 
 have the roots- of our modern phrases. And so the 
 term ' port,' which in naval usage supersedes ' larboard,' is 
 the abbreviated porta lo timone (carry the helm), which, 
 like the same term in military usage, ' port arms,' seems 
 traditionally to suggest the left hand. The three masts of 
 a ship are known as ' fore,' ' main,' and ' mizzen ; ' of these, 
 the first is English, the second, Norman-French, and the 
 third, Italian (mezzano). Your seaman's tongue is a true 
 bed of Procrustes for the unhappy words that roll over it. 
 They are docked without mercy, or now and then, when 
 not properly mouth-filling, they are ' spliced ' with a couple 
 of vowels. It is impossible to tell the whys and wherefores 
 of sea-prejudices. . . . Sailors have indeed a passion for 
 metamorphosing words, especially proper names. The 
 Bellerophon of the British navy was always known as the 
 Bully-Ruffian^ and the Ville de Milan, a French prize, as 
 the ' Wheel 'em along' . . . For the sea has a language, 
 beyond a peradventure, an exceedingly arbitrary, technical, 
 and perplexing one, unless it be studied with the illustrated 
 grammar of the full-rigged ship before one, with the added 
 commentaries of the sea and the sky and the coast-chart. 
 To learn to speak it requires about as long as to learn to 
 converse passably in French, Italian, or Spanish, and 
 unless it be spoken well, it is exceedingly absurd to any 
 appreciative listener." 
 
 If Italy then is not rich in sea-songs, she is at least the 
 nurse or foster-mother of many sea-terms which play an 
 important part in those songs that are sung on board 
 vessels of other nationality. 
 
Music of the Waters. 
 
 177 
 
 SANTA LUCIA. 
 
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 This well-known song is often sung by the fishermen of 
 Naples, the gondoliers of Venice, and Italian seamen 
 generally. It is truly of the barcarolla type, and seems 
 thoroughly suited to water pursuits 
 of the words — 
 
 I give the translation 
 
 Italian Version. 
 
 Sul mare lucia 
 L' astro d' argento, 
 Placida e 1' onda 
 Prospero h il vento, 
 Vente all' agile 
 Barchetta mia, 
 Santa Lucia ! 
 Santa Lucia ! 
 Vente all' agile, 
 Barchetta mia, 
 Santa Lucia ! 
 Santa Lucia ! 
 
 Con questo zeffiro, 
 Coti soave, 
 Oh ! com' h bello. 
 Star tu la nave ! 
 Sie passaggieri 
 Venite via. 
 Santa Lucia ! 
 Santa Lucia ! 
 
 Mare si placido 
 Vento si caro 
 Scordar fa i triboli 
 Al marinaro. 
 
 English Version. 
 
 Over the ocean 
 Night's star is beaming. 
 With every motion 
 Bright waves are gleaming. 
 Over the ocean 
 Night's star is beaming. 
 With every motion 
 Bright waves are gleaming. 
 Sweet voices ringing, 
 Gaily are singing, 
 Santa Lucia ! 
 Santa Lucia ! 
 
 Sea gently flowing, 
 Sweet music's measure, 
 Wind softly blowing, 
 How pure a pleasure ! 
 Sea gently flowing, 
 Sweet music's measure, 
 Wind softly blowing, 
 How pure a pleasure. 
 Santa Lucia ! 
 Santa Lucia ! 
 
 While gaily ringing 
 Sweet voices singing, 
 Santa Lucia ! 
 Santa Lucia ! 
 
 N 
 
178 
 
 Music of the Waters. 
 
 E va gridando. 
 Con allegria, 
 Santa Lucia ! 
 Santa Lucia ! 
 
 O dolce Napoli, 
 O tuol beato, 
 Ave sorridere, 
 Voile il creato. 
 Tu sei r impeso, 
 Dell' armonia, 
 Santa Lucia ! 
 Santa Lucia ! 
 
 While gaily ringing 
 Sweet voices singing, 
 Santa Lucia ! 
 Santa Lucia ! 
 
 Naples the fairest, 
 Thy shores perfuming. 
 Earth's flowers the fairest 
 Ever are blooming. 
 Where gaily ringing 
 Sweet voices singing 
 Santa Lucia ! 
 Santa Lucia ! 
 
 The following charming song is well known as a boatman's 
 favourite ; it is "The Amalfi Boatmen's Serenade" : — 
 
 LA FATA DI AMALFI. 
 Italian Version. 
 Chiagnaro-r6 la la mia sventura 
 Si non tuorne chiii, Rosella ! 
 Tu d' Amalfi la chiii bella, 
 Tuna Fata si peme ! 
 Viene vi^, regina mia ; 
 Viene, curre a chi-sto core, ca non 
 
 Non c' e no sciore, 
 
 Non c' e stella comm' a te ! 
 
 Co chi parlo ? Ahi sconsolato ! 
 Addo sta la rosa mia ? 
 S' e sfrunnata pe la via, 
 E chiu addore non me da ! 
 No signore la vedette. 
 So tre mise ch' h scappata ; 
 Ma CO tutto ch' e na sgrata 
 Non la pozzo io maie scorda ! 
 
 La matina che pe tiempo, 
 Vaco a Napole rabarchetta. 
 Pare tanno che m' aspetta 
 E la mano me vo da ! 
 Quanno po lo cielo scura, 
 Ed io vaco pe piscare, 
 Miezo 4 r onne de lo mare, 
 Veco pure che sta la ! 
 
 E turnanno, a la capanna. 
 La saluto a lo barcone, 
 E la soUta canzona 
 Taco tanno pe cantk : 
 Viene vi4, turi na stella, 
 Vu d' Amalfi si la fata ; 
 Ma la rosa s' ^ sfrunnata, 
 Ed io r aggio da scorda ! 
 
 THE FAIRY OF AMALFL 
 English Version. 
 I'll bewail my misfortune 
 If thou returnest not, Rosella ! 
 Thou, the fairest of Amalfi, 
 Art indeed a fairy to me. 
 Come, come my queen. 
 Come fly to this heart ; 
 There is no fiow'r to compare with 
 
 thee, 
 Nor a star like as thou art ! 
 
 With whom do I speak ? Alas ! dis- 
 consolate, 
 Where is my rose to be found ? 
 It has been plucked by the way, 
 Its odour no longer floats round. 
 Won by the gaze of a master. 
 It is three months now since she fled ; 
 But although thus cruel to me 
 Her memory is not dead. 
 
 When on every morning early, 
 I with my boat to Naples go ; 
 It seems to me that she'll be waiting. 
 To put her hand in mine — just so ! 
 Then when the sky is darkened, 
 And I to the fishing must be. 
 Even amongst the waves of the ocean 
 That woman appears to me ! 
 
 And when returning to the cottage, 
 I salute the pretty thing. 
 And the usual canzonetta 
 Beneath her balcony sing : 
 Come, come, thou art the star, 
 Thou of Amalfi art the fairy ; 
 But the rose is now culled. 
 And of loving her I must be chary. 
 
Music of the Waters, 
 
 179 
 
 The Neapolitan dialect, in which most of these fishermen's 
 and boatmen's songs are written, is so difficult to translate, 
 literally and at the same time rhythmically, that the latter 
 has many times to be sunk in the endeavour to accomplish 
 the former. This song of " The Fairy of Amalfi " may be 
 taken as a very fair specimen of the watermen's ditties of 
 Italy. 
 
 m 
 
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 THE BOATMAN'S FAREWELL TO NAPLES. 
 
 English Version. 
 
 Italian Version. 
 
 Nee simmo a la partenza, 
 
 To me ne vaco addio ; 
 
 Napole bello mio, 
 
 Non te vedraggio chiu ! 
 
 Quanto ne' k de chiu caro 
 
 Dinto de te se nzerra, 
 
 Addio, addio, no paraviso nterra, 
 
 Napole mio, si tu ! Ah ! no paraviso 
 
 nterra, 
 Napole mio ! 
 
 D' ammore chi me ncontra 
 
 Che vo parlk me pare ; 
 
 L' aria, le bie, lo mare 
 
 Me parleno purzi, 
 
 A chiagnere me vene, 
 
 Napole bello addio ; addio, addio, 
 
 Lo paraviso mio, sempe pe me tu si ! 
 
 Ah ! lo paraviso mio sempe me tu si ! 
 
 I am ready to depart, 
 
 I go far avifay, good-bye ; 
 
 Oh ! Naples, my own, 
 
 I'll see thee no more. 
 
 Whatever is most beloved 
 
 Is hidden in thy bosom, 
 
 Good-bye, good-bye ; a paradise on 
 
 earth 
 Naples, mine thou art, 
 Good-bye, good-bye ! 
 
 Every one I meet, with love 
 Methinks will wish to speak ; 
 The heavens, the earth, the sea, 
 Also with love will speak to me. 
 The wish to cry comes over me, 
 Beautiful Naples, good-bye ! 
 The paradise for me 
 Thou wilt always be. 
 
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180 
 
 Music of the Waters. 
 
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 FENESTA VASCIA. 
 
 The song known as the Neapolitan " Water-Carrier's 
 Song " may be perhaps deserving of a place in a collection 
 of the " Music of the Waters." " The Closed Window," or 
 " Fenesta Vascia": — 
 
 Italian Veksion. 
 Fenesta vascia, e patrona crudele, 
 Quanta sospire m' aje fatto jetare ? 
 M' arde sto core comm' a na cannela, 
 Bella a quanno te sento annomenare ! 
 O je piglia la sperienzia de la neve ! 
 La neve h fredda e se fa maniare ; 
 E tu comme si tant' aspra e crudele ! 
 Muorto mme vide e non mme vuo 
 ajutare. 
 
 Vorria asseventare no piccinotto 
 
 Co na lancella a ghire vennenno 
 
 acqua, 
 Pe mme nne i da chiste palazzuotte, 
 Belle femmene meja, a chi v6 acqua ? 
 Se vota na nennella da la 'ncoppa : 
 Chi e sto ninno che va venuenno 
 
 acqua ? 
 E io responno co parole accorte, 
 So lagreme d' ammore, e non k acqua ! 
 
 ! English Version. 
 
 Closed window ! Ah, cruel mistress, 
 
 How many sighs have you made me 
 heave ? 
 
 My heart burns like a candle 
 
 Whenever, sweet, your name they 
 breathe ! 
 
 Alas ! ungrateful one, learn from the 
 snow. 
 
 Which is tractable though cold ; 
 
 But thou, how severe and cold thou 
 art ! 
 
 Were I dying, to save me not suffi- 
 ciently bold. 
 
 I wish I could become a pretty lad. 
 And with a can go seUing water, 
 Then under every balcony I'd shout, 
 My pretty maids ! who wishes water ? 
 So, that perchance, the fairest one 
 
 might ask. 
 Who is that youth, who is selling 
 
 water ? 
 And ih a few short words I'd say, 
 Tears of love it is, but no, not water ! 
 
Music of the Waters. 
 
 181 
 
 £spressivo. 
 
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 lento. 
 
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 The pretty idea of this little poem seems almost lost in 
 the English version, certes one may translate Neapolitan 
 songs into our own cold, stately language ; but the softly- 
 rounded phrases sound meaningless and harsh. One cannot 
 translate the passionate «^««<^o« of the Neapolitan's love- 
 songs, nor the sunny impudence of those which treat of 
 other matters. We may bring the sprig of Edelweiss from 
 the lofty heights of the Alps, and expect it to flourish in a 
 back garden in Bloomsbury, and we may sing the Neapo- 
 litan sopg to the piano in our chilly northern land ; but we 
 
182 
 
 Music of the Waters. 
 
 cannot put into it all the life, and fire, and sweetness, that 
 makes it the thing of beauty it is, when it has the guitar 
 for accompaniment, the soft liquid Italian syllables for 
 words, and the bright, warm sun and turquoise bay to lend 
 it the subtle charm of colour. 
 
 LA CAROLINA. 
 
 " La Carolina " or " Caroline ' is a favourite with the 
 Venetian gondoliers, as well as with the boatmen of Naples. 
 -The verses are so stupid that I feel tempted to suppress 
 them, one verse may be perhaps enough to show the 
 maudlin sentiment of them : — 
 
 Italian Version. 
 
 - Aggio visto na figliola, 
 Beir assaje e graziosa, 
 Tutt' acconcia e vrucculosa, Uh ! 
 Che zuccaro che d' h ! Quant' e doce 
 
 chella vocca, 
 Quant' h bello chillo riso ! 
 Tu te cride mparadiso quanno sta 
 
 vicino a te, 
 Quant' h bello chillo viso. Quant' e 
 
 doce chillo riso ! 
 Tu te cride mparadiso quanno sta 
 
 vicino a tte ! 
 
 Allegretto, ff 
 
 English Version. 
 
 I a girl have seen. 
 Very pretty and very graceful, 
 All neatness, and oh ! so kind, 
 A piece of sugar she is to my mind ! 
 Oh, how svv'eet is that mouth ! 
 Oh, how dear is that smile ! 
 Thou wouldst think thyself in Para- 
 dise 
 Were she near thee but a while I 
 
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Music of the Waters. 
 
 183 
 
 i 
 
 NEAPOLITAN FISHERMAN'S SONG. 
 
 Allegro vivace. .«^ ;>. 
 
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 The preceding song is the oldest Neapolitan fisherman's 
 favourite. There are no words recorded for it ; doubtless 
 they have not been thought worthy of preservation. 
 
 POPULAR NEAPOLITAN SONG. 
 Con granaeiza. .^. 
 
184 Music of the Waters. 
 
 dim. 
 
 Perhaps the most extraordinary men that my work 
 
 of collecting the sailors' songs has led me amongst are 
 
 some specimens of Italian seamen who visited me at 
 
 home. I had often found it a difficult matter, and always 
 
 one requiring some little tact, to induce the sailors to accept 
 
 any gratuity for their trouble in singing. Sometimes, in 
 
 the case of their coming to me, all they would deign to 
 
 accept was their railway-fare from the neighbouring port 
 
 where they happened to be staying ; but on the occasion 
 
 of the visit of the before-mentioned Italians the case was 
 
 quite different. One of them, a ferocious, black-browed, 
 
 olive-skinned individual, I had made acquaintance with in 
 
 the Infirmary, where he had been for some weeks owing 
 
 to an accident to his leg. He could speak a little English, 
 
 and after a few inquiries as to his accident, &c., I asked 
 
 him if he could sing ? The answer being satisfactory, I 
 
 then proceeded to question him as to the sailors' songs. 
 
 He appeared to understand me perfectly, and it was 
 
 arranged that he should come and see me and sing some 
 
 of his chanties, as soon as he was able to leave the Infirmary; 
 
 the chaplain, with his usual kindness, volunteered to direct 
 
 him. Weeks passed, and I had almost forgotten him, when 
 
 one afternoon, sitting writing at the open window, I was 
 
 startled by hearing what appeared to be a very violent 
 
 altercation at the front door. Very foreign-sounding 
 
 tongues seemed taking part in the disturbance, and three 
 
 very foreign-looking faces greeted me as I went forward, to 
 
 find the maid vainly endeavouring to understand the reason 
 
 of this strange invasion. I must add that she was a 
 
 stranger, and therefore not accustomed, as she very soon 
 
 became, to the heterogeneous style of visitors who, in the 
 
 persons of the various nationalities of sailors, found their 
 
 way to me. One of the three, my infirmary acquaintance. 
 
Music of the Waters. 185 
 
 on catching sight of me, instantly shouted, " Missie I 
 missie ! " and, evidently thinking all difficulties removed by 
 this recognition, marched in, followed by two dreadful 
 specimens of the most swarthy, oily, evil-looking men I 
 ever saw — rings through their noses, as well as in their 
 ears, adding an unnecessary touch of barbarism to their 
 already horrible appearance. As far as I could learn from 
 the excited manner and disjointed English of the Italian, 
 I gathered that they were Mexicans, but why he had 
 brought them, or where he had found them, I could not 
 make out. They could not speak a word of any language 
 that I ever remember having heard before ; I conclude it 
 must have been some sort of low Spanish. I tried by 
 every means in my power to induce the Italian to sing, but 
 with no avail, he utterly refused, without money were first 
 given him. I, of course, refused this, and told him he 
 should certainly have money after his singing. This did 
 not please him, and he, in his turn, tried coaxing, — 
 
 " Missie, give me just ten shilling, and me sing long 
 time ! " 
 
 "Just ten shillings, and you'll be off hke a shot," 
 was my thought. " No, no," I said. " Missie give you 
 no ten shillings, and if you won't sing now, you may go ; I 
 have no time to wait for you to make up your mind any 
 longer." 
 
 Just at this moment I became aware of the two Mexi- 
 cans nodding sagaciously at each other and touching their 
 heads, whilst they stared fixedly at mine, and then shouted 
 something in their alarming language at the Italian ; he 
 in his turn looked at my head, then laughed. I could stand 
 it no longer, and, truth to tell, I was beginning to be 
 rather afraid of my visitors, and feeling that I should hail 
 their departure with relief. I turned to ask him what all 
 these signs and laughing meant, and he told me it was 
 only astonishment at my hair not being black. " They 
 only arrived this day,'' he added, " and have always been 
 amongst the darkest people in the world." 
 
186 Music of the Waters. 
 
 To my utter amazement one of the Mexicans here burst 
 in with, — 
 
 " Ya, ya ! Missie have white hair ! " (my hair being a 
 light brown). 
 
 They all three laughed at this speech ; the suddenness 
 of the man's breaking into English when I had supposed 
 him utterly ignorant of it prevented me answering, and 
 the next minute they surrounded me with more cries for 
 money ; this time the Mexicans joining in this " Back- 
 sheesh " chorus. They became so uproarious in their 
 demands, that I was obliged to ring for some one to help me 
 to silence and be rid of them. 
 
 But this, as I before said, was quite an exception ; as a 
 rule, I had nothing whatever to complain of in the manners 
 of any of my sailor-visitors. Sometimes the quaintest 
 remarks and most droll compliments would slip out, and I 
 have often had to refrain from smiling at the strangeness of 
 attire some of them — such, for instance, as the Japanese — 
 adopted ; doubtless out of compliment to the English 
 lady they came to see. I had often heard of the custom 
 of oiling the face amongst semi-barbarous people, but I 
 never expected to have this extra addition to the toilette 
 made for my benefit, but I have even had that honour, 
 and must admit I prefer good wholesome soap and 
 water to the greasy compound employed in the ablutions 
 of some of my visitors. 
 
 In a volume of the Cornhill Magazine (xlv. 1882) there 
 is a charming description of the Venetian boatmen given 
 in an article by Mr. J. A. Symonds, entitled "A Gondo- 
 lier's Wedding." Mr. Symonds writes as one who is inti- 
 mately acquainted with them, and refers several times 
 during his account of the wedding festivities to the 
 gondoliers' singing — " The great business of the evening 
 began when the eating was over, and the decanters filled 
 with new wine of Mirano circulated freely. . ." Antonio, 
 who is a powerful young fellow, with bronzed cheeks and 
 a perfect tempest of coal-black hair in flakes upon his 
 
Music of the Waters. 187 
 
 forehead, has a most extraordinary soprano, sound as a 
 bell, strong as a trumpet, well-trained, and true to the 
 least shade in intonation. Piero, whose rugged Neptunian 
 features, sea-wrinkled, tell of a rough water-life, boasts a 
 bass of resonant, almost pathetic quality. Francesco has 
 a vtezza voce, which might, by a stretch of politeness, be 
 called baritone. ..." Then they burst into full singing, 
 Antonio leading with a metal note that thrilled one's ears, 
 but still was musical. Complicated contrapuntal pieces, 
 such as we should call madrigals, with ever reviving refrains 
 of ' Venezia, gemma Triatica, sposa del mar,' descending 
 probably from ancient days, followed each other in quick 
 succession. Barcaroles, serenades, love-songs, and invita- 
 tions to the water, were interwoven for relief One of 
 these romantic pieces had a beautiful burden, ' Dormi, 
 o bella, o fingi di dormir,' of which the melody was fully 
 worthy. But the most successful of all the tunes 
 were two with a sad motive. The one repeated in- 
 cessantly, ' Ohim^ ! Mia madre morl ;' the other was a 
 girl's love-lament, " Perch^ tradirmi, perch^ lasciarmi ! 
 prima d' amarmi non eri cosi ! ' All these were purely 
 popular songs." Mr. Symonds then goes on to speak of 
 the passionate love for operas, which exists amongst the 
 Venetian watermen. " These operatic reminiscences had 
 lost something of their theatrical formality, and assumed 
 instead the serious gravity, the quaint movement, and 
 marked emphasis which belong to popular music in 
 Northern and Central Italy. An antique character was 
 communicated, even to the recitative of Verdi by slight, 
 almost indefinable, changes of rhythm and accent." In 
 conclusion, he says, " On all these occasions I have found 
 these gondoliers the same sympathetic, industrious, cheery, 
 affectionate folk. They live in many respects a hard and 
 precarious life. The winter in particular is a time of 
 anxiety and sometimes of privation, even to the well-to-do 
 among them. Work then is scarce, and what there is, is 
 rendered disagreeable to them by the cold. Yet they take 
 
188 
 
 Music of the Waters. 
 
 their chance with facile temper, and are not soured by 
 hardships. The amenities of the Venetian sea and air, the 
 healthiness of the lagoons, the cheerful bustle of the poorer 
 quarters, the brilliancy of this southern sunlight, and the 
 beauty which is everywhere apparent, must be reckoned as 
 important factors in the formation of their character. And 
 of that character, as I have said, the final note is playful- 
 ness. In spite of difficulties, their life has never been stern 
 enough to sadden them. . . . On the other hand, their life 
 has never been so lazy as to reduce them to the savagery 
 of the traditional Neapolitan lazzaroni. They have had 
 to work daily for small earnings, but under favourable 
 conditions, and their labour has been lightened by much 
 good fellowship among themselves, by the amusements of 
 their feste and their singing clubs." 
 
 The fact of the Venetian boatmen chanting strophes of 
 Tasso is mentioned again and again in books treating 
 of the life on the lagoons. The gondoliers of Venice 
 used to chant strophes of Tasso as they skimmed 
 in and out of the lagoons ; but that was in the days 
 of Venice's historical prime, and the gondolier of the 
 nineteenth century has come down to the level of 
 other boatmen, and though still associated with all that 
 is most romantic and poetical, he is content to ply his 
 oars to the same inspiriting strains as his fellow-country- 
 men in Naples and elsewhere. On St. Mary's Day one 
 may hear them chanting the well-known " Sicilian 
 Mariners' Hymn " : — 
 
 SICILIAN MARINERS' HYMN. 
 
 S |,-i 
 
 ^ 
 
 ^^ 
 
 S 
 
 ^ 
 
 'o 
 
 ^s 
 
 _gL 
 
 O 
 
 1 
 
 pi 
 
 A. 
 
 IS - SI - ma, 
 
 itt=l:; 
 
Music of the Waters. 
 
 189 
 
 i 
 
 -yj- 
 
 - r±- 
 
 ~?g~ 
 
 =Fz: 
 
 Dul 
 
 Vir 
 
 go 
 
 Ma 
 
 a! 
 
 Ml 
 
 =P2Z 
 
 I 
 
 ^ 
 
 U^> ! 
 
 ->-J- 
 
 ^^^ 
 
 N 
 
 zi^-H- 
 
 E^^^ 
 
 ^^ I 
 
 ■1/ 
 
 Ma - ter 
 
 ra 
 
 I 
 
 ^^ 
 
 ta; 
 
 J. 
 
 =P2= 
 
 i 
 
 IZ2Z 
 
 F 
 
 ^ 
 
 o 
 
 pro 
 
 I 
 
 -o- 
 
 bis. 
 
 ^^ 
 
 This is done in chorus, and very solemn it sounds, in 
 the still, early morning, before the lazy stir, that is all 
 Venice now knows of bustle, commences. 
 
 Perhaps of all strange water ceremonies the world has 
 ever known, the strangest is (or rather was, for the year 
 1797 was the last in which it took place), that of the 
 Doge of Venice marrying the Adriatic annually on As- 
 cension Day, by dropping into it a ring from his bucentaur, 
 or state barge, attended by all the nobility and ambas- 
 sadors in gondolas. 
 
 The gondoliers improvise all kinds of songs on well- 
 known arias and themes, to suit themselves. " One poor 
 little creature," Mr. Chorley in his volume on " National 
 Music " speaks of, " who was old enough to have seen 
 something of better days in Venice, used ^o solace 
 himself by piping out as he sculled along, or sat 
 waiting on his steps for the passengers who so rarely 
 
190 
 
 Music of the Waters. 
 
 patronized him, a legend of the Virgin, which seemed to 
 have no beginning or end, to a slow version of the valse 
 movement closing the lovely concerted piece, 'O Guar- 
 datd,' from Rossini's ' Turco in Italia.' Many accidental 
 sharps and flats were added to this, probably resulting from 
 his extreme age and hunger ; but, nevertheless, the mono- 
 tonous repetition of this travestied melody seemed to 
 afford him much comfort." 
 
 Byron in " Childe Harold's Pilgrimage " says : — 
 
 " In Venice, Tasso's echoes are no more ;" 
 
 and in a note on this line in an early edition of Mr. Murray's, 
 the following occurs : " The well-known song of gondoliers, 
 of alternate stanzas from Tasso's ' Jerusalem,' has died with 
 the independence of Venice. Editions of the poem, with 
 the original on one column, and the Venetian variation on 
 the other, as sung by the boatmen, were once common, and 
 are still to be found ; the following extract will serve to 
 show the difference between the Tuscan epic and the 
 Canta alia Barcariola : — 
 
 THE ORIGINAL. 
 
 Canto 1' arme pietose, e ''1 capitano 
 Che '1 gran Sepolcro lib^ro di Christo, 
 Molto edi opro col senno, e con la 
 
 mano, 
 Molto soffri nel glorioso acquisto ; 
 E in van 1' Inferno a lui s' oppose, c 
 
 in vano 
 L' Arno d' Asia, edi Libia il popol 
 
 i Santi, 
 Segni ridusse i suoi compagni erranti. 
 
 VENETIAN VERSION. 
 
 L' arme pietose de ■ cantar gho 
 
 vogia, 
 Ede goffredo la immortal braura 
 Clie al fin 1' ha libera co slrassia, e 
 
 dogia 
 Del nostao buon Gesu la Sepoltura 
 De mezo mondo unite, e de quel 
 
 Bogia 
 Missier Pluton no 1' ha bu mai paura : 
 Dio r ha aginta, e i compagni spar- 
 
 pagnai 
 Tutti '1 gh' i ha messi in si eme i di 
 
 del Dai. 
 
 Some of the elder gondoliers will, however, take «up and 
 continue a stanza of their once familiar bard." 
 
 Lord Byron and another Englishman rowed once to the 
 Lido ; in the boat they had two singers, one a carpenter, 
 the other a gondolier. They sang " The Death of Clorinda," 
 and " The Palace of Armida," in Tuscan verse. The car- 
 penter knew three hundred stanzas, and had a voice of 
 
Music OF THE Waters. 191 
 
 most extraordinary power ; the gondolier assisted his already 
 too shrill voice, by holding his hand to one side of his 
 mouth. From the description, which is rather too lengthy 
 to quote entirely, I should gather that this expedition and 
 its vocal experiences were not entirely such as to arouse 
 the admiration of the poet and his friend, although some 
 water-songs heard during the time he spent in Venice 
 must have charmed Byron into writing, — 
 
 " There be none of Beauty's daughters 
 With a magic like thee ; 
 And like music on the waters 
 Is thy sweet voice to me." 
 
 Although Tasso is no longer heard, there is yet much 
 music on the canals, and strangers often think the songs 
 are still verses of Tasso. In the days when these were 
 popular, two boatmen sang the strophes in turn, sometimes 
 at a great distance ; for instance, a gondolier would begin a 
 strophe of "Ariosto" to Rousseau's melody, a second gondo- 
 lier would then take it up, and so on. Sometimes the night, 
 through many a weary hour of waiting, was thus spent by 
 the Venetian boatmen. A writer in the " Curiosities of 
 Literature," speaking of their singing, says : " The sleepy 
 canals, the lofty buildings, the splendour of the moon, the 
 deep shadows of the few gondolas that moved like spirits 
 hither and thither, increased the striking peculiarity of the 
 scene ; and amidst all these circumstances it was easy to 
 confess the character of this wonderful harmony." In this 
 same book I read, that the fishermen's wives of the Lido 
 spent their evenings sitting along the shore, while their 
 husbands fished, singing stanzas from Tasso and other 
 popular songs at the pitch of their voices, going on till 
 each one could distinguish the responses of her own hus- 
 band in the distance : a very pretty idea truly, but one I 
 should fancy which would have to borrow all its enchant- 
 ment, for the listener, from the necessary distance. It 
 would scarcely prove a peaceful walk "by the sad sea 
 
192 Music of the Waters.' 
 
 waves," if those waves echoed with every rise and fall the 
 shrill voices of Itahan women at their highest pitch. 
 
 Amongst the Venetian maidens, as amongst the Highland 
 clans of Scotland, a sailor's calling is amongst those which 
 are looked upon suspiciously. 
 
 " Sailor's trade at sea to die ! " 
 
 and again, — 
 
 " I want no fisher with a fishy smell, 
 A market-gardener would not suit me well, 
 Nor yet a mariner who sails the sea ; 
 A fine flour-merchant is the man for me." 
 
 By which it will be seen that this last singer's evident 
 ideal is a corn-merchant for a husband — rather an exalted 
 lot for a Venetian maid of the people. Fishermen are con- 
 sidered poor, penniless folk, and she who weds a sailor does 
 so at her own peril. 
 
 " L' amour del mariner no duraun' ora, 
 La dove che lu el va, lu s' inamora." 
 
 And even if the sailor's troth can be trusted, is it not his 
 trade " At sea to die " ? But the young girl will not be 
 persuaded. " All say to me, ' Beauty, do not take the 
 mariner, for he will make thee die ;' if he make me die, 
 so it must be : I will wed him, for he is my soul." So the 
 gondolier's Marietta is as true to him in her heart of hearts 
 as Poll or Nancy to her Jack. The following is a verse 
 from a Venetian bead -stringer's song : — 
 
 " My love is far and far away from me, 
 I am at home, and he has gone to sea ; 
 He is at sea, and he has sails to spread, 
 I am at home, and I have beads to thread." 
 
 The gondolier's love, though, can afford to sing in a 
 lighter strain, there is not the shadow of interminable voy- 
 ages upon her. " I go out on the balcony ; I see Venice, 
 
Music of the Waters. 193 
 
 and I see my joy, who starts. I go out on the balcony ; I 
 see the sea, and I see my love, who rows." 
 
 There is a lovely little song well-known in Venice, " Song 
 of a Mariner," which combines with the exquisite simplicity 
 of the Tuscan the glow and fervour so characteristic of the 
 Venetian ; though I must admit a glow and fervour which 
 are born of the ever egotistical nature of their songs, and 
 in which a blending of the Tuscan humility and sweetness 
 would be an additional charm. Was it not Dante who so 
 grieved for the character of these lyrics, and who spoke so 
 contemptuously of the vulgarity of the language they were 
 written in, as " The Jargon of the Lagunes " ? 
 
 SONG OF A MARINER. 
 
 " Fair art thou born, but love is not .for me, 
 A sailor's calling sends. me forth to sea. 
 I do desire to paint thee on my sail. 
 And o'er the briny deep I'd carry thee ; 
 They ask, what ensign .' when the boat they hail. 
 For woman's love, I bear this effigy, 
 For woman's love, for love of maiden fair ; 
 If her I may not love, I love forswear ! " 
 
 Probably the author of these picturesque and most truly 
 nautical words was some Istriot fisherman, though but 
 little credit is given to seafaring men in Italy for being 
 poetical, and Dr. Pitr^ remarks that, " Sailors pick up 
 foreign songs in their voyages, chiefly English and Ameri- 
 can, and come home inclined to look down upon the songs 
 of their native land." Dr. Pitr^ perhaps does not know the 
 contagious vigour of a good British hauling chanty, or 
 has not been moved by the pathos of a score or more faith- 
 ful sailor-husbands, trying to make the time pass in the 
 far-away tropics with " Home, Dearie Home." 
 
 The story of a damsel who dropped a ring in the sea, 
 and owed its rescue to a fisherman, who for sole reward 
 
 O 
 
194 Music of the Waters. 
 
 demanded a kiss, is well-known on the Adriatic and Medi- 
 terranean coasts — 
 
 " Oh ! pescator dell' onda 
 Findeliu, 
 Vierii pescar in qua ! 
 CoUa bella sua barca, 
 Colla bella se ne va 
 Findeliu ! liu ! la ! " 
 
 The charm of a gondolier's early morning cargo is well 
 described in the following verse. All lovers and habitues of 
 the City of Doges are familiar with the sight of the gondolas 
 coming into Venice, in the early mornings, laden with fresh 
 fruit and flowers. 
 
 " To-night their boats must seek the sea, 
 One night his boat will linger yet ; 
 They bear a freight of wood, and he 
 A freight of rose and violet." 
 
 Amongst the curious articles on folk-lore which ap- 
 peared in the pages of The Gentleman's Magazine, there 
 is a very graphic account given in one of the ceremony 
 known as " Wedding the Adriatic " on Ascension Day. 
 It says, " The most ridiculous, though perhaps the most 
 pompous show in the world, is that of the annual ceremony 
 of the Doge's marrying the sea. It is said to have taken 
 its rise from a grant of Pope Alexander III., who, as a 
 reward for the zeal of the inhabitants in his restoration to 
 the Papal chair, gave them power over the Adriatic, 
 as a man hath power over his wife ; in memory of which 
 the chief magistrate annually throws a ring into it, with 
 these words : ' Desponsamus te, mare, in signum perpetui 
 dominii ' (' We espouse thee, O sea, in testimony of our 
 perpetual dominion over thee ')." 
 
 Of the many authors who have given to the world their 
 impressions of Venice and the Venetians, there is not one 
 who has more truthfully and poetically (for they may be 
 combined.) represented them than Mr. Horatio F. Brown in 
 
Music of the Waters. 195 
 
 his " Life on the Lagoons." His book — inscribed by the 
 way to his gondolier " Antonio Salin, my constant com- 
 panion in Venice and Venetia " — has the salt and the free- 
 dom of the grey lagoon, and the light and shade, and 
 laughter and tears of those whose life is passed on it, in all 
 its pages. Long after I had laid it down, I was haunted by 
 the visions it had conjured up for me-r— visions of Chioggian 
 market-boats jostling each other ; of bronzed Chiozzotti 
 with their pipes between their teeth, reposing on top of their 
 cabbage-piles ; of an evening breeze springing up behind, 
 and sail and prow being set for Venice, across the pearly- 
 grey lagoon ; I could hear the clash and the clamour of the 
 evening bells, the splash of the oars, could see the piazza 
 lights and the sunset glow, feel the clear pungent odour 
 of the lagoons, " the breath of Venice," and the thriUing 
 voice of the sea with its ceaseless strain, " II mare mi 
 chiama." Mr. Brown, in his inimitable fashion, analyzes 
 the great charm of the " Queen of the Adriatic ;" he says, 
 " It is the people and the place, the union and interpene- 
 tration of the two, the sea-life of these dwellers in the city 
 that is always ' just putting out to sea,' which constitutes 
 for many the peculiar and enduring charm of Venice. The 
 people and the place, so intimately intermingled through 
 all their long history, have grown into a single life charged 
 with the richness of sea-nature and the warmth of human 
 emotion. From both together escapes this essence or soul 
 of Venice which we would clasp with all the ardour of a 
 lover. Venice, her lagoons, her seafaring folk, become 
 the object of a passionate idolatry, which admits no other 
 allegiance in the hearts that have known its power. To 
 leave her is a sure regret, to return a certain joy. 
 
 " Farewell they may not who say farewell." 
 
 A few words as to the origin of the word " gondola " 
 may not be out of place in a chapter bearing on the Vene- 
 tian boatmen : again quoting the author of the " Life on 
 the Lagoons." " The derivation of the name is still an open 
 
 o 2 
 
196 Music of the Waters. 
 
 question. But the view which has obtained most general 
 acceptance is that which connects the word with the Latin 
 Cymba and the Greek KVfi^ri, the light boat in which 
 Charon ferried souls across the Styx. Charon's boat, as 
 it is represented on gems and marblesj resembles the bar- 
 chetta, and Charon himself uses a paddle to guide his boat 
 behind. To this day, the passenger across a Venetian 
 ferry, lays his obol on the gunwale of the gondola, much 
 as Charon's ghostly fares were wont to do. On a moon- 
 less silent night the waters of the Grand Canal are no 
 mean counterfeit of that nether-world river, Lethe, the 
 waters of oblivion." ' 
 
 The gondoliers are a deeply conservative race. Custom 
 is their true religion — -in its ordinary sense it is an affair of 
 the women — church-going amongst them has now almost 
 ceased to be a habit. Amongst the fishermen and sailors 
 of the trading-ships, the case is different. Each boat has its 
 patron saint somewhere on its bows, many with a prayer 
 painted beneath ; and in the captain's cabin you are sure 
 to find a picture of the Madonna wreathed with offerings 
 of olive-branches, lemons, and Indian corn : a small light 
 in a glass globe usually burns before this little shrine. The 
 captain of a trading-boat on its way out to sea would 
 hardly pass the little chapels which are built here and 
 there on the great piles, without repeating a "Salve 
 Regina " or a " Pater Noster," as he stands bare-headed in 
 the wind. 
 
 The fishermen of Chioggia as they row home on a 
 summer night while away the time, as the gondoliers pass 
 theirs in song, with endless tales of Angelica and Orlando, 
 Astolfo and Ruggiero, and all the pageantry of the Caro- 
 lingian myth, and the Reali di Francia. 
 
 The stars are fo the Venetians bei segreti (beautiful 
 secrets) ; the pole .star is the type of constancy and the 
 sailors' hope. 
 
 ^ Seepages 107 — 116, "Life on the Lagoons," by Horatio F. Brown. 
 Kegan Paul, Trench & Co. 
 
Music of the Waters. 
 
 197 
 
 Tutti le stele prende el so camino ; 
 La tramontana no se move mai, 
 E se la tramontana se movesse, 
 Bravo quel mariner clie naveghesse. 
 
 Of all the stars, each single one 
 
 Doth take its wonted way ; 
 The northern star 'tis that alone 
 
 Burns steadfastly alway, 
 And if the northern star begins 
 
 To wander like its peers, 
 Brave mariner is he who wins 
 
 The port, and homeward steers. 
 Horatio F. Brown. 
 
 -M^ 
 
 GONDOLIERS' CHORUS. 
 
 Andanlino. p 
 
 -i ^ 1 h- 
 
 r ^r > ^ 
 
 t=t: 
 
 lit 
 
 te 
 
 doke. 
 
 m 
 
 ^^ 
 
 =s^ 
 
 te^ 
 
 n 
 
 ^^^^^gEi 
 
 =it±t 
 
 ^ 
 
 :zf= 
 
 :l=t: 
 
 ^t 
 
 -^r 
 
 / 
 
 tf ' r 
 
 dim. 
 
 35P?2= 
 
 m 
 
 :^=S=J- 
 
 The above is one of the favourite choruses of the gondo- 
 liers ; and the following, a Sicilian boatman's song, " Love ! 
 Love ! " :— 
 
 SICILIAN BOAT-SONG. " AMURI, AMURI ! " 
 
 :& 
 
 5=^ 
 
 ±M-r=.^^ \ ''L I V \ >- r^' ' ^j 
 
 A - mu ri, a mu- ri, chi m'na' fat - tu fa 
 
 -^ --vr-r- 
 
 ^^=^^ 
 
 I? 
 
 =^ 
 
 l-rl— ^ 
 
 ri ! Li sen - ra mi I'na' mi......... Lu'n-fan-ta 
 
 SI -a. 
 
 Lu pa - tri - no *» - stra 
 
198 Music OF THE Waters. 
 
 i 
 
 fr=^ 
 
 \ V \ y 
 
 
 'yr* 
 
 M'na' fat - ta scor da ri E la mi-ta- ti 
 
 i 
 
 =^=^- 
 
 di la 'vin Ma- ri - a ! 
 
 With Clough's lovely poem, than which no more 
 realistic description of the gondola exists, I close my 
 remarks on the Italian watermen : — 
 
 IN A GONDOLA ON THE GRAND CANAL, 
 VENICE. 
 " Afloat ; we move — delicious ! Ah, 
 What else is like the gondola ? 
 This level floor of liquid glass 
 Begins beneath us swift to pass. 
 It goes as though it went alone 
 By some impulsion of its own. 
 
 How light it moves, how softly ! Ah, 
 Were all things like the gondola ! 
 
 " How light it moves, how softly ! Ah, 
 Could life as does our gondola, 
 Unvexed with quarrels, aims, and cares. 
 And moral duties and affairs, 
 Unswaying, noiseless, swift, and strong, 
 For ever thus — thus glide along ! 
 
 How light we move, how softly ! Ah, 
 
 Were life but as the gondola. 
 
 " With no more motion than should bear 
 A freshness to the languid air ; 
 With no more effort than expressed 
 The need and naturalness of rest. 
 Which we beneath a grateful shade 
 Should take on peaceful pillows laid I 
 
 How light we move, how softly I Ah, 
 Were life but as the gondola ! 
 
Music of the Watebs.. 199. 
 
 '" In one unbroken passage borne 
 To closing night from opening mornj. 
 Uplift at whiles slow eyes to mark 
 Some palace front, some passing bark ; 
 Through windows catch the varying shore, 
 And hear the soft turns of the oar ! 
 
 How light we move, how softly ! Ah, 
 Were life but as the gondola ! " 
 
SCANDINAVIAN SEA-SONGS. 
 
SWEDEN, NORWAY, AND DENMARK. 
 
 '■ With grand Sea-Songs upon the soul 
 Roll'd melody on melody." 
 
 Those who have not carefully studied the complex 
 character of our English nationality are perhaps not aware 
 how much we are indebted to the Scandinavian people ; it 
 is well known the Celts were the earliest ascertained 
 people on the land, but I do not think that many have 
 duly considered that the various manly qualities which we 
 pride ourselves upon, have been inherited from that race 
 which is known to us as the "hardy Norsemen." Mr. Chorley, 
 in his " National Music," gives his impressions of that of 
 the North in such wonderfully beautiful language^ that I 
 think I cannot do better than quote him as an introduc- 
 tion ; he says : " In lands of mists and mountains, of long 
 winters and short precious summers, the influences of 
 scenery are more clearly to be discerned than in regions 
 where Nature is uniformly favourable. Gay or grave, the 
 music of the North is fresh ; the sad is seldom blended 
 with languor ; the sweet has ever something in it to brace, 
 even in minor keys, which predominate." 
 
 The Northern sea-songs are grand and stirring melodies, 
 rarely if ever tinged with sadness ; the spirit that animated 
 the sea-kings of old seems to have been handed down to 
 their marine descendants of to-day. Some of the super- 
 stition that was ever characteristic of Northern seafaring 
 
204 Music of the Waters. 
 
 people is still left, and in the far North it is as great as 
 ever. Among the Kvans, one curious old woman, Anna 
 by name, always spat and turned to the sea, mumbling 
 some words as a charm against mermen whenever a boat 
 came in. In her charms the word "Jumala" was often 
 used ; it is the name of the old god of the Bjarmers, 
 whose worship in the far North is not so abolished as 
 might be supposed. Dedicated to his cultus, high up in 
 the mountains in Finmark, are two altars, from which it 
 would appear even in civilized Europe, among the more 
 ignorant, Christianity is made to shake hands with Paganism. 
 The mermen of the north of Norway were not of the same 
 species as the traditionary mermaids of our nursery rhymes, 
 " Human above and iishy below/' but had legs and feet 
 like ordinary mortals ; they were, in fact, a sort of ocean 
 giant, always injuring in some way the poor Norse 
 sailors. 
 
 The Swedes are eminently a musical people. One of 
 their old sea laws, according to Chorley, was that the 
 man on the watch should sing a hymn every night. 
 Surely there is something very picturesque as well as 
 devout in such an ordinance. 
 
 Mr. Ballantyne, in his " Norsemen in the West," puts the 
 following song into Karlesefin's mouth. Karlesefin was the 
 skipper of the ship that set out for Vinland about 986 ; 
 he was himself a skald or poet, although he had no pre- 
 tension to great attainments in that way. Seated beside 
 the helm guiding the ship, he would interest the group of 
 friends who stood, sat, or reclined on the deck and against 
 the bulwarks of the high poop, with Sagas descriptive of 
 the battles and adventures of their Viking forefathers. One 
 can imagine the little party thus occupied on a fine moon- 
 light night, a soft wind carrying them pleasantly over the 
 rippling sea, and the skipper's voice singing probably in 
 some weird monotonous tone the following : — 
 
 " Where western waves were all unknown 
 And western fields were all unsown, 
 
Music of the Waters. 205 
 
 When Iceland was the outmost bound 
 
 That roving Viking keels had found, 
 
 Gunbiorn then — Ulf Kraka's son — 
 
 Still farther west was forced to run 
 
 By furious gales, and there saw land 
 
 Stretching abroad on either hand. 
 
 Eric, of Iceland, called the Red, 
 
 Heard of the news and straightway said, 
 
 ' This western land I'll go and see ; 
 
 Three summers hence look out for me.' 
 
 He went, he landed, stayed awhile, 
 
 And wintered first on Eric's Isle, 
 
 Then searched the coast both far and wide. 
 
 Then back to Iceland o'er the tide. 
 
 ' A wondrous land is this,' he said. 
 
 And called it Greenland of the Sea. 
 
 Twenty-and-five great ships sailed west 
 
 To claim this gem on ocean's breast ; 
 
 With man and woman, horn and hoof, 
 
 And begging for the homestead roof. 
 
 Some turned back — in heart but mice — 
 
 Some sank amid the northern ice ; 
 
 Half reached the land in much distress. 
 
 At Ericsford and Herulfness. 
 
 Next Biarne — Herulfs doughty son — 
 
 Sought to trace out the aged one (his father) ; 
 
 From Norway sailed, but missed his mark, 
 
 Passed snow-topped Greenland in the dark : 
 
 And then came to a New Found land — 
 
 But did not touch the tempting strand, 
 
 For winter winds oppressed him sore. 
 
 And kept him from his father's shore. 
 
 Then Leif — the son of Eric — rose 
 
 And straightway off to Biarne goes. 
 
 Buys up his ship, takes all his men. 
 
 Fares forth to seek that land again. 
 
 Leif found the land, discovered more, 
 
 And spent a winter on the shore. 
 
206 Music of the Waters. 
 
 Cut trees and grain to load the ship 
 
 And pay them for the lengthened trip ; 
 
 Named ' Hella-land ' and ' Mark-land ' too, 
 
 And saw an island sweet with dew ! 
 
 And grapes with great abundance found, 
 
 So named it Vinland all around, — 
 
 But after that forsook the shore 
 
 And north again for Greenland bore. 
 
 And now we cross the moonlit seas 
 
 To search this land of grapes and trees ; 
 
 Biarne, Thorward, Karlsefin 
 
 Go forth this better land to win, 
 
 With men and cattle not a few, 
 
 And household gear and weapons too : 
 
 And, best of all, with women dear 
 
 To comfort, counsel, check, and cheer. 
 
 Thus far we've made a prosperous way, 
 
 God speed us onward every day ! " 
 
 It was unanimously agreed that this was a true account 
 of the discovery of Vinland (America), and of their own 
 expedition as far as it had gone ; but one of the party, 
 Biarne, insisted that the skipper had not done full justice 
 to the subject of the latter, in omitting to mention a whale 
 which had dived under the vessel, and substituted the 
 following lines : — 
 
 "When Biarne^ Thorward, Karlsefin 
 This famous voyage did begin^ 
 They stood upon the deck one night 
 And there beheld a moving sight : 
 It made the very men grow pale. 
 Their shudder almost rent the sail I 
 For lo ! they saw a mighty whale. 
 It drew a shriek from Olaf brave, 
 Then plunged beneath the briny wave. 
 And while the women loudly shouted, 
 Up came its blundering nose and spouted ; 
 
Music of the Waters. 207 
 
 Then underneath our keel it went 
 And glared with savage fury pent, 
 And round about the ship it swum, 
 Striking each man and woman dumb. 
 Stay — one there was who found a tongue, 
 And still retained her strength of lung — 
 Fredessa, beauteous matron bold, 
 Resolved to give that whale a scold ! 
 But little cared that monster fish 
 To gratify Fredessa's wish ; 
 He shook his tail, that naughty whale. 
 And flourished it like any flail, 
 And ho ! for Vinland he made sail ! " 
 
 Mr. Ballantyne further tells us that Biarne is not a 
 poet of very high standing ; at least, one may judge from 
 the rhyming of the two lines following, that he knew 
 how to avail himself of one of the many privileges poets 
 have, viz. to take out his licence :■ — 
 
 " And round about the ship it swum, 
 Striking each man and woman dumd ! " 
 
 In the same book, "The Norsemen in the West," we 
 find another sea-song, which is set to a rattling tune :— 
 
 THE DANISH KINGS. 
 
 Solo. — " One night when one o' the Irish kings 
 Was sleeping in his bed, 
 
 Six Danish kings — so Sigvat sings- 
 Came an' cut off" his head. 
 
 The Irish boys they heard the noise. 
 And flocked unto the shore ; 
 
 They caught the kings, and put out their eyes. 
 And left them in their gore. 
 
 Chorus. — Oh ! this is the way we served the kings 
 
 An' spoiled their pleasure — the dirty things — 
 When they came to harry and flap their wings 
 
208 Music of the Waters. 
 
 Upon the Irish shore — ore, 
 Upon the Irish shore. 
 
 Solo. — Next year the Danes took terrible pains 
 
 To wipe that stain away ; 
 They came with a fleet their foes to meet 
 
 Across the stormy say. 
 Each Irish carl great stones did hurl 
 
 In such a mighty rain, 
 The Danes went down with a horrible stoun. 
 
 An' never came up again. 
 
 Chorus. — Oh ! this is the way," &c. 
 
 In Mr. Samuel Laing's admirable translation of Snorro 
 Sturleson's " Heimskringla" (Chronicle of the Kings of 
 Norway), there are many famous sea-songs ; indeed, the 
 volumes are so interspersed with them that it would be 
 a difficult matter to make a selection from so inexhaustible 
 a mine. Many of the same expressions and even senti- 
 ments that may be found in the modern sailor's songs are 
 introduced in these old Icelandic Sagas ; for instance, in 
 the following : — 
 
 " The hero who knows well to ride 
 The sea-horse o'er the foaming tide ; 
 He who in boyhood wild rode o'er 
 The seaman's horse to Scandia's shore, 
 And showed the Danes his galley's bow, 
 Right nobly scours the ocean now." 
 
 The expression sea-horse (or sometimes ocean-steed) is 
 commonly used for a ship, probably from many having 
 had the figure-head of a horse on the bow. Mr. Laing 
 seems to rate Snorro Sturleson's powers as a dramatic his- 
 torian very highly, ranking him with Carlyle, Scott, and 
 even with Shakespeare himself, and placing him very far 
 above Joinville or Froissart. Therefore, we may venture 
 to regard as authentic his account of the half-fabulous 
 tales of the time of Odin, though it must, I think, be a 
 
Music of the Waters. 209 
 
 somewhat difficult matter to discriminate between the 
 mythological and historical, so closely are they blended 
 in the narratives of the Northern countries. 
 
 There is a "curious tale about herrings mentioned in 
 one, Saga Eyvind. Skaldespiller, a poet, composed a 
 poem about the people of Iceland, for which they re- 
 warded him by each peasant giving him three silver 
 pennies of full weight. These pennies were purified and 
 made into a row of silver clasps, and valued at fifty marks 
 Eyvind on receiving these clasps (which, by the way. 
 resembled the rows of buttons still used by the Friesland 
 fishermen for ornaments on their jackets), was obliged to 
 separate them and sell them to defray his household 
 expenses ; a proceeding which must have seemed the 
 reverse of dignified. But the same spring a shoal of 
 herrings set in upon the fishing-ground beyond the coast- 
 side, and Eyvind manned a ship's boat with his house- 
 servants and cotters, and rode to where the herrings were 
 come, singing : — 
 
 " Now let the steed of ocean bound 
 O'er the North Sea with dashing sound ; 
 Let nimble bird and screaming gull 
 Fly round and round, our net is full. 
 Fain would I know if fortune sends 
 A like provision to my friends. 
 Welcome provision, it is, I wot, 
 That the whale drives to our cook's pot." 
 
 So entirely were his movable goods exhausted that he was 
 obliged to sell his arrows to buy herrings, or other meat for 
 his table : — 
 
 " Our arms and ornaments of gold 
 To buy us food we gladly sold ; 
 The arrows of the bow gave we 
 For the bright arrows of the sea." 
 
 Herrings, from their swift darting along, are called the 
 
 P 
 
210 Music of the Waters. 
 
 arrows of the sea ; and there is a play upon the words " pil " 
 (arrows) and " sild " (herrings), as being somewhat similar 
 in sound in the original translation. 
 
 In the reign of King Magnus the Good (1035 — 1047) there 
 appears to have been a great deal of fighting, and most of 
 the songs of that period tell of battles by sea and land ; 
 some few lament the hardships of sea-life^ such as — 
 
 " No drink but the salt sea 
 On board our ships had we, 
 When, following our king, 
 On board our ships we spring. 
 Hard work on the salt sea, 
 Off Scandia's coast, had we ; 
 But we laboured for the king. 
 To his foemen death to bring." 
 
 But most of these are stirring battle-songs : — 
 
 " Brave Magnus, from the stern springing 
 On to the stem, where swords were ringing. 
 From his sea-raven's beak of gold 
 Deals death around — the brave ! the bold ! 
 
 'Twas on a Sunday morning bright, 
 Fell out this great and bloody fight. 
 When men were arming, fighting, dying. 
 Or on the red decks wounded lying. 
 And many a man foredoomed to die. 
 To save his life o'erboard did fly. 
 But sank ; for swimming could not save. 
 And dead men rolled in every wave." 
 
 There seems to have been an origin for the well-known 
 song, most familiar, perhaps, to children, of "London Bridge 
 is broken down," in the reign of King Olaf. Speaking of 
 the invasion of England in the time of Ethelred, Mr. Laing 
 says : " The Danes who had already been settled in 
 England some time — King Ethelred having gone to France 
 — had raised a great work^ a bulwark of stone, timber, and 
 
Music of the Waters. 211 
 
 turf, where they had stationed an army. This was at 
 Southwark, or, as they called it, Sudrviki, and between 
 this and the castle (probably the site of the Tower of 
 London) there was a bridge so broad that two waggons 
 could pass each other upon it ; on this were raised barri- 
 cades, both towers and wooden parapets, in the direction 
 of the river — namely, across the bridge — which were almost 
 breast high ; and under the bridge were piles driven into 
 the bottom of the river. King Ethelred, on hearing of the 
 death of King Swend, the Danish king, came home imme- 
 diately, and soon gathered an immense force about him, 
 amongst whom were King Olaf and a troop of Northmen. 
 They tried to get possession of the bridge, but the Danes 
 firmly defended it. A council was called together to deter- 
 mine how they should get the bridge broken down, and it 
 was determined to lay their forces under the bridge. King 
 Olaf ordered great platforms of floating wood to be tied 
 together with hazel bands, and for this he took down 
 old houses, and with these as a roof he covered over his 
 ships so widely that it reached over their sides. Under 
 this screen he set pillars so high and stout, that there both 
 was room for swinging their swords, and the roofs were 
 strong enough to withstand the stones cast down upon 
 them. They rowed up the river when ready, but when 
 they came near the bridge, there were cast down upon 
 them so many stones and missile weapons, such as arrows 
 and spears, that neither helmet nor shield could hold 
 out against them ; and the ships themselves were so 
 greatly damaged, that many retreated. But King Olaf 
 and his men rowed quite up under the bridge, laid their 
 cables around the piles which supported it, and then rowed 
 off as fast as they could. The piles thus shaken were 
 loosened under the bridge, and as the armed troops of the 
 Danish stood thick upon it, together with heaps of stones 
 and other weapons^ the piles being loosened and broken, 
 the bridge gave way, and a great part of the men fell into 
 the Thames ; the rest fled, some into the castle, and some 
 
 P 2 
 
212 
 
 Music of the Waters. 
 
 into Southwark. Thereafter Southwark was stormed and 
 taken. Now when the people in the castle saw that the 
 river was mastered, and that they could not hinder the 
 passage of ships up into the country, they became afraid, 
 surrendered the Tower, and took Ethelred to be their 
 king." 
 
 H 
 
 :1^ 
 
 Et 
 
 :$5q= 
 
 fi=^ 
 
 n*"ll 
 
 ;•— ;- 
 
 i 
 
 I 
 
 / I 
 
 I 
 
 -^-^SSTZt 
 
 -Ti—<*' 
 
 11 
 
 atixit 
 
 I 
 
 Ol 
 
 7i 
 
 " London Bridge is broken down, 
 Gold is won^ and bright renown. 
 
 Shields resounding. 
 
 War-horns sounding, 
 Hildur shouting in the din ! 
 
 Arrows singing. 
 
 Mail-coats ringing — 
 Odin makes our Olaf win ! 
 
 " King Ethelred has found a friend, 
 Brave Olaf will his throne defend — 
 
 In bloody fight 
 
 Maintain his right. 
 
 Win back his land 
 
 With blood-red hand. 
 And Edmund's son upon his throne replace- 
 Edmund, the star of every royal race ! 
 
 " At London Bridge stout Olaf gave 
 Odin's law to his war-men brave — 
 ' To win or die ! ' 
 And their foemen fly : 
 Some by the dyke-side refuge gain. 
 Some in their tents on Southwark plain. 
 This sixth attack 
 Brought victory back." 
 
Music OF THE Waters. 213 
 
 There is a Laplander's song by Sigurd,, relative to their 
 making boats, given also by Mr. Laing : — 
 
 " In the Lapland tent 
 Brave days we spent, 
 Under the grey birch-tree ; 
 In bed or on bank, • 
 We knew no rank, 
 And a merry crew were we. 
 
 " Good ale went round 
 As we sat on the ground. 
 Under the grey birch-tree ; 
 And up with the smoke 
 Flew laugh and joke. 
 And a merry crew were we." 
 
 These boats were so light that no ship could overtake them 
 in the water, according to what was sung at the time : — 
 
 " Our skin-sewed Fin-boats lightly swim, 
 Over the sea like wind they skim. 
 Our ships are built without a nail ; 
 Few ships like ours can row or sail." 
 
 The following is from the pen of King Harald : — 
 
 " While wives of husbands fondly dream. 
 Here let us anchor in the stream. 
 In Godnarfiord ; we'll safely moor 
 Our sea-homes, and sleep quite secure." 
 
 There is no nation in the world prouder of its national 
 ensign than is Denmark of its Dann^brog — not even 
 England of her Union Jack. Of this Danndbrog there is 
 a curious legend, or rather, I should say, history. During 
 the Valdemarian period the Danes now turned propagan- 
 dists of Christianity, and during the war they waged against 
 the pagan countries on the south and east of the Baltic, in 
 one of the battles fought near Reval, in Russia, in the year 
 I2ig, a great miracle is said to have occurred. They had 
 
214 Music of the Waters. 
 
 discarded the old pagan flag of the raven, a. new one was 
 vouchsafed them by Heaven and sent down to them — 
 under this they became victorious. It was a red flag with 
 a white cross, still the national ensign by sea and land. 
 
 Amongst the Danish national songs there is one com- 
 memorative of this :— ;- 
 
 " The Dann^brog, 'tis known, 
 The Dann^brog, 'tis known, 
 It fell from Heaven down ; 
 Yes, it fell from Heaven down ! 
 It floats upon the mast. 
 The soldier grasps it fast. 
 And no flag in the world besides, like ours. 
 From Heaven was ever cast." 
 
 Danish poetry lacks the polish of southern national 
 song, both as to rhyme and rhythm. Indeed, it recalls 
 the times of our own Chaucer and Gower. It is rough and 
 romantic, and not at all wanting in vigour and expressive- 
 ness. Perhaps climate regulates poesy as it does the human 
 constitution. All Scandinavian national songs abound in 
 reiterations. 
 
 The Vikings (sea-rovers or pirates), who played so im- 
 portant a part during the Danish conquests, were not 
 Vi-kings, but Vik-kings (Veekings), so called, says Mr. 
 Worsaae in his account of the Danes and Norwegians, 
 either from the Icelandic Vik (Danish Vig), a bay of the 
 sea, or from Vig, battle or slaughter. The latter, I fancy, 
 seems the more probable ; although many may place more 
 reliance on Mr. Worsaae's first solution. There is much 
 that remains shrouded in obscurity concerning these 
 northern lands, and there is a terse saying very appropriate 
 to Scandinavian researches : — 
 
 " What is hits is histories. 
 What is missed is mysteries." 
 
 The Danish people are not musical when compared with 
 
MusiG OF THE Waters. 215 
 
 such harmony-loving countries as Germany, France, Italy, 
 and Sweden. Their sailors have but few songs, and those 
 are certainly not to be classed under the heading of 
 chanties. 
 
 The capstan song for the Danish Navy is, " Come, all ye 
 jolly sailors bold " : — 
 
 Solo: — " Come, all ye jolly sailors bold, 
 Chorus. — Heave and go, my Nancy O 1 
 
 Solo. — Listen till my tale is told, 
 Chorus. — Heave and go, my Nancy O ! 
 
 Solo. — The king trusts to his sailors bold, 
 And we shall find them as of old— 
 For father, mother, sisters, wives. 
 We're ready now to risk our lives. 
 For Danish girls, with eyes so blue, 
 We'll do all that can sailors do. 
 And Danndbrog upon our masts 
 Shall float as long as this world lasts ; 
 And now for our brave captain, we. 
 Will give three cheers right heartily. 
 
 Solo. — Then up, mates, up, and blaze away, 
 Chorus. — Heave and go, my Nancy O ! 
 
 Solo. — Listen till my tale is told, 
 Chorus. — Heave and go, my Nancy O ! " 
 
 Modern Scandinavian " chanties " resemble our English 
 ones very closely, many words being exactly the same ; 
 they are spirited tunes, characteristic of the fresh, hardy, 
 brisk men who sing them. They have their capstan songs, 
 their hauling "chanties," their outward and homeward- 
 bound song.s, and those of forecastle fame, descriptive of 
 sailor's and sea life, and illustrative of their grand old Viking 
 fathers. The following are both recognized forecastle 
 favourites : — 
 
216 
 
 MUSTC OF THE WATERS. 
 
 NORSK SJOMANDSSANG. 
 
 ^ 
 
 Allegretto coinodo. 
 '"f-r 
 
 i 
 
 :$e:5c1's=?s: 
 
 :*3S=5!: 
 
 :5:ic 
 
 By F. A. Reissigkr. 
 
 
 ^=P=:»^=?tt*=i=*, 
 
 y y y y 
 
 ^ ■ - ■ - ^^^~ 
 
 Den Norske Sjomand eret gjennem barket Fol- ke-faerd ; Hvor Fartoi 
 
 :3a=?5= 
 
 1fc:tsq!s::1!^ 
 
 =Sh5=S: 
 
 ijsiqsf: 
 
 Jsqsc 
 
 ■3Z 45H 
 
 ■wr-M-^d J ^ — *- 
 
 d-\ s . s s -\-d--j 
 
 ■m-d-jt- 
 
 fq:^^-s!s—Ss. 
 
 5d^ 
 
 i S N 
 
 Ss=2=^5 
 
 ^l^r^^ 
 
 "? — pn-^c::y'~~7 — 7 — J — y — sry^^/^ — s*' — ?~»'~ 
 
 fly de rar, der er ban for - ste mand, Hvor Far- toi 
 
 ^^ 
 
 =f5=5^ 
 
 :*= 
 
 =*ZZit 
 
 ^^=te=^: 
 
 /'- 
 
 -^— :*- 
 
 »?/, 
 
 EE^^ 
 
 I I I > ? [> y I 5i^ 
 
 fly de ran, der er ban for - ste mand, Paa - 
 
 ::fs: 
 
 =;3t 
 
 -* — ^: 
 
 --1- 
 
 -S^!>«- 
 
 -45^J5^ 
 
 :fc 
 
 m 
 
 ^H^l-l~ 
 
 '•y ~v ^~7 y y '■/ 7 \^ y v y y 
 
 togt og hjem - me her, ved Sund og Skjaer eg Fis - ke-vaer, Han 
 
 =a=s;= 
 
 >. N N 
 
 1fc=i;SR^si 
 
 -m—d- 
 
 In-^ 
 
 -^-. 
 
 -^ — 1^= — I — j- 
 
 y y y 7 i i J J 7 P j y 
 
 tar sin gud i Sind og Saet-ter Liv - vet ind, Han 
 
 =^=5^ 
 
 ?•— g- 
 
 F^= 
 
 Han tar.. 
 
Music of the Waters. 
 
 217 
 
 ritenuto. 
 
 fc 
 
 ^^x-- 
 
 /• y 
 
 -r- ^ (, ir w ^ , 
 
 tar sin gud i Sind og Saet-ter Liv 
 S- 
 
 vet 
 
 ind. 
 
 ::iv: 
 
 =^ 
 
 This song is descriptive of sailors and sea-life. 
 
 To the next there is a most decidedly English beginning : 
 " Hurra ! my boys," very often used by Norwegian seamen. 
 
 RUFFEN.— iv;w«j//« Song. 
 
 ^ 
 
 E^^£ 
 
 lA: 
 
 Hur- ra, my boys, for let - tet An - ker ! Stem i en Hang 
 
 i 
 
 i^s;:^ 
 
 i mun- tre kor. Ry-fyl-ke ud ad Fjord-en dam- per, 
 
 i 
 
 s^E 
 
 S i 
 
 A - van - ce 
 
 Kjol-van-det gaar. Med Bagbords Skjod 
 
 i 
 
 =i=fei 
 
 KJ N i S ^ jsi 
 J— J J m — 
 
 HS=t5= 
 
 :t 
 
 og Skyrbords Hal - ser iid Haasteins fjord ■ - en gaar ga - lant, 
 
 -^ 
 
 X 
 
 =&s^ 
 
 42=fc=t2: 
 
 v-i^- 
 
 Og vo-res Lods ban or be-fal-er at sal-te al - le Seil i- kant. 
 
 NORWEGIAN CAPSTAN CHANTY. 
 
 Solo. 
 
 ^^ 
 
 
 ^ 
 
 -is-rT\ 
 
 Chorus. 
 
 
 3t=t 
 
 s 
 
218 
 
 Music of the Waters. 
 
 To this last capstan tune no words were sent me. Some 
 of the songs furnished with verses are of very little use, save 
 to those who are acquainted with the Norwegian language 
 as sung by the sailors ; it is almost impossible to make 
 any correct translation of the words. They mean but 
 little to the singers of them, that is, judging them from a 
 sensible point of view ; but they mean decidedly less 
 to us, who are not Norwegian. It has often struck 
 me that there must be a very forcible freemasonry 
 between sailors of all nations with regard to their language, 
 even putting aside those technical terms which hold good 
 all the world over, and which enables the Norwegian to 
 understand as readily as the Italian, with whom they 
 originate, the words " starboard " and " larboard," when 
 the Dutchman and Englishman, the Frenchman and 
 Russian exchange glances of sympathy over some thrilling 
 yarn told in the strange forecastle vernacular of an 
 English vessel. 
 
 OPSANG FOR JONAS ANTON HJELM. 
 
 Vivace. v i ^ «. _ ,v 
 
 I 
 
 i 
 I 
 I 
 
 ^ 
 
 V — Ni ■* ^ 1^ '^ — M •■ 
 
 
 1^ y f y \/ y !>' i ^ ^ *fi >■ <y 
 
 Hur - rah for Jo-nas An- ton Hj elm ! Sing Say- lor, O ! Hur 
 
 -Jn ^S > >>_, ^S_ 
 
 ^ 
 
 
 ra ! 
 
 y p y "—^ ^ — ^-^ 
 
 Han var fer nor - ge Hjelm og spjud ; 
 
 =S=^= 
 
 :js=&-' 
 
 SI 
 
 ^=r 
 
 -*7—'r~^- 
 
 ^^ 
 
 :q^ 
 
 m-^ 
 
 ~^' \ ^y ^ . 
 
 til sidst han frid Fla - get ud, Sing Say-lor, O ! Hur- ra, my boy ! 
 
 4- 
 
 =S=5= 
 
 :S=^: 
 
 i^ 
 
 —I — m — * 1 — ^' 
 
 Sing Say-lor, O ! Hoi loy ! 
 
 5EIE 
 
 ■/ _ fei P 
 
 E|: 
 
 y r^"^"' 
 
 Sing Say-lor, O ! Hur - ra, my boy ! 
 
 I 
 
 I ist time. 
 
 2nd time. 
 
 =?S=5= 
 
 il 
 
 £ 
 
 ^E^ 
 
 Sing Say-lor, O ! Hoi -loy! 
 
 .Sing Say-lor, ! Hoi- loy ! 
 
Music of the Waters. 219 
 
 The song for Jonas Anton Hjelm is a well-known one 
 on board Norwegian vessels, and though perhaps not 
 known as any particular sort of working song, it is yet as 
 often heard as any. " Hurrah for Jonas Anton Hjelm," and 
 " Sing, saylor, hurra, my boy," seem to suggest that it is 
 commemorative of some evidently noteworthy personage 
 — Jonas Anton Hjelm by name. 
 
 i 
 
 VED ANKERHIONING.— J%aOT«^ the Anchor. 
 
 Chorfs. 
 
 Solo. 
 
 d?z=iv: 
 
 ii: 
 
 l-m-j^ 
 
 i 
 
 Og Kei - ser - en sad paa - sit No - je Stot. Good - 
 
 Solo. 
 
 3^5=^t 
 
 Si=?s S i-v 
 
 
 » s - 
 
 ?-^^^ 
 
 m 
 
 bye, fare you well, good-bye, fare you well. Hans ho - i - ro- de Kjole den 
 Chorus. , 
 
 I , s I =qg— ftj — I N— |=n 
 
 =^^=^ 
 
 =f*=^ 
 
 klar-ham saa goot. Hur - ra, my boys, We are home-ward bound. 
 
 English Version. 
 
 Solo. — " And the Kaiser he sat in his castle so high. 
 Chorus. — Good-bye, fare you well ; good-bye, fare you well. 
 
 Solo. — His crimson jersey suits him so well. 
 Chorus. — Hurra, my boys ! we are homeward bound." 
 
 A translation of the foregoing seems scarcely necessary, 
 considering that the chorus is English. 
 
 A song used when throwing ballast is the next one I 
 give, and perhaps among all the songs I have heard sung hy 
 the blue-jackets of the world there is none so redolent of the 
 freshness and vigour of the sea as this Norwegian chanty. 
 I could understand any land-sick lad longing for a sea- 
 life if he once heard this ballast-throwing song ringing 
 from the decks of some Norwegian vessel ; it has a swing 
 and " go " about it that are most captivating : — 
 
220 
 
 Music of the Waters. 
 
 i 
 
 s 
 
 VED BKLASrmONmG.— Throwing Ballast. 
 
 ^ 
 
 If.— K 
 
 ih 
 
 -li»^-ty- h- 
 
 i 
 
 ^ 
 
 =P=it: 
 
 — *>-i 
 
 i 
 
 Chorus. 
 
 ? =q^= 
 
 =jc:=pr: 
 
 =»=*= 
 
 ritd 
 
 i 
 
 s 
 
 -^«-^^ 
 
 '^ ^ =g 
 
 =i24: 
 
 ^^£^ 
 
 ^±ist 
 
 1— t^-M 
 
 English Version. 
 
 A hunter went out a-hunting, 
 A hunter went out a-hunting, 
 . Out in the wood so green ; 
 Ja, ja ! out in the wood so green. 
 
 Chorus. 
 Hali, halo, hali, halo ! 
 We sail and we pull ! 
 Ja, ja ! hali, halo, hali, halo ! 
 We sail and we pull. 
 
 Norwegian Version. 
 
 En Jager gik ud at Jage, 
 En Jager gik ud at Jage, 
 Att udi skoven gron ; 
 Ja, ja ! att udi skoven gron. 
 
 Chorus. 
 Hali, halo, hali, halo ! 
 Ni seile og in ro, ya, ya ! 
 Hali, halo, hali, halo ! 
 Ni seile og in ro. 
 
 The same words are sung to this last tune as to the 
 Ballast Chanty, except in the chorus, when '" sing" replaces 
 " sail "— 
 
 " We sing all tra la, la, la, la, hei ! 
 We sail to America." 
 
 VED MS.^S'E.Y MA). —Topsail-halyards Chanty. 
 
 i^^ 
 
 -hS i ' ^S- 
 
 S m 
 
 j * ^ ' * » *— *— I 
 
Music of the Waters. 
 
 221 
 
 Solo. 
 
 BOWLINE CHANTY. 
 Chorus. 
 
 Solo. 
 
 K|_4s_jv= 
 
 ^^^^35353 
 
 =^=^ 
 
 * s 
 
 H — m — »- 
 
 =Stiaq^at?= 
 
 i 
 
 En sb-mands stb- re - te glade er, Ji - lia, Ji - lia, hop- ra- sa. At 
 Chorus. 
 
 S^ 
 
 :S=ls= 
 
 qs;:^ 
 
 =S=N= 
 
 =S=t 
 
 — ■ — ^ — I — m — 4 
 elskes ap en Pi-gekjor, Jii-lia, hop-ra - sa, Jii-li - a, Ji-li - a, 
 
 i 
 
 iP5=f5=^=a^^ 
 
 \ N I 
 
 i N In 
 
 -.wmL-m^ 
 
 -»i-J;- 
 
 Ji- lia, Ji - lia, hop-ra- sa, Ju - li - a, Jii - li - a, So- de Jii - li - a. 
 
 Translation. 
 Solo. — " A sailor's greatest pleasure 
 Chorus. — Is Julia, Julia hops as a Jo. 
 
 Solo. — Beloved of girls so dear. 
 Chorus. — Julia hops as a Jo. 
 
 Julia, Julia, Julia, Julia ! 
 Julia, sweet Julia." 
 
 There are, I am told, a great many verses to this tune, 
 but as they are all much in the same strain, I have just 
 given the one. 
 
 The pumping-song which follows is a great favourite 
 with the sailors. The translation has one merit — it is very 
 literal. 
 
 PUMPING CHANTY. 
 
 % 
 
 ^ 
 
 ->. ^5=5S= 
 
 Bi 
 
 =1V=S=S=^S= 
 
 is > ^ 
 
 :?=t 
 
 ' 
 
 Z0=3tZ. 
 
 U - di Par- me - rent, i Hoi - land, der laa en gam-mal Brige, 
 
 Chorus. 
 
 ^ 
 
 psis: 
 
 ^ 
 
 =?i=S= 
 
 -^-ft^ ■ ^-H^- 
 
 N i> i N 
 
 -»— 4 .0 — *- 
 for- slit-en war bans Skrog,apforslitenwarhans Rig, Oberlandzum par vand, 
 
 feg 
 
 :js=j^ 1 ' I I N s s \ r > | 
 
 d . M — J— f-5* 1 1-- — I 1 — m .d 
 
 1^ 
 
 I 
 
 3^£ 
 
 -0-0 # 
 
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 Oberland zum par vand, tirDrobakmedkan griee-per in wel-kom-me kaw. 
 
222 
 
 Music of the Watjebs. 
 
 English Version. 
 
 " Out in Pamerent in Holland 
 There lay a brig so old ; 
 Worn out was her hull, 
 And worn out was her rig. 
 
 Overland as at sea, 
 
 Overland as at sea. 
 To Drobak ' with the piggy, 
 We are able to come." 
 
 OPSANG. — For Heaving, the Anchor. 
 
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 ra ! O har du Lyst at spil - le GSId-ter-nin-gen med mig. 
 
 In a letter I received from an English author who writes 
 of the sea and sailors, he says that there are not many sea- 
 songs in vogue in Northern Europe, and that almost all the- 
 '' chanties " that belong to our seamen are of Spanish 
 origin. Amongst the hundreds of letters I have had from 
 different parts of the world on the subject of the sailors' 
 songs, there is not one that so emphatically contradicts my 
 experience in collecting them. Thanks to the very kind 
 and unwearying assistance of Mr. Conradi, the Scandi- 
 navian Consul for Newcastle-upon-Tyne, I have been able to 
 procure more specimens of genuine "chanties" than perhaps 
 have been found amongst any other nation, and I fear I 
 
 ^ A port in Norway. 
 
Music of thu Waters. 223 
 
 must add that it is due to the evident inability or disin- 
 clination of those members of the Spanish community 
 whom I have addressed in the matter that I have not been 
 favoured with any information or even replies to my in- 
 quiries, that I cannot include amongst the accounts of the 
 " Sailors' Songs of all Nations " a chapter devoted to those 
 of the country whose maritime importance once took 
 precedence of all other. 
 
 I cannot close my remarks on the Scandinavian sea-songs 
 without a regret, although one that is not occasioned by 
 the kindly people of those Northern lands, rather, I must 
 acknowledge the pleasure the task of collecting their songs 
 has afforded me, encouraged and aided as I have been in 
 the undertaking, but only regretting that anything com- 
 memorative of so noble a country should be so imperfectly 
 done. 
 
GERMAN SAILORS' SON"GS. 
 
 " The fiddler in his tavern, 
 The long-drawn sailor-song." 
 
 ' Crown the deck the festive sailors 
 Of the broad and German Rhine. 
 
 ' Der Rhein ! Der Rhein ! 
 1 know the song, the jovial singers too, I know." 
 
GERMAN SAILORS' SONGS. 
 
 " Liebchen, Ade ! 
 Scheiden thut Weh. 
 Morgen geht's in die wogende See." 
 
 There are in North Germany, according to the late 
 Captain Goodenough, about 80,000 .seafaring men. As a 
 characteristic, most of the German ships are manned by 
 entirely German crews, perhaps mixed now and then with 
 a few Scandinavians and Dutch. Frequently German ships 
 in foreign ports make up their number by men sent from 
 home, as every able-bodied man in Germany has to serve 
 three years either in the army or navy. The seafaring 
 population receive a good training, and it is on account of 
 their discipline and sobriety that German sailors frequently 
 are employed in foreign ships. There are, of course, cases 
 of desertion, but hardly as many as in other countries, as in 
 most of them the German Consuls have the power to im- 
 prison deserting sailors. Frequently hard-earned mone}' 
 may also be squandered in a reckless way, but on the whole 
 the German seaman must be called thrifty. The German 
 sailors being almost entirely drawn from the coasts of the 
 Baltic and the North Sea, most of their songs are in the 
 North German dialect, and as such rather difficult to 
 translate. 
 
 To the well-known tune of " In Berlin sagt' Er," the 
 following tmly sailor-like verses are sung : — 
 
 German Version. 
 
 Juche, lustig, seggt he, 
 Ich bin Kock, seggt he. 
 Drink recht geern, seggt he, 
 En Glas Grogh, seggt he. 
 
 English Version. 
 
 Hurrah ! jolly ! says he, 
 I am cook, says he. 
 Drink riglit well, says he, 
 A glass of grog, says he. 
 
 Q 2 
 
228. 
 
 Music of the Watubs. 
 
 Fahr to Sen, seggt he, 
 Zwintig Jahr, seggt he, 
 Heff ook immer, seggt he, 
 Gliicklich Fahren, seggt he. 
 
 Gale Arfen, seggt he, 
 Kack ick mbr, 
 Rohr se immer, 
 Diichtig dor. 
 En Sttick Scheik, 
 Samlich grot, 
 Smecht och sen, 
 Wiirklich good. 
 
 Back ick Kliiten, seggt he, 
 Wi bekannt, 
 Spec ick erst, 
 In die Hand, 
 Denn ruU ick se, 
 Zirkel rund, 
 De smeckt good, 
 Sund gesund. 
 
 Wenn ick bade, seggt he. 
 Form Captein 
 Mak ich alles, 
 Sauber rein, 
 Mit en Strump, 
 Wisch ick ut, 
 Erst dat Schottel 
 Un den Putt. 
 
 Doch een Dehl, seggt he. 
 
 Is darbei, 
 
 Dat ick sorg, 
 
 Ook for my. 
 
 For myn Mbh, 
 
 For myn Fliet, 
 
 Stock ick etwas. 
 
 An de Siet. 
 
 Fort Logis, seggt he, 
 Sorg ick ook, 
 Denn ick bin 
 Lannig klook, 
 Goodes Futter, 
 Un ook satt, 
 Un den Rest, 
 Kriggt de Kaff. 
 
 Dock ick at, seggt he, 
 Geevn Alleen, 
 Jeder brukt, 
 Richt tosehn, 
 Wenn ick hefF, 
 Etwas goodes, 
 Dat smeckt my 
 Ganz lamos. 
 
 Go to sea, says he. 
 Twenty years, says he, 
 And have always, says he. 
 Mighty luck, says he. 
 
 Cook for me, says he, 
 Yellow peas, 
 Keep them stirred, 
 r.ight away through ; 
 A piece of lard, 
 Jolly big-; 
 Taste and see, 
 Mighty good. 
 
 Baking dumplings, says he. 
 As well known, 
 I spit first 
 In the hand. 
 Then I roll them. 
 Make them round. 
 That tastes well. 
 And is sound. 
 
 When I cook, says he. 
 For the captain, 
 I make all 
 Neat and clean ; 
 I dry out. 
 With a sock. 
 First the basin, 
 Then the board. 
 
 But one part, says he. 
 That is there, 
 For myself, 
 I take care, 
 For my worry 
 And my trouble. 
 Always something 
 Put aside. 
 
 For my lodging, says he, 
 Care is taken. 
 For I am 
 Mighty cute, 
 Splendid grub. 
 Mighty much, 
 And the rest 
 Gets the cat. 
 
 Better feed, says he, 
 By myself. 
 No man need 
 Ought to see. 
 When I have 
 Something good, 
 I like that 
 Vastly miich. 
 
Music of the Watebs. 
 
 229 
 
 Myn Kambiis, seggt he, 
 Is hiibsch rein, 
 Alles is, 
 PUk un fein, 
 Wer di rin kummt, 
 Ward gliek rufft, 
 Und ick sett em 
 An de Luft. 
 
 So fahr ick, seggt he, 
 Imtner so, 
 Kam ick mal, 
 Bi myn Fro, 
 Denn wies ick der, 
 Wie man kaalt, 
 Un wie Seelild, 
 Siinst et makt. 
 
 Neat and clean, says he, 
 
 Is my cabin, 
 
 Trim and fine 
 
 All there looks, 
 
 Who looks in. 
 
 At once is stopped, 
 
 And I kick him 
 
 Out of it. 
 
 So I sail, says he. 
 Always on, 
 When I come 
 To my wife, 
 Then I show her 
 How to cook, 
 And how sailors 
 Always do. 
 
 Allegretto. 
 
 IN BERLIN SAGT' ER. 
 
 Like most of the German sailors' songs, this one is 
 written in Low German. It is not easy to render quite 
 accurately or rhythmically in English the peculiarities of 
 this droll piece. It is supposed to be sung by one voice, 
 save the inevitable "says he," at the end of each line, 
 which is given by the whole conipany present. The 
 Germans have no organized set of chanties, belonging to 
 their different kinds of work, as our men have on board 
 ship. Their songs are mostly, like " The Jolly Cook," set 
 to some well-known popular tune, though the words are 
 often as sailor-like as any I have come across. A love of 
 good music seems to be implanted in the heart of every 
 son of the great " Vaterland," be he prince or be he com- 
 mon sailor. And the blue-jackets of Germany heave their 
 anchors and haul their ropes to some Lied of Mendelssohn 
 or chorus of Handel, as the British tar heaves and hauls to 
 some quaint yo-ho-ing of his own composing. 
 
 The following is a translation of another humorous song, 
 
230 
 
 Music of the Watebs. 
 
 well known to German seamen ; it has no title, but is sung 
 to an exceedingly pretty air, which I have noted down as 
 it was given me : — 
 
 German Version. 
 
 Wenn das Atlantische Meer 
 Lauter Champagner war ; 
 Mocht ich ein Haifisch sein, 
 Schliirfte nur Wellen ein. 
 
 Wenn das Atlantische Meer 
 Lauter Champagner war. 
 War ich viel lieber doch 
 Ein Schiff mit groszem Loch. 
 
 Ging ich dann zu Grund ; 
 Schliirft, in der letzten Stund, 
 In deinen Schaum noch ein, 
 Gluh'n der Champagner Wein. 
 
 English Version. 
 
 If the Atlantic Sea 
 
 Could only champagne be, 
 
 I'd wish to be a shark, 
 
 And swallow its waves for a lark. 
 
 If the Atlantic Sea 
 Could only champagne be, 
 I'd wish with all my soul. 
 To be a ship with a hole. 
 
 When to the bottom I go. 
 Then in that hour of woe. 
 Still then thy foam I'd suck, 
 O sparkling champagne cup ! 
 
 Slightly suggestive of thirst, the idea of the Atlantic 
 and its foam-crested breakers being turned into cham- 
 pagne ! The tragic tone of the last verse is strangely 
 mock-solemn. 
 
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 The following song is, though nameless, a well-known 
 one to the German seamen. The tune was just sung over 
 to me, as it has never been in print. 
 
 German Version. 
 
 Hamburg ist ein schones Stadtchen, 
 (AU) Siehst du wohl ! 
 
 Welches an der Elbe liegt, 
 (AH) Siehst du wohl ! 
 
 Drinnen giebt es hiibsche Mad- 
 chen, 
 (All) Madchen, 
 
 Aber sprbde sind sie nicht, 
 (All) Siehst du wohl ! 
 
 English Version. 
 
 (Solo) Hamburg is a jolly city, 
 
 (All) Don't you know ! 
 
 (Solo) Which is lying on the Elbe, 
 
 (All) Don't you know ! 
 
 (Solo) And the lasses, they are pretty, 
 
 (All) Pretty, 
 
 (Solo) But you cannot call them prim, 
 
 (All) Don't you know ! 
 
MUSIG OF THE WATUBS. 
 
 231 
 
 Chorus. 
 
 Ach ! es halt ja so schwer, 
 Aus einander zu gehn, 
 Wenn die Hoffnung nicht war, 
 Auf ein Wieder Wiedeisehn : 
 Lebe wohl, lebe -wohl, lebe wohl, 
 Auf Wiederseha. 
 
 EineSchwalbemachtkeinSommer, 
 {All) Siehst du wohl ! 
 
 Wenn es auch die erste ist, 
 (All) Siehst du wohl ! 
 
 Und mein Liebchen mir kein 
 Kummer, 
 {All) Kummer, 
 
 Wenn sie auch die schbnste ist. 
 {All) Siehst du wohl ! 
 
 Chorus. 
 Ach ! es halt ja so schwer, &c. 
 
 Sassen einst zwei Turteltauben, 
 {All) Siehst du wohl ! 
 
 Sassen beid' auf einem Ast, 
 {All) Siehst du wohl ! 
 
 Ach, wo zwei Verliebte scheiden, 
 {All) Trocknet alles Laub und 
 Grass. 
 
 Chorus. 
 Ach ! es halt ja so schwer, &c. 
 
 The tune follows : — 
 Solo. 
 
 Chorus. 
 Oh ! but it does grieve the heart. 
 When some friends have thus to 
 
 part. 
 But the hope softens the pain. 
 That we'll see each other again. 
 So farewell, so farewell, so fare- 
 well. 
 We shall meet again. 
 
 And one swallow makes no sum- 
 mer, 
 {All) Don't you know ! 
 
 Even if the first she be, 
 {Alt) Don't you know ! - 
 
 And no lust disturbs my slumber, 
 {All) Slumber, 
 
 If the prettiest she be, 
 {All) Don't you know ! 
 
 Chorus. 
 Oh ! but it does, &c. 
 
 Once I saw two turtle-doves, 
 {All) Don't you know ! 
 
 Both were sitting on one spray, 
 {All) Don't you know ! 
 
 And where two true lovers parted, 
 {All) Grass and leaves they wither 
 away. 
 
 Chorus. 
 Oh ! but it does, &c. 
 
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232 
 
 Music of tse Watijbs. 
 
 The soi;ig known as " Ankunftin Hamburg," or "Arrival 
 in Hamburg," is well and widely known amongst German 
 tars. It is sung to a melody known as " Holl dy jo nich 
 op," which title gives the chorus to the song. 
 
 ANKUNFT IN HAMBURG. 
 
 German Version. 
 Iramer seine Bries, 
 Dat is Seemans Wies, 
 Dammi, Jungs Ickkann 
 
 Eurhaben sehn ! 
 Kock, sy nicht so dumm, 
 Rohr de Arfen um, 
 Wenn se anbrennt deem 
 Sclimerkt se nicht schon. 
 Jung, den Buddel her, 
 Schenk Mai rund umher, 
 Giffen jeden Mann en fixen Sluk. 
 Holl dy jo nich op ! Holl dy jo 
 
 nich op ! 
 Holl dy jo, un yo ! un yo nich op ! 
 
 Dar op Bankbord Sied 
 
 Is en lUtjen S tried. 
 
 Jan de Quast dar mit dem langen, 
 
 Fritz, 
 Bios um en liitt Deem, 
 Is de Rbh nich werth 
 Wat do ick mit so en dummen Witz. 
 Seth, wi hefft bald Band, 
 Deern's geft uns de Hand ; 
 Wenn se uns nich mbgt, socht my jem 
 
 so ; 
 HoU dy jo nich op ! Holl dy jo nich 
 
 op ! 
 Holl dy jo nich op ! Holl dy jo nich 
 
 op ! 
 
 Recht wergnogten Muth, 
 
 Nu geiht mit de Floth, 
 
 Op de Elfen Hamborgs Haben to. 
 
 Smiet den Anker ut, 
 
 Sett de Sluhinut, 
 
 De Captein geiht erstmal na syn Fro : 
 
 Achen de grose Luk, 
 
 Langssied liggt de Schutt : 
 
 So, Lud, fat de Winsch mal kraft'g 
 
 an ! 
 Holl dy jo nich op! Holl dyjo nich op! 
 Holl dy jo nich op ! Holl dy jo nich op ! 
 
 Wenn't Schlapp leddig is, 
 Gifftet bannig Kies, 
 Junge, denn, musst dat 
 
 Wergnogen sehn, 
 Moje Pankje an, 
 
 English Version. 
 Always a jolly breeze, 
 That is the way of the sailor. 
 Damn you, boys I haven't you seen 
 
 Cuxhaven ? 
 Don't look so silly. 
 Stir the yellow peas ; 
 Burnt they don't taste nice. 
 Boy, reach me the bottle. 
 Give each one a drink — 
 Every one in turn. 
 Now then, don't you stop ! 
 Now then, don't you stop ! 
 Now then, don't you stop ! 
 Now then, don't you stop ! 
 
 There on the starboard side 
 
 There's a little row. 
 
 Varn mop with a fall, Fred, 
 
 For a little girl. 
 
 It's not worth the while. 
 
 What do I with such a daft joke ? 
 
 Look ! we soon have land. 
 
 Girls, reach us a hand. 
 
 If they don't like us, then we'll shout 
 
 at them, 
 " Now then, don't you stop ! 
 Now then, don't you stop ! 
 Now then, don't you stop ! 
 Now then, don't you stop ! " 
 
 Now with jolly mind. 
 
 We go with the tide 
 
 Up the Elbe to Hamburg's Haven. 
 
 Heave the anchor there : 
 
 The Captain first goes to his wife : 
 
 Open the big hatchway, 
 
 The keel is alongside. 
 
 " Now, boys, fast to the windlass. 
 
 Now then, don't you stop I now then, 
 
 don't you stop ! 
 Now then, don't you stop ! now then, 
 
 don't you stop ! " 
 
 When we have discharged. 
 There's a lump of cash. 
 Now, boys, you must see that spree. 
 Now, boys, you must see that .spree. 
 Now, boys, you must see that spree. 
 
Music of the Watehs. 
 
 233 
 
 Ziert den Fahrensmann, 
 
 BlankeTaschen, datis Wunner schon; 
 
 Jede liitje Deem 
 
 Tiit uns bannig geem, 
 
 Un wer uns nich ehrt, dem racht my 
 
 to : 
 HoU dy jo nich op, hoU dy jo nich op. 
 • HoU dy jo nich op, hoU dy jo nich op ! 
 
 Well-lined pockets are awfully nice. 
 
 With every little girl 
 
 Mighty welcome are we. 
 
 And we shout at him who doesn't 
 
 care for us, 
 "Now then, don't you stop! now 
 
 then, don't you stop"! 
 Now then, don't you stop ! now then, 
 
 don't you stop ! " 
 
 Though, perhaps, not strictly admissible in a collection of 
 sailors' songs, I cannot bring this short account of the 
 German ones to a close without including that most beau- 
 tiful of all beautiful water-legends, " The Lorelei :" — 
 
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 German Version. 
 Ich weisz nicht, was soil esbedeuten, 
 Dasz ich so traurig bin ; 
 Ein Marchen ans alten Zeiten, 
 Das kommt mir nicht aus dem Sinn. 
 
 English Version. 
 
 I know not what itmeaneth, 
 That I'm so sad to-day ; 
 Of olden times a>legend 
 Haunts me for ever and aye. 
 
234 
 
 Music of tre Watijus. 
 
 Die LuPt ist kiilil und es dunkelt, , 
 Und ruhig flieszt der Rhein ; 
 Der Gipfel des Berges funkelt 
 Im Abend-Sonnenschein. 
 
 Die schonste Jungfrau sitzet 
 Dort oben wunderbar, 
 Ihr goldnes Geschmeide blitzet, 
 Sie kammt ihr goldnes Haar ; 
 
 Sie kammt es mit goldenen Kamme 
 Und singt ein Lied dabei ; 
 Das hat eine wundersame 
 Gewaltige Melodie. 
 
 Den Schiffer im kleinen Schiffe, 
 Ergreift es mit wildem Weh ; 
 Er sieht nicht die Felsenriffe, 
 Er schaut nur hinauf in die Hoh' ! 
 
 Ich glaube, die Wellen verschlingen 
 Am Ende Schiffer und Kahn ; 
 Und das hat mit ihrem Singen 
 Die Lorelei gethan. 
 
 The air is cool, and it darkens, 
 And calmly flows the Rhine ; 
 The mountain summit glimmers 
 In the evening sunshine. 
 
 Above, in wondrous beauty, 
 There sits a maiden fair; 
 Her brilliant jewels glitter, 
 She combs her golden hair. 
 
 Combing her golden tresses, 
 A song the while she sings, 
 A song so weird, alluring, 
 That through my heart it rings. 
 
 Bewitched with woe and longing, 
 The boatman is looking on high, 
 Not heeding the threatening danger. 
 That hovers round him so nigh. 
 
 Methinks that the bark and boatman 
 The treacherous waves have won ; 
 And that, with her beautiful singing) 
 The Lorelei has done. 
 
 I have purposely given this translation of the beautiful 
 poem, as so many English versions are published totally 
 regardless of the music, and to my idea it seems scarcely 
 worth while to translate any song-verses without having 
 regard to the song itself. I have found many English ver- 
 sions of this legend, all more or less inaccurate as a true 
 description of the thrilling effect of the original words. 
 Some of them even speak of the " fury of the sea, the rock- 
 bound coast," &c., and surely if ever a legend were asso- 
 ciated with a river, it is that of the Lorelei with the Rhine. 
 
 The song " Freiheit, die Ich Meine," is often heard on 
 board German vessels. The words are tp be found in 
 most books of German " Lieder," so I will content myself 
 with giving a few bars of the melody. 
 
 i 
 
 Solo. 
 
 FREIHEIT, DIE ICH MEINE. 
 
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Music of tme Watiies. 
 
 235 
 
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 " Goldne Abendsonne," or " Golden Evening Sun," is 
 too well-known a song for there to be any necessity to 
 give the words or their English meaning'; it is often sung 
 by the sailors in chorus at the end of their day's work. 
 
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 All Chorus. 
 
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 " Auf Ihr Briider, laszt uns Wallen " ' is also a sailors' 
 favourite, and when they meet on shore, and grow, as land- 
 folk also do, convivial over their pipes and lager, then may 
 be heard from some tavern or coffee-house the strains of 
 the " Auf, Ihr Briider." I before remarked that German 
 sailors, as well as the other sons of the old Vaterland, have 
 a deeply-rooted love of good music, and looking through 
 a very remarkably spelt note-book full of songs, strongly 
 redolent of tobacco, which was written for me by a Ham- 
 burg sailor during a period of convalescence in Newcastle 
 Infirmary, I find the following gems mentioned as being 
 favourites on board German vessels — Mendelssohn's ex- 
 quisite " Scheiden," " Parting," which they use as an out- 
 ward-bound song, also his "Abschied vom Walde," or 
 " Leaving the Forest ;" and Schubert's perfect " Wandrer's 
 Nacht-Lied," with Gothe's words. 
 
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236 
 
 Music of tse Watubs. 
 
 WANDRER'S NACHT-LIED. 
 
 German Version. 
 
 Ueber alien Gipfeln ist Ruh, 
 In alien Wipfeln spiirest du 
 Kaum einen Hauch ; 
 Die Voglein schweigen im Walde. 
 
 Chorus. 
 
 Warte nur, balde 
 Ruhest du auch. 
 
 THE WANDERER'S NIGHT 
 
 SONG. 
 
 English Version. 
 
 Over each mountain is peace, 
 On each summit stirs there 
 Scarce a breeze ; 
 The birds are silent in the wood. 
 
 Chorus. 
 
 There only wants, there only wants, 
 That thou, too, shouldst rest. 
 
 The effect of this beautiful song chanted — for it is more 
 like some grand sacred piece than a song — on the open 
 sea, must be very pleasing. Imagine our Jack tars sing- 
 ing anything even one-half as classical as Schubert's 
 " Wandrer's Nacht-Lied." 
 
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 AUF, IHR BRUDER, LASZT UNS WALLEN. 
 Solo. , . _ 
 
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 The following is the tune of the " Weinachts-Lied," or 
 " Christmas Carol," that is sung by the German sailors for 
 that festival. It is to be found, amongst many other well- 
 known German songs, in a book published in Hamburg 
 and collected by Dr. Wichern, under the title of " Unsere 
 Lieder." 
 
Music of tsu Watjebs. 
 
 237 
 
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 German Version. 
 
 Morgen muss ich fort von hier, 
 Und muss Abschied nehmen ; 
 O du aller schonste Zier, 
 Scheiden, das bringt Gramen. 
 Da ich dich so treu geliebt, 
 Ueber alle Maassen, 
 Soil ich dich verlassen, 
 Soil ich dich verlassen ? 
 
 English Version. 
 
 I to-morrow, love, must go, 
 Farewell, I must leave thee ; 
 Thus to part, thou lovely one, 
 Bitterly doth grieve me. 
 I so truly have loved thee. 
 Far beyond all measure, 
 How can I then leave thee, 
 Who art all my treasure ? 
 
 
 Andante. 
 
 LEBEWOHL {Farewell). 
 
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 With this favourite "outward bound" song of the German 
 seamen I bring this small collection of their songs to a close. 
 Lebewohl, adieu, adio, farewell — all sad, all telling of separa- 
 tion, perhaps for years, perhaps for ever, but never so sad, 
 never so real, as when the last glimpse of land fades from the 
 eyes of those watching it from an "outward bound" vessel. 
 
DUTCH SAILORS' AND HERRING- 
 FISHERS' SONGS. 
 
 " This will prove a brave kingdom to me, 
 Where I shall have my music for nothing." 
 
DUTCH SAILORS' AND HERRING- 
 FISHERS' SONGS. 
 
 i 
 
 ee 
 
 DUTCH NATIONAL SONG 
 
 J-^ 
 
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 ^^ 
 
 t^^ 
 
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 =g= 
 
 dolce. 
 
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 fc 
 
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 Just across the North Sea, over the low sand-dykes of 
 Holland, scarce higher than a ship's bulwarks, looked a 
 race whom the spleeny wits of other nations declared to 
 
 R 
 
242 Music of tse Watubs. 
 
 be born web-footed. Yet their sails were found in every 
 sea, and, like resolute merchants as they were, they left 
 to others the glory whilst they did the world's carrying. 
 Their impress upon the sea-language was neither faint nor 
 slight. They were true mariners, and from Manhattan 
 Island to utmost Japan, the brown bright sides, full bows, 
 and bulwarks of the Dutchman tumbling home were as 
 familiar as the sea-gulls. Many words of daily use on 
 shipboard are of Dutch origin ; for instance, " bowsprit " is 
 a compound of English and Dutch. The word " boom " is 
 also due to the low land of dykes, as is " camboose.'" For 
 all their clumsy appearance, their vessels are laid on lines 
 that are both true and sharp ; and the hardy Norsemen 
 Vikings, and stately patrician Romans (who, by-the-bye, 
 were at best but sea-soldiers and marines), learnt to their 
 cost in the days when the rulers of the sea had yet to be 
 proved, that in the squat, solid Dutchman they had a 
 formidable rival. 
 
 And the Dutch are still to the fore in all matters mari- 
 time ; their thriving, busy ports are ample proof of that ; 
 take, for instance, Amsterdam — that most beautiful city on 
 the Amstel : " The seamen seated on the quays, their legs 
 hanging down, or leaning against the black balustrades, 
 having a grave and solemn appearance. All are smoking, 
 seemingly reflecting, but not thinking ; silent, but not 
 dreaming. Fishermen from Marken returning to their 
 island ; fishermen of Amsterdam who fish for the anchovy ; 
 barrel-formed Tjalks loaded with merchandise ; the little 
 steamboat which carries the passengers and letters for 
 Harlengen ; all waiting at the sluices for the great gates 
 which allow five ships to enter abreast, to open." 
 
 I have quoted this passage from Henri Havard's delight- 
 ful " Dead Cities of the Zuyder Zee." He says, " In the 
 distance the ironclad frigates were seen, and we could hear 
 the sailors singing their old sea-songs, nearly the same 
 in all countries amongst mariners." Monsieur Havard's 
 remark is peculiarly applicable to the Dutch. They have 
 
Music of tsu Watubs. 243 
 
 for so long been a thorough-going sea people that many 
 expressions and terms now used in sailors' parlance may- 
 be traced to them. It is not at all surprising to meet with 
 a Dutch sailor who will tell you he knows the German, 
 French, and English sea-songs thoroughly ; indeed, some 
 of the Low German songs I give in the pages devoted to 
 Germany are almost as much Dutch as German. The 
 song, " The Jolly Cook," which is written in such a strange 
 dialect, is well known to the sailors of Holland, and the 
 same may be said of many of our chanties. Any day in 
 Rotterdam, that most quaint old-world town, with its 
 thronged busy quays, where are found a cosmopolitan lot 
 of seamen, you may hear snatches of English song, as the 
 men are busy with their work : — 
 
 " For there will come the sailors, 
 Their voices I shall hear. 
 And at the casting of the anchor, 
 The yo-ho loud and clear ; 
 And at hauling of the anchor. 
 The yo-ho and the cheer." 
 
 There is one phase of sea life, though, in which the Dutch 
 are a people par excellence, namely, the fisheries ; it seems 
 almost incredible to read of the amount of barrels of fish 
 daily exported from Holland ; in fact, as some one wisely 
 remarks, " The history of the country might be written in 
 the fishing-nets," for there are dozens and dozens of little 
 villages where the life of the inhabitants is simply herrings. 
 Inside the dweUings, nets that are needing repair, tackle of 
 all sorts, boat appliances, barrels for the salted fish, and 
 women knitting their husbands', fathers', sons', or brothers' 
 coarse warm jerseys : outside, signs of ships over the door- 
 ways, lines of boats on the rugged and dangerous coast, 
 herrings being salted and packed as fast as the busy hands 
 of the brave daring fishermen can pack them, and over all 
 a calm, satisfied cheerful contentment that is almost sad to 
 witness when one thinks of the rude dispelling it must 
 
 R 2 
 
244 Music of the Waters. 
 
 often have, when the angry sea turns on the men who 
 spend their lives in wresting their daily bread from the 
 tempest. These herring-fishers on the lonely Dutch coast 
 live a strange hfe. A life of great hardship, earnest 
 and unflagging industry, and small profit. A life that is 
 spent, like that of most of the people of Holland, in 
 constant warfare with the sea, striving with works 
 that have gone on for years, and that must go on as 
 eternally as the tide, if the imperious monarch is to be 
 kept back from the peaceful home-like land that his 
 hungry billows would so fain ravage. There is something 
 so noble in a people that are content to go on year after 
 year combating so grand a foe, that one cannot wonder 
 that the indomitable patience and perseverance displayed 
 by the Dutch, in the very minutest details, has won them 
 such rewards. 
 
 Water plays such an important part in the life of the 
 Dutch, and so much time has to be spent on it, that the 
 people, who are characteristically chary of time^ carry on 
 all their usual occupations, and the women travelling in 
 the tzekschuyten or gondolas reckon that from one town to 
 another they can knit so much of a stocking. The Dutch 
 boatmen who man these water omnibuses, and who by the 
 way are among the most amiable watermen of the world, 
 seem to find the water so evidently their sphere, that they 
 never appear to be anxious to reach their journey's end. 
 Water-boats, milk-boats, everything that is in daily use in 
 Holland comes by canal, and it is a strange fact, that 
 where there is so much water, there is yet a difficulty in 
 finding any to drink, and it has often to be brought a great 
 distance by boat to the towns ; it has been said " that in 
 Holland wherever nature has failed to supply the sea or a 
 river, the Dutch have made a canal." By this means 
 most of their traffic is carried on all day with activity and 
 some bustle, and in the evenings with a little relaxation 
 and often to the strains of some popular song, sung in 
 chorus, such as : — 
 
Music of the Waters. 
 
 245 
 
 EE 
 
 _! L 
 
 ^ 
 
 J — l- 
 
 
 I I 
 
 « — ^-r — I— — I h^ — m g ' ^r -H — h 
 
 
 In a book entitled " The Dutch at Home," by Monsieur 
 Alphonse Esquiros, published by Chapman and Hall, 
 Piccadilly, which describes most graphically the life and 
 character of the fishermen and sea-people generally of 
 Holland, there is an account of the fishermen of Vlaar- 
 dingen. The author says that " up to recent years the 
 departure of the boats for the great herring fishery was 
 fixed for St. John's Day (June 24th). This departure was 
 preceded by fetes, and a book of old Dutch songs still 
 exists, sung by the fishermen as they put to sea. Toasts 
 were proposed' to the success of a fishery, and prayers 
 offered up. At last sail was set, and the peaceful 
 flotilla started for the herring conquest. At the present 
 day the doggers start at the beginning of June, and can 
 open the fishery at once ; but faithful to tradition, or, if 
 you will so, prejudice, the fishermen take advantage of 
 this new liberty very reluctantly. The " herring," they say 
 in their simple language, "does not like to be caught 
 before St. John's Day." I have unsuccessfully attempted 
 to find this old book of songs. Monsieur Esquiros has been 
 dead some years, and his book (published in 1863) seems 
 
246 Music of tsu Wathes. 
 
 but little known now. I have never read anything more 
 generous than his opinion of the Dutch people, or an 
 account so picturesque and interesting of their country. 
 
 He also speaks of the lonely island of Marken. " The 
 women/' he says, " hardly ever quit the island ; the men, 
 on the contrary, inhale the breath and life of the sea. The 
 flounder-catchers enter- their boats at midnight each 
 Sunday ; they pass the week in the Gulf, and only return 
 home on Saturday night. The only day they spend ashore 
 is employed in repairing nets, sacks, and tackle. Great 
 dangers menace these indefatigable voyagers ; the wave of 
 the Zuyder Zee is shorter and less tumultuous than that of 
 the ocean, but it is perfidious. Their coolness amid dangers 
 and storms equals their humanity ; ever ready to help im- 
 perilled vessels, they have furnished proofs innumerable of 
 their courage and presence of mind. The sea is the visible 
 conscience of the fisherman of the Zuyder Zee, and he is 
 ever anxious to prove himself honest and pure in its sight. 
 They are remarkably temperate men — the cause, probably, 
 of their longevity. You meet many old men on the island, 
 and at the sight of their faces, calm as the sea on a fine 
 summer night, you grow to love this humble mediocrity, 
 these poor people, rich in things they are ignorant of, and 
 this family of fishermen who are so closely connected by 
 a uniformity of labour, inclinations, and dangers." The 
 house belongs to the wife ; but the fly-boat, the external 
 house, to the husband. He displays the same coquetry 
 and zeal in adorning this floating abode as his wife does in 
 cleaning the cottage ; and on Sundays and holidays the 
 fishing-boats collected in port seem rather a squadron 
 of yachts arranged for the pleasure of the eye, than a fleet 
 of toil and utility. But the wives of the fishermen of 
 Marken have other duties besides that of cleaning the 
 cottage to attend to. The first consists in the education of 
 her children, which entirely devolves upon the mother — 
 sometimes the family numbers twelve children ; add to 
 this the making of all their clothing, including the hus- 
 
MUSIO OF TSU WATUBS. 
 
 2i7 
 
 band's : they also till the soil, make the hay, spin the hemp 
 for the rigging, and bleach the linen. In these varied and 
 complicated duties the housewife has no servant to assist 
 her, all has to be done by one pair of hands. Truly the 
 women of Marken must be deserving of that often mis- 
 quoted title of "housewife;" the making and not the 
 marring of a happy home surely lies in the sturdy, indus- 
 trious helpmeets of the Marken fishermen. 
 
 Mr. Robinson, the British Consul at Amsterdam, has very 
 kindly interested himself in trying to obtain some of the 
 Dutch sailors' songs for me, but, in a letter I have from him, 
 he says that, " After having made many inquiries, he finds 
 that there are no well-known sailors' songs now in exist- 
 ence. The ditties in vogue among the sailors are those 
 generally current amongst the lower classes, and are 
 principally of a character which would unfit them for 
 publication." 
 
 I give one, however, of the herring fishery, with the 
 translation of the words : — 
 
 DIE NIEUWE HARING.— 7%e Mw {Fresh) Herring. 
 
 Allegro. 
 
 I 
 
 ^ 
 
 m 
 
 It 
 
 ^B 
 
 4 — « — » — •- 
 * ' a — • — »- 
 
 -^ y — I 1 1 1 1- 
 
 y-HT s ^i i i i 
 
 Dutch Version. 
 
 Triomf, de vreugde stij-ge in top j 
 Hijsch, Holland ! vlag en wimpels op, 
 
 English Version. 
 
 Triumph ! let gladness ascend on high, 
 Hoist, Holland ! your flags and pen- 
 nant up. 
 
248 
 
 Music of tee Watebs. 
 
 En doe denjubeltooanudavrenlangs 
 
 nw strand ! 
 Daar komt de kiel met goud belaSn, 
 Zig brengt ons d'eersten baring aan ! 
 'T is feest in Nederland, 't is feest in 
 
 Nederland. 
 
 Verhef u, wakkre zeevaardij ! 
 
 U, pronk van Hollands Maat- 
 
 schappij ! 
 U, koningin van 't feest, " bi^n .vcij 
 
 d'eerewijn : 
 Sprei, handel, Hollands gullen disch ! 
 Nu zal de Vanderlandsche vlsch, 
 We er d'eerste schotel zijn, wear 
 
 d'eerste schotel zijn. 
 
 Wie in dit kostlijk zeebanket 
 Voor 't eerst 'de grage tanden zet, 
 De voile flesch ontkurkt tot vreugd 
 
 van zin en geest. 
 Met fonkelende glazen klinkt, 
 Ze op Neerlands welzijn ledig drinkt, 
 Die houdt een heerlijk feest, die houdt 
 
 een heerlijk feest. 
 
 And let the joyful sound now re-echo 
 
 along your strand, 
 Here comes, laden with gold, the boat, 
 Bringing us the first fresh herring ! 
 It is a feast in Netherland, it is a feast 
 
 in Netherland. 
 
 Exalt ye ! cunning craft ! Pride of the 
 
 Dutch fleet. 
 To thee, queen of the feast, we offer 
 
 the wine of honour : 
 Let commerce spread Holland's liberal 
 
 board ! 
 Now shall the Fatherland's fish 
 Again be the choicest dish. 
 Again be the choicest dish. 
 
 He who partakes of this precious sea- 
 banquet for the first time. 
 
 And uncorks the full bottle to the joy 
 of sense and mind, 
 
 Ringing the sparkling glass, and 
 drinks it dry 
 
 To " Netherland's Prosperity," 
 
 He keeps a glorious feast, he keeps a 
 glorious feast. 
 
 A well-known song amongst Dutch sailors is the follow- 
 ing :— 
 
 DE KABELS LOS. (Matrozenhed.) 
 
 fe 
 
 ite^ 
 
 =p 
 
 ^ 
 
 ^^^ 
 
 "T?- 
 
 > I 
 
 i 
 
 r^^ 
 
 ^^S 
 
 i 
 
 ±i 
 
 =s=^ 
 
 -^ 
 
 zy 
 
 J*-J5- 
 
 ^ 
 
 mf 
 
 t* 
 /. 
 
 ^ 
 
 3i -1 «i' 
 
 S 
 
 i 
 
 4s_u 
 
 ES 
 
 s3^3E 
 
 S^l 
 
 -^-fT- 
 
 ^ 
 
 Matroztnlied. 
 Dutch Version. 
 De kabels los, de zeilen op, 
 Dat gaat er op een varen ; 
 Al waren wij Sinjeurs aan wal, 
 Ons hart lei in de baren ; 
 
 Sailors' Song. 
 English Version. 
 Let go the ropes, unfurl the sails. 
 And let us be off to sea. 
 Were we even lords ashore 
 Our hearts would lie with thee ; 
 
Music of thu Watjsbs. 
 
 249 
 
 Een HoUandsch kind, dat is bekend, 
 Die vindt in Zee zijn element, 
 Jo-ho, jo-ho, jo-ho, jo-ho ! 
 Die vindt in Zee zijn element. 
 
 En zijn wij zoo geen banjers meer 
 Als in verleden dagen, 
 Toen ieder voor Jan-Compinie 
 Een flikker had geslagen : 
 Toch zeilen wij op iedre Zee 
 Zoo goed nog als de beste mee, 
 Jo-Lo, jo-ho, jo-ho, jo-ho ! 
 Zoo goed nog als de beste mee ! 
 
 Hoezee dan jongens in het want ! 
 
 De handen uit de mouwen, 
 
 Laat Duitscher, Noorof Engelschman 
 
 Neit klimmen in je touwen. 
 
 Dan kan je varen zonder peil, 
 
 Al blies de Nikker in het zeil, 
 
 Jo-ho, jo-ho, jo-ho, jo-ho ! 
 
 Al blies de Nikker in het zeil ! 
 
 For a Hollander-born, you all must 
 
 know, 
 Finds in the sea his element, 
 Yo-ho, yo-ho, yo-ho, yo-ho ! 
 Finds in the sea his element. 
 
 And if we cannot do the mighty deeds 
 They did in the days gone by, 
 Wheu for the honour of the Dutch 
 
 Company 
 Every man in his heart did try. 
 Yet still we sail in every sea 
 As good as the best of them, 
 Yo-ho, yo-ho, yo-ho, yo-ho ! 
 As good as the best of them ! 
 
 Hurrah ! then, boys, up aloft, 
 
 Up with your sleeves (look like work); 
 
 Let neither German, Norwegian, nor 
 
 Englishman 
 Climb your rigging. 
 Then you may sail without a care, 
 Supposing the Devil should blow in 
 
 your sail, 
 Yo-ho, yo-ho, yo-ho, yo-ho ! 
 Supposing the Devil should blow in 
 
 your sail ! 
 
 I cannot say much in favour of these words. Such a 
 boasting spirit pervades them that it has been a most diffi- 
 cult matter to obtain a translation, and to find adequate 
 expression for some of the nautical phrases. The Dutch 
 Company mentioned in the second verse evidently refers 
 to the Dutch East India Company and its naval exploits. 
 The last verse is perhaps the most difficult to render into 
 English ; into English rhyme it neither can nor will go. 
 The deficiencies of the words are, however, amply condoned 
 by the extreme beauty of the music. 
 
RUSSIAN SAILORS' SONGS. 
 
 " With God go over the sea, 
 Without God go not over the threshold." 
 
 Russian Proverb, 
 
 RUSSIAN BOAT-SONG. 
 
 ^^3 
 
 1 !— ^ [ -^ 
 
 
 -m-^- 
 
 't^-in 
 
RUSSIAN SAILORS' SONGS. 
 
 Like the army, the Russian Navy was the creation of 
 Peter the Great. In coming to the throne he found his 
 empire without any port save Archangel : at his death he 
 left a fleet of the line in the Baltic, and his name feared as 
 a naval hero in the Black Sea and the Caspian ; and that 
 clause in his will in which he states, " that E.ussia, which I 
 found a brook and left a river, must, under my successors, 
 grow to a mighty sea, destined to fertilize worn-out Europe, 
 and advance its waves over all obstacles, if my successors 
 are only capable of guiding the stream," shows in what 
 direction the great man's thoughts for the welfare of Russia 
 ran, and how merely supplementary to it he regarded the 
 army. 
 
 From the earliest times there has been a slight halo of 
 maritime glory around the Russian name. The half fabu- 
 lous Varangians, Northmen, or Normans, who conquered 
 Russia as they did France and England, and from whom the 
 Russian nobility still boast their descent, were victorious 
 by sea as well as by land, and the glories of Ruric and 
 Vladimir belong to the Russian nation as much as the 
 victories of Alfred and the Plantagenets belong to us. 
 
 But after the fall of Novgorod, when the Baltic provinces 
 fell into the power of the Swedes, the Poles, and the 
 Germans, and Archangel was the only outlet left her, the 
 maritime importance of Russia decreased, the Russians 
 occupied themselves entirely with internal commerce, and 
 the spirit of the Varangians disappeared, or only lingered 
 among the Cossacks of the Dnieper and the Don. 
 
254 MVSIC OF THE WATERS. 
 
 In the beginning, the Russian Navy was formed entirely 
 of foreigners, and principally of Englishmen, whilst the 
 sailors and officers in the Black Sea were principally Greeks, 
 and although the commerce of Russia is considerable, 
 there is not, or at any rate up to the year 1844 there was 
 not' a single merchantman manned and sent out by 
 Russians proper ; that is, by the Sclavonic population, 
 which forms the real strength of the Russian Navy. 
 Admirals Crown, Hamilton, Elphinstone, Dugdale, and 
 Greig, and many of their own seamen who rose to posi- 
 tions of importance, were brought up in the English Navy. 
 The Greek influence until about 1840 was paramount 
 in the Crimea, the languages most in vogue throughout 
 the country were French and German. Small wonder, I 
 think, that the Russian Navy should have so few charac- 
 teristics, seeing of what cosmopolitan traits it is formed, 
 and that its sailors should be of such little national in- 
 dividuality, since so few real Russians are included 
 amongst them. 
 
 With regard to the small portion of maritime affairs in 
 which I am at present interested, namely, " Sailors' Songs," 
 I have not been able to make so varied or comprehensive 
 a collection as I should have liked, seeing what a truly 
 musical country Russia is, but several reasons have pre- 
 vented my doing as much as I should have wished — the 
 chief being doubtless the cosmopolitanism that excludes 
 anything partaking of a national character ; another, I 
 fancy, being that the Russian Navy is almost too young 
 to have any history, and as I have before remarked, 
 historical naval facts have invariably been the original 
 theme of sailors' songs ; and a third is perhaps due to the 
 fact that the " Russian sailors are all landsmen." The 
 fleet is manned from the common conscription, with very 
 little ethnologic distinction, excepting perhaps, that in the 
 north preference is given to the Finns, and in the south to 
 the Jew conscripts ; not on account of the aptitude dis- 
 played by these latter for naval service, but because as 
 
MUSIO OF TSU WATUBS. 
 
 255 
 
 soldiers they are considered worthless. In the case of the 
 Finns it is diiferent, seeing they are numbered amongst 
 the best seamen in Russia. 
 
 The crew, or " equipage," as the Russians call it, gene- 
 rally includes twenty-five musicians, who supply the music 
 that is necessary on some occasions, for there is, I am told, 
 a good deal of ceremony observed in the Russian Navy. 
 For instance, on setting out on a voyage, or on the return 
 from a long one, the band will play the National Anthem, 
 the sailors singing it bareheaded : — 
 
 " God protect the Czar, 
 The right believing Czar ; 
 His reign lead us to glory — 
 
 To glory, us ! 
 Let him reign and confound his foes. 
 The right believing Czar ; 
 God, O God, protect the Czar ! " 
 
 I have given the words quite literally, and without 
 attempting to set them to the music, which, no doubt, 
 adapts itself very suitably to the Russian syllables. 
 
 THE RUSSIAN NATIONAL ANTHEM. 
 Allegro maestoso. 
 
 v^n ^ \ 
 
 ^ 
 
 2±: 
 
 ^ s 
 
 ^ 
 
 =^==1=1:: 
 
 m cJ 
 
 -^Xr 
 
 -d 
 
 :§■— j - g ' -g- I ^ ^r-^-T!^ 
 
 :i==t: 
 
 ^' 
 
 
256 
 
 MUSIC OF THE WATERS. 
 
 J:* JSi.:-^ 
 
 ^i 
 
 -(?- 
 
 EBES 
 
 - I r 
 
 =t±=t 
 
 iML_=S^ 
 
 ^ 
 
 3a 
 
 * ' ' " 4 ' ^ ' ' ^ ^ 
 
 i 
 
 g 
 
 m — 1« 1 I J 
 
 dne^i 
 
 --S-^- 
 
 dim. 
 
 iNi 
 
 J2^ L*^ 
 
 !i_l 
 
 Fed. I 
 
 ^fc 
 
 
 jt .»- 
 
 3^^ 
 
 zt -d- 
 
 i 
 
 ^-- 
 
 :^ 
 
 V ^ 
 
 dim. 
 
 1= 
 
 3 
 
 ^ 
 
 r=f 
 
 3!^- 
 
 « ''-«t- -j- 
 
 =1: ■^- 
 
 
 This is also performed at a launch, or indeed on any 
 grand occasion. It is the great song of the Russian Navy, 
 and its majestic chords and inspiriting martial style are 
 very familiar on Russian shipboard. The effect of this 
 song of praise on the water must be very grand ; for the 
 Russian chanting is of great repute, and the sublimity of 
 the sacred music of this country exceeds that of almost 
 any other. 
 
 The singular peculiarities of the double-bass voice which 
 supports the chords of the chants of the national worship, 
 together with the players of the horn-bands' automatons of 
 
Music. OF the Watubs. 257 
 
 one note in Russia, are attributed by many to the state of 
 serfdom, of no more real value in regard to art than so 
 many organ pipes, since the singers or players can be little 
 more than machines, comprising each a few select notes, 
 whose owners are fit for small other service. However 
 this may be, the Russian voice, be it free or slave, is 
 universally allowed to be most melodious, and, like most 
 northern countries, it would be impossible to overrate the 
 freshness and vigour of its song melody. The sadness of 
 it is seldom tinctured with languor ; the sweetness has 
 something in it that braces as well as charms the sense. 
 This may even be remarked when the minor key pre- 
 dominates, as it does so largely in Russian music. 
 
 I have dwelt somewhat at length on the national qualities 
 of Russian music, since its music of the sea is largely 
 composed of those popular " lieder " sung on shore. Thus 
 the Russian sailor at his work will sing, not some quaint 
 verses set to still quainter melody, as our blue-jackets do ; 
 but the very songs that at that time are the most in vogue 
 in his own country. These songs are used, as all sea- songs 
 are, to give encouragement to the men, and to promote 
 unity of labour. I asked a very intelligent Russian sailor 
 if complaints of their food on ships or captain were not 
 often sung in rhymed verse on board their ships, as is the 
 case with our men, and he said, " No, they don't do it, but 
 they might." They have rye, or black bread — which, 
 however, they prefer to wheaten bread. They drink 
 " quass," a fermented drink made from the rye flour, and ' 
 vodka, and they have meat twice a week. 
 
 In fact, the chanty as we understand it is not known 
 amongst Russian tars, they have their songs (Pesni, they 
 call them) and their musicians on board, but of the im- 
 promptu verses, a propos of so little, set to the original 
 tunes, that so delight the hearts of most sailors, they know 
 but little. The few that would come under the heading 
 of "chanties," that I have heard, are so immeasurably 
 superior to these as a rule, that they are worthy of a better 
 
 S 
 
258 Music of tse Watebs. 
 
 title and rank in musical parlance. The Baltic, with its 
 many different divisions, has numbers of sea-songs, that is, 
 songs of the sea, some being of the same type as Dibdin's. 
 The Gulf of Finland is also rich in song-lore, the outcome, 
 doubtless, of the famous Finnish mythology, and many of 
 them probably will be legends of those pirates of old 
 whose invasions were so dreaded. The Black Sea, chosen 
 by all the ancient poets as the theatre of their hero's 
 exploits, the scene of Ulysses' wanderings amongst the 
 Laestrigons or Tauri, must also, one would think, have 
 preserved many curiosities of rhyme. The fabled daughters 
 of Achelous and Calliope had charmed all navigators until 
 Ulysses approached the coast : — 
 
 " And lo ! the siren shores like mists arise ; 
 Sunk were at once the winds ; the air above 
 And waves below at once forgot to move ; 
 Some demon calmed the air and smoothed the deep, 
 Hush'd the loud winds and charmed the waves to sleep.'^ 
 
 Pope's Odyssey, Book iv. 
 
 " The oracle condemned them to die when a man should 
 pass without stopping. Ulysses, warned of the danger, 
 stopped his ears with wax, and safely passed them, bound 
 to the mast. So they were changed into rocks, off 
 Sorrento, where they still exist, a terror to mariners. 
 Another legend says they became rocks because Orpheus 
 surpassed them in singing." ' 
 
 Lapland, it is said, has no sea-songs, now, though I 
 should fancy there must be at least a few handed down, 
 from those old legends of the Laps driving a thriving trade 
 by selling winds to the sailors, who, as Longfellow says, 
 whistled for them : — 
 
 " Only a little hour ago 
 I was whistling to St. Antonio, 
 For a capful of wind to fill our sail, 
 And instead of a breeze he has sent a gale." 
 
 ^ Cox's " Aryan Mythology." 
 
Music OF thu Waters. 
 
 259 
 
 Sir Walter Scott, in his " Rokeby," also alludes to this 
 custom : — 
 
 " What gales are sold on Lapland's shore, 
 How whistle rash bids tempests roar." 
 
 It has been said that " the genuine expression of popular 
 feeling is always forcible, not seldom poetic ;" it certainly 
 does seem that the truth of this is amf)ly verified, as regards 
 it being forcible, on board of a Russian man-o'-war, where 
 a captain, if he be popular, will be tossed in the air, 
 between a double line of sailors, in time with the following 
 tune : — 
 
 FAVOURITE AIR ON BOARD OF A RUSSIAN 
 MAN-O'-WAR. 
 
 (No words are recorded tor this.) 
 J, .| Allegretto. 
 
 It seems a strange custom, and I should think the implied 
 compliment would scarcely be one to cause unmitigated 
 pleasure to the recipient. Those songs that are used on 
 board are mostly sung in alternate soli and chorus, and at 
 the same time and in the same place as our chanties are 
 used. The same song seems to serve for holystoning the 
 
 S 2 
 
260 
 
 Music of tsu watuss. 
 
 decks and loading with grain. This is a descriptive kind 
 of song ; I give the notes here : — 
 
 SONG USED WHEN HOLYSTONING THE DECKS OR 
 
 LOADING WITH GRAIN. 
 Chorus. 
 
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 One feature of Russian ship singing is certainly quite 
 peculiar to itself, namely, that of the women singing in 
 chorus while crushing the oats previous to their being 
 shipped ; this they do close to the vessel. The songs are 
 usually of a sad nature, in slow measure, but they evi- 
 dently help the work on, as regularity and unison are 
 needed. I have given one of these songs, though really it 
 can scarcely be quite in place in a collection of sailors' 
 chanties ; but the extreme beauty of it, and the originality 
 of its purpose, have tempted me to do so. There is some- 
 thing very original, and one might almost add pathetic in 
 the idea of this plaintive melody accompanying the words 
 of these women on the wharf The effect of it sung in 
 chorus must be very pleasing. Another great favourite for 
 this work is " The Nightingale," a very well-known Russian 
 song, and one often used in seafaring life. I give it also. 
 
 SONG USED BY THE WOMEN WHEN CRUSHING 
 THE GRAIN ON THE WHARF. 
 
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MUSIC OF THF WATEBS. 
 
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 The English version of the following song is : — 
 
 " Nightingale, O nightingale, 
 Thou of richest song, 
 Say, whither thou fliest now. 
 
 Where to-morrow thou'lt belong." 
 Nightingale, O nightingale, &c. 
 
 Andante con espressione. 
 
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262 
 
 MUSIG OF THE WATUBS. 
 
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Music of tse Waters. 
 
 263 
 
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 For heaving the anchor I have found two songs, one ot 
 which I give in the printed form as it was sent me from 
 Odessa ; the other, of the genuine chanty style, as I took 
 it down from a Russian sailor, of whom I feel a few words 
 of praise are necessary. His knowledge of the national 
 music of his country was extraordinary in a man of his 
 position, and in literature he was not far behind. Mr. 
 Ralston would, I am sure, have felt interested, if not 
 flattered, by the encomiums passed on his book of Russian 
 songs.' 
 
 In spite of his very evident taste for study and the 
 amount of cultivation he possessed, my Russian tar was 
 as quaint a specimen of that everywhere extraordinary 
 species — the genuine salt — as I ever encountered, I had 
 some opportunity for studying his character, for he was 
 obliged while waiting for a certain ship to reside for some 
 time near Newcastle-upon-Tyne. My father, in his capacity 
 
 1 " Songs of the Russian People." By W. Ralston. 
 
264 Music of tsu Watubs. 
 
 of Consul having been able to render him some assistance, 
 he was very glad to be of use to the Consul's daughter ; 
 and besides giving me the specimens of the Russian water- 
 songs, he entertained me with many a comical story of 
 sea-life, and some strangely cute remarks on the seamen 
 of various nations. I happened to say how difficult I 
 had often found it to induce the sailors to sing for me ; 
 " I suppose it is because of their proverbial shyness," I 
 added. " Your English sailors may be shy, miss, not that 
 I have found them so," was the quick reply, " but I know 
 the greatest amount oi cheek — that's how you call assurance, 
 I believe — in all Russia, is to be found in the navy." 
 
 He had spent all his life at sea, that is, from a very 
 tender age, and like many of my other sailor-guests, 
 appeared to find great pleasure in examining the ordinary 
 objects of an English drawing-room. "This is prettier 
 than most cabins I have been in," he remarked, and then 
 apparently thinking he had displeased me by such a 
 candid opinion, he added, " In fact, it's about the best I've 
 seen." 
 
 Some one had evidently told him that it was the proper 
 thing to shake hands with any one who entered a room 
 while he was in it, for a lady coming in while he was 
 singing one day, was evidently as much startled as I was, 
 at having her hand most cordially gripped by a rough 
 sailor. I ventured to point out to him, after she left, that 
 this ceremony could be dispensed with, and indeed might 
 not at all times be considered agreeable ; he took my hints 
 in very good part, and the next time we were interrupted, 
 contented himself with a profound bow. 
 
 He told me that Russian sailors have a great love for 
 birds, and that many of them, going on long voyages, ask 
 permission to take some favourite caged songster with them. 
 It was from this man I learnt of the popularity of the 
 Russian National Anthem in the navy, and I have rarely 
 heard more enthusiasm in any performance than he put 
 into his Russian version of it when I played the anthem 
 
Musio OF TSE Waters. 
 
 265 
 
 for him to sing to. The following is a translation of the 
 words of the chanty he sang for heaving the anchor : — 
 
 Solo. — " As we lay on an afternoon, 
 Chorus. — On board of our jolly ship, 
 
 Solo. — In the shade made by our sails, 
 Chorus. — On board our jolly ship. 
 And we sing jolly songs. 
 And will sing them together. 
 And go through the world as light as a feather, 
 And go through the world as light as a feather." 
 
 RUSSIAN SONG USED FOR HEAVING THE ANCHOR. 
 
 'g. Allegretto. 
 
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266 
 
 Music of tse Watebs. 
 
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 RUSSIAN CHANTY FOR HEAVING THE ANCHOR. 
 
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 The best-known, perhaps, of all the Russian sailors' songs 
 is the one used for hauling. It is a national air, and a 
 favourite everywhere. A translation of the words would be 
 something to the same effect as one of our English hauling 
 chanties : — 
 
MUSIG OF THE WATJESS. 
 
 267 
 
 " Let us pull away together, boys, 
 All together. It goes — it goes. 
 Pull away — away — together." 
 
 NATIONAL SONG USED FOR HAULING. 
 Solo. Chorus. 
 
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 Mr. Ralston, in his book, "Songs of the Russian 
 People," says of the Cossack songs that " they are generally 
 about the Don or the Volga ; along the banks of those 
 rivers ride the Cossack horse, or on their waters float the 
 Cossack boats." He quotes one very well-known boat- 
 man's favourite, " The Address to the River Don " : — 
 
 ADDRESS TO THE RIVER DON. 
 
 ' Father of ours ! famous, quiet Don, 
 Don Ivanovich, our nourisher I 
 Great praise of thee is spoken, 
 Great praise and words of honour : 
 That thou didst swiftly run. 
 Swiftly ; but in olden days 
 All clearly didst thou run, — 
 But now, our nourisher, all 
 Troubled dost thou flow ; 
 Troubled unto thy depths art thou, O Don ! 
 Then glorious, quiet Don thus made reply, 
 ' How otherwise than troubled can I be .? 
 
268 Musia of tsu Watubs. 
 
 I have sent forth my falcons bright, 
 My falcons bright, the Don Kazaks ; 
 Deprived of them my steep banks crumble down, 
 Deprived of them my shoals are thick with sand.' " 
 
 "The traditions of the Russian peasants people the 
 waters with spiritual inhabitants. Their songs and stories 
 often speak of the Tsar Morskoi, the marine or water- 
 king, who dwells in the depths of the sea, or the lake, or 
 the pool, and who rules over the subaqueous world. To 
 this Slavonic Neptune a family of daughters is frequently 
 attributed, maidens of exceeding beauty, who, when they 
 don their feather dresses, become the swan maidens who 
 figure in the popular literature of so many nations. The 
 graceful creatures, however, as well as their royal parent, 
 belong to the realm of the peasant's imagination rather 
 than to that of his belief." (Ralston.) 
 
 The Vodyany, or water-sprite of Russia, inhabits the 
 depths of rivers, lakes, or pools, but sometimes he dwells 
 in swamps (not necessarily dismal), and he is especially 
 fond of taking up his quarters in a mill-stream, close to the 
 wheel. Every mill is supposed to have a Vodyany attached 
 to it, or several Vodyani — I believe this to be the correct 
 way of speaking of these gentlemen in the plural — if it 
 have more than one wheel. Consequently, millers are 
 generally obliged to be well-versed in the black art, for if 
 they do not understand how to treat the water-spirits all 
 will go ill with them. The Vodyany is also a patron of 
 bee-keeping, and it is customary to enclose the first swarm 
 of the year in a bag, and to throw it, weighted with a 
 stone, into the nearest river, as an offering to his august 
 subaqueous Majesty. He who does this will assuredly 
 flourish as a bee-master, especially if he takes a honeycomb 
 from a hive on St. Zosima's Day, and flings it at midnight 
 into a mill-stream. The Vodyany is not prepossessingly 
 represented by the people, and is supposed to be much 
 given to drinking and card-playing and other vices, which 
 
MUSIO OF THE WATBBS. 269 
 
 one would not expect to find in a monarch of the 
 waters. 
 
 The water-sprite's wives are popularly supposed to be 
 women who have been drowned, or whom a parent's curse 
 has placed within the power of the evil one. They have 
 great influence over the weal or woe of fishermen and 
 sailors, ofttimes luring them to death and destruction. 
 
 The Russian peasants sign a cross on the water with a 
 knife or scythe before bathing, and they never go into 
 the water without a cross round their neck, or after sunset. 
 It is considered especially dangerous to bathe during the 
 week in which falls the feast of the prophet Ilya (Elijah, 
 formerly Perun, the Thunderer), for then the Vodyany is 
 on the look-out for victims. The bodies of his victims he 
 allows to float ashore, but their souls he keeps in his watery 
 kingdom, making them his servants. Bohemian fishermen 
 are afraid of assisting a drowning man, as they think the 
 Vodyany will drive away the fish from their nets. In the 
 Ukraine they have a tradition that, when the sea is rough, 
 such half-fishy " marine people " appear on the surface of 
 the water and sing songs. The Chumaki (local carriers) 
 go down at such times to the sea-side, and there hear those 
 wonderful songs, which they afterwards sing in the towns 
 and villages. In other places these " sea-people" are called 
 " Pharaohs," being supposed, like the seals of Iceland, to 
 be the remains of that host of Pharaoh which perished in 
 the Red Sea. The water-nymphs of Russia are known as 
 Rusalkas. 
 
GREEK SONGS. 
 
 " Hear I not 
 The jEolian music of our sea-green plumes^? " 
 
 Shelley. 
 
 "The low lispings of the silvery seas." 
 
 P. J. Bailey. 
 
GREEK WATER-SONGS. 
 
 I HAD hoped to have had at least a small collection of 
 Greek songs to add to the others, but I have been disap- 
 pointed. The modern Greek evidently heaves and hauls 
 and rows almost in silence, at least so far as vocal music 
 is concerned. I applied to Sir George Macfarren on the 
 subject of ancient Greek water-songs, and his answer was 
 as follows — 
 
 " Dear Madam, — But three vestiges of ancient Greek 
 music are known to exist. These are a hymn to Apollo, 
 one to Nemesis, and to Calliope ; and even they date from 
 within the Christian era. The music originally sung in the 
 plays of Sophocles or any other of the dramatic poets is 
 lost, and its reproduction in any form totally impossible. 
 
 " Faithfully yours, 
 
 " G. A. Macfarren. 
 "February i,th, 1886." 
 
 I have not been able either to learn anything through 
 the Consuls or any other authorities on the Greek language, 
 literature, and music of the day. Miss Lucy M. J. Garnett 
 has made a collection of folk-songs in Greece, but there 
 is little mention of anything like water-songs ; the one 
 there is, however, I quote by the kind permission of the 
 authoress. I have also found one Greek sailors' song and 
 a boat-song which follow, but there were no words given 
 to either of them. 
 
 The following is a translation of a mythological folk- 
 song of modern Greece, reproduced by kind permission of 
 
 T 
 
274 Musio OF THE Waters. 
 
 the authoress, Lucy M. J. Garnett, from her collection of 
 " Greek Folk-Songs " : '_ 
 
 THE SIREN AND THE SEAMEN. 
 
 "A maid was singing as she sat, within a splendid window ; 
 Her song was on the breezes borne, borne down unto the 
 
 ocean — 
 As many ships as heard her lay, moored, and made fast 
 
 their anchors. 
 A tartan from the Prankish land that was of love the 
 
 frigate. 
 Furled not her sails by breezes filled, nor yet along was 
 
 sailing. 
 Then to his men the captain called, astern where he was 
 
 standing : 
 ' Ho, sailors ! furl the sails at once, and climb ye up the 
 
 rigging, 
 That to this charmer we may list, list how she's sweetly 
 
 singing, — 
 Hear what's the melody to which she her sweet song is 
 
 singing ! ' 
 But so sweet was the melody, so passing sweet her 
 
 warbling. 
 The skipper turned him once again, and to the shore it 
 
 drew him. 
 And to the masts the mariners kept hanging in the 
 rigging." 
 
 GREEK SAILORS' SONG. 
 
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Music of the Waters. 
 
 275 
 
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 I believe the following to be a very favourite song in 
 Greece : — 
 
 BOAT-SONG USED BY THE ATHENIANS. 
 
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 Isaac D'Israeli, in his " Curiosities of Literature," men- 
 tions the numerous labour-songs used by the ancient 
 Greeks, threshing-songs, those for encouraging the fine arts, 
 builders' songs, weavers', dairy songs, and amongst others 
 the sailors' singing is alluded to, so that we may suppose 
 they had some tunes equivalent to the modern chanty ; but 
 these have not been preserved, so I am, however, unwillingly 
 obliged to content myself with these short remarks on the 
 water-songs of this most classic land. 
 
 T 2 
 
JAPANESE SAILORS' SONGS. 
 
JAPAN. 
 
 POPULAR JAPANESE BARCAROLLE. 
 
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280 
 
 Music of the Wathes. 
 
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 A GULF not to be spanned divides the harmonies of the 
 east from those of the west. The Japanese seem to dislike 
 our music, and to find it as wanting (according to their 
 ideas) in harmony, as we find theirs mysterious and dis- 
 cordant. 
 
 The music of the " Empire of the Rising Sun," like most 
 of its arts and sciences, is mainly Chinese and Corean, and 
 its theory has, therefore, the usual spirit of mystical Chinese 
 speculation, which, basing the forces and phenomena of 
 nature upon the number 5, declares that, as sounds belong 
 
Music of the Watess. 281 
 
 to such phenomena, there must be five tones ; but in stringed 
 instruments, which are all they have in Japan, they make 
 use of chromatic divisions, although the five tones alone 
 are recognized officially. 
 
 Seeing what an important place Japan now takes amongst 
 the maritime countries of the world, it may not be unin- 
 teresting to attempt some study of the songs used by its 
 sailors. From the little I have been able to gather, I should 
 conclude that they very much resemble those used by our 
 own blue-jackets, or rather the occasions on which they 
 are used are similar, their object — namely, unity and regu- 
 larity in work — is the same, and the variety of subject ; but 
 there the likeness ceases, for, as I have said, the gulf is 
 not to be spanned that divides our and Eastern music. 
 
 It is only on board of their merchant-vessels that 
 singing is allowed, the Japanese Navy not permitting 
 the practice on the men-of-war, a band taking the place of 
 the chanty. This probably consists of the " sho," which 
 seems to correspond to our organ, but only in so far as it 
 has pipes. A " koto " also will be found, an instrument 
 not unlike the violin, and probably a "fuye," which is a 
 Japanese ilute. Of course there are many varieties of 
 these three, but I believe they will always be found in a 
 Japanese orchestra. The "sh6" and the "fuyd" have 
 tremendous power, and if it be true that silence is a 
 characteristic of nature in Japan (singing-birds being very 
 rare, and only the deep, troubled tones of the crows being 
 heard), what an extraordinary effect this most penetrating 
 orchestra must produce in the stillness that reigns in the 
 waters round the empire. Like most sailors, the Japanese 
 seem to take great pride in handing down to posterity the 
 noble deeds of their countrymen, and the bravery of the 
 chieftains who held sway in feudal times forms the theme 
 of many of their sea-songs. 
 
 Almost all these songs are in very slow time, and nearly 
 all are set in a minor key. I think I am not far wrong in 
 stating that this is the case in every kind of Japanese 
 
282 MUSIC OF TSE WATERS. 
 
 music (at least, in all that I have heard) . The sailors' songs 
 are mostly chromatic passages with but little variation. 
 An occasional lowering or raising of a tone is sometimes 
 unexpectedly introduced, in some a continued series of 
 shakes produces an extraordinarily weird effect, especially 
 as the minor key is here, as elsewhere, adopted. 
 
 To my idea their rowing-songs are decidedly the most 
 pleasing of all ; they have really a very charming effect. 
 Musically speaking, they may not be very pretentious, but 
 they may be taken as an indication of the style and cha- 
 racter of the nation they belong to. They are sung on the 
 " sampans," partially triangular-shaped boats, something 
 like the salmon-fisher's punt used on certain British rivers. 
 They are sculled, not what we should call rowed, by two 
 or four men with very heavy oars, and they stand up, 
 using their thighs to rest the oars upon. I give the notes 
 of one of these as accurately as I can, the words I am 
 unable to translate. A very distinguished member of the 
 Japanese naval college, perfectly acquainted with our 
 language, assures me they have no meaning, that is, none 
 that can be translated : — 
 
 JAPANESE ROWING SONG. 
 Solo. Chorus. 
 
 i 
 
 -^-j s '^ * ^ J-^ j =^=^ 
 
 -^ " -^- -m- -^ -^- 
 
 Hou- ra Hoi Sa - no — San - ya Hou - yei ya. 
 
 The chorus is to give emphasis to certain strokes, and is 
 repeated alternately with the solo without any change of 
 either words or tune. 
 
 Dice seem to play a very important part on board 
 Japanese vessels. The dice-box is regarded as an essential. 
 Perhaps I am wrong in giving the word as dice ; it may 
 be rather the game of " go," which Miss Bird, in her book, 
 " Unbeaten Tracks in Japan," refers to as being such a 
 great resource in the country. It is played with 1 80 white 
 discs cut from a species of cockle-shell, and 181 black ones 
 
Music of the Watess. 283 
 
 made from a black pebble ; the board is divided into 361 
 squares, and the game consists in trying to enclose a 
 certain space and preventing the opponent from doing the 
 same. In days gone by, some horrible legend about instant 
 death to the vanquished in this game was current. To 
 think of this fatal gambling at sea, brings to one's mind 
 that horrible phantom ship in Coleridge's "Ancient 
 Mariner " : — 
 
 " The naked hulk alongside came. 
 And the twain were casting dice ; 
 The game is done : ' Fve won ! I've won ! ' 
 Quoth she, and whistles thrice." 
 
 Many harbours, as in our country, claim for their own 
 certain chanties. Some of these become popular, and are 
 soon heard all over Japan or wherever the Japanese flag is 
 hoisted, but in some harbours the prerogative of singing 
 them is retained. There is one sung when lifting heavy 
 cargo, peculiar to the harbour of Matsumai, although its 
 popularity amongst the sailors of other ports has led to its 
 becoming an established Japanese sea-song. Matsumai is 
 also the name of a great chieftain who lived in feudal 
 times, and was a man of such renowned bravery that no 
 one could beat him. He seems to have had no rival in 
 streTngth, and has been handed down to posterity as a naval 
 Samson. It is also sung when pulling the ropes, though 
 more generally when lifting any heavy weight. While the 
 solo is being sung, the rest hold themselves in readiness 
 either to pull or to heave, as the case may be. 
 
 MATSUMAI. (JAPANESE SAILORS' SONG.) 
 Solo. 
 
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 Mat su - mai sa ma - de - mo yaa - yai. 
 Chorus 
 
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 Yat - to Ro - se - i Yon - ya 
 
284 Musio OF TSB Waters. 
 
 Leader. — " Matsumai, sama, demo, 
 
 Nindzu— niya Kanawanu yoitana. 
 Chorus. — Ariya, ariya, yoitoko, yoitokona, riya, riya, riya. 
 Leader. — Medeta, medetano, yo-a-yei. 
 Chorus. — Yatukosei, yomyama ! 
 Leader. — Medeta, medetano, wakamatii. 
 Chorus. — Ariya, ariya, riya, riya, riya." 
 
 The same notes serve throughout the song, which is a 
 recital and sort of chant of praise of the chieftain Mat- 
 sumai. 
 
 Then there is a short song for when they are scrubbing 
 or, as we say, holystoning the decks. It is sung in chorus, 
 and has, at least to us, no meaning. It seems to help 
 them, however, in their work, and, as far as I have been 
 able to learn, is the only one they use for this purpose. 
 
 JAPANESE CHORUS USED WHEN SCRUBBING THE 
 
 DECKS. 
 
 Chorus. ^ 
 
 i 
 
 T=T 
 
 t4i B 1 1 ^ r* h 
 
 Yolto Ivor - as - a - mo — Yass - kin - ya. 
 
 Another song that Japanese sailors sing, and one that I 
 believe is quite peculiar to themselves, is the song sung 
 during a calm at sea, when work is for the time being sus- 
 pended. A favourite one is about Nagareyama, a place 
 celebrated, in Japan, for its wine, and the song is descrip- 
 tive of the sailors taking this wine away to distant countries 
 and exchanging it for the gold and treasures thereof. It 
 appears that they have a curious custom of placing near 
 the masts, when a ship is launched, some maidenhair-fern 
 and rice. The maidenhair is looked upon as something 
 almost sacred in Japan ; and rice, as is well known, is to the 
 Japanese what fish is to the Esquimaux, or oatmeal to the 
 Scotchman — therefore, I suppose, they are chosen as 
 omens of good luck, to be, as they call them, " the gods 
 of the ship." This custom is also alluded to in the song 
 
Music of the Watebs. 285 
 
 Nagareyama ; it is sung throughout in chorus, only the 
 songs that accompany heavy work being in the form of 
 alternate soli and chorus. 
 
 I give a few of the notes which will show the style of 
 the music ; it is to our ideas monotonous, as there are 
 many verses and only these few tones to set them to : — 
 
 NAGAREYMNA. (SONG SUNG DURING A CALM AT 
 
 SEA.) 
 
 tr tr ^ tr ^ 
 
 i 
 
 f I f 
 
 fcfc 
 
 3^ 
 
 X 
 
 --* 
 
 
 S^ 
 
 S 
 
 -si- 
 
 The first and third lines and second and fourth of this 
 song are sung by the same men, not as soli but in 
 chorus : — 
 
 " Nagareyma, naggarete ritaka, 
 Nagareyma nagaretewo ronai, 
 Murano nadesoya 
 Medetaimonowa ofunadama 
 Asa, oroshi banniwa, koganeo 
 Isumifuruiso." 
 
 In the Gulf of Yedo, the populous coast is very impres- 
 sive — thousands of fishing-boats skimming here and there, 
 sampans being sculled in all directions — the general appear- 
 ance is colourless, the sea is pale, the coast grey, the 
 boats are pale (their hulls being unpainted wood, and their 
 sails pure white duck), whilst overhead, 13,080 feet above 
 the sea, gleams in its dazzling pallor the wondrous truncated 
 cone of snow, the sacred mountain of " Fujisan," so dear 
 to the Japanese. The air and water seem motionless, the 
 mist hangs still and ghost-like, grey clouds rest on a bluish 
 sky, the reflections of the white sails of the fishing-boats 
 scarcely seem to quiver ; it is all (says Miss Bird, in her 
 
286 MusiG OF Tsu Waters. 
 
 poetical description) ' " so pale and wan and peaceful, that 
 the very turbulence of crumpled foam which we leave 
 behind us, and our noisy throbbing progress, seem a boister- 
 ous intrusion upon sleeping Asia." It is with a scene like 
 this before one on the silence of nature reigning around, 
 that one can imagine the song " Nagareyama " rising from 
 some of the idle becalmed vessels around ; if anything had 
 been wanting to complete the weird effect, it would be 
 found in this mournful, monotonous dirge-like tune, so 
 suggestive of the calm that gave birth to it. A Japanese 
 vessel at a time like this resembles Shelley's exquisite 
 description of the " Boat on the Serchio " : — 
 
 " Our boat is asleep in Serchio's stream, 
 Its sails are folded like thoughts in a dream, 
 The helm sways idly, hither and thither." 
 
 Japanese sailors and fishermen, like those of every other 
 nation, are great believers in the supernatural, and many 
 strange customs, curious legends, and beliefs of sailor- 
 lore are rife amongst them. Miss Bird says a fisherman 
 never considers it lucky to meet a priest {bonze) on his 
 way to his boat ; it is considered lucky to dream of sailing 
 in a ship. The Japanese have a tradition that their 
 ancestors came from the skies in a boat, and another to 
 the effect that fish are the embodiment of the souls of 
 naval officers. Both Japanese and Chinese sailors consider 
 it a good omen to cross the bows of a foreign vessel, and 
 frequently give great trouble in crowded channels, and 
 incur considerable danger from this cause. 
 
 Speaking of mermaids, Mr. Bassett, in his recently 
 published book of " Legends and Superstitions of the Sea 
 and of Sailors," says : " Japan is, however, the headquarters 
 of these coy maidens." Here an old Dutch navigator 
 obtained the first " veritable " mermaid, and they may still 
 be procured of ingenious natives ; numbers have been 
 
 ' " Unbeaten Tracks in Japan." 
 
Music of the watbes. 287 
 
 shown in museums, &c., deftly made by uniting a child's 
 head to a fish's bod}^ 
 
 At Bartholomew fair, in 1825, there was exhibited a mer- 
 maid obtained by a Dutch ship from Japan, and the 
 Ottoman minister to Paris, in 1840, related that he had 
 seen a veritable sea-woman brought from Eastern seas. 
 They have a legend relating that a mermaid prophesied 
 an epidemic. 
 
 I must not close these few remarks on Japanese seamen 
 without some mention of the Ainos, that tribe of simple, 
 indolent savages, whose life is so made up of the sea that 
 one can hardly disassociate them in one's mind. The 
 Ainos are the aborigines of the Yezo ; the race is gradually 
 becoming extinct, scarcely to the sorrow of the Japanese, 
 who regard them with feelings of great contempt. They 
 live only on the coasts, and subsist solely on what they reap 
 from the harvest of the sea. As they are without written 
 characters, minus any literature, and apparently most un- 
 willing to give any information concerning themselves — 
 even to those who can understand them — it is almost 
 impossible to learn anything of their music, or even if they 
 have any ; but from an account given, in a description of 
 them, of a musical instrument they use, something like 
 a guitar, made of three or six strings formed of whales' 
 sinews cast upon the shore, we may infer that they do 
 sing and probably use this most original instrument to 
 accompany their crooning ditties. That these will be wild, 
 unintelligible performances to us I doubt not, but that 
 they can offer more extraordinary phases of musical 
 history than the general music of Japan I can scarcely 
 believe. It may be that the lonely Aino's song, with only 
 nature for audience, may partake more of the true sweet- 
 ness which marks all her melodies, for the very boom of 
 the surf, the strange cries of the sea-birds, the hoarse notes 
 of the audacious crows, are all in themselves complete and 
 perfect studies of harmony, for nature when left to herself 
 never produces discords, either in sound or colour. 
 
288 MUSIC OF THE Waters. 
 
 And now I must close my remarks on the blue-jackets 
 of the " Empire of the Rising Sun." Incomplete and 
 it may be inaccurate they are, but the distance that 
 separates our world from theirs, the scanty communication 
 that up till a few years ago existed between us, and the 
 general ignorance shown in their country, government, and 
 social life, may suffice to explain the difficulty of obtaining 
 facts concerning so small a portion of the history of a 
 people as their sailors' songs. With the impetus given to 
 matters maritime at home and abroad, the undoubted zeal 
 and ability displayed by its enterprising engineers, the 
 magnitude and importance of its naval college, we may 
 expect ere long to see Japan in the front rank, if not fore- 
 most, of the maritime nations of the world. 
 
NILE BOATMEN'S CHANTS. 
 
THE BOATMEN'S SONGS ON THE NILE. 
 
 "The main streets crossed each other at right angles, 
 from wall to wall with beautiful breadth, and to the length, 
 if it may be credited, of nearly nine miles. At their ex- 
 tremities the gates looked out on the gilded barges of the 
 hill of fleets at sea, under full sail, on a harbour that 
 sheltered navies, and a lighthouse that was the mariner's 
 star, and the wonder of the world." Such is Campbell's 
 description of Alexandria in Mehemet Ali's time. A long 
 line of windmills on a sandy ridge, the new lighthouse and 
 palace built by the present pasha, and the tall column of 
 Diocletian, the only visible wreck of the ancient city, are 
 the few prominent objects which rise above the dead level 
 of the sea. 
 
 " The entrance to the harbour is difficult, but its spacious 
 area is thronged with ships of war, steamers, merchantmen, 
 and all the smaller craft incident to extended traffic. Yet 
 the first view of Alexandria, full as it is of historical remi- 
 niscences, is, in all other respects, more unimposing than 
 that of any other city on the Mediterranean." This is the 
 description given of it by Mr. Bartlett,in 1845, in his "Nile 
 Boat." 
 
 The boatmen of the Nile are not less pious in their way 
 than the rest of the Egyptian Arabs, or less accustomed to 
 the use of those religious forms so characteristic of Mahome- 
 dan intercourse. Their mutual salutations are all prayers, 
 like those of Boaz and his reapers : " Peace be upon you '' 
 
 u 2 
 
292 Music of tse Watebs. 
 
 — " God be with you " — " May God receive you into 
 Paradise," are common expressions interchanged between 
 passing crews, and they never pass, even at a distance, 
 without saluting one another. The songs with which they 
 encourage one another at the labour of the oar are in a 
 similar strain of invocation, and often have a very beautiful 
 effect. The Rets leads the air, and the boatmen sing in 
 chorus, increasing the fervour of their chant and the vigour 
 of their labours almost to frenzy, with the difficulty to be 
 surmounted. Nothing can be done with them without fre- 
 quent presents of meat or money. Dr. Olin says that " Gra- 
 tuities of all sorts, in money, food, or any other form, are 
 denominated ' bucksheesh.' This is the first word in the 
 language which a traveller is likely to learn, and the least 
 tenacious memory is in no danger of forgetting it. If you 
 speak kindly to the Reis or sailors, or even look upon them 
 with an unclouded brow, they demand this species of tribute. 
 If the wind proves favourable or we succeed in driving them 
 to their work a little earlier than usual, or in keeping under 
 sail till the sun is fairly out of sight, it is sure to be hailed 
 as an auspicious occasion when we may testify our appro- 
 bation by a gratuity. In all their narratives they have no 
 other standard of excellence than the amount of bucksheesh 
 bestowed upon them. The man who has given them 
 liberal bucksheesh, no matter if he has flogged them every 
 day, is always excellent. All others are evil in their 
 sight." 
 
 The singing of the sailors on the Nile has frequently 
 been noticed and described. This usually consists of alter- 
 nate solo and chorus in short phrases, and varies with the 
 nature of the occupation in which the men happen to be 
 engaged. Thus one particular air is sung when they 
 shift the sails ; another when the boat strikes on a sandy 
 bank, and they are working to set it afloat again ; a 
 third when the wind is favourable and they give themselves 
 up to singing con amove, a fourth when approaching a 
 village, and so on. Several efforts have been made to pro- 
 
Music of tse Waters. 
 
 293 
 
 cure more specimens of these Nile choruses, but unsuccess- 
 fully ; I have met with one or two, however, which I give. 
 The following is a sample of the songs used when approach- 
 ing a village : — 
 
 Hel - 
 
 il fa - i - um val - la-dac ia 
 
 ^ 
 
 dolce. jp2- 
 
 m 
 
 ■*-*-. 
 
 ^ 
 
 1 — p — p- 
 
 He!.. 
 
 ^ 
 
 ^ 
 
 ±=t: 
 
 f-t- — b 
 
 '■^^ V \ \:s =^ 
 
 
 He ! He ! il fa - ium Ca - la - dac ia - rum. 
 
 l|^ 
 
 ■• — »- 
 
 X- 
 
 -Vz-I— 
 
 ::t?=t 
 
 E^^ 
 
 Bi-iu-tu cy Va-lad - al - mali - ruo., 
 
 ip=*^=p= 
 
 =Ei=^ 
 
 He ! He ! be 
 
 • m - 
 
 m-- 
 
 I I I 
 
 He - a - sa ! 
 
 ^sc ^a^ 
 
 it=:t 
 
 ^ 
 
 -P=S^ 
 
 sef Ca - la - dal - man ruh. 
 
 He! li - sal 
 
 The next specimen is, I believe, one of those songs used 
 when the wind is favourable, and good temper prevails with 
 the crew. It is taken .from Mr. McGregor's " Collection of 
 Eastern Music." 
 
294 
 
 MUSIO OF TSE WATERS. 
 
 Leader. 
 
 Chorus. 
 
 ¥ 
 
 fe 
 
 m 
 
 Yul - la nai - ly 
 
 ^ J— j-^ ^ 
 
 • » d 
 
 i|=:J= 
 
 No te kroots in 
 
 :t^ 
 
 Yul - la nai - ly Ya sa - laa - my, 
 
 =f*-f---f^ 
 
 1 - 1 ^=^^=^=^ 
 
 la fo te, 
 
 -1 1 1 1 
 
 O ma lon-kee 
 
 =^=^ J J 1 *i 1 J- 
 
 
 -J-^-ih^ ^iH-^— : -r~. 
 
 nt 
 
 Yul - la nai - ly 
 
 Ya sa - laa- my. 
 
 
 y r r-, 
 
 
 
 H' 1 ■ 
 
 /T «- * '-^ 
 
 
 
 
 im 1 1 
 
 
 
 • ^ 1 i 
 
 v^; 1 
 
 
 
 11 1 
 
 ^ 1 ' 1 ' 
 
 Sha - tee Yee tyb buketty 
 
 „ 1 ! 1 . ! 1 1 , 
 
 rri^-r 
 
 1111 
 
 Ill' 
 
 
 IWJf — 
 
 
 
 
 Tl 
 
 i i i • 
 
 1 ' 
 
 
 
 L-J— J — J J 
 
 <—» — m » 1 
 
 
 Yul- la nai- ly Ya sa - laa- my. 
 
 i 
 
 :i=s= 
 
 E^E^=fe 
 
 :L;=>!=t2^ 
 
 -+- 
 
 pm- o - ran. 
 
 =^ 
 
 Na- li - a- mo san-kib 
 
 -iM I — «l- 
 
 5=i=^ 
 
 Yul- la nai - ly Ya sa - laa-my, 
 
 #1-* f. p-H 
 
 1 
 
 
 Fit! ' 
 
 fis nae - na. 
 
 m- 
 
 1 .' ^' J 1 
 
 III. 
 
 Yul - la nai - ly Ya sa 
 
 . - my. 
 
 I can only give the words of one of the modern Egyptian 
 love-songs, which follow, and which are both recognized 
 favourites with the boatmen of the stately river : — 
 
MUSIO OF TSE WATUBS. 
 
 295 
 
 =!S= 
 
 zt 
 
 S_=^ 
 
 t=S: 
 
 Doos yd bel - lee, doos ya 
 
 bel 
 
 lee, Doos y4 
 
 i 
 
 ^^ 
 
 ^=p 
 
 ±: 
 
 -ti 
 
 bel - lee ; Doos yd bel 
 
 lee, doos yd bel - lee, doos yd 
 
 m 
 
 t± 
 
 ^E 
 
 P=H= 
 
 =r 
 
 4r4^A^ 
 
 It 
 
 bel - 
 
 lee Es - like 
 
 ten 
 
 Nee. 
 
 At the head of the pleasure-boats of the Nile a man 
 usually stood, with a long pole in his hand, to sound every 
 now and then, and to prevent the boat running upon any 
 of the numerous sand-banks in the river (which, from their 
 often changing at the time of the inundation, are not always 
 known to the most skilful pilot) ; a precaution adopted 
 sometimes too late by the modern boatmen of the Nile. 
 The same weird sort of chant or plumbing song is used for 
 this as by the Lascars on the Brahmaputra. 
 
 The papyrus boats, mentioned by Pliny, must have been 
 the same as the "Vessels of bulrushes," spoken of in Isaiah ; 
 indeed they are frequently alluded to by ancient writers. 
 Plutarch describes Isis as going in search of the body of 
 Osiris " through the fenny country, in a bark made of the 
 papyrus, whence it is supposed that persons using boats of 
 this description are never attacked by crocodiles, out of 
 fear and respect for the goddess." There is a song men- 
 tioned in connection with the building of these same boats, 
 but it does not appear to have been put on record, as far as 
 I have been able to ascertain. 
 
INDIAN WATER-SONGS. 
 
INDIAN WATER-SONGS. 
 
 In the Rig- Veda, or the sacred books of the Brahmans, 
 several hymns are addressed to the waters f Ap), some to 
 Nsidi (the rivers), and some to Maruts (the storms) ; so 
 the connection between Indian music and the world of 
 waters is one of great antiquity and classical association. 
 
 In Mr. W. D. Whitney's article on the Veda^ he gives 
 amongst other portions of the work a few of the hymns 
 to the great rivers : one, an account of the propitiation 
 of the two branches of the Indus — the modern Beas and 
 Sutlej — by songs and praises from the Saint Vi(}vdmitra, 
 chief priest of the Bharatas. 
 
 VigVAMITRA AND THE RIVERS. 
 Rig-Veda, III. 33. 
 
 ViCVAMITRA. 
 I. " Eager, from out the bosom of the mountains, 
 A pair of courses like, let loose and running. 
 Like two bright mother-kine their offspring fondling, 
 Vipi9 and ^utudri haste with their waters. 
 
 3. " I've come to this most mother-like of rivers ; 
 
 We stand beside the broad, auspicious Vipi9, 
 Like mother-kine fondling their calves together, 
 Unto a common home they're moving onward." 
 
 The Rivers, 
 
 4. " Thus move we onward, swelling with our waters. 
 
 To find a home that's by the gods appointed ; 
 
 ^ The Century Magazine, April, 1887. 
 
300 MUSIO OF THE WATERS. 
 
 Our headlong, forward rush no man can hinder. 
 What seeks the sage, calling upon us rivers ? " 
 
 The hymn is a long one ; the verses alternately attributed 
 to the saint and the rivers. 
 
 INDIAN ROWING AND BOAT-SONGS. 
 
 The sailors of the province of Sinde, in Hindustan, have 
 their peculiar songs, as seafaring men generally have. 
 They are Mohammedans, and the songs used by them 
 when they are pulling their ropes and sails often contain 
 expressions of reverence to their saints. The translator of 
 the following specimen of these songs praises its simplicity 
 and beauty of expression in its original language : — 
 
 " Pull, oh ! pull ! 
 Raise your shoulders, 
 Press your feet. 
 The boat will sail. 
 The steersman's a warrior. 
 The mast is tall : 
 Beat the drum ; 
 The port is attained. 
 Use your strength ; 
 By the favour of God, 
 By the saints' assistance. 
 She is a pretty boat : 
 The water is deep, 
 She will harbour in safety. 
 Of King Acbar, 
 By the favour of God." ' 
 
 Sirens existed in Indian waters and lulled mariners to 
 sleep by their songs. In speaking of them, in his "Legends 
 and Superstitions of the Sea and of Sailors," Mr. Bassett 
 
 1 From Engel's " Music of the Most Ancient Nations." 
 
Music of tse Waters. 
 
 301 
 
 says, " They represent the white and shining surf, whose 
 harmonious murmurs and seductive brightness allures, but 
 destroys the mariner who attempts to land." 
 
 " Sometimes upon the diamond rocks they leant, 
 Sometimes they sat upon the flowery lea 
 That sloped toward the wave, and ever sent 
 Shrill music o'er the sea. 
 
 " One piped, one sang, one swept the golden lyre, 
 And thus to forge and ring a threefold chain 
 Of linked harmony, the three conspire. 
 O'er land and hoary main.^' 
 
 The following is a specimen of the Indian rowing-songs 
 used on the " Rio Negro " in South America : — 
 
 Allegretto. 
 
 :?= 
 
 -l- 
 
 H^^4-^d= 
 
 i 
 
 ^ 
 
 =P±: 
 
 m 
 
 zz:iz 
 
 The following song is a sort of labour-song or chant of 
 the Madras boatmen. The grain-ships are unloaded at 
 Madras, and the cargo taken by Musulah boats ; these are 
 pushed through the surf, and it is then that this song or 
 chant may be heard ; when they near the ship again, the 
 surf being deeper and more force being required, they break 
 into the Ya- Allah, Ya-Allah, Ya-AUah, in sharp, almost , 
 spasmodic tones, and continue till they are through it. 
 
 i 
 
 E 
 
 zjpn 
 
 ^ 
 
302 
 
 Music of the Waters. 
 
 $ 
 
 T=:^ 
 
 =?= 
 
 =«=< 
 
 H *- •- 
 
 i 
 
 -I — I- 
 
 -0 — *- 
 
 ^ ' ^ 
 
 i 
 
 9. I _> F 
 
 * ? ' j m ■ I ■ 
 
 ! |N I v- 
 
 -.1— ^ 
 
 ^=J^ 
 
 o 
 
 Ya - al - lah, Ya - al - lah, Ya - al - lah. 
 
 The Madras boat-song I give next I obtained from 
 Dr. Crotch's " Specimens " (No. 326). It is sung by the 
 steersman and crew : — 
 
 Andan/e. 
 
 $ 
 
 ± 
 
 a 
 
 DANDEE SONG. (BENGALESE BOATMEN.) 
 
 M-m 1 1 i » trr-. tf ^ m ^ ^ - ^ - ^ -M-i Vm ^ — P" 
 
 
 M=MZ 
 
 ■-*--H- 
 
 bt^i^c 
 
MusiG OF Tsu Waters. 
 
 303 
 
 The two following songs are both favourites with the 
 Indian boatmen : — 
 
 I 
 
 * 
 
 IE 
 
 4 ! L 
 
 =g: 
 
 =1=1^^ 
 
 i^ t ^ 
 
 -a—zf 
 
 -*-s- 
 
 1. Mo-ney makes the mare to go, Whe-ther she has legs or no ; 
 
 2. My old mare she would not go, Till I got the mo- ney O ! 
 
 :?2= 
 
 :?3i 
 
 ^;^g^=F= 
 
 i 
 
 
 ^ ^ ^ 
 
 1. Mo-ney makes the mare to go, Whe-ther she has legs or no ; 
 
 2. My old mare she would not go, Till I got the mo- ney O ! 
 
 ^1^ 
 
 IJ3Z 
 
 =22= 
 
 n *>^^ ! 1 
 
 i ' ' 
 
 7" 1 1 1 
 
 
 k' ^ r-1 m \ 
 
 i 1 
 
 
 1 Is 1 
 
 jr "n a i m 
 
 
 J J «• 
 
 
 
 
 
 
 
 
 
 
 1. Lame, blind, or spa- vin'd O ! 
 
 2. Then the corn it made her go, 
 
 • ^ • ^ • • f gf 
 
 Nev - er mind, she's sure to go ; 
 And she got quite frisk - y O ! 
 
 P 
 
 ATi-* "^ ri 
 
 r-* '^-' 
 
 
 rj 
 
 IW.» , f 
 
 
 
 .—1 
 
 Vl-™ 
 
 1 1 
 
 
 r 1 
 
 
 
 1 , : 
 
 i 
 
 i 
 
 u/= 
 
 -^— I- 
 
 r3i a i w « 2 — - 
 
 S3Ej^3z=^Eg=v 
 
 ^-0- 
 
 1. Lame, blind, or spa- vin'd O ! Nev - er mind, she's sure to go. 
 
 2. Then the corn it made her go, And she got quite frisk - y O ! 
 
 ./> n 
 
 ^ 
 
 =P2= 
 
 =1= 
 
 " Money makes the mare to go, 
 Whether she has legs or no ; 
 Money makes the mare to go, 
 Whether she has legs or no. 
 
304 
 
 Music of tse Watbes. 
 
 Broken-winded, old and slow, 
 Give her corn and plenty, O ! 
 Broken-winded, old, and slow. 
 Give her corn and plenty, O ! 
 
 " Without money here below, 
 We must look for toil and woe ; 
 Without money here below, 
 We must look for toil and woe. 
 Such is life at present, O ! 
 What it may be, who can know ? 
 Such is life at present, O ! 
 What it may be, who can know ? ' 
 
 i 
 
 ■^z 
 
 -N— S- 
 
 ^ 
 
 I. The voyage of life is oft - en rough, The wind is sel-domfair. 
 
 ^S* 
 
 E^ 
 
 iE= 
 
 ^- 
 
 ±: 
 
 -9-zS: 
 
 i 
 
 ^3^^ 
 
 ^=r 
 
 i±?F=|= 
 
 -i — i—»—i—i- 
 
 And tho' the morn be bright e- nough It oft - en ends in care : 
 
 ^ I i_ 
 
 n: 
 
 -^r-^: 
 
 -^ 
 
 i 
 
 / 
 
 It 
 
 ¥ 
 
 ^=r 
 
 -&- 
 
 -| — I ■ |- , r 
 
 Then let us sing and mer-ry be And drive dull care a - 
 J !_« ^" m J L 1 ! -_ •_/-S'- 
 
 Mg 
 
 S 
 
 way, 
 -f3- 
 
 =1= 
 
 -t- 
 
 :^=E 
 
 4- 
 
 -t- 
 
 i 
 
 -I — !_-J- 
 
 _L 
 
 -4- 
 
 / 
 
 It 
 
 z^z 
 
 1 I I — i — ^1 — 
 
 For who can tell what may oc - cur Be-fore an - o - ther 
 
 ^ f- J P . r" m I \ \ l_. m^ 
 
 ^.aM 
 
 day ! 
 
 m^ 
 
 -I- 
 
 I 
 
 ^ 
 
 I 
 
 ^^=^^ 
 
 I r 
 
Music of the Watebs. 
 
 305 
 
 ^ 
 
 -l^-J- 
 
 ^ 
 
 3^ 
 
 ^^ 
 
 i - S - -g- ' .g r-Sl^^ 
 
 Ah, who can tell what may oc - cur Be-fore an - o ther day. 
 
 T 
 
 ^t 
 
 =i|=St 
 
 I I r 
 
 -^r- 
 
 
 2. 
 
 " Why should we not this life enjoy ? 
 
 It cannot be for long ; 
 It's time enough when pleasures cloy, 
 
 To give up mirth and song. 
 Then let us sing and merry be, 
 
 And drive dull care away — 
 For who can tell what may occur 
 
 Before another day ? 
 Ah ! who can tell what may occur 
 
 Before another day ? 
 
 3. " This world they say is a world of woe. 
 
 Yet no one wants to leave ; 
 And if grim death his face should show. 
 
 We'd beg for a reprieve. 
 Then let us sing and merry be, 
 
 And drive dull care away. 
 For who can tell what may occur 
 
 Before another day .'' 
 Ah ! who can tell what may occur 
 
 Before another day ? " 
 
 The Taza b-Taza is one of the most popular songs sung 
 by the Indian boatmen, although it is of Persian origin, 
 written by the poet Hafiz, and will be found in the Goolistdn 
 " Rose Garden." 
 
 X 
 
306 
 
 Music of tse Waters. 
 
 TAZA B-TAZA. 
 
 m 
 
 K a N N 
 
 ^ 
 
 T 
 
 ^^ 
 
 ^ ^-n 
 
 s=^ 
 
 & 
 
 3 — a-a: 
 
 • W P 
 
 w 
 
 -^^i?-v->- 
 
 i 
 
 :S=S: 
 
 p * 
 
 :?5=f: 
 
 l2=iE42= 
 
 i^E^ 
 
 i 
 
 -a-ftM 
 
 > ^ » — » ^ 
 
 -r 
 
 Indian Version. 
 
 Taza b-taza-no-b-no, 
 Mootrel b-koosh iiewar 
 Taza b-taza-no-b-no, 
 Bur zai hiaat bziada-oo, 
 Taza b-taza-no-b-no. 
 
 Jillee millee paronee-ah 
 Ja men (ne) nudea. 
 
 English Version. 
 
 Fresh and fresh and new and new, 
 Oh morning breeze ! in passing o'er 
 
 that fairy's village, 
 Carry to her the compliments of Hafiz, 
 Fresh and fresh and new and new. 
 
 Freely now is the time to go and bathe. 
 Jump into the river hand' in hand. 
 
 The words of the " Bhiertpoor Dirge," which follow, are 
 Bengalese; and the air to which they are set, although 
 of a very plaintive nature, i.s a great favourite with the 
 Indian boatmen. 
 
 Indian Version. 
 
 " Kyoo Durzun Lai se, 
 Holi K^len koayah Lai (Sahib), 
 I'ytchparri ka bia bun golee topee 
 
 layah, 
 Kung ahur Kloon se bunnia ah. 
 Ai Durzun Lai koomeer ab ayah, 
 HoliKglen ko ayah LSI (Sahib)." 
 
 English Version. 
 " Say to Burzun Lai, 
 That the Lord Sahib has arrived, 
 To play holi with him. 
 For squirts, he has brought 
 Mortars and guns ; 
 For yellow dye and red powder, 
 He will have blood. 
 Ah ! Durzun LSI, the alligator has 
 
 arrived, 
 The Lord Sahib has come to plav 
 holi." 
 
 The waters of the Brahmaputra are so shallow, owing to 
 the sand banks, that the leadsmen are bound to plumb 
 
Music of the Wathes. 307 
 
 all the way up to Dibrugarh, the head-waters of the 
 Brahmaputra, which go up amongst the Himalayas. The 
 monotonous chant — for such it is of the leadsman — " Teen 
 bom milla ne," or " Three fathoms and no bottom," deserves^ 
 I think, to be mentioned, if only to commend the patience 
 with which it is almost unceasingly repeated for the three 
 thousand miles of the voyage. The measuring is first done 
 by inches, " hart " or eighteen inches, this is three times 
 counted, and then " hart " or inches is changed to fathoms. 
 
 " Sarra "—Half. 
 
 " Ek to bom " — One fathom. 
 
 " Do to bom " — Two fathoms. 
 
 and then " Three fathoms and no bottom " — " Teen bom 
 milla ne." 
 
 Solo. j. ^ 
 
 i 
 
 m 
 
 "Teen Bom Mil-la . Ne." 
 
 This is chanted by one man, who is relieved every few 
 hours — a fact I was glad to learn. 
 
 The flats generally have on board forty sailors or 
 " Lascars," the " Sarang " or native captain, the " Secunna" 
 or quartermaster, and a European commander. 
 
 X 2 
 
FROM CHINA TO PERU. 
 
 FISHERMEN'S, BOATMEN'S, AND SAILORS' 
 CHANTS AND SONGS. 
 
 " The deeps have music soft and low 
 When winds awake the airy spry. 
 It lures, lures me on to go 
 And see the land where corals lie." 
 
FROM CHINA TO PERU. 
 
 " All human race, from China to Peru, 
 Pleasure, howe'er disguised by art, pursue." 
 
 " Let observation with extensive view 
 Survey mankind from China to Peru.'' 
 
 CHINESE SONG. 
 
 i 
 
 Moderato, con sentiment tranquillo. 
 
 J Lr:>-u 
 
 ^H— ^ 
 
 S^ 
 
 ^ * I * * L * • " ^ 
 
 I -*- -i«- -^. ' ^. .^. .J0. 
 
 i 
 
 * - ^ 
 
 =M=F 
 
 fi >i ^ ^— ^ 
 
 "T — r — •" 
 
 ^m 
 
 a=p=r*^t=r 
 
 I -;l ■ .5: 
 
 T^-r 
 
 i 
 
 =i=^ 
 
 .>i k p .1* 
 
 < — » — *- 
 
 ■^=d= 
 
 Y~^'^ r 1 -g- :>: IS: I J: i P^ 
 
 tfz 
 
 ■1 ! 
 
 r;;. ,^ ;. >^7 F=F 
 
 f-j-N= ^ 
 
312 
 
 Music of the Waters. 
 
 I 
 
 CHINESE BOATMAN'S SONG. 
 The Capt ain. -p. 
 
 ^iti 
 
 -jr-r 
 
 j=ti: 
 
 li 
 
 3t3t 
 
 3=^^ 
 
 TS3?»5lr 
 
 P 
 
 Allegro. 
 
 The Crew. • 
 
 ^ 
 
 "^ 
 
 ^S 
 
 j— r 
 
 i 
 
 ±: 
 
 iJa Cajio al Segno. 
 
 t 
 
 EE 
 
 =£: 
 
 — ; — I- 
 
 -*— ^- 
 
 "A LARGE portion of that which has passed, and is 
 still passing with the Chinese for music to be enjoyed, 
 distances barbarian sympathies and defies barbarian 
 analysis. Their ideas of music are .so at variance with 
 every one of our feelings, fancies, practices in art, or ideas 
 of beauty, that one can only wonder at them while listen- 
 ing to them ; for wonderful it is, that a people so rich and 
 ancient as the Chinese, one so advanced in the knowledge 
 of secrets of colour, refinement of texture, peculiarity of 
 form ; so skilled in exquisite caligraphy — a people to boot 
 who possess a philosophy, a fiction, and a drama of their 
 own, all indicating a separate civilization, should be so 
 utterly savage and repulsive in their musical tendencies. 
 What we know of Chinese melody is in every respect 
 
Music of tse waters. 
 
 313 
 
 more rude and shapeless than that of far more savage 
 peoples."^ 
 
 Mr. Chorley's remark is scarcely encouraging as to the 
 amount of pleasure we may expect to derive from a perusal 
 of some of the musical efforts of the Chinese ; however, 
 such specimens of their water melody as are to be had I 
 must include in a collection that has for object, not so 
 much beauty of style, as peculiarity of conception. 
 
 In all Asiatic nations, the songs are generally of a nature 
 which renders it almost impossible to write them down 
 divided into bars of equal duration. 
 
 Whatever our opinion of Chinese music may be, it can- 
 not be less flattering than theirs of ours. A very intelli- 
 gent Chinese on hearing some music of Rameau's and 
 other French composers, hinted politely that it was sadly 
 devoid of meaning and expression, while the music of his 
 own country penetrated to the innermost soul. 
 
 The common scale of the Chinese consists of only five 
 different intervals, though I should add this is also the case 
 with the music of many other Asiatic countries, and even 
 in other parts of the globe. The number five appears to 
 be an especially mysterious one with the Chinese. I give 
 this almost national tune a place amongst the water 
 melodies, as it is a great favourite on sea as well as on land, 
 and it is a fair specimen of Chinese song. 
 
 CHINESE AIR. (« MOO-LEE-WHA."') 
 
 i 
 
 -ft-ft- 
 
 -•-^ 
 
 s 
 
 =tT 
 
 =trt: 
 
 ^ 
 
 ES 
 
 ^ 
 
 ES 
 
 e 
 
 i 
 
 :&^ 
 
 q?1= 
 
 ^^=^ 
 
 -iv- 
 
 p 
 
 :^ 
 
 q^l=s: 
 
 ^B 
 
 i^g '''J 
 
 t:=t 
 
 ' Chorley's " National Music," 
 
314 MUSIO OF THE WATERS. 
 
 Sir John Barrow gives an English translation of the 
 words of the song " Moo-lee-wha ;" it is in praise of the 
 flower Moo-lee : — . 
 
 " How delightful this branch of fresh flowers ! 
 One morning, one day, it was dropped in my house. 
 I, the owner, will wear it not out of doors. 
 But I will hold the fresh flower and be happy. 
 How delightful this branch of the Moo-lee flower ! 
 In the full plot of flowers blooming none excels it ; 
 I, the owner, will wear this gathered branch. 
 Wear it, yet fear, the flower seen, men will envy." 
 
 As the gondoliers of Venice while away their long 
 midnight hours on the waters with strophes of Tasso, the 
 Greek sailors of the Archipelago with fragments of Homer, 
 so the trackers in China accompany their severe labour 
 with a song. Mr. Ellis, in his book of travels in that 
 country, mentions that the sight of the lofty pagoda of 
 Tong-chow, served as a great topic of incitement in the 
 trackers' song. 
 
 A traveller in China has remarked that " A Chinaman 
 rehearsing a song looks and gives utterance to such goat- 
 like bleats, that it is impossible to avoid the conclusion that 
 he is labouring under a violent attack of chronic whooping- 
 cough, combined with intermittent seizures of hiccough — 
 the dying falls of the inhuman falsetto at the end of 
 each verse finishing in the most confounding hysterical 
 perturbations of the vocal chords." 
 
 The Chinese are excellent sailors, and in many points 
 not at all unworthy of comparison with our own. A great 
 number of them were for some time on the Tyne, 
 awaiting the completion of one of their vessels at 
 Elswick. They seemed to be very general favourites, 
 and usually walked about with an attendant crowd of 
 admirers. They were very pohte ; indeed, one of the 
 officers was so gallant on one occasion, when he was out 
 spending the evening with some friends, that he cut all 
 
Musio OF TSE Waters. 315 
 
 the buttons off his uniform and presented them to the 
 ladies present, because one of them had admired the work- 
 manship of them. 
 
 A party of six of the sailors finding themselves one day 
 at some little distance from the town, hailed a four-wheeled 
 cab and, in spite of the remonstrances of the driver, insisted 
 upon all getting in ; when they reached their destination 
 the man demanded his fare — six shillings. " No, no," 
 said one of the Chinamen, "big car, two pennies, little 
 car, one penny ;" and to the extreme disgust of the cab- 
 driver and the keen delight of some passers-by, he pro- 
 ceeded to dole out six coppers. It took some persuasion 
 on the part of some Englishmen, who interested themselves 
 in the proceedings, and a great many remarks not compli- 
 mentary to the sons of the Celestial Empire from the 
 driver, to induce the sailors to give the proper amount. 
 They had been accustomed to daily rides in the tram- 
 cars, for which they paid twopence, and appeared to 
 resent as an injustice the additional fare for "the small 
 car." 
 
 I was walking one day in the old part of Newcastle, when 
 I was accosted by one of them with, " Please, will you 
 tell me where is the boot hill f " For a minute or two I was 
 puzzled ; then it dawned upon me he meant the shoe stairs, 
 a quaint flight of steps bordered with antique-looking 
 boot and shoe shops that is one of the curiosities of old 
 Newcastle. I directed him — we were only about two 
 minutes' walk from the place — and after he had gone I 
 followed him to see what he was doing ; and on my 
 arrival I beheld him seated outside one of the shops, the 
 centre of an admiring crowd of men, women, and children, 
 the latter amusing themselves with his pigtail, whilst the 
 proud owner of the shop knelt in front of him making 
 strenuous efforts to fit the Chinese Jack with a pair of 
 his best hob-nailed boots. Remembering the story of the 
 cab, I wondered whether, when it came to paying, there 
 would be any difficulty. Presently the fit of a pair seemed 
 
316 Musid OF TSU Watuss. 
 
 to be agreed upon, they were wrapped up in a piece of 
 newspaper, and the price evidently named ; Jack appeared 
 quite willing to pay it. After some little further talk, he 
 resumed his seat and took off his own boots ; he must be 
 going to leave them for repairs, I thought, and the shop- 
 keeper must have thought the same, for he received them 
 smilingly, and was just beginning to examine them and 
 see what they required, when Jack, who had meanwhile 
 been lacing on his new purchases, suddenly sprang on to 
 his feet and bounded down the long flight of irregular steps 
 with the agility of a cat. As soon as he recovered his 
 surprise the boot-maker went after him, and likewise all 
 the denizens of the stairs. I have no doubt a regular 
 fight would have ensued at the bottom, if the wily customer 
 had not out-distanced him. 
 
 The following description of the singing of Chinese 
 river boatmen is given by a well-known English traveller 
 in China : — " 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 
 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 manner similar to what in England 
 is understood by sculling. To lighten their labours and 
 assist in keeping time with the strokes, the following rude 
 air was generally sung by the master, the whole crew 
 joining in chorus : — 
 
 SONG OF CHINESE ROWERS. 
 Solo by the Master. 
 
 Hai yo hai - yan ! hai - yo, hai - yan ! 
 
Music of the Watebs. 
 
 317 
 
 Chorus by the Crew. 
 
 i 
 
 « 
 
 m 
 
 -t=^r 
 
 i 
 
 Hai - yo hai - yan ! 
 
 . Solo by the Master. 
 
 hai yo ! 
 
 :^: 
 
 ^ 
 
 i 
 
 Hai - wha de, 
 . Chorus by the Crew. 
 
 hai - yo, hai • yan ! 
 
 :iv- 
 
 Hai - yan ! 
 
 hai - yo hai yan ! 
 
 " On many a still evening, when a dead silence reigned 
 upon the water, we have listened with pleasure to the 
 artless and unpolished air, which was sung with little 
 alteration through the whole fleet. Extraordinary exer. 
 tions of bodily strength, depending in a certain degree on 
 the willingness of the mind, are frequently accompanied 
 with exhilarating exclamations among the most savage 
 peoples ; 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 Dr. Johnson has observed, resembles the pro- 
 celeusmatic verse by which the rowers of Grecian galleys 
 were animated, the chief object of the "Chinese chorus 
 seemed to be that of combining cheerfulness with regu- 
 larity." 
 
 NEW ZEALAND.— THE MAORIES. 
 
 It is said of the Maories, in New Zealand, that they are 
 so much attached to singing as often to spend the entire 
 night in its gratification, and all work is prosecuted with 
 the aid of song. 
 
 Mr. Shortland has collected the words of several of the 
 songs — or^ more properly speaking, chants — which are 
 used by the Maories when they are hauling heavy logs of 
 wood or canoes overland, in order to ensure a simultaneous 
 
318 MUSIC OF THE WATUBS. 
 
 effort of the men engaged in the work. The five lines at 
 the commencement, called Puwha or Hari, are sung by a 
 single voice, to prepare the labourers for pulling, and the 
 lines which follow the Puwha are sung alternately, solo and 
 tutti, the labourers always responding in chorus to the 
 singing of the leader, and hauling the boat at the same 
 instant all together : — 
 
 Solo. — " Pull, Tainui, pull the Arawa| 
 To launch them on the ocean. 
 Surely glanced the bolt 
 Of thunder, falling hitherward, 
 On my sacred day. 
 The Kiwi cries 
 Chorus. — Kiwi. 
 
 Solo. — The Moho cries 
 Chorus. — Moho. 
 
 Soto. — The Tieke cries 
 Chorus. — Tieke. 
 
 Solo. — A belly only. 
 Chorus. — Fork it out, fork it out ! 
 
 Solo. — Keep in the path. 
 Chorus. — Fork it out ! 
 
 It's the second year to-day. 
 Cheerily, men ! 
 It's the man-catcher. 
 Cheerily, men ! 
 Give this way, and carry it, 
 Cheerily, men ! 
 But whither carry it .? 
 Cheerily, men ! 
 Ah ! to the root. 
 Root of Tu. 
 Solo. — O wind. 
 Chorus. — Pull away. 
 
 Solo. — Pull onwards the root, 
 Chorus. — Root of Tu." 
 Kiwi, Moho, and Tieke are names of birds. 
 
Music of the watfbs. 
 
 319 
 
 The Maories also possess a similar kind of song to the 
 natives of the Paumotu group, Polynesia, and those of the 
 Sandwich- Islands, namely, the Song of Welcome. The 
 turtle-fishers of the Fiji Islands have also this Song of 
 Welcome when they return from the fisheries. If they 
 have been successful, they come shouting songs of triumph, 
 and the women come down to the shore to meet them 
 also singing, and sometimes as an additional mark of joy 
 they pelt a quantity of bitter oranges at their respective 
 husbands, sons, and brothers. On the contrary, if they 
 have not met with success, they have a sort of chant of the 
 most solemn nature which is used. 
 
 Solo. 
 
 ^B 
 
 I I 
 
 
 i=^=i 
 
 -T*— :ir 
 
 -g- -0- 
 
 Chorus. 
 
 
 :S=1^=J^ 
 
 1 t l 'JU t ' 
 
 *^}^^ 
 
 i 
 
 i-!^t i> I F^- 
 
 "t* P*t!l' 
 
 ^Sl 
 
 te|:^=:q=^ 
 
 -i^ 
 
 J.l> * S ' p4 \ > S VJ- -jtP * — *~t^ 
 
 i 
 
 =t=fT=^==t 
 
 )=f:,«= 
 
 ^i^^ S d ' < ^S ^\ > » S 
 
 ,i=t 
 
 -^5 
 
 ■l-=r=r- 
 
 ^ 
 
 d d — t- 
 
 Respecting the signs employed in the notation of this song, 
 which I am quoting from Carl Engel's most valuable 
 work on " National Music," it must be observed that ^ | is 
 meant to raise a note a quarter-tone ; \ | raises it a 
 semitone, as does our single sharp ; f Jf raises it three 
 quarter-tones. The same with flats : ^ 1? is meant to lower 
 a note a quarter- tone ; and so on. The sign ^ is used to 
 indicate that the voice is to glide from one interval to 
 another, much as when the finger is drawn over the violin 
 string to a certain distance. Mr. Davies, who is responsible 
 for the foregoing notation, has made a study of the Maories 
 for some twenty years, and may therefore, I think, be re- 
 
320 Music of tsu watubs. 
 
 lied upon for authentic information concerning them. He 
 pronounces them to be gifted with a remarkably fine ear 
 for distinguishing quarter-tones ; they are to be congratu- 
 lated on the intelligence, that one would think must be 
 characteristic of them, to enable them to become familiar 
 with what seems to us such a difficult style of notation ; 
 and yet the Maories are as much addicted to cannibalism 
 as the natives of the Marquesas Archipelago, with the 
 exception, of course, of those who .have come under the 
 influence of European civilization and Christianity. 
 
 Every circumstance in the life of a native of New Zealand 
 has a song dedicated to the season ; thus in fishing, canoe 
 and house-building, planting, sowing, reaping, felling 
 timber, paddling canoes, births, marriages, and deaths, 
 peace and war, each has its characteristic chant, accom- 
 panied by a chorus. The chants are simple, and the 
 musical subjects few, but the words embodying the scanty 
 musical scores are innumerable. Poetical composition is 
 not practised, detached sentences in prose forming the 
 groundwork for the music, which are compositions without 
 the attempt at finish as among Europeans, yet a step 
 nearer to a musical piece than the chant of a recitative can 
 be pronounced. 
 
 Many complaints are made of the ill-conduct of the 
 American, French, and English seamen at the Bay of 
 Islands, but, says Mr. J. S. Polack, in his " Manners and 
 Customs of the New Zealanders," " we would inquire of 
 those seeming philanthropists, are our ports in Great Britain 
 kept wholly immaculate ? And will the Jack Tar of Ports- 
 mouth repudiate his lass or his glass, or will the French 
 matelot at Nantes or Bordeaux cease his song, and refuse 
 to join in quaffing the rich juices afforded by the vintage 
 of the Garonne, or will the Yankee sailor of Massachusetts, 
 or the Bucksin of ' ole Virginny,' fail less to kick at the 
 dispiriting measures of the select, social, temporal teeto- 
 talers,'' who, he avers, would drive all sociability into " an 
 eternal everlasting fix." 
 
MUSIG OF THE WATUBS. 
 
 321 
 
 Some hundreds of natives are at the present 
 moment manning ships sailing under the British, French^ 
 and American flags, and are regarded by unbiassed persons 
 equal in their duties to European seamen, and as effective 
 in ability and strength, while dieting on similar provisions. 
 The New Zealand seaman may now be found in every 
 part of the globe — under the frozen zones of the north and 
 south, and the torrid latitudes east and west, steering at 
 night and alone on deck the full-freighted ship, amid the 
 pathless waters, joining the hilarity of his brother-seamen i 
 and equally watchful aloft when danger may approach, and 
 may be said to present the nearest approach to a British 
 tar beyond any other nation of which we know. 
 
 ICELAND. 
 
 Mr. Baring Gould, in his volume, "Iceland, its Scenes and 
 Sagas," gives one or two specimens of genuine Icelandic 
 melody. He says that all the songs were in Icelandic, 
 but the melodies were mostly Danish ; " God Save the 
 Queen " and " Beautiful Star " were both set to Icelandic 
 words, and descriptive of the glories of the island. I give 
 the Icelandic National Hymn : — 
 
 -\ — u 
 
 -^U- 
 
 IE3I 
 
 3i=K 
 
 =(2= 
 
 :i=2 
 
 I I 
 
 ^ 
 
 r 
 
 -P2-e- 
 
 ^ 
 
 d fn 
 
 S 
 
 -©— £z: 
 
 Ty 
 
 ^ o 
 
 I ^J 
 
 IS2I 
 
 T^ 
 
 SE 
 
 -»-^ <9 O 
 
 ^ 
 
 I I 
 
 E^ 
 
 U-&- 
 
 :=* 
 
 I I 
 
 =az3t: 
 
 -^5" 
 
 -Sl 
 
322 
 
 Music OF THE WATERS. 
 
 The hymn which follows is one that is frequently used 
 by the natives. It is a genuine Icelandic melody : — 
 
 The Esquimaux have two sorts of boats or canoes, the 
 kia or man's boat, and the oomiak or woman's boat ; this 
 latter is the more perfect vessel of the two, as it is often 
 used for the transport of more than one person and 
 also for the conveyance of luggage. It can scarcely be 
 said to be a comfortable vessel though. The women 
 paddle their own canoe, but an old man generally steers 
 the oomiak. He is selected because of his age, and 
 though considered sufficiently able to direct the woman's 
 canoe, is supposed to be too old for the kia or man's 
 boat. I believe it is no uncommon thing for this old 
 Charon to fling a knife, harpoon, or even a seal-hook at 
 the ladies if they should neglect their paddling. When I 
 read this in Wood's "Natural History of Man," it struck me 
 as evidence of a very poor spirit in the fair sex of those 
 northern shores, to allow themselves to be so treated by 
 
Music of tsje watubs. 
 
 323 
 
 one old man amongst perhaps a crew of six or eight 
 women in mid-ocean. An Englishman, and certainly not 
 an old one, would never be allowed a repetition of 
 such amiable gallantry in a boatful of his country- 
 women. One attempt at throwing a harpoon or knife 
 and he would have laid down his steering-gear for ever, 
 and gone to keep company with the fishes. 
 
 , BOAT-SONGS OF THE SAMOAN AND 
 TONGA ISLANDERS. 
 
 A gentleman attached to the United States Exploring 
 Expedition wrote down the following boat-songs of the 
 Samoan or Navigators' Islanders. He says : " The natives, 
 owing to their communication with the Tonga or Friendly 
 Isles, have some knowledge of Captain Cook, and a trans- 
 lation of the first of the boat-songs would run thus : — 
 
 ' Cook tells you. Pull away ; 
 I will do so, and so must you.' 
 
 In their trips from town to town they are generally on 
 parties of pleasure termed Malanga, and are frequently to 
 be met with singing their boat-songs." 
 
 SONGS OF THE SAMOAN ISLANDERS. 
 
 No. I. 
 Solo. 
 
 -1 >^ 
 
 Fo-fa - e. 
 
 Fo - fa e, 
 Chorus. 
 
 £ 
 
 51:5: 
 
 S^S 
 
 ^i=i=i- 
 
 Na - a- gi-le-fo - e, 
 Y 2 
 
 Na - a - gi-la 
 
324 
 
 MUSIG OF THE WATUBS. 
 
 No. 2. 
 
 $ 
 
 Solo. 
 
 ;=f 
 
 I I I 
 
 3CZP= 
 
 t=t: 
 
 £E 
 
 i 
 
 Tu - te ta- ma - i le fou ane, 
 Chorus. 
 
 Tu- 
 
 J^ 
 
 :»=*= 
 
 =^ 
 
 Au ta- na • a - lo fi - a - oe, 
 
 =^=^ 
 
 - te ta - ma - 1 le fou ane. 
 
 I 
 
 ^=f 
 
 w 
 
 ±=t 
 
 Au ta - na - a - lo fi - a - oe. 
 
 The music of the Tonga Islands bears a great resem- 
 blance to the Samoan ; I have therefore included a few 
 remarks on it. The following is a song used by the 
 natives of Tonga-taboo, when advancing in a boat with 
 their chief. The traveller who noted this song mentions 
 that he wrote it exactly as he heard it, with the bass and 
 harmony. It is to be inferred that it is native, for the 
 Tongese never had foreign music of any kind . taught 
 them. 
 
 Tenor. 
 
 ^^^^tXJ^X^ 
 
 3S=5r 
 
 v~y 
 
 ■^ 
 
 £^=ES ^=F^^ 
 
 Bass. 
 
 ^EE 
 
 3^E 
 
 -^ aaiij 
 
 I 
 
 The Tonga Islanders possess several songs descriptive 
 
Music of tre Watjebs. 
 
 325 
 
 of historical occurrences. One of these is commemorative of 
 the principal events that happened during Captain Cook's 
 visit, and which, excepting a little exaggeration, is*olerably 
 correct. 
 
 The Tongese have many short songs, which they call 
 Tow Alo, and sing when they are paddling their canoes, 
 the strokes of the paddle being coincident with the cadence 
 of the tune. They are very frequently sung on leaving 
 Vavaoo, whilst paddling out of the inlet. The following 
 is an example of the words and an English translation : — 
 
 English- Version. 
 Alas ! we are entering upon our 
 
 voyage, 
 By leaving M6onga-lafa and TaI6w ! 
 Anxious am I to stay ; who can wish 
 
 to go? 
 Departing from Vavaoo and her 
 
 neighbouring isles, 
 And Licoo-6ne, and Vaoo-aca, 
 The road of springs near Maccapapa, 
 
 Mataloco and the myrtle plain, 
 The cave of Tootaw-i, the beach of 
 
 Mofooee, 
 No longer can I stand upon high 
 
 places 
 And look downwards on the ileet of 
 
 small canoes. 
 We must leave the crimson gnatoo 
 
 of Tlaf6olooh6w, 
 To wear the coarser mats of Toofooa 
 
 and Kdoo ! 
 
 Most of their song-words are in the Samoan language. 
 The following is a specimen of the paddling-songs, which 
 really form the principal water-music of the Tonga 
 Islands : — 
 
 Tongese Water-Song. 
 Oiaooe ! gooa m6w teoo fel6w, 
 Ca to6goo M6onga-lafa, bea mo 
 
 Talao ! 
 Gooa te le61i ger n6fo ; coliai t^nne 
 
 aloo? 
 Ca t6ogoo VavAoo, m6e m6too lalo, 
 Licoo o'ne, M6e Vaoo-dca, 
 Moe Tlalla-vy' gi Maccapapa, 
 M4ttal6co, mo fanga myile, 
 A'na a To6taw-i, b& Mofo6e, 
 Iky' S^oo too gi lu luf6anga, 
 Yio hifo gi he fel<5w ta fdnga, 
 Toogoo he foogi hea a Tldfoolooh6w 
 Ger vala he gnafi^nafi aToofo6a mo 
 
 K4o. 
 
 ^ 
 
 Mather fast. 
 
 tf^rjjj,^j;i,;j;p-.fTtj^j7?^ 
 
 , Slower. 
 
 
 ....... = ^-,-1-1— H-^ 
 
 4 mm s ' — s mm 4 mm — 
 
 
 f— — — 
 
 ^» 
 
 :^=^ 
 
326 
 
 MUSIC OF THE WATERS. 
 
 I I S 
 
 I I 
 
 ^=::t 
 
 :t=9= 
 
 ^=^F^^^ 
 
 i 
 
 :^l^ 
 
 i 
 
 * . 
 
 T-^^ 
 
 THE INDIANS OF NORTH-WEST 
 AMERICA. 
 
 Amongst the many and varied kinds of music and song- 
 verses that have come under my notice since I entered 
 upon the task of collecting the " Music of the Waters," 
 there is no specimen of notation that has struck me as 
 being so entirely original, and, if I may use the word, so 
 comical, as those of the Indians, as described by Max 
 Miiller in the chapter devoted to the " Popol Vuk," in the 
 first volume of his " Chips from a German Workshop." 
 I mean the war-songs and love-songs in the picture- 
 writing, and which were really supposed to be perfectly 
 intelligible to all the tribes. What should we, enlightened 
 mortals of this nineteenth century, make of the following, 
 for instance ? — 
 
 1. Figure representing a god (monedo) endowed with 
 magic power. 
 
 2. Figure beating the drum and singing ; lines from his 
 mouth. 
 
 3. Figure surrounded by a secret lodge. 
 
 4. Two bodies joined with one continuous arm. 
 
 5. A woman on an island. 
 
 6. A woman asleep ; lines from his ear towards her. 
 
 7. A red heart in a circle. 
 
MUSIO OF THE WATUBS. 
 
 327 
 
 The interpretation is — 
 
 1. It is my form and person that make me great. 
 
 2. Hear the voice of my song, it is my voice. 
 
 3. I shield myself with secret coverings. 
 
 4. All your thoughts are known to me, blush ! 
 
 5. I could draw you hence were you ever so far. 
 
 6. Though you were on the other hemisphere — 
 
 7. I speak to your naked heart. 
 
 I can picture the blank amazement of the modern sailor 
 if asked to convey his sentiments to " Kate " or " Nancy " 
 in some such way, and Nancy's bewilderment if he suc- 
 ceeded in so doing; and yet I may almost say, that the 
 foregoing is a specimen of an American-Indian sea- 
 song, for it was chiefly of the sea and by the sea that 
 these tribes lived. Max Miiller adds, " All we can say is, 
 that if the Indians can read this writing, they are greater 
 adepts in the mysteries of love than the judges of the old 
 cours damour. But it is much more likely that these 
 war-songs and love-songs are known to the people 
 beforehand, and that their writings are only meant to 
 revive what exists in the memory of the reader. It is a 
 kind of mnemonic writing, and it has been used by 
 missionaries for similar purposes, and with considerable 
 success." 
 
 Captain Dixon gives the notes of the following 
 song, which he says he often heard whilst in Norfolk 
 Sound : — 
 
 Chief of the Tribe. 
 -iS>- -m- -fS- . 
 
 -•- -•- -•- -^- 
 
 s 
 
 i — h 
 
 -i — \ \ 
 
 j^ 
 
 Women. 
 
 -* p. tr m #_ # ^ # IP- 
 
 I I I M I n i i I iili:: 
 
 Men. 
 
 ^^ 
 
 -1 \- 
 
 t=^ 
 
 zti=t=t: 
 
 -• — »- 
 
328 
 
 Music of tsb Watues. 
 
 *—«—*- 
 
 ^ ^ *- 
 
 -1 — i- 
 
 i ! I 
 
 Se 
 
 1=0=^ 
 
 :t=t: 
 
 E 
 
 -^— *- 
 
 -p— •- 
 
 -I — h 
 
 :t=t: 
 
 m 
 
 -0 • I o . 
 
 i 
 
 i<^ 
 
 ::2±: 
 
 > * ^ 
 
 23= 
 
 23t 
 
 T^P-*- 
 
 teiiz 
 
 :1= 
 
 The North- American Indians have quite a notion of 
 harmony, if one may judge by these specimens of their 
 music. Almost all the inhabitants of that part of the 
 world have a remarkable capacity for music. The song 
 which follows is sung by the traders when nearing a 
 strange crew. The chief usually approaches first, singing 
 and crossing his arms, as a sign of friendship. 
 
 SONG OF WELCOME OF THE TRADERS 
 
 =t 
 
 ?j=^ 
 
 ^ 
 
 1J3JE 
 
 ^=^ 
 
 =t=t: 
 
 i3E 
 
 -& O - I I 
 
 :f=i»- 
 
 i — I- 
 
 I I 
 
 -I — I- 
 
 =?j=^^=r 
 
 -1 — u 
 
 =it=t 
 
Music of tse Watubs. 
 
 329 
 
 i 
 
 w 
 
 -9^=t-- 
 
 m 
 
 ii=s=t 
 
 "iFi-^ 
 
 Efe 
 
 I 1 I 
 
 NEGRO SONGS OF WESTERN AFRICA. 
 
 " Most negro tribes appear to possess a remarkably keen 
 susceptibility for rhythmical regularity. This is evident 
 from their dances with the usual accompaniment of drums 
 and other instruments of percussion, executed with the 
 greatest possible precision. Their songs, however, often 
 consist of merely short melodies, which, like the recitative, 
 do not possess a strictly defined symmetrical construction. 
 The cause of this may be attributed to the circumstance 
 that the negroes on many occasions are in the habit of im- 
 provising the words of their songs, and that the melodies 
 must therefore continually undergo slight modifications 
 demanded by the improvised poetry, which, as regards the 
 number of the syllables, as well as the metre in general, is 
 not always constructed precisely after the same rule, but 
 alters according to the momentary inventions of the im- 
 provisator."^ This "Serere" air which follows is a boat- 
 song, and is sung by the crew while rowing. It has 
 been noticed that the rowing is performed in strict time 
 with the song. The letters R above the stave show the 
 moment when the oars are raised, and the letters L denote 
 their being lowered into the water. This air, therefore, is 
 most strictly regular as to rhythm. Whatever may be the 
 interior changes from triple to common measure, the time 
 which the respective changes consume must be equal, for 
 what can be more isochronous than the movement of the 
 oars of a well-trained boat's-crew ! Another very rhyth- 
 mical air is the following Mandingo one : — 
 
 » Engel's " Study of National Music." 
 
330 
 
 Music of tse Waters. 
 
 ^ 
 
 R 
 
 SERERE AIR. 
 
 :$sjs± 
 
 ^S 
 
 I fi- 
 
 
 y»-a- 
 
 i 
 
 Allegretto. 
 
 MANDINGO AIR. 
 
 fii 
 
 4=^5 
 
 qE==«5 
 
 33^ 
 
 i^ 
 
 -*-l<- 
 
 ft 
 
 -p— p- 
 
 ^ 
 
 ^ J- ->- 
 
 i 
 
 =?3Z 
 
 :e 
 
 i 
 
 1 
 
 -^-s, 
 
 ^ 
 
 -^ W » - 
 
 1 — l-^ — I \~^ 
 
 ?2= 
 
 '/ ^ V 
 
 -* — *- 
 
 CREOLE WATER-SONGS. 
 
 Mr. George W., Cable, writing in the Century Magazine, 
 April, 1 886, on Creole slave-songs, devotes a page to the 
 songs of the chase and of the boat. Of these latter he has 
 most courteously allowed me to make use. He says " that 
 the circumstances which produced these songs have dis- 
 appeared. Travelling in Louisiana used only to be by 
 water. Every planter had his boat and skilled crew of 
 black oarsmen. The throb of their song measured the 
 sweep of the oars, and as their bare or turbaned heads and 
 shining bodies bowed forward and straightened back in 
 ceaseless alternation, their strong voices chanted the praise 
 of the silent, broad-hatted master, who sat in the stern. 
 Now and then a line would be interjected in manly boast 
 of their own brawn, and often the praise of the master 
 softened off into tender laudations of the charms of some 
 black or tawny Zilie, Zabette, or Zalli!' The following 
 are a few stanzas of one of the rowing-songs : — 
 
MUSIG OF THE WATEB8. 331 
 
 " Sing, lads, our master bids us sing, 
 For master cry out loud and strong. 
 The water with the long oar strike, 
 Sing, lads, and let us haste along. 
 
 " 'Tis for our master we will sing, 
 
 We'll sing for our young mistresses. 
 And sweethearts we must not forget, 
 Zoe, Mertente, Zabelle, Louish. 
 
 " Sing, fellows, for our own true loves. 
 My lottery prize ! Zo6, my belle ! 
 She's like a wild young doe, she knows 
 The way to jump and dance so well ! 
 
 " Black diamonds are her bright, black eyes, 
 Her teeth are lilies white ; 
 Sing, fellows, for my true love, and 
 The water with the long oar strike. 
 
 " See ! see the town ! hurrah ! hurrah ! 
 Master returns in pleasant mood ; 
 He's going to treat his boys all round, 
 Hurrah ! hurrah for master good ! " 
 
 Another song quoted is of wood and water, though 
 only the latter is mentioned. It is a " Runaway's Song of 
 Defiance " : — 
 
 " General Florido ! indeed, fo' true dey can't catch me. 
 General Florido ! indeed, fo' true dey can't catch me." 
 
 " Dey got one schooner out at sea, 
 Dey got one schooner out at sea. 
 Indeed, fo' true dey can't catch me." 
 
 ^ 
 
 >>,. .!> .. - l >.-^t^^ =p^ 
 
 =S=F= 
 
 ■ s s s 
 
 -p-^^ - 
 
 i^ztzi 
 
 p 
 
 i^^ 
 
 =p5=:s: 
 
 =P=it 
 
 ' r -1 - 
 
SUPERSTITIONS, CUSTOMS, AND WATER- 
 LEGENDS OF THE SEA, RIVERS, 
 AND LAKES. 
 
 Knowledge is, of course, to superstition as light is to darkness ; still 
 some naiions endowed with a lively imagination, although they are 
 much advanced in mental development, cling to the superstitions of 
 their forefathers, since the superstitions accord with their poetical 
 conceptions, or are endeared to them by associations which pleasantly 
 engage the imaginative faculties. 
 
 "Anon you shall hear a hog grunt, a calf bleat, and an ass bray, 
 Because it is Saint Peter's holiday." 
 
 Marlowe's Faustus. 
 
 " Bird whom I welcomed while the sailors cursed." 
 
 Theodore Watts' Ode to Mother Carey's Chicken. 
 
SAILORS' SUPERSTITIONS. 
 
 " A COMPARATIVE investigation of the superstitions rife 
 amongst the different sailors of the world would result in 
 a certain conclusion that there is but little variety in them. 
 Certain objects, certain signs, and certain persons inspire 
 Jack with an idea of the supernatural, whether European, 
 Asiatic, or American. The Portsmouth tar, the Normandy 
 matelot, the German seaman, and the Italian fisherman, 
 all share in common with the Nile boatman, the Chinese 
 waterman, and the Yankee blue-jacket, the fears that have 
 been handed down from their respective marine ancestors 
 for generations. Sailors, although usually the bravest 
 men, have from time immemorial been noted for their 
 credulity, and every literature contains evidence of the 
 multiplicity of their superstitions^ and of the tenacity with 
 which they cling to them. It may be questioned, how- 
 ever, whether as a class they are really more superstitious 
 than landsmen, the only difference perhaps being that their 
 isolation, consequent from their connection with the sea, 
 gives them a distinctive character, which otherwise they 
 would not possess. Their history, too, dating from the 
 most remote period in the annals of the world, has natu- 
 rally invested them with a peculiar interest in this and 
 other countries. And hence we find scattered here and 
 there many a curious account recorded by travellers of 
 their customs and peculiarities, to give a detailed resume 
 of which would occupy a volume of considerable size. 
 Indeed, as Reginald Scott has truly remarked in his 
 ' Discovery of Witchcraft,' innumerable are the reports of 
 
336 Music of tre waters. 
 
 accidents unto such as frequent the seas as fishermen and 
 sailors, who discourse of noises, flashes, shadows, echoes, 
 and other visible appearances nightly seen and heard upon 
 the surface of the water." ^ 
 
 Amongst the animals which the sailor considers as 
 omens of good or ill-luck are cats, hares, rats, porpoises, 
 or sea-hogs. Certain birds also come under this category, 
 the Stormy Petrel, the great auk, the kingfisher, and the 
 sea-gull. 
 
 The cat is the object of many an odd belief In the 
 neighbourhood of Scarborough, for instance, we are told 
 how a few years ago sailors' wives were in the habit of 
 keeping black cats to ensure the safety of their husbands 
 at sea ; black cats thus increased in value to such an extent, 
 that few could afford the luxury of them. Many sailors 
 object to having cats on board, and if one happens to be 
 more frisky than usual, they have a saying that " the cat 
 has got a gale of wind in her tail." Also a firm notion 
 exists amongst seamen, that the throwing of a cat over- 
 board will bring on a storm. A dead hare on board a ship is 
 considered a sign of an approaching hurricane, and Cornish 
 fishermen (than whom no more superstitious set of men 
 exist) declare that a white hare seen about the quays at 
 night indicates that there will be rough weather. The 
 fisherman of Filey, like the Japanese sailor, hesitates to go 
 to sea on any day when he has encountered a pig early in 
 the morning. The blue-jackets of the " Empire of the 
 Rising Sun," however, have an equal objection to meeting 
 a priest previous to setting out upon a voyage. Piggie is 
 an object of aversion to more seafaring people than the 
 Filey fishermen and Japanese sailors ; there is scarcely a 
 book or article on the superstitions of the sea that I have 
 read, that does not allude to his Jonah-like propensities. 
 As to rats, we all well know of their connection with 
 ships. Shakespeare, in the most nautical of his plays, 
 " The Tempest," says, in speaking of the vessel in which 
 ' Extract from the Leisure Hour. 
 
Music of tse Waters. 337 
 
 Prospero and Miranda had been placed with a view to their 
 destruction : — 
 
 " The very rats 
 Instinctively had quit it." 
 
 It is said that rats leave a ship in harbour, previous to 
 its being lost at sea. Sometimes there is a reason for this 
 sudden desertion, as in the case of the cunning Welsh 
 captain whose ship was infested with them. He was lying 
 in the Mersey, and learning that there was a vessel laden 
 with cheese in the basin, he drew alongside of her at dusk, 
 left all his hatches open, and when the rats were safely on 
 board of that — to them Eldorado — cheese-laden ship, he 
 moved off. 
 
 With regard to birds — the Stormy Petrel, as its name 
 betokens, presages bad weather ; the great auk never 
 wanders beyond soundings, and thus taking their clue 
 from him the sailors know that land is not far off. Of the 
 kingfisher it used to be said, that whilst this bird was 
 hatching her eggs, the sea remained so calm that the period 
 became known as the halcyon days. The Scotch say of 
 the sea-gulls : — 
 
 " Sea-gull, sea-gull, sit on the sand, 
 It's never good weather when you're on the land." 
 
 Bad weather may always be looked for whenever these 
 birds leave the open sea and hover near the shore. The 
 sea-legends and superstitions that have to do with birds 
 are of very ancient date. Aristophanes tells us how the 
 Greek sailors heeded their signs : — 
 
 " From birds, in sailing, men instructions take, 
 Now lie in port, now sail, and profit make.'' 
 
 The intense dread which sailors and fishermen have of \ 
 the dead is a wide-spread one amongst all nations, and 
 the horror of the Chinese sailor, when asked to carry a 
 corpse on board, is shared by his brother blue-jackets on 
 every sea ; they say the sea cannot digest the crudity of a 
 
 7, 
 
338 MUSIC OF THE WATEBS. 
 
 dead body, it being a due debt to be interred where it 
 lieth, and a ship cannot abide to be made a bier of. 
 
 " On certain parts of the coast in Cornwall, sailors dread 
 walking at night near those portions of the shore where 
 there have been many wrecks, for they firmly believe that 
 the souls of drowned sailors haunt such localities, and 
 further affirm that the calling of the dead has frequently 
 been heard. Indeed at night-time, on the approach of a 
 tempest, these callings are declared to be of common occur- 
 rence, and many a sailor positively asserts that he has heard 
 the voices of the dead sailors ' hailing their own names.' " ^ 
 l Friday is considered by the sailors as an unlucky day 
 to set sail upon or begin any work. One cannot wonder 
 at the prevalence of this idea amongst them, seeing how 
 deeply-rooted it has become amongst all classes and 
 nations ; but we may query the wisdom of a sneeze to 
 the left or the right side, at the moment of embarking, 
 having any effect upon the voyage being favourable or 
 otherwise. It is also considered very unlucky if any one 
 accidentally numbers the sailors on board, or to ask Scotch 
 sailors or fishermen before they start on a journey where 
 they are bound for ! And to point with the finger to a 
 ship when at sea is most disastrous ; the whole hand 
 should be raised up to counteract the evil consequences. 
 It is a bad sign if a water-bucket or a mop is lost, and no 
 one must cut his hair or nails at sea, except during a 
 storm ; thus a calm voyage would return a crew whose 
 fingers would be formidable weapons to encounter, and 
 whose locks would be suggestive of Rip Van Winkle or 
 Robinson Crusoe. 
 
 Whistling is thought very unlucky by sailors, as it is 
 supposed to raise an unfavourable wind. This superstition 
 is, I fancy, to be traced to the practice of whistling for 
 winds, common to many nations in days gone by, which 
 used to exist, and which I have elsewhere mentioned. A 
 whistling woman is a bete noire to Jack. 
 
 1 Extract from the Leisure Hour. 
 
MUSIO OF TSU Watees. 339 
 
 The moon and clouds also play an important part in a 
 sailor's life, and the notion that the weather changes with 
 the moon's quarters is firmly implanted in them. 
 
 " I saw the new moon late yester-e'en, 
 With the old moon in her arm ; 
 And if we go to sea, master, 
 I fear we'll come to harm." 
 
 This used to be a favourite rhyme in the sixteenth 
 century. 
 
 Seamen find it convenient to express many important 
 facts in rhymes, and a few of the- more prominent are here 
 given : — 
 
 " The evening gray and morning red, 
 Put on your hat or you'll wet your head." 
 
 " When the wind shifts against the sun. 
 Trust it not, for it will run." 
 
 " When the sun sets in the clear, 
 An easterly wind you need not fear." 
 
 " The evening red and morning gray. 
 Are sure signs of a fine day ; 
 
 But the evening gray and morning red 
 Make the sailor shake his head." 
 
 Adverting to the barometer : — 
 
 " First rise, after low. 
 Indicates a stronger blow." 
 Also — 
 
 " Long foretold, long last ; 
 Short notice, soon past." 
 
 To which may be added : — 
 
 " In squalls, 
 When the rain's before the wind, 
 Halyards, sheets, and braces mind." 
 z 2 
 
340 Music of this Watubs. 
 
 And— 
 
 "When the wind's before the rain, 
 Soon you may make sail again." 
 
 Also speaking generally : — 
 
 " When the glass falls low- 
 Prepare for a blow, 
 When it rises high 
 Let all your kites fly." 
 
 " A rainbow in the morning, 
 Sailors take warning ; 
 A rainbow at night 
 Is the sailors' delight.'' 
 
 In fact there is no end to the superstitions that exist, or 
 perhaps I should say, existed among sailors ; indeed, after 
 searching through the works which treat of these, one 
 almost wonders at the light-heartedness characteristic of 
 the blue-jackets when one thinks of the burden laid upon 
 them through them. 
 
 RELIGIOUS CEREMONIES. 
 
 The fishermen of Clovelly were formerly in the habit of 
 inaugurating the commencement of the herring-fishing 
 season by attending a special service at the church ; 
 the 107th Psalm being substituted for the Psalm of the 
 day, and the gospel of the fifth Sunday after Trinity 
 being read on the occasion. The old Hundredth Psalm, 
 too, was sung by all the fishermen before the general 
 thanksgiving, and after it came that unique prayer known 
 as the Clovelly Fishermen's Prayer, which begins "Al- 
 mighty and loving Father, Thou rulest in the heaven, in 
 the earth, in the sea, and in all deep places." The Clovelly 
 fishermen's example is not often followed ; there are 
 many places where, like the herring-fishers of Marken 
 (Holland), the little flotilla sails on a Sunday evening. 
 
MUSIO OF TSE WATEBS. 341 
 
 Many of the fishing community are of a decidedly 
 religious character, thus following the example of their 
 patron saint, St. Peter. Oftentimes on a summer's evening, 
 off the Cornish coast, one may hear the fishermen engaged 
 in singing hymns of praise. Like the Dutch seafaring 
 men, these Cornish men are most fervent in their devotions ; 
 the rugged, lonely, perilous lives they lead being responsible 
 for the solemnity of their bearing. The Breton and 
 Norman fishermen are also very God-fearing people. 
 
 The herring fishery in the Isle of Man is the staple 
 industry of the place — the Manx sea-harvest it is called. 
 Before the men set off for the fishing a service is held, and 
 to the verse in the Church Litany, " That it may please 
 Thee to give and preserve to our use the kindly fruits 
 of the earth, so as in due time we may enjoy them," is 
 added, "and restore and continue to us the blessings of 
 the sea." Bishop Wilson had this supplemented in the 
 Manx Book of Common Prayer, in 1779. Also-, before 
 shooting the nets, at a sign from the master of the boat, 
 every man goes down upon his knees, and with his head 
 uncovered asks that a blessing may be upon the fishing. 
 They are a thoroughly devout people, these silent, earnest, 
 shrewd Manx fishermen, and there is a great deal to interest 
 one in their sayings and doings. For instance, a Manx 
 fisherman counts 124 fish to the hundred, he adds three to 
 every hundred (120) which he distinguishes by the name 
 of "warp," and then he throws in a single herring which 
 he calls "tally," thus making 124. They have some queer 
 proverbs about herrings. They are delicate fish and very 
 easily killed ; when they are taken out of the water they 
 give a peculiar squeak, and die — thus, " As dead as a 
 herring " is a favourite saying, and as they are caught by 
 the gills in the meshes of the net, with all their heads 
 hanging in the same direction, " Every herring must hang 
 by his own gill." Like the Zetland fishermen, the Manx 
 have a toast, " Life to man and death to fish " — (Manx) 
 " Bioys da dooinne as baase da eeast." 
 
342 Music of tse Waters. 
 
 A belief in the supernatural is strongly rooted in the 
 minds of the sea-going community ; amongst necromantic 
 agencies, bells occupy a very prominent place. Occasion- 
 ally, during a hurricane, the death-bell is clearly heard 
 borne along the angry billows ; a superstition alluded to 
 by Sir Walter Scott : — 
 
 " And the belfrie rang. 
 And the sea-maid sang. 
 The dirge of lovely Rosabelle." 
 
 Southey, in his famous ballad of the " Inchcape Bell," has 
 immortalized one of these bell legends. Once on the 
 sands near Blackpoolj out at sea, stood the church of 
 Kilgrimal, now completely submerged ; wanderers near this 
 spot, however, are still said from time to time to be terri- 
 fied by the dismal chimes of the bells as they send forth 
 their doleful peals over the murmuring sea. The people 
 of Pembroke, too, hear a sunken bell ring from its watery 
 grave when a storm is rising. It is supposed to be the 
 great bell of St. David's, Pembrokeshire, which was carried 
 off during the Cromwellian wars ; the robbers managed to 
 get it on board ship, but in passing through Ramsey Sound 
 the vessel was wrecked — a direct result, the superstitious 
 said, of profanely treating the bell. Denmark has many of 
 these legends. There is one at Gossingen about two bells 
 which were ordered to be cast in the town of Lubeck. 
 These bells were brought by sea to Schleimiinde ; but, as 
 ill-luck would have it, one of them fell into the sea and 
 was lost. From that day, whenever the remaining bell is 
 being rung, it distinctly proclaims " My companion lies in 
 the Schleimiinde:" 
 
 During tempests at Malta it is usual toring all the bells 
 in the Roman Catholic churches for an hour, that the 
 wind may cease and the sea be calmed. This custom also 
 prevails in Sicily and Sardinia. There is a Cornish legend 
 that the bells of Bottreaux church were sent by ship, but 
 when the vessel] was in sight of the town, the blasphemy 
 
MUSIG OF TSE WATUBS. 
 
 343 
 
 of the captain was punisHed by the loss of his ship. The 
 bells are supposed to lie in the bay and announce by 
 strange sounds the approach of a storm. 
 
 The late Henry Smart has set to music the legend of the 
 town of" Vineta " on the Baltic— once, it is said, the greatest 
 emporium in the north of Europe — several times destroyed 
 and built up again, till in 1183, it was upheaved by an 
 earthquake and swallowed by a flood. The ruins of Vineta 
 are popularly believed to be visible on certain days, and 
 their bells audible below the waves, between the coast of 
 Pomerania and the island of Rugen. By the kind permis- 
 sion of Messrs. Novello, Ewer, and Co., I am enabled to 
 give the air of this most beautiful song, and the words 
 which are from the Schleswig-Holstein poetry : — 
 
 h P 
 
 ^ 
 
 : i» S S 
 
 ^ 
 
 I 
 
 ^==^ 
 
 From the sea's deep hoi- low faint - ly peal ing, 
 
 Far - off 
 
 slow J., 
 
 ^S 
 
 Faint - ly rise, the won- drous tale re - veal 
 
 ing 
 
 i 
 
 =fS=St 
 
 Of the old en - chant-ed town be - low. 
 
 On the 
 
 i 
 
 bo 
 
 som of the flood re - clin - ing, Ruin - ed 
 
 i 
 
 g^^^"^ 
 
 :J=^z 
 
 arch 
 
 and wall and bro - ken 
 
 spire, 
 
 Down be 
 
344 Music of the waters. 
 
 flash in flaltes of gold en fire 
 
 " And the boatman who at twilight hour . . . 
 Once that magic vision shall have seen, 
 Heedless how the crags may round him lour, 
 Ever more will haunt the charmed scene. 
 
 " From the heart's deep hollow faintly pealing, 
 
 Far I hear those bell-notes sad and slow, 
 Ah ! a wild and wond'rous tale revealing 
 
 Of the drowned wreck of love below. 
 There a world in loveliness decaying. 
 
 Lingers yet in beauty ere it die ; 
 Phantom forms across my senses playing. 
 
 Flash like golden fire-flakes from the sky. 
 Lights are gleaming, fairy bells are ringing. 
 
 And I long to plunge and wander free. 
 Where I hear the angel voices singing 
 
 'In those ancient towers below the sea. 
 
 In those ancient towers below the sea." 
 
 MUSICAL SOUNDS AND FISH. 
 
 An Italian savant has discovered a new and simple 
 method of catching fish ; the bait is a musical one. The 
 Gazetta del P opolo s&ys, "As we all know, the serise of 
 hearing is extraordinarily developed in fish ; it appears that 
 while the slightest noise scatters them in all directions, a 
 musical note, especially that produced by the human voice, 
 attracts them ; on hearing it they stop suddenly in their 
 course. Signor Saretti discovering this fact, embarked one 
 morning on the Lake of Geneva with a party of friends. 
 He possesses a very fine deep bass voice, and striking up a 
 
Musio OF THJE Waters. 345 
 
 national song he proved to his astonished companions the 
 truth of his assertions. They were able by means of an 
 aquascope to perceive the eagerness with which the 
 piscine population gathered around the little boat. Casting 
 over the nets they had brought, they instantly made such 
 a catch as has rarely, if ever, been known on the lake, and 
 they may be said indeed to have made another miraculous 
 draught of fishes." 
 
 Fish again are charged with being voiceless, but how 
 then about the gurnard that pipes, the diodon that grunts, 
 and the others that drum and whistle and play on Jew's 
 harps .' The legend that they were caught in Egypt by 
 singing to them is not without its plausibility. " Fishes, 
 though little, have very long ears " is an old Chinese 
 proverb ; and to this day, on the Danube, men hang little 
 bells to their nets to attract fish. In Japan the same fish 
 are summoned to dinner by melodious gongs. In India 
 we have seen them called up out of the muddy depths 
 of the river at Dholpore by the ringing of a handbell ; 
 and from the abbey in Belgium, where the carp answer 
 at once to the whistle of the monks who feed them, right 
 away to Otaheite, where the chiefs have pet eels which 
 they whistle to the surface, the same belief in the sym- 
 pathy of fish with musical sounds will on inquiry be found 
 prevailing. "Dull as a mullet" was a Roman proverb, 
 yet the very men who quoted it, prided themselves on the 
 docility, sensitiveness to sound, and personal attachment 
 of their favourite mullets. We are inclined, therefore, to 
 think that the finned folk have been somewhat calum- 
 niated ; a grudge, it is possible, has been borne against the 
 fish, under the idea that they escaped the deluge. 
 
 In Chambers' Journal {]u\y 3rd, 1886) there appeared 
 a very interesting article entitled " Musical Sand." The 
 existence of musical or sonorous sand is not much known, 
 although such sand appears to occur in localities widely 
 distributed over the earth's surface. There is the so-called 
 " Singing Beach " at Manchester-by-the-Sea, Massachusetts, 
 
346 Music of tse Waters. 
 
 and a beach of sonorous sand at Eigg, and also in the 
 Hebrides. 
 
 Specimens of sonorous sand are to be found in the 
 island of Bornholm, Denmark ; Colberg, Prussia ; and 
 Kanai, Hawaii Islands. Old Chinese chronicles mention 
 sonorous sand as occurring in the desert of Lob-Nor. 
 Marco Polo narrates superstitions concerning it, and the 
 Emperor Baber refers to a locality in Afghanistan where 
 it is found. Careful search in literature shows that allusions 
 to this phenomenon are scattered sparingly through writ- 
 ings of a thousand years. 
 
 The character of the sounds obtained by friction on the 
 beach is decidedly musical. The shrillness and lowness of 
 note depend chiefly on the quantity of sand disturbed. By 
 plunging both hands into the sand and bringing them 
 together quickly, a tone is heard, the dominant note of 
 which is B below the treble stave. By stroking the sand 
 nearer the surface and with less force, very high notes were 
 heard confused ; they ranged from E, fourth space treble 
 clef, to B above the stave. By rubbing firmly and briskly 
 a double handful of the sand, several notes on a rising scale 
 were heard. The ear received an impression something 
 like that formed by sliding a finger up a violin-string at 
 the same time that the bow is drawn. 
 
 Sonorous and mute sand occur in the beach closely ad- 
 joining, but they cannot be distinguished by the eye ; 
 friction alone determines the difference. 
 
 The phenomenon is well worthy of investigation, and no 
 light seems as yet to have been thrown on its cause, nor 
 any progress made towards the solution of the mystery of 
 the difference between mute and musical sand. 
 
 " Now lay thine ear against this golden sand. 
 And thou shalt hear the music of the sea, 
 Those hollow tunes it plays against the land, — 
 Is't not a rich and wondrous melody .' 
 I have lain hours, and fancied in its tone 
 I heard the languages of ages gone." 
 
Music of the Watebs. 347 
 
 ROMANCES OF THE MERMAIDS. 
 
 " Tte sighs that from thy seamen pass 
 Might set a fleet a-sail ; 
 And the faces that look in the mermaid's glass 
 Are as long as the mermaid's tail." 
 
 Richard Garnett. 
 
 MORVA OR MORVETH (SEA-DAUGHTERS). 
 
 The intimate connection between the inhabitants of 
 Brittany, of Cornwall, and of Wales, would appear to lead 
 to the conclusion that the Breton word Morverch, or mer- 
 maid, had much to do with the naming of the Cornish 
 parish of Morva (signifying Locus maritimus, a place near 
 the sea). The church of Morva, like most of the churches 
 on the coast of Cornwall, was built by and for fishermen, to 
 whom the superstitions of mermen and " merry-maids " 
 had the familiarity of a creed. 
 
 Whether the mermaids belong to the yEgean Sea, or the 
 Mediterranean, the Pacific, or the Atlantic, we may rest as- 
 sured their mission is ever the same — to lure to destruction, 
 by the marvellous beauty of their persons, and by the 
 bewitching songs "plaintive as the waves." Mermaids are 
 but rarely considered as benefactors. Legends and tales 
 of them generally associate them with some catastrophe. 
 
 Mr. Robert Hunt, in his " Popular Romances of the West 
 of England ; or, the Drolls, Traditions, and Superstitions of 
 old Cornwall," devotes a chapter to tales of the Cornish 
 mermaids ; there is one, " The Mermaid's Rock," which I 
 quote, as it is very short, very much to the point, and 
 certainly may be taken as a type of mermaid romance in 
 general : — 
 
 " To the westward of the beautiful Cove of Lemorna is a 
 rock which has through all time borne the above name. 
 There exists the popular fancy of a lady showing herself 
 here previous to a storm — with, of course, the invariable 
 comb and glass. She is said to have been heard singing 
 
348 Music of the Watubs. 
 
 most plaintively before a wreck, and that, all along the 
 shore, the spirits have echoed her in low moaning voices. 
 Young men are said to have swam off to the rock, lured by 
 the songs which they heard, l>?it they have never returned" 
 — a peculiarity of young men who endeavour to prosecute 
 their acquaintance with mermaids further than viewing 
 them from a safe and enchanted distance. Appended to 
 this little story in Mr. Hunt's volume, there is a note of 
 explanation, which says, " The undulations of the air, 
 travelling with more rapidity than the currents, reach our 
 shores long before the tempest by which they have been 
 established in the centre of the Atlantic, and by producing 
 a low moaning sound, ' the soughing of the wind,' predi- 
 cates the storms." 
 
 There is a longer tale, entitled " The Mermaid's Venge- 
 ance," in the same chapter, which introduces several songs ; 
 one is sung by the heroine, evidently a very cruel mermaid, 
 to the hero, Walter by name, whom she holds by the hair 
 of his head : — 
 
 " Come away, come away — 
 O'er the waters wild. 
 Our earth-born child 
 Died this day, died this day. 
 
 Come away, come away — 
 The tempest loud 
 Weaves the shroud 
 For him who did betray. 
 
 Come away, come away — 
 
 Beneath the wave 
 
 Lieth the grave 
 
 Of him we slay, him we slay. 
 
 Come away, come away — 
 
 He shall not rest 
 
 In earth's own breast. 
 
 For many a day, many a day. 
 
Music of the Waters. 349 
 
 Come away, come away — 
 
 By billows tost 
 
 From coast to coast, 
 
 Like deserted boat 
 
 His corse shall float. 
 
 Around the bay, around the bay." 
 
 That their coiffure is a matter of great — we might almost 
 say, paramount — importance to these water-fairies one can- 
 not doubt ; the faithful chronicler of their doings would as 
 soon think of representing a soldier without his sword, or 
 a fish without a tail, as a mermaid minus her comb and 
 glass. Amongst the English sailors' songs, I have men- 
 tioned one known as " The Mermaid ;" it is a very 
 humorous description of the direful fate of a young sailor 
 who fell in with one, and who was doomed to pass the 
 rest of his days with this green-haired beauty "at the 
 bottom of the deep blue sea." 
 
 NECKS. 
 
 The necks or water-spirits are renowned for their love 
 and talent for music. There exist, people say, various 
 kinds of these interesting creatures. The Swedes relate 
 wonderful stories respecting the marvellous harp-playing 
 of a neck called Stromkarl, who generally prefers the 
 vicinity of water-mills and cascades for his abode. 
 
 The neck or nicker has become quite a stranger in 
 England. Some Englishmen, however, take care to pre- 
 serve his name, applying it to a spirit of another element 
 than water, and every one knows at once whom they mean 
 when they speak of Old Nick. Like the sirens and the 
 mermaids, the female neck enchants youths with sweet 
 music, and draws them down into the water. In the Greek 
 mythology, Hylas, a king's son, is commemorated as 
 having been drawn into the water by nymphs enamoured 
 of the beautiful youth. 
 
 The Scandinavian god, Odin, the originator of magic 
 
350 Music of the Watebs. 
 
 songs, is mentioned as the ruler of the sea, and as such he 
 had the name of Nikarr. In the depth of the sea he 
 played the harp with his subordinate spirits, who occasion- 
 ally came up to the surface of the water to teach some 
 favourite mortal their wonderful instrument. 
 
 It is a suggestive fact that several nations in different 
 parts of the world possess an ancient tradition, according 
 to which some harp-like instrument was originally derived 
 from the water. 
 
 Another Scandinavian water-deity was Herta, or the 
 Storm-compeller, according to tradition, a goddess who 
 presided over storms. 
 
 " What can be more sweet to see 
 Than the sailor's agony .' 
 While around the wild waves roar, 
 And lash with furious rage the shore." 
 
 The Droitwich canal (Worcestershire), in passing through 
 Salwarpe, is said to have cut off a slice of a large, old, half- 
 timbered structure, supposed to have been formerly a 
 mansion-house ; and in revenge for this act of mutilation, 
 the ghost of a former occupier revisits his old haunts, 
 affrights the domestics, and may be seen on dark nights, 
 with deprecatory aspect, to glide down the embankment 
 and suicidally commit himself to the waters below. 
 
 " The changes which have taken place in the sea-life 
 cannot be wholly restricted to the transformations of the 
 ship-building yard. There is a mighty difference,' indeed, 
 between the Hne-of-battle ship of fifty years ago and the 
 armour-clad of to-day — between the Atlantic passenger 
 clippers of which Fennimore Cooper wrote and the iron 
 mail-steamers which have succeeded them ; but there are 
 changes in other maritime directions fully as remarkable, 
 though, perhaps, not so deeply accentuated to the shore 
 gaze. Where are the old customs of the ocean .? Whither 
 has fled the traditionary character of the sailor ? His 
 canvas remains ; he still has his topsails, albeit halved. 
 
Music of the Watebs. 351 
 
 to hoist, his topgallant-sails to sheet home, his royals to 
 set ; spite of steam, there are still scores of the old-fashioned 
 windlasses for him to carol his hurricane songs over ; still 
 scores of the old-fashioned capstans to twist round, ' drunk, 
 monotonous, and melodious ; ' davits at which he may- 
 cast his anchor, as did his forefathers ; forecastles as clammy 
 as the most reeking of the holes in which the Jacks of 
 other days lay snoring, with purple faces, in clouds of cock- 
 roaches. But, for all that, it will not do to pretend that 
 the sailor is what he was. I do not speak of the carica- 
 tures of the fictionist — the monstrous pigtailed figures with 
 lanthorn jaws, broken teeth, wooden legs, and bloodshot 
 eyes ; the race of Hatchways, Trunnions, and Pipses, who 
 stagger, full of drink and ' language,' in dismal procession 
 through the pages of the sea-novelists, losing, to be sure, 
 something of their inexpressible garnishing as they enter 
 the truer oceanic atmosphere of the Coopers and the 
 Marryats of the present century. I refer simply to the old 
 sailor, to the plain man-o'-war's man and merchantman of 
 bygone years, not to the Frankenstein in flowing breeches 
 and hat on nine hairs, who trod the stage and procured his 
 circulation in one, two, and three volumes, in the respect- 
 able name of Jack, prior even to the days when Sir Lancelot 
 Greaves found the irresponsible anatomy willing to ship — 
 
 " ' The broad habergeon, 
 Vant brace and greves and gauntlet.' 
 
 Let me be understood. The British or American mariner 
 of to-day is as hearty, nimble, dexterous, determined 
 a fellow as ever he was at any time during the choicest 
 and most glorious period of his nation's history. He 
 needs but opportunity to test him. It is in his tradi- 
 tions, habits, superstitions, that he differs from his pre- 
 decessors. I do not think it is the iron of his latter-day 
 calling that has entered his soul and changed him ; the 
 very distinguishable difference is owing to a natural decay 
 of marine sentiment. He is no longer superstitious — 
 
352 Music of the Waters. 
 
 possibly because he is not without a tincture of education. 
 Hard wear has attenuated his prejudices, and custom has 
 lost its hold upon him. It would be difficult now, I should 
 think, to find in any forecastle such a superstitious sea-dog 
 as the old salt who, in Dana's ' Two Years before the 
 Mast,' agreed with the black cook as to the malignant 
 and wizard qualities of the Finns. Familiarity with the 
 grand liquid amphitheatre into which he descends and toils 
 for his bread may have helped to rob the modern sailor of 
 what I must call the romantic features of the seaman's 
 nature. In olden times the voyage was long, the art of 
 navigation crude and halting, the wonders of the deep 
 were many, at least, they were found so ; a man passed so 
 long a while at sea that he was saturated with the spirit of 
 it. Superstitions, salt as the billow from which they were 
 wrought, begot peculiar forms of thought ; customs grew 
 out of the strange fancies and interpretations, and that they 
 should now be dead means simply that they flourished for 
 centuries, and that they died very hard at last. How wide 
 the difference is between the shipboard life of the mariners 
 of the past and that of the present race of seamen may be 
 collected by looking into a few of the customs which are 
 now as extinct as the timbers of Noah's ark. In the seven- 
 teenth and eighteenth centuries it was a practice on board 
 Italian and Spanish, and possibly Portuguese ships, for 
 the sailors, on crossing the equator, to erect a canopy on 
 the forecastle, under which three seamen, absurdly dressed, 
 seated themselves. One was called the president, the 
 others judges. They started first with trying the captain, 
 then the officers, and finally the passengers. A sailor, 
 dressed up as a clerk, read the indictments, after which the 
 judges pronounced sentence of death. Careri, in his 
 ' Voyage round the World,' explains the purpose of this 
 tomfoolery. ' The sentence of death,' says he, ' was imme- 
 diately bought off with money, chocolate, sugar, biscuit, 
 flesh, sweetmeats, wine, and the like.' The best of it was 
 that he who did not pay immediately, or give good security, 
 
MUSIO OF TSE Watjebs. 353 
 
 was laid on with a rope's end, at the least sign given by 
 the 'President Tarpaulin.' Apparently heavier punish- 
 ments than rope's-ending attended the poverty or contumacy 
 of the convicted, for the same author tells of a passenger 
 who was drowned on board a galleon through being keel- 
 hauled for refusing to conform to this singular marine 
 custom. The sport — if sport it can be called — lasted all 
 day, and then at sundown the fines or forfeits were divided 
 among the sailors. It is possible that out of this old sea 
 joke rose the stupid and irritating practice of ducking men 
 on their crossing the equator for the first time. This 
 imbecile piece of horse-play was wonderfully popular among 
 seamen down to quite recent days. I do not think Jack 
 ever saw much humour himself in the mere dressing-up as 
 Neptune, and acting Jack Pudding in the waist ; what he 
 relished was the privilege, by prescription, of lording it over 
 the captain and oiificers for a few hours, and tarring and 
 soaking people to whom, at other times, he would have to 
 pull his forelock, with the whole length of the ship between 
 him and their nobility. Another curious custom was to 
 be found on board Dutch vessels. When a ship entered 
 the 39th parallel, ' every one,' writes John Nieuhoff (1640), 
 ' of what quality or degree soever, that has not passed there 
 before is obliged to be baptized or redeem himself from it. 
 He that is to be baptized has a rope tied round his middle, 
 wherewith he is drawn up to the very top of the bowsprit, 
 and from thence three times successively tumbled into the 
 water. A man was at liberty to get another to take his 
 place by paying him.' Plenty of money and other good 
 things must have been earned by the sailors out of this 
 custom, for one may conceive that a nervous passenger 
 would pay handsomely to escape so formidable a ducking 
 as the tall bowsprits of those days promised, whilst, on the 
 other hand, a seasoned mariner would look upon such 
 sousings as mere child's play — think no more of it than a 
 man in a regatta now thinks of walking out upon a greasy 
 boom to loose the pig in the sack at the end of it. The 
 
 A a 
 
354 MUSIC OF THE Waters. 
 
 practice, however, eventually led to such riots, broils, and 
 bloodshed, that it was forbidden by the Dutch Government. 
 It was long preserved, however, in the British navy as a 
 punishment. In the Annual Register iox 1797, there is 
 an account of four naval officers who were soused by a 
 mutinous crew on board his Britannic Majesty's ship 
 Sandwich. The writer calls it a ' curious ceremony.' 
 The unhappy naval officers must have thought it so ! 
 
 " ' They tie the unfortunate victims' feet together, and 
 their hands together, and put their bed at their back, 
 making it fast round them, at the same time adding an 
 eighteen-pound ball-shot to bring them down. They 
 afterwards make them fast to a tackle suspended from the 
 yardarm, and hoisting them nearly up to the block, all at 
 once let go, and drop them souse into the sea, where they 
 remain a minute, and then are again hoisted and let down 
 alternately, till there are scarce any signs of life remaining.' 
 When the miserable victims are ducked enough (according 
 to the fancy of their judges), they are triced up by the 
 heels that the water may run out of them, and then stowed 
 away in their hammocks. This kindness was denied to the 
 four naval officers, who, after having hung head down for 
 some time, were tumbled into a boat and sent ashore." ^ 
 
 The following extract is from "A Land- Lubber's Log," 
 in the Newcastle Weekly Chronicle : — 
 
 BURYING THE DEAD HORSE. 
 
 Auctioneer. — " A poor old man came riding by. 
 
 Chorus. — And they say so, and they hope so. 
 Auctioneer. — A poor old man came riding by. 
 Chorus. — A poor old man, 
 
 A poor old man came riding by. 
 Auctioneer. — They say, old man, your horse will die. 
 If he dies I will tan his hide. 
 And if he lives I will ride him again ; 
 I'll have his hide to make my shoes. 
 
 ' Clarke Russell. 
 
Music of the Watebs. 355 
 
 Auctioneer. — We'll drag him along to his burial-place, 
 O pull, my boys, and make a noise. 
 You, poor old horse, what brought you here. 
 After carrying turf for many a year 
 From Bantry Bay to Ballyack, 
 When you fell down and broke your back ? 
 You died from blows and sore abuse, 
 And were salted down for the sailor's use. 
 The sailors they the meat despise, 
 They turned you over and (ahem'd) your eyes, 
 They ate the meat and picked the bones. 
 And gave the rest to Davy Jones ; 
 And if you don't believe it's true. 
 Go look in the harness cask, and find his 
 shoes." 
 
 " The music to this extraordinary song," says the writer, 
 " was strange and crude, but marked by a weird, mournful 
 melody, recalling what one has read of the caoine that was 
 formerly sung by the Irish over their dead. . . . Each line 
 was sung twice over by the auctioneer, and the crew 
 followed in chorus with the alternate refrain." The cere- 
 mony of " Burying the Dead Horse " is now almost an 
 obsolete one, and is rarely witnessed save on Australian- 
 bound passenger- ships. As to its origin I cannot find any 
 authentic information, the custom is certainly confined to 
 the British mercantile service. "The Dead Horse" is 
 typical of one month's pay advanced on shore, and which, 
 after twenty-eight days, has been worked out. The horse's 
 body is made out of a barrel, and his extremities of hay or 
 straw, covered with canvas, the mane and tail of hemp, or 
 still better, of manilla ; the eyes consist of two ginger-beer 
 bottles, which are sometimes filled with phosphorus. 
 When the horse is completed, he is lashed to a box, which 
 is covered by a rug and then drawn along, in Egyptian 
 fashion, on a grating. 
 
 A very humorous description of this ceremony, and 
 
356 Music of tse Watubs. 
 
 another set of lines and music known as " The Dead 
 Horse," I had sent me, in a copy of Tke Parramatta Sun 
 (a serio-comic magazine, issued fortnightly, during the 
 voyage of the ship Parramatta from London to Sydney, 
 September 9th, 1879, to December 8th, 1879). 
 
 BURYING THE DEAD HORSE. 
 
 " On Thursday, October 2nd, lat. 7-32° N., long. 25-20° W., 
 Mr. Richard Tangye, the well-known judge and buyer of 
 blood stock, attended the Parramatta sale, and purchased 
 the animal which was too celebrated to need mention by 
 name. At about eight o'clock a vast multitude of those 
 interested in the turf were assembled on the poop, anxiously 
 waiting to catch a glimpse of the noble animal as he 
 emerged from his stable in the fore part of the ship. His 
 jockey having mounted him, proceeded to the main-deck 
 amidst a crowd of the ship's crew, singing as they did a song 
 which would have deterred anybody with less spirit than 
 Mr. Tangye from bidding. It appeared that the horse was 
 a victim to fate, and that his dirge was being sung :— 
 
 " Oh ! now poor horse your time is come, 
 And we say so, for we know so. 
 Oh ! many a race I know you've won : 
 Poor old man. 
 
 2. I have come a long, long way, 
 
 And, &c. 
 To be sold upon this day. 
 Oh, poor old man. 
 
 3. I have made Fordham's heart jump with joy. 
 
 And, &c. 
 For many a long time he tried a Derby to win, 
 
 4. But I was the moke to carry him in. 
 So I hope I shall fetch plenty of tin. 
 
 5. Oh ! gentlemen, walk up and speculate ; 
 If I go cheap, my heart will break. 
 
 6. So now, Mr. Auctioneer, you can begin. 
 
 And, &c. 
 
Music of tsjs Watebs. 357 
 
 " Put up, therefore, he was before the poop, the auctioneer 
 introducing him to the public by narrating his past and 
 prosperous career, and quickly inducing them to make 
 spirited bids. The bidding commenced at five shillings, 
 and speedily ran up to six pounds ten shillings, each 
 person being answerable for the amount of his or her bid. 
 The horse and jockey being knocked down, the crew sang 
 the following requiem, the melody being the same as that 
 for the dirge : — 
 
 " Now, old horse, your time is come. 
 
 And we say so, for we know so. 
 Altho' many a race you have won. 
 Oh, poor old man. 
 2. You're going now to say good-bye, 
 And, &c. 
 Poor old horse you're going to die. 
 Oh, &c. 
 
 " The procession moving forward, the horse and jockey 
 were attached to a rope and hauled up to the main-yardarm, 
 and were then, amid plenty of blue fire (stay, the jockey, 
 who happened to be alive, was spared) committed to the 
 deep. The crew then sang : — 
 
 " Now he is dead and will die no more. 
 
 And we say so, for we know so. 
 It makes his ribs feel very sore. 
 
 Oh, poor old man. 
 He is gone and will go no more, 
 
 And we say so, &c. 
 So good-bye, old horse ! 
 
 We say good-bye ! " 
 
 Solo. Condolore. 
 
 Chorus. 
 
 -F=5=^= 
 
 H- 
 
 m 
 
 T-' 
 
358 Music of the Watebs. 
 
 
 Solo. 
 
 =1^= 
 
 Chorus. 
 
 =gl u : 
 
 -O- 
 
 s= 
 
 " It is in the superstitions of the sea that we must search 
 for the beginning and history of many of the customs 
 which in modified forms lingered down to the period of a 
 late generation of seafarers. They veined the life with 
 elements both of humour and romance, and I do not 
 scruple to say that much of the poetry of the profession of 
 the sea has perished with the extinction of the simple 
 forecastle credulities of other ages. In the beginning of 
 European navigation, in the times of Diaz, Cabot, Colum- 
 bus, De Gama, and earlier yet, the mariner was a Roman 
 Catholic, devout, profoundly superstitious, perpetually 
 invoking the protection of the Blessed Virgin and the 
 saints of heaven, finding miracles in the common opera- 
 tions of nature, peopling the deep with wondrous monsters, 
 glorifying its blue breast with the gleam and colour of the 
 enchanted island, gazing awe-struck about him as he sailed 
 along, and willing to believe anything he was told. I 
 could give you no better illustration of this than the 
 remark of the Jesuit, Anthony Sepp, in his account of a 
 voyage from Spain to Paraguana : ' Towards the evening,' 
 says he, ' we saw an entire rainbow quite across the sky, 
 resembling our rainbows.' Resembling our rainbows ! As 
 though the worthy father supposed that rainbows in those 
 unfamiliar seas were very different from the same radiant 
 arches which span the showers of Italy, Spain, and 
 Germany. They were prepared for all sorts of wonders, 
 and their imaginations created what their eyes could not 
 see. The lightning was not that of Europe ; the thunder 
 was the reverberation' of some hellish conflicts between 
 armies formed of fiends of satanic stature ; the very rain 
 
Music of the Watebs. 359 
 
 was unnatural, being coloured. Religion, or superstition if 
 you will, interposed to mitigate the horrors of a perfervid 
 fancy, wrought familiar appearances into celestial expres- 
 sions, and instructed poor Jack to calm his perturbed soul, 
 to quell the tempest, to exorcise the mermaid, to smooth 
 the waters, to disperse the horrid shadows of the electric 
 storm with litanies, efifigies of saints, and spells of many 
 different sorts. Thus Pirard de Laval (in ' Churchill's 
 Collection of Voyages,' vol. i., p. 702) says, 'We frequently 
 saw great whirlwinds rising at a distance, called by the 
 seamen dragons, which shatter and overturn any ship that 
 falls in their way. When these appear, the sailors have a 
 superstitious custom of repairing to the prow, or the side 
 that lies next the storm, and beating naked swords against 
 one another crosswise.' This custom long prevailed, 
 scores of similar practices may be traced to the primitive 
 superstitions of sailors. They unquestionably colour the 
 old marine life, and their extinction leaves the calling un- 
 comfortably bald, I think. The stars in those aged stories 
 seem to glow the richer lor the incense floating up to them 
 from the little altar on the forecastle, and for the tender 
 strains of a hundred voices rising in some solemn melo- 
 dious canticle : — 
 
 " ' The night is calm and cloudless. 
 
 And still as still can be. 
 And the stars come forth to listen 
 
 To the music of the sea. 
 They gather, and gather, and gather, 
 
 Until they crowd the sky, 
 And listen in breathless silence 
 
 To the solemn litany. 
 It begins in rocky caverns 
 
 As a voice that chants alone 
 To the pedals of the organ 
 
 In monotonous undertone ; 
 And anon from shelving beaches 
 
 And shallow sands beyond. 
 
360 Music of tse Watubs. 
 
 In snow-white robes uprising 
 
 The ghostly choirs respond. 
 And sadly and unceasing 
 
 The mournful voice sings on, 
 And the snow-white choirs still answer, 
 
 " Christe eleison ! " ' 
 
 ' The Golden Legend.' — Longfellow. 
 
 "The glory of the setting sun makes cloth of gold of the 
 sails of those castellated fabrics, and they look to float 
 over fairy seas of purple as we view them through that 
 atmosphere of superstition, in the midst of which those 
 young and awe-struck imaginations made their miracu- 
 lous voyages to the Indies and to the mighty shores of 
 Columbia." — Clarke Russell. 
 
 The legends of the water, whether of ocean, river, or 
 lake, are so numerous that one might go on alluding to 
 them for pages and never exhaust the subject. There is 
 ample material for a volume in the weird tales of voices 
 and bells sounding under the sea; but I think I have said 
 enough to show that, apart from the sailors' songs and 
 boatmen's chants that echo from end to end of the world 
 of waters, there is an eternal strain of music which, day 
 and night, and summer and winter, rises from the sea, and 
 may fitly be termed " The Music of the Waters." 
 
 " Oh, strangely glorious and beautiful sea ! 
 Sounding for ever mysteriously, 
 Why are thy billows still rolling on 
 With their wild and sad and musical tone } 
 Why is there never repose for thee .' 
 Why slumberest thou not, oh, mighty sea ? " 
 
 FINIS. 
 
TO THE CRITICS. 
 
 " Gentle breath of yours my sails must fill, 
 Or else my project fails." 
 
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