deep-sea vessels. On the collier or
short-voyage vessel the crew was necessarily a small one, and the
shanty was more or less of a makeshift, adapted to the capacity of the
limited numbers of the crew. Purely commercial reasons precluded the
engagement of any shantyman specially distinguished for his musical
attainments. Consequently, so far as the shanty was concerned, 'any
old thing would do.' On the Southspainer, however, things were very
different. The shantyman was usually a person of considerable musical
importance, who sang his songs in a more or less finished manner; his
melodies were clean, clear-cut things, without any of the
folk-songer's quavers and wobbles. I heard them in the 'seventies and
'eighties before the sailing-ship had vanished, consequently I give
them as they were then sung--undisfigured and unobscured by the
mixture of twirls, quavers, and hiccups one hears from octogenarian
mariners who attempt them to-day.

METHOD OF SINGING

So far as the music was concerned, a shanty was a song with a chorus.
The song was rendered by one singer, called the shantyman, and the
chorus by the sailors who performed their work in time with the music.
So far as the words were concerned there was usually a stereotyped
opening of one or more verses. For all succeeding verses the shantyman
improvized words, and his topics were many and varied, the most
appreciated naturally being personal allusions to the crew and
officers, sarcastic criticism on the quality of the food, wistful
references to the good time coming on shore, etc. There was no need
for any connection or relevancy between one verse or another, nor were
rhymes required. The main thing that mattered was that the rhythm
should be preserved and that the words should be such as would keep
the workers merry or interested. Once the stereotyped verses were got
rid of and the improvization began, things became so intimate and
personal as to be unprintable. It was a curious fact that such shanty
words as lent themselves most to impropriety were wedded to tunes
either of fine virility or haunting sweetness.

For 'pull-and-haul' shanties the shantyman took up his position near
the workers and announced the shanty, sometimes by singing the first
line. This established the tune to which they were to supply the
chorus. For capstan shanties he usually did the same. He frequently
sat on the capstan, but so far as I can learn he more usually took up
his position on