Translation of Sea Shanties Master’S Diploma Thesis

Masaryk University Faculty of Arts

Department of English and American Studies

English-language Translation

Bc. Bára Skorkovská

Translation of Sea Shanties Master’s Diploma Thesis

Supervisor: Ing. Mgr. Jiří Rambousek, Ph.D

2021

I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography.

……………………………………………..

Bára Skorkovská

Acknowledgements

I would like to thank my supervisor, Ing. Mgr. Jiří Rambousek, Ph.D., for his guidance.

Table of Contents

Table of Contents ...... 1 Introduction ...... 3 The Incomplete History of Shantying ...... 6 1.1. English Shanties ...... 6 1.1.1. The Age of Shantying (1815-1880’) ...... 6 1.1.2. The Age of Collectors (1890’ – 1930s) ...... 13 1.1.3. The Folk Revival (1940s – 1970s) ...... 15 1.2. Czech Shanties ...... 19 1.2.1. Jaroslav Novák and Pětka (1913 – 1950s) ...... 19 1.2.2. Tramping and Boating Intermezzo (1920s – 1960s) ...... 21 1.2.3. Naming the Sea Shanty (1948) ...... 23 1.2.4. Czech Age of Shantying (1950s-1970s) ...... 23 1.2.5. Post-Folk Revival (1980s+) ...... 30 Features of Sea Shanties ...... 33 2.1. Sea Shanty and Sea Song ...... 33 2.2. Definitive Versions ...... 34 2.3. Typology of Sea Shanties ...... 35 2.4. Rhytm...... 37 2.5. Words ...... 38 Sea Shanty in Czech ...... 41 3.1. Singable and Non-singable Versions ...... 41 3.2. Adopted Shanties in General ...... 43 3.3. Structures ...... 48 3.3.1. Alternating Chorus...... 48 3.3.2. Grand chorus ...... 52 3.4. Texts ...... 54 3.4.1. Sing-outs ...... 54 3.4.2. Vocables ...... 56 3.4.3. Places ...... 62 3.4.4. Personal Names ...... 66 3.4.5. Ships...... 69

3.4.6. Captains ...... 73 Conclusion ...... 75 Notes ...... 79 Bibliography ...... 81 Resumé (English) ...... 87 Resumé (Czech) ...... 88 Appendix ...... 89

Introduction

The shanty has particular importance for maritime history since, rather than simply being transported from one place to another via ships and seafarers, it is inherently connected to the physical reality of maritime labour and the nature of the seafaring experience. (Tackley 409)

Sea shanties were a specialized type of acapella work songs sung aboard merchant sailing-ships in the nineteenth century. Milne (2017: 376) comments that sea shanties have “particularly complicated authenticity flow” because they were

constantly modified by the seafarers who used them, selectively collected and published,

and then argued over by competing authorities. More recently, successive revivals have

added further forks and loops in the flow, not least because they draw upon, and adapt,

the work of collectors during the 1900s and 1960s alike.

This thesis focuses on yet another “loop” in this convoluted process by tracking down sea shanties adopted into Czech language. Its main aims are the introduction of this obscure genre, collecting any existing Czech versions of sea shanties, discussing the process of their adoption and the reasons for it, and providing an overview of the most prominent features of the songs and the changes they underwent when forms such strongly connected with work aboard a ship and maritime culture in general entered the completely landlocked Czech environment.

The first chapter provides an overview of the history of shantying and comprises of two parts – shantying in English and shantying in Czech. The first subchapter starts with the creation and use of sea shanties in the nineteenth century, through the early twentieth century collecting of the vanishing shanties and their re-emergence during the 1960s folk revival. It aims to illustrate the factors that shaped the shanties that were later adopted into the Czech language and provide a sufficient background knowledge for the later analysis. The second subchapter follows the same structure as the first but focusing on the Czech environment – starting from the earliest Czech versions of sea shanties created by Scouts, discussing the influence tramps 3 had on the later adoption of shanties, listing the main actors in the 1960s and 1970s adoption of the majority of Czech sea shanties and closing with a discussion of the latest versions and their creators.

The second chapter introduces the prominent features of sea shanties, focusing on their position among other songs of the sea, their (in)definitive number of versions, typology, position of rhythm, and the most prominent words.

The second chapter is then used as a basis for the analysis of Czech sea shanties in the third and final chapter. The analysis focuses on the most prominent sailing-specific features of sea shanties. It is divided into two parts, first part focusing on the structural features of the songs

– alternating chorus and grand chorus – and the second part focusing on the textual features – sing-outs, vocables, place names, personal names, words for ships and words for captains.

The Appendix of the thesis contains the collected and analysed Czech sea shanties together with their source versions (if available).

The musical part of sea shanties (tune, syllable correspondence, rhythm, sonority of the syllables used in translation for singing etc.) is omitted in this thesis in favour of the texts and overall structure – in other words, shanties included here are treated as written texts, focusing on corresponding structure and theme rather than tune. There are three reasons that led to this decision – the lack of sufficient recordings for many included Czech versions and the variability of the recorded ones, the lack of space, and the lack of knowledge on the author’s part.

The preferred spelling of the term denoting the merchant sailor’s work songs of the nineteenth century used throughout this thesis is ‘shanty’. There is still and ongoing discussion about the spelling as well as the origin of the word1, but it is not a topic to be discussed in this work.

This thesis uses the term ‘version’ as a default label for the different texts of sea shanties

– for both English sources and Czech translations or adaptations. Regarding the English texts,

4 the reason is that sea shanties do not have definitive set of lyrics and it is therefore impossible to claim one version as the source text. In some cases, there is a source text expressly given by the translator or collector but for the sake of unity the thesis still describes it as a version.

Connected to the lack of source texts, the term ‘translation’ “suggests a certain faithfulness to the original” (Fox-Strangways 1922-1923: 79) but since there is no source text it is impossible to say whether the text of the Czech sea shanty is faithful enough to be considered translation or should be and adaptation – the term ‘version’ is therefore used instead.

Smyth (2017: 392), argues that because the work context of shantying is now lost and with it the authenticity of the performance, no shanty today can be described as the authentic version. But even though both the words and the tunes were variable, and the authenticity of the collected songs is questionable, most collectors and researchers agree that sea shanties can still be identified by a story or a point (Milne 2017: 379). The process of collecting as well as the analysis part of this thesis is constructed on this idea.

As shown in the chapter about the collectors, collecting songs, even in the relatively small number this thesis does, is inevitably hindered by a specific focus on one location, time or a social group and the discovery of a new version often a question of luck. There is no doubt there are some versions that dodged their inclusion, and some interprets that were overlooked.

The included songs were chosen (and found) according to their relative textual closeness to their English versions – the requirements being the identifiability “by a story or a point” (Milne

2017: 379) mentioned earlier. This means that some Czech versions that still follow the shanty structure or the tune but have completely different set of points are not included.

The Incomplete History of Shantying

1.1. English Shanties

1.1.1. The Age of Shantying (1815-1880’)

The end of Napoleonic Wars in 1815 marks the beginning of a peaceful era of maritime prosperity, trade and travel as well as the beginning of a relatively brief period of shanty usage.

The end of wars between Britain, France and the United States meant that the previously dangerous trading routes not only across the Atlantic Ocean but also to Australia and Asia were now open for British merchants to use freely and for American Merchant Marine to grow stronger than ever before (Hugill 1994: 11). This was the start of the age of sail full of exotic goods from faraway lands, fast and elegant clippers, punctual packet shipping, great profits from new trade routes, gold rushes, international crews, backbreaking work, harsh conditions, cruel officers, homesickness and, last but not least, sea shanties.

Sea shanties were a relatively short-lived phenomenon. The production of new songs started in the early 1820s and lasted no more than 40 years until the 1860s (Hugill 1994: 12).

The already created songs were then used for approximately another 40 years and even though the production ceased, the number of versions and variations grew exponentially in this “period of their greatest usage” (Hugill 1994: 20) as songs were readily altered to suit different kinds of themes, singing styles and work.

Hugill (1994: 8) notes that the earliest mention of shantying he was able to obtain can be found in a memoir of a merchant seaman Robert Hay called Landsman Hay, citing extracts from Hay’s record of 1804 discussing the expression ‘stamp-and-go’ (a type of old sea shanty distinguished by its specific runaway chorus structure – here represented by the popular “What

Shall We Do With the Drunken Sailor”) and of 1811, where he feels is “the earliest reference to shanties such as we understand them” as the song sung at the capstan follows a typical shanty structure of a solo lines alternating with a chorus.

In these early decades of the nineteenth century sea shanties became an overall English- language phenomenon, as the flourishing international trade gave rise to more trading routes not only with the Americas and Australia, but also with Asia, Africa and Europe. In the following decades, American shanties evolve much faster and in much greater numbers due to the American dominance over the international packet trade. Hugill states that sea shanties probably developed in Britain and in the United States “in a minor fashion” before, but only after 1815 “shantying came into its own in both countries” (Hugill 1994: 11) and in the 1820s shanties were used equally in the old and in the new country. But after the American invention of a new, much faster type of ship, the country started to swiftly advance and shanties therefore

“must obviously have developed to a greater degree aboard such ships” (Hugill 1994: 11) in comparison to much slower British vessels.

With the strong focus on international trade, the demand for more goods to be delivered faster also forced changes in the construction of deep-water sailing vessels. Ships were becoming bigger and longer to maximise the carrying capacity, sported multiple masts for increased speed, and the hulls were constructed sturdier – firstly adopting copper sheathing to provide protection to the wooden hull from the outside and after the 1870s hulls made of iron or steel appeared. A popular ship type among American and British merchants of the nineteenth century was the clipper. In American context at the start of the nineteenth century, the word usually meant a Baltimore clipper, a small (rarely more than 200 tons) schooner, brig or brigantine with narrow wooden hull and large triangular sails for increased speed. But in 1832, a two to three times larger copy of the late Baltimore clipper was built (Clark 1911: 60). This larger but still remarkably fast and slender ship was the first specimen of what is now known as the clipper that helped American merchants raise above their British competitors. As mentioned earlier, clippers usually had three masts with fully square-rigged sails2 and a slender pointed hull. Their comparatively small size and narrow hull meant that the carrying capacity

7 could not compete with larger ships or steamboats of the era, but the speed clippers could reach in good conditions was unrivalled. It took decades even for the steamboats to break their speed records (Clark 1911: v). The decreased carrying capacity but great speed meant that clippers were mainly used to deliver smaller perishable goods (for example tea of spices from China, livestock etc.), transport mail and packages, passengers and sometimes slaves.

There are numerous mentions of clippers in sailors’ songs, indicating their popularity among merchants of the time – for example in one of the sea shanties analysed here, “Blow

Boys Blow”. This shanty’s Czech title, “Americká loď”, as well as its lyrics reflect one interesting phenomenon – even though clippers were used by both British and American merchants, they are strongly associated with American transatlantic packet delivery and passenger services, another revolutionary practice that helped American merchants raise above their competitors. One of the well-known shanties “Hooraw for the Black Ball Line”3 or simply

“The Black Ball Line” tells of the first transatlantic packet shipping company of the same name.

The song praises the company’s clipper and its speed: “For once there was a Black Ball Ship /

That fourteen knots an hour could clip,” and names the two ports the packet and passenger liners anchored in – New York City and Liverpool – a common practice in sea shanties, as discussed later. The Black Ball company was founded in 1817 and used small clippers until

1850’ when they obtained larger ships as well (Hugill 1994: 108). It was extremely successful and operated until late 1870’ and the traces of its success can be seen also in several shanties inspired by or mentioning it, from the previously cited “Black Ball Line”, song “Homeward

Bound” used in a popular videogame Assassin’s Creed: Black Flag to a sea shanty with two

Czech versions analysed here, “Blow the Man Down”. Black Ball Line ships were unrivalled in terms of regularity of their journeys (the packet ships departed twice a month on set days no matter the weather), speed (the fastest Black Ball Line ship, Canada, was able to make the two passages in 19 days eastward and 36 days westward on average, when the averages of the time

8 were 30 days westward and 45 days eastward) and keeping on schedule (Clark 1911: 38). This was something completely new, as “transatlantic sailings had been irregular and undependable”

(Doerflinger 1951: 17) until then. Soon, other companies emerged, covering more lines from

America to Europe.

The bigger or faster the ship, the higher the amount of valuable cargo delivered and the greater the profit. But the profit lowered with each sailor’s wage so merchant vessels, even though they progressed technologically, often did not increase in crew size that much

(Smyth 2017: 389). Masefield (1908: 304) writes that merchant vessels were “invariably undermanned”. This meant that the amount of work done by one sailor greatly increased and the men were “working harder and longer” (Smyth 2017: 389) as sailing ships grew bigger and faster. The work on any merchant ship was hard, dangerous, repetitive and oftentimes unrewarding and the sailors as well as the ship-owners and their appointed captains therefore adopted everything they could to make their lives at least a little bit easier, resulting in the growing popularity of sea shanties. Korczynski et al. (2007: 232) note that shanties had

“commercial value” – they were not only helpful for the sailors by making their labour easier in terms of timing and cooperation, but also served a purpose for the ship owners and captains by making the work faster or executable even when undermanned. This commercial purpose was probably one of the leading factors in allowing sea shanties to be sung on merchant vessels and the mates and captains putting up with songs mocking them, their journey or anything else in sight (as explained later).

In naval fleet, shantying was prohibited. Doerflinger (1951: 93) comments that because the navy vessels had large crews, the “singing of unruly work songs would have been a needless affront to naval discipline.” When there was a need for music or sound to accompany work, it was executed to “the music of the fiddle, to the whistle of the bosun’s pipe, and to numbers”

(Hugill 1994: 5) – otherwise, “the naval seamen worked in silence” (Hugill 1994: 6). Of course,

9 like everything about shanties, this rule was not set in stone as even on naval ships, when there was a need to work in exceptionally large group, the already mentioned stamp-‘n’-go shanty

“What Shall We Do with the Drunken Sailor” was used.

Sailors were not the only ones to use shanties or shanty-like work songs in this period.

Some shanties were used for specialised work in ports (cotton stowing), on timber carrying boats and by timber workers themselves (Hugill 1994: 27). Timber trade was closely related to sailing as many sailors worked aboard in summer and in the woods in winter. Many lumbermen songs “show the influence of sailormen’s ditties” and many ballads were popular among both sailors and woodworkers (Doerflinger 1951: viii). Hugill also speculates that some of the shore- songs in the shantying repertoire were introduced by the lumbermen and boatmen, for example

“Shenandoah”.

The conditions aboard the Yankee liners were especially cruel for the sailors as Hugill

(1994: 171) points out: “The fact that many of the Yankee clippers were hell-ships, albeit much good seamanship was to be found aboard them, is now well established.” The packet ships of this period could not reach the peak performance without a strict discipline and backbreaking work the sailors were put to – sometimes working night and day in all sorts of weather to reach the shore in an extremely tight deadline, breaking speed records only because the crew never properly rested (Clark 1911: 46). As these ships transported not only goods but also passengers,

“it required an unusual combination of qualities to command these Western Ocean packet ships successfully” (Clark 1911: 4). Their captains were not only outstanding American seamen (that, according to Clark (1911: 39), sometimes “commanded privateers during the War of 1812”), navigators and men of “great physical endurance” (Clark 1911: 44) as they ought to withstand days of hard work on deck in any weather, but also cultured and social enough to handle passengers of all sorts of backgrounds (Clark 1911: 44). Having this type of socialite-captain meant that the mates had full power over the common sailors as well as full responsibility for

10 the functionality of the ship itself. Clark (1911: 43) notes that the mates took great care when disciplining the crew in a way that was “stimulating to honest toil” (as in for example “Blow the Man Down”). The sailors usually spoke of their captain as ‘the old man’, adding all sorts of

“vigorous epithets” which Clark (1911: 43) leaves “to the imagination of the reader” together with other appropriate names for the officers. The reason the mates used brutal force to rule over the crew is twofold. Firstly, the increasing competition and focus on speed and, for the first time in maritime history, punctuality meant that there was an extreme pressure from the ship’s shareholders, owners and captains to do better. The second reason is much more interesting from the Czech shantying perspective – the crews on these fast clippers were unusually tough and diverse bunch.

It is necessary to note that even though the Americans dominated the merchant shipping until approximately the 1850s (Doerflinger 1951: 17) and the captains and mates aboard were mostly American, not many Americans actually worked before the mast as regular sailors. Only in the early days of packet shipping the crews were fully American, but since the working conditions were brutal and the prospect of swallowing the anchor was much more interesting for many of that time (especially after the discovery of gold in the Appalachians and in

California which is here represented by the shanty “The Banks of Sacramento”), it was not long before their places were taken up by the Irish, English or Scottish sailors of the lowest walks of life, or, as Clark (1911: 43) bluntly puts it, “the most abandoned scoundrels out of British and continental jails”, and later Afro-Americans, Latinos and continental Europeans. The crews fought the bad treatment from the hands of their officers in many ways, ranging from jumping ship after one-way journey, excessive drinking when ashore (Dubský’s “Blow the Man Down”), expressing their voices by complaining (“Blow, Ye Winds”), creating the imaginative nicknames and double meanings (“Blow, Boys, Blow”), taking their minds off of the work by telling stories about heroes (“Santa Anna”, “Stormalong”), ladies (“Rio Grande”, Novák’s “The

Banks of Sacramento”) or fellow sailors (“Drunken Sailor”), or dreaming about coming home

(“South Australia”, “Ten Thousand Miles Away”).

With such a diverse and relatively large group of people to manage arose the need for more centralised and controllable conductor and from this the position of shantyman was born.

The position of musician aboard ship is, of course, much older – preceded for example by fiddlers or ship bands – but the shantyman is something specific to the short age of shantying when the work was hard and crews relatively big. It was usually an older experienced seaman with an excellent memory and good singing voice who often appointed himself after the mate called for a song to ease the work ahead (Hugill 1994: 30). In the early days of sail the position of the shantyman was higher than that of a normal sailor (Hugill 1994: 30), sometimes even receiving bonus pay (Smyth 2017: 390). Shantymen were praised for their ability to create new verses on the go, add jokes about the crew or the mates or improvise when the shanty was not sufficiently long or simply just did not go with the work rhythm. It is the general agreement among collectors and researchers that improvisation was a core part of shantying, as evidenced by the number of different versions one shanty could have and some collectors even note that some shantymen were chosen specifically for their ability to improvise and not so much for their good singing voice (Bullen 1914: vi).

The famous American clippers dominated the international trade up until the 1850s when the first English steamship liners started to cruise (Doerflinger 1951: 17). In this later period, another interesting influence arises. Many packet square-riggers were used to carry convicts, emigrants and, after the discovery of gold in 1851, also gold seekers to Australia and wool back to America or Britain and this meant a greater influx of Australian sailors and shanties (Hugill 1994: 163). Australian influences are here represented by two shanties, “South

Australia” and “Ten Thousand Miles Away”, the former focusing on coming home to Australia and the second on the shipping of convicts.

Two to three decades after this last resurgence of shantying the steamboats completely took over the shipping industry and the age of sail eventually ended. And with the disappearance of the large fully rigged sailing vessels disappeared the need for shanties that were strongly connected to the types of work aboard them. The position of shantyman was abolished as well but many old shantymen were interviewed and recorded by the early collectors and their large repertoires noted down or created collections of their own. These early recordings and collections of texts, even though certainly not representative of all shanties, form the basis for the songs sung until today.

1.1.2. The Age of Collectors (1890’ – 1930s)

The modern sea shanties are, in many ways, a product of the early twentieth century folk collectors. As the great sailing ships slowly lent its place to steamboats and the practice of shantying among merchant vessels was on the verge of vanishing, the folk revivalists working on conserving the disappearing cultural heritage took an interest in sea shanties as well. It is at this time that printed shanties first emerge, long time after broadsheets with naval ballads or songs (Milne 2017: 381).

The shanties collected at the time can be found eighter in general collections of folk songs or in collections dedicated especially to shanties. Most of the early collectors published only one version of each shanty, which resulted in their works being rather preferential towards a certain area or nationality. But these preferences, ironically, prompted other collectors to rectify the failings of their fellow writers, resulting in a relatively large number of different versions of each sea shanty preserved. It is generally agreed upon that the early collectors, as well as the collectors of the second folk revival, did edit the songs – especially vulgarity deemed too much for the audience. This of course resulted in the dirty versions almost vanishing and as can be seen in the Czech versions, there is basically no trace of explicitly sexual or vulgar themes. It was also at this time that arranging the collected folk songs for choir, radio,

13 recordings or drawing room singing became popular and some collectors made rather radical changes in the songs and provided accompaniment to the otherwise acapella shanties, as for example in Cecil Sharp’s English folk-chanteys: with pianoforte accompaniment (published

1914). The most prominent source for these arrangements was a collection named The Shanty

Book published by a well-known choir director, musicologist and liturgical music collector

Richard Runciman Terry in 1920.

But the largest bulk of sea shanties was collected by a specialised group of authors who had first-hand knowledge of sailing and shantying (Milne 2017: 373), such as the British shantyman and writer Frank Thomas Bullen or master mariner William Boultbee Whall. They argued that the arrangements and changes of shanties made them extremely inauthentic and sought to publish shanties as sung aboard (even though they still edited them). It is, interestingly, these much less known early collections that some of the songs included in

Americká lidová poezie stem from.

In the preface to her collection Songs of American Sailormen (published 1924, revised

1938), a major American shanty collector Joanna Carver Colcord (1938: 12) writes that during the preparation of her book she consulted many earlier British collectors such as Whall and

Bullen. And it is from the Colcord’s collection that the American folklorist Benjamin Albert

Botkin drawn the shanty versions for his collection A Treasury of American Folklore, a book that was used as a source for Hiršal’s “Santa Anna” and Mareš’s “Blow, Ye Winds”. Colcord’s book is also the source for Mareš’s “Blow the Man Down”, as the English version was taken from a children’s book of rhymes, games and songs called The Child's Book of Folklore

(published 1947) which’s authors in turn sourced it from Colcord’s collection.

The second source for the shanties in Americká lidová poezie is Carl Sandburg’s

American Songbag (published 1927). Sandburg’s collection focuses on American folk songs in general and even though he does have a category for shanties in the book, from the adopted

14 shanties analysed here he classifies only “The Wide Mizzoura” (or “Shenandoah”) as a sea shanty, noting that Colcord classifies it as such. Sandburg instead includes the songs “Ten

Thousand Miles Away” and “California” plus a part of its chorus “The Banks of Sacramento” into a chapter titled Pioneer Memories. He also does not provide any information about the naval history nor does he mention they are sailor’s songs. This suggests that these shanties might have been fully incorporated into the American folk repertoire by then, possibly sung by cowboys as frontier ballads (Hugill 1994: 75).

1.1.3. The Folk Revival (1940s – 1970s)

During the period of American folk revival that peaked around the 1960s, the interest in folk music and folk culture resulted in both British and American sea shanties previously collected and largely forgotten during the war to reappear again. This post-war shantying resurgence is connected with the renewed interest in (re)collecting sea shanties as well as with performing them.

Collectors of this period, encouraged by the renewed interest in folk music, focused even more on the authenticity of the collected shanties and their ‘proper’ revival. Probably the most cited source throughout this thesis is a collection titled Shanties from the Seven Seas

(1961) created by the most prominent figure in the shanty world – Stan Hugill. The reason for the dominance of one source over the others is twofold – Hugill’s popularising and teaching work is unanimously regarded as the very reason the shanty revival of this period took place, and his collection is regarded as extremely authentic not only because he served on ships for his whole life, oftentimes also as a shantyman (for example on the last British square-rigged sailing-ship Garthpool), but also because it incorporates a large number of earlier sources from other collectors, researchers and sailors to provide the reader with a comprehensive overview of the many different versions, their connection and the historical background.

It is at this time that sea shanties are once again becoming popular among singers and music bands as they look for old folk songs in folk collections. The one responsible not only for a popularization of folk in then Czechoslovakia but also for introducing sea shanties was

Pete Seeger. For example, his solo album American Favorite Ballads vol. II includes the shanty

“Blow the Man Down” and there are many sea shanties in the repertoire of folk groups he was part of, The Almanac Singers or The Weavers – for example on the Almanac Singers’ album

Deep Sea Chanteys and Whaling Ballads from 1941 there is a possible source for Hana

Zagorová’s version of “Rio Grande”.

Of course, apart from Seeger there were many other folk influences such as The Seekers or Randy Spark’s The New Christy Minstrels (Přibylová 1992: 8). In the musical repertoire of

The Seekers can be found for example a version of “South Australia” closely resembling

Ulbert’s version of the song.

Richard Terry (1914: 137) argues that sources for several nineteenth century sea shanties came directly from the Christy’s Minstrels or Christy Minstrels, a group pioneering the minstrel shows of the nineteenth century. The repertoire of the minstrels consisted of genuine black music as well as music imitating the black music and, according to Hugill (1994:

14), both “would be appropriated by the seamen”. Additionally, many minstrel songs were printed and widely distributed, making it even easier for a sailor to buy them and sing (Terry

1914: 137). It is therefore fitting that 100 years later one shanty sung by the Randy Sparks’ group named The New Christy Minstrels – “Stormalong” – crossed Czech border and entered the repertoire of the Czech county band Rangers.

A popular non-American musician (although he was strongly connected to America through Bob Dylan) that influenced Czechoslovakian folk music, especially after his concert in

Prague in 1967, and helped bring sea shanties to Czech musical repertoire was the French folk

16 singer Hugues Aufray. A great number of Aufray’s songs was adopted for and sung by

Waldemar Matuška and among them a version of the sea shanty “Santy Anno”.

Unfortunately, many Czech interprets did not indicate the source for their shanty texts and used only the word ‘traditional’ to “save them the work of finding the author of the song they are adopting” (Přibylová 1995: iv) which greatly limits the number of identifiable English sources from this period. As folk songs, sea shanties are seen as a universal property and that combined with the number of their versions makes it almost impossible to locate even the original folk revival singers.

[1913– 1960s 1970s 1990s 2000+ 1950s] [1913- Blow, Boys, Blow 1950s] Novák

1961 1970 Blow the Man Down Mareš Dubský

1970 What Shall We Do with the Borovec 1995

Drunken Sailor +2 1970 Koutský Dubský [1913- 1961 Banks of Sacramento +1 1950s] Hiršal Novák 1961 1970 Blow, Ye Winds Mareš Dubský

1972 Rio Grande Zagorová 1961 Hiršal Santa Anna 1967 Fischer 1961 Hiršal 2014 Shenandoah 1968 Radůza Rangers 1977 South Australia Ulbert

1996 Stormalong Rangers 1997 1961 1977 Greenhorns Ten Thousand Miles Away Hiršal Ulbert 1998 Fešáci Table 1: Timeline of Czech Versions

1.2. Czech Shanties

Table 1 on the previous page shows all the independent versions of the adopted sea shanties (titles in the first column are separated into hauling and heaving shanties the same way the analysis part is with the “Drunken Sailor” serving as a dividing line between the two types) and the decades they were published in. The folk versions do not have a year of publication or any other way to date them, so they are included in the table as a number behind the title of the corresponding shanty. For each version, the table shows the year of the first publication or release, and the lyricist/translator or band who created it. Additionally, the versions from anthologies and collections not intended for singing are marked – red for versions from

Dorůžka’s Americká lidová poezie and green for Ulbert’s Oheň z dříví eukalyptu.

Given their relative obscurity and tendency to get labelled only as folk songs, it is almost impossible to tell when exactly the first sea shanties crossed the Czech border. This chapter therefore aims rather to locate some interesting milestones in the adoption of sea shanties into the Czech musical repertoire and give a short historical background for the collection of sea shanties analysed in the following chapter.

1.2.1. Jaroslav Novák and Pětka (1913 – 1950s)

The oldest written Czech versions of sea shanties analysed here can be traced to scouting pioneer and writer Jaroslav Novák (nicknamed Braťka), who in 1913 founded and led the fifth unit of the Prague Scouts named Pětka. The two songs, “Když toulal jsem” (“The Banks of

Sacramento”) and “Americká loď” (“Blow, Boys, Blow”) are both available in Pětka’s online song collection and they appear to be well loved and sung until today as illustrated by the short note next to the notation to “Když toulal jsem se” saying “we like it and we sing it often”4. The songbook also includes other translated versions of English-language sea songs, popular songs and ballads about the sea, notably the forecastle shanty “Boston” or “Boston Harbour” which was once “a staple song used for admissions”5 to the unit.

Amongst all the people who adopted sea shanties, Braťka and his Scouts are probably the closest Czechoslovakian equivalent to the nineteenth century sailors. Braťka studied

English, German and Polish and wrote adventure books (two of them, Mořská hvězda and Ve stopách Oddysseových, about Pětka’s Adriatic Sea cruise). Pětka had a strong connection to water tourism as well as deep-water sailing – the unit even managed to make several trips to the sea and experience sailing with a borrowed sailing- ship before the outbreak of the Second

World War – and attended international events abroad.

In 1923, ten years after its founding, Pětka “took their first trip to the seaside – to

Makarska on the coast of the Adriatic Sea”6 (Trumšaj 2014; Zrození pětky – 1913-1923). In

1933 Pětka built their first boat and won a race through Prague’s weirs. At the time, water tourism was starting to gain popularity in Czechoslovakia and Scout units were amongst the first to adopt the new hobby, improve available boats and build their own new types to suit the needs of the youngest members – creating a wide and sturdy rowing boat that was hard to topple over which many Scouts still use today (unavailable 2008; Krátká historie vodáctví v čechách).

In the same year, the unit changed its status to water scouts (a name given to sea scouts that have no connection to the sea7) and “assembled before T. G. Masaryk in Sea Scout uniforms for the first time”8 (Trumšaj 2014; PĚTKA ROSTE, SÍLÍ A MĚNÍ SE – LÉTA ZRÁNÍ 1923 –

1933). This sealed the unit’s connection to boating and sailing and in 1934 some of its members took a trip to Yugoslavia again to sail along the coast of the Adriatic Sea and a year later, another group sailed along the coast of Albania and Greece. In 1937, Pětka attended an international Jamboree in the Netherlands and then continued to England, France and Germany

(Jamboree is a name Scouts use for their gatherings. Interestingly and probably unrelatedly it is also a part of a refrain of a sea shanty called Whip! Jamboree9.) and in 1947 Braťka lead the

Czechoslovakian Water Scouts on the first post-war international Jamboree in France. The unit

20 is still active until this day but after the communist regime raised to power, the international exchange was mostly subdued.

There are two possible ways the two sea shanties appeared in Pětka’s repertoire: from one of the English folk-song collections created in the late nineteenth and early twentieth century (the way the later versions probably did) or orally by an international exchange. Braťka learned English and could have consulted a foreign songbook to look for sailor’s songs but considering the international involvement of Scouts as well as the sailing voyages Pětka undertook, it is more likely the second option. It is hard to say whether the sources for both songs were adopted on one of Pětka’s trips to the sea from Greek or Croatian sailors previously working aboard some English vessel, even earlier on one of the numerous Scout gatherings from another Czechoslovakian group or on the international Jamboree of 1937, but one short note written by Braťka himself next to a song named “Hůdédej!” (the earlier version of “Když toulal jsem se”) saying: “the song of American Sea Scouts”10 seems to indicate that at least one of the sea shanties was heard and adopted from a foreign Sea Scout unit.

1.2.2. Tramping and Boating Intermezzo (1920s – 1960s)

There are no Czech shanties from this era in the thesis, mainly because there were none to be found. This apparent lack of data is unpleasant but understandable. Not until the 1960s folk revival, the publishing of anthologies and Pete Seeger’s tour were American folk songs available in Czechoslovakia. Nevertheless, the emergence of tramp music essentially pawed the way for the popular Czech versions of sea shanties of the 1960s and 1970s. The focus on the western folk culture and western motives, love of adventure, interest in folk songs and a strong connection to boating and, indirectly, sailing, meant that musicians as well as the public became acquainted with the motives which made it easier for the adoption of such a specific genre as sea shanties.

The birth of scouting had an interesting impact – it prepared the ground and, according to Fedor Skotal in Legendy folku a country, it also fuelled the emergence of tramping and subsequently the soon to be extremely popular genre of tramp song in the 1920s and 1930s

(Vondrák and Skotal 2004: 14). Skotal notes that Czech tramping emerged as “a reaction to a half-militarily led Scouting movement which first brought into focus the possibility of freely staying outdoors; as a reaction to the end of war and as a spontaneous celebration of freedom”11

(Vondrák and Skotal 2004: 14). Kotek (1998: 106) states that in the “post-war disillusionment and uneasiness, young people mainly from larger cities compensated by idealised return to nature and romantic wandering”12 and inspired by American and German movies about the

Wild West tried to imitate the toughness, freedom, courage and connection to nature together with a sense of community and friendship, creating the first tramp settlements, adopting foreign, mainly American, songs to their repertoire (Kotek 1998: 107) and eventually creating their own.

As the previously mentioned Scouts, tramps also had a strong connection to boating, but it was tramps who took the hobby as their own. Tramps built houseboats (Hurikán 1990: 150), boats, canoes (Hurikán 1990: 148), and eagerly sailed down Czech rivers. And many of their songs reflected that in a typical tramp fashion – the dangers of the sea, sailors, pirates and naval adventures appear to be much more popular topics than the boating itself. For example, in the collection Trampské písně 1920-1939 out of 28 total songs 5 are about the hardships of the sailor’s life (“Do dáli tam na pobřeží”, “Ahoj, kamaráde” and “Tři stěžně”), pirates (“Pirát”) or sailors fighting pirates (“Hej šup, námořníci”) and only 3 about the closer-to-home boating

(“Houpy hou”, “Pluj, lodičko”) or canoeing (“Řeka hučí”) with two of these being also love songs. The song “Ahoj, kamaráde” is interesting also because it incorporates the now widely used greeting ‘Ahoj’. Ctirad Oráč (Oráč and Oráčová 2010: 61) comments in the introduction to this particular song that “Czech tramps got their greeting from boaters [vodáci]”13 and that the word itself is used by sailors for calling out to a passing ship. The word later spread from

“tramps, Scouts, sportsmen and the youth”14 to general population as a popular greeting (and a command for driving cattle).

After the Second World War two new genres blend into and continue the tramp song tradition – country and folk. Tramp music and tramp movement was and still is popular to this day and the genre of tramp song created the right environment for the upcoming musical genres.

Many members of the first country bands that adopted shanties in the next period were tramps

– for example the founding members of the band Greenhorns Jan Vyčítal, Josef Šimek and

Marko Čermák.

1.2.3. Naming the Sea Shanty (1948)

The earliest use of the term ‘sea shanty’ found in a Czech publication is probably in a 1948 songbook intended for students of English and “English and American song enthusiasts who did not have until today a Czech volume of ‘English Folksongs’ available.”15 (Drbohlav et al. 1948: 4) The songbook named simply Anglické písně consists of English, Scottish, Irish,

Welsh and American songs in their original language (mainly English and one in Welsh).

Among the 48 songs there are six sea shanties with notations and one, the “Drunken Sailor”, with a glossary of sailing-specific terms. The songs are marked as sea shanties and the term

‘sea shanties’ is included in a short glossary of genres in the back, saying what sea shanties are:

“Sea Shanty (Chanty): námořnický popěvek” (Drbohlav et al. 1948: 58). This is probably one of the first post-war publications (or possibly the only one) using the term ‘sea shanty’. From the six texts three are sea shanties that later received a Czech version and are included here –

“Shenandoah”, “Bound for the Rio Grande” and “What Shall We Do with the Drunken Sailor”.

1.2.4. Czech Age of Shantying (1950s-1970s)

The majority of sea shanties analysed in this thesis stems from this rather short period.

As the folk song revival took over the English-speaking world, its influence also seeps into a communist Czechoslovakia and changes the musical landscape in a major way. With the 23 looser political grip the communist regime exercised over Czech culture in the 1960s and the spread of mass media that created virtually as well as literally borderless access to foreign music and as more and more young people gained interest in popular music (Kotek 1998: 284), the

American folk revival started to influence the Czech musical environment. Together with swing, jazz, theatre singing, spirituals and rock emerge two new genres important for adoption of sea shanties – country and folk. The new genres were, in the same way as tramp song before, strongly inspired by western folk songs which made it easier to incorporate into the Czech repertoire of already existing tramp musicians but also new and interesting enough to inspire the repertoire of quickly emerging folk and country bands (Kotek 1998: 337). The songs also stemmed from the working class or oppressed minorities which made them more agreeable to the communist regime (Přibylová 1995: viii) – as mentioned earlier, sailors who created shanties were an extremely rough bunch from the lowest walks of life.

The fast take off of western country and folk was also boosted by the regime itself.

Western folklore was, in a way, much more palatable for the people than the Czech one.

Vondrák (Vondrák and Skotal 2004: 153-154) notes that the communist regime made Czech folklore so profanely nationalistic that “at least one generation […] was strongly put off by the heritage of their own nation”16 and that by “enforcing” the permitted and encouraged “happy and optimistic” Czech folk songs into official radio broadcasts together with the Soviet chastushkas and “blasting them day and night” made especially young people completely detest them. Instead, in the same way the early tramps did, people started looking for something new and better to build their identity upon (Vondrák and Skotal 2004: 153). There was a hunger for authenticity, nicely illustrated by Dubský’s introduction to his songbook Cowboyské písničky

(1965), where he invites the reader to “draw from the pristine source of the real romanticism undefiled by superficiality” and praises cowboy songs for being “authentic and direct”17

(Dubský 1965: 2).

The sea shanties of this time have two possible sources – anthologies and collections such as Tam, kde teče Mississipi and Americká lidová poezie, or popular folk musicians like

Pete Seeger, New Christy Minstrels or The Seekers. Of course, in reality the sources were not treated separately and the tunes and words from the versions of popular musicians mingled with the versions published in the collections (see for example the folk versions of the “Drunken

Sailor”).

Czech Anthologies and Songbooks

The importance of songbooks and collections of American songs for the adoption of sea shanties (as well as most western songs) into the Czech musical repertoire of this time is indisputable. Even though some western music was accessible through recordings and occasionally broadcasted on the radio (or tuned in on radio Luxembourg), people with no connection to the western world did not have many possibilities for finding new songs (all the more if they did not speak English). In Všech vandráků můza II, Tony Linhart (1998: 4) writes that there was an “interesting phenomenon” of tramps finding pre-war (Second World War) songbooks and collections with Czech lyrics to popular foreign songs, “gladly taking them” and after a while, the songs “became domesticated so much that it was impossible to distinguish them from the original tramp music”18. There was a need for quality sources, ideally translated into modern Czech and provided with a notation.

The publishing of a songbook of American folk songs called Tam, kde teče Mississipi in 1957 was, according to Linhart, an “event of paramount importance in the history of tramp music”19 (Linhart 1998: 4) as it provided exactly what they were looking for. The book comprises of 44 protest songs, western country songs, lumbermen and raftsmen songs, folk ballads, sea songs and one sea shanty with English-language source texts and notation for each song. The one sea shanty, “Blow, Ye Winds” (“Foukej, větře”), is taken from Botkin’s

A Treasury of American Folklore and therefore from Colcord’s collection. The translator of this

25 volume, Stanislav Mareš, notes that the sailors’ songs included in the volume came from

England, Scotland or Ireland but took root in the American folk culture and cannot be overlooked. He also writes that the songs in general “are in most cases epic, resembling a typical ballad […] or a broadside ballad” and notes that because of this the songs have a great number of stanzas which he includes all to illustrate the content and style, but the “singers can reduce their number as they see fit”20 (Mareš 1957: Introduction). The emphasis on singable texts is important as the sea shanty from this volume and another sea shanty also translated by Mareš was later included (with minor changes) in the most influential anthology of non-singable translations of American poetry available for Czech audience at the time, Americká lidová poezie, and in the analysis the difference of approaches is visible (for example in the treatment of vocables). In 1968 Mareš emigrated to Australia and was possibly one of the links influencing the interest in Australian songs discussed later.

Stanislav Mareš complains that the number of songs in Tam, kde teče Mississipi, is not enough to provide the reader with enough material to comprehend the diversity of American folk song, reflecting the interest in authentic American songs and folk culture of the time. Four years later, in 1961, this was remediated with a large 516-page volume titled Americká lidová poezie. The book features “songs of American oppressed groups, namely black and working class”21 (Přibylová 1992: 7), among many other songs, four sea shanties created by Jiří Hiršal and two translated by Stanislav Mareš. The following table shows the translators/poets, the

English title, the Czech title, and the source collection. Unfortunately, this is the only instance where source texts for the Czech versions are expressly given.

TR/PO EN CZ COL Mareš Blow the Man Down Já bych ho plác, chlapa Child/Colcord Hiršal The Banks of Sacramento Kalifornie Sandburg Mareš Blow, Ye Winds Foukej větře Botkin/Colcord Hiršal Santy Anna Santa Anna Botkin/Colcord Hiršal Shenandoah Široká Mizzouri Sandburg Hiršal Ten Thousand Miles Away Deset tisíc mil v dál Sandburg Table 2: Translators/poets, English versions, Czech versions, and collections in Americká lidová poezie As noted earlier, all six of these songs were published in American collections for singing, but Dorůžka, the editor of this volume notes that the published texts in Americká lidová poezie are primarily not for singing and the anthology does not provide notation (Dorůžka 1961:

489). The anthology was such a hit among tramps and newly forming country and folk bands

(Linhart 1998: 4) that the problem of the missing notations or non-singable lyrics was easily rectified by creating their own music (Přibylová 1992: 7) or adding parts of songs heard on radio. In regard to Czech sea shanties, this change can be seen in the folk version of Hiršal’s version of “The Banks of Sacramento” (“Kalifornie”).

The whole volume was created by a combined effort of many poets, writers and translators, but Dorůžka (1997: 308) writes that the biggest surprise was Mareš, who “easily tuned to the atmosphere of American folk songs so much so that an independent songbook of his songs was published”22 (the previously mentioned Tam, kde teče Mississippi). Interestingly, as Hiršal did not translate from English, his four versions are created from Czech prose translations (Dorůžka 1997: 308) but are, ironically, in many ways much closer to the English versions than Mareš’s songs – possibly, again, because of Mareš’s versions are created to be sung.

In 1970, Vilém Dubský publishes his songbook titled Kytara & Kolty, featuring singable versions of “Blow the Man Down” (“Pár mu jich dej”), “What Shall We Do with the Drunken

Sailor” (“Co uděláme s tím námořníkem”) and “Blow, Ye Winds” (“Jen ať vítr fouká”). The

27 songbook is primarily focused on cowboy songs rather than American songs in general and the appearance of the three sea shanties confirms their position of fully American mainstream folk songs already far removed from their sailing origins, explaining the lower number of sailing- specific words. Dubský’s versions are still very much liked and sung today, for example among yachters or tramps23 and printed in many songbooks such as in the series of country songbooks

Country zpěvník.

The last anthology featuring sea shanties is published in 1977 – Oheň z dříví eukalyptu by Karel Ulbert. The book contains Czech versions of “South Australia” (“Směr jižní

Austrálie”) and “Ten Thousand Miles Away” (“Deset tisíc mil”) and again shows the interesting connection to Australia of the time. Ulbert spent a year in Australia as a researcher and after coming back to Czechoslovakia he translated songs and poems for his friends, noting that he chose them subjectively depending on what impressed him the most from a Czech’s perspective as he was not expecting them to be published. (Ulbert 1977: 7-8). But after some of his translated songs were featured and praised on the radio show Hopsej, Matyldo!, he decided to publish them (Ulbert 1977: 7-8). His texts, and among them the version of “South Australia” included in this thesis, were later put into music by the country band Greenhorns with minimal changes as the lyrics of the two shanties closely follow the structure and rhythm of the English songs and are in this respect fully singable versions even though they were published without notation and in a songbook collecting not only songs but also poems.

Popular Singers and Bands

After Pete Seeger’s tour in 1964 and Hugues Aufray’s concert in 1967, the popularity of folk grew exponentially, and Czech popular singers and country bands started to adopt songs from their repertoire and the repertoire of other folk groups and singers. There are three sea shanties sung by popular singers of this period – “What Shall We Do with The Drunken Sailor” and “Santa Anna” created for Waldemar Matuška, and Hana Zagorová’s “Rio Grande”. It is

28 also at this time folk and country bands start to adopt sea shanties, with Rangers singing

“Shenandoah” in 1969 and eight years later Greenhorns setting the lyrics of Ulbert’s “South

Australia” to music.

The interest in sailing permeates not only the tramp culture of the time but also the mainstream television and radio. Several sailor-themed programmes appear on television – such as Námornický bál (1966), Mariňácké písničky (1966) or Plnou parou vpřed (1972) – together with Matuška’s sailor-themed music videos (Santa Anna, Johoho, Čert ví, kdy kotvy zvednem).

The two sea shanties sung by Matuška became, without a doubt, the most famous among all the

Czech versions.

According to Matuška’s wife Olga24, when he was young, he wanted to be a sailor but when on his way to enrol, he met a friend, never arrived at his destination, and thus never became one. But the lasting fascination with sailing is quite apparent in his repertoire. Both

Matuška’s sea shanties appear on a sailing-themed album Jo ho ho (1972), together with a range of songs loosely connected to the sea or sailing, such as “Má láska je za velkou louží”, a version of a Scottish folk song “My Bonnie Lies Over the Ocean”. Matuška’s sea shanties are unique among the other Czech versions not only for their popularity but also for their origin and impact.

“Santiano” (1967), with lyrics by Ivo Fischer, is the only shanty in this thesis adopted from a language other than English – its source version comes from Hugues Aufray’s shanty by the same name. Interestingly, Aufray’s version uses French place names and is also thematically different from the version by Hiršal in Americká lidová poezie, suggesting that even before

Aufray adopted the song into his repertoire and the place names were domesticated, it was inspired by a different English version. The former, “Čert ví” (1970), with lyrics by Zdeněk

Borovec, is a version of the popular “Drunken Sailor”, a song which was also translated by

Dubský in this period – and it is probably these two versions’ combined popularity that led to the creation of the two Czech folk versions collected here.

Zagorová’s version of “Rio Grande” (1972) is an obscure nod to the television programs mentioned earlier. The song itself seems to be just a fragment of the English shanty, possibly a version of “Rio Grande” (1941) sung by The Almanac Singers. It was never released on an album and probably made its only appearance in the 1972 program Plnou parou vpřed. Apart from that, there is no mention of the song’s lyricist or any information about the song itself to be found.

The popular country band Rangers (formed in 1964) connects the period of the 1960s folk revival with the following period starting after the Velvet Revolution by two sea shanties in their repertoire. In 1968, Antonín Hájek and Radek Tomášek introduced a Czech version of

“Shenandoah”, firstly on the first Rangers EP and a year later on an LP together with possibly their greatest hit, “Zvedněte kotvy”, a version of a Bahaman sea song “Sloop John B” popularised by The Beach Boys, and a version of Australian folk song “With My Swag All On

My Shoulders” named “Plavci” which the band later used as an inspiration for their post- normalization name. The band was at its prime during the 1970s and the first two songs became extremely popular, illustrated for example by their appearance in the first instalment of Country zpěvník published about 30 years later.

1.2.5. Post-Folk Revival (1980s+)

The last period of Czech shanty history does not seem to be an independent new wave but rather a continuation of the previous 1960s and 1970s folk revival, considering that apart from Radůza’s “Shenandoah” and Koutský’s “Drunken Sailor” all the bands were founded in the 1960s and are interconnected by their country repertoire, members (Michal Tučný) and

Australia-themed songs or albums. Interestingly, no new shanties were adopted after the 1960s and 1970s, suggesting a return to a tried-and-true repertoire of the folk revival.

In 1982, five years after the publishing of Ulbert’s book Oheň z dříví eukalyptu,

Greenhorns (formed in 1965) release an album of songs of the same name using Ulbert’s lyrics

30 and, as mentioned earlier, among them Ulbert’s version of “South Australia” (“Směr Jižní

Austrálie”). But this is not the only Australia-themed sea shanty on an Australia-themed album the band has in their repertoire. In 1997 a version of “Ten Thousand Miles Away” (“Začni větře dout”), a third but still not the last Czech version of this shanty, appears on their second

Australian album Hlavou dolů.

In 1993, Rangers release an album called To nejlepší z Minstrels with songs adopted from the popular folk revival band The New Christy Minstrels. This album contains a song created to the tune and structure of a sea shanty “The Banks of Sacramento” (named “Ví to každej, ví”) that is not included in this thesis as it has completely adapted lyrics featuring a train, a ranch and longing for love. Three years later, a less altered version of “Stormalong” (“Kapitán

Stormy”) created by a lyricist and poet Petr Rada and taken also from the Minstrel’s repertoire is released on an album called Stalo se na západě. The album comprises of American traditional and country songs, with heavy emphasis on Randy Sparks’ music again.

In 1998, a third famous country band formed in 1967, Fešáci, releases the last version of “Ten Thousand Miles Away” (“Deset tisíc mil”). It is, once again, on an Australia-themed album called Fešáci u klokanů. This album also features another possible version of a sea shanty that was not included here – the second Australian shanty “South Australia” (“Nezoufej”) – because it is heavily musically and textually adapted to suit the band’s country repertoire.

Jaroslav Koutský’s 1995 version of the “Drunken Sailor” (“Opilý námořník”) is an interesting occurrence. It is the only shanty version intended specifically for teaching since the publishing of Anglické písně in 1948. Jaroslav Koutský (born 1937) was a composer, teacher and choir director awarded a Jaroslav Herden Award for his lifelong pedagogical and artistic excellency. Apart from books about teaching, he published a number of songbooks for children with his own new texts such as Zpěvník 2: Písničky z celého světa or Anglické písničky pro malé dětičky, ba i pro větší intended to help with teaching singing and English at the same time. His

31 version of the “Drunken Sailor” is therefore different than the other two independent versions as it is not created by a professional lyricist to be sung as a popular song but rather as a tool for teaching children.

The newest Czech sea shanty version is Radůza’s “Shenandoah” released in 2014 on an album Wabi & Ďáblovo stádo: Příběhy písní as a recording inspired by Michal Bystrov’s trilogy of books about the history of selected popular songs Příběhy písní. When discussing

“Shenandoah”, Bystrov gives a short overview of sea shanties which is possibly the most complex description available in the Czech language.

Features of Sea Shanties

2.1. Sea Shanty and Sea Song

Even though the term sea shanty is now used to encompass a wide range of songs about the sea (for example the viral song of the past few months, “The Wellerman”, is referred to as a sea shanty but is in fact a whaling ballad25), there is a distinction between the various songs of the sea. The term sea shanty refers to a nineteenth century work song the merchant sailing ship crews used as a helpful tool for the execution of a number of different physically demanding jobs aboard a ship. Sea shanties placed their sole focus on work and their various types reflect an “exact relationship to the many varieties of heavy physical toil involved”

(Whates 1937: 260).

Other forms of sea songs which Whates defines simply as “everything sailors sang in hours of relaxation” lack this “utilitarian purpose” and were used for “entertainment or aesthetic” purposes (Saunders 1928: 345). They are usually more elaborate (for example naval ballads have a more distinguishable story, are much less repetitive and put emphasis on emotion) and intelligible (Saunders 1928: 352) than the heavily rhythmical shanties with simple call-and-response patterns and nonsensical lyrics. Sea songs could range from popular songs of the time, folk songs and ballads, love songs and many more including versions of sea shanties created or adapted especially for leisure. Many popular sea songs and ballads probably sung by sailors aboard merchant ships have their Czech versions – for example the popular naval ballad

“Admiral Benbow” sung in Czech as “Admirál Benbow” (1996) by a folk-rock band Asonance, or a drinking song “All for Me Grog” sung as “Vše, co mám” by Václav Koubek (2007) and as

“Dej nalejt grog” by a band named Rakovník (2014).

But sea shanties and sea songs were not entirely separate entities – sailors sung all the songs they could lay their throats on and liked good enough and many of the popular songs of the time were changed and adapted into extremely popular sea shanties. There are two sea

33 shanties adopted into Czech that strongly resemble ballads – “Blow, Ye Winds” being a whaling ballad sung as a shanty (Hugill 1994: 167) and “Ten Thousand Miles Away” being a shore ballad used as a capstan shanty (Hugill 1994: 311).

2.2. Definitive Versions

Milne (2017: 381) suggests that because there seem to be no printed shanties available before the nineteenth century, the songs spread only orally and that gave them great advantage regarding their independent development. As orally transmitted folk songs, sea shanties changed with every singer and every naval journey. In the few decades when the songs were created and sung arose an incredible number of text versions and tune variations. Words varied not only between nationalities or ships, but also between ports (Hugill 1994: 35), shantymen and contexts.

Aside from the international influences that constantly changed and enhanced the shanty repertoire by an influx of new themes, words, tunes and singers, even the English-speaking cultural sphere itself produced large amounts of variants of one song. American shanties were adopted and adapted by British crews or the other way around (for example the song of

American packet ships “Blow, Boys, Blow” was reinvented as a parody by the British) and later

Australian wool trade crews created their own shanties (“South Australia”). On every ship, the same shanty might have been sung differently as the shantyman changed the words, improvised a rhyme or fitted two songs together. Milne (2017: 381) argues that at the time of their prime, shanties “may have evolved much faster than other musical forms”, as the work before the mast was dangerous and consequently there was a “high turnover of crews”. This meant that the sailors often jumped ship after one voyage and went elsewhere and shanties therefore passed through “‘generations’ of singers much faster than other folk forms” (Milne 2017: 381).

2.3. Typology of Sea Shanties

Sea shanties have a repeating format for “providing a back-and-forth interplay that established a hierarchy among workers, gave encouragement to their efforts and imparted a structure to both music and labor.” (Gioia 2006: 123) As work songs, the most important part of every song was the unchanging rhythm, but, as Hugill notes, the adherence to rhythm was not necessary for the whole song (Hugill 1994: 31) – in solo lines the shantyman could improvise and this was the place that changed most often, creating the new versions in the process (Doerflinger 1951: xi). That means the chorus lines were much less prone to change over time and it is the choruses that the various versions share and can be identified by even when translated into Czech.

Hugill distinguishes two main categories of sea shanties: hauling songs and heaving songs. The first category was used for short operations usually with a pulling movement involved and the second for longer continuous operations where usually pushing was involved.

Hauling shanties

In this thesis: “Blow, Boys, Blow”; “Blow the Man Down”

Hauling songs are “usually less musical than the heaving songs and so ‘salty’ that their shore origins have been long forgotten” (Hugill 1994: 26), with monotone, calm and smooth rhythm, 6/8 time and oftentimes a sad tune (Stefanowska 1975: 25-26).

They usually have four-line stanzas comprised of a couplet alternating with chorus lines

(Hugill 1994: 26). This means that their structure is extremely repetitive and Stefanowska

(1975: 26) argues that listening to them whole was simply unbearable for most people.

The most common type (Masefield 1908: 301) and the only one adopted into Czech is the halyard or long-drag shanty “used in hoisting yards and in other heavy pulling work”

(Doerflinger 1951: xiv). The singing usually started after some initial pulls with the shantyman singing the first solo line and right before the solo ended the chorus started, overlapping the last

35 note, and so forth until the end of the pulling (Hugill 1994: 31). The pulls were timed to follow the vocalization in the chorus such as “Way-hay” and to rest in the solo line (Masefield 1908:

302).

Heaving shanties

In this thesis: “The Banks of Sacramento”; “Blow, Ye Winds”; “Rio Grande”; “Santa Anna”;

“Shenandoah”; “South Australia”; “Stormalong”; “Ten Thousand Miles Away”

Heaving shanties are more musical then hauling shanties (Hugill 1994: 26), strongly rhythmical and encourage sailors to move smoothly but with a verve (Stefanowska 1975: 29).

Their structure is usually of a four-line stanza followed by a four-line or longer grand chorus

(as for example in “The Banks of Sacramento” or “Rio Grande”), but “many heaving songs also had a four-line pattern” of hauling songs (Hugill 1994: 26).

Many of them are in 4/4 time and strongly resemble marching songs sung on shore and are probably taken from there as Hugill (1994: 26) states that “many of them are not sufficiently camouflaged to hide their shore origins.” Not all heaving songs are marches, but oftentimes marches taken directly from shore were used for the first round around the capstan (a rotating device with handles to push when walking around that was used for winding a rope onto a barrel) when heaving the anchor. But as they usually were “too fast to be used for the entire job”, (Hugill 1994: 26) after the slack of the anchor rope was aboard and the weight of the anchor started to slow the work down, the shantyman slowed the tempo down as well by starting another, slower tune – a capstan shanty.

Heaving the anchor was the hardest job aboard and could easily take hours (Gioia 2006:

121) so the songs were usually long, slow and could be connected to each other to create even longer songs (Hugill 1994: 19). Capstan shanties are the most prominent of the heaving group and Masefield (1908: 301) argues that they are also “the most beautiful” of all the shanty types.

In the age of sail, the singing started eighter with the shantyman singing the chorus so that even

36 inexperienced sailors learned the words and then following with his first solo line or by simply singing the solo line. Hugill (1994: 30) notes that the chorus-first method was used so much that “many shanties now in print are accepted as starting with the chorus” which can be seen even in Czech shanties such as in Hiršal’s and Rangers’ versions of “The Banks of Sacramento”.

Other jobs for which heaving songs were used, like hoisting the sails by hand, leaving the dock or pumping at the pumps which declined in usage after the ships were fitted with iron or steel hulls and there was no need to pump water out (Masefield 1908: 300) required slightly different speeds and the songs were chosen and changed accordingly and as mentioned earlier, the various types of sea shanties were oftentimes used interchangeably – Hugill (1994: 27) for example notes that many “halyard songs were sung at capstan and pump […] and many pumping songs were used for anchor-heaving.”

Stamp-‘n’-go Shanties

In this thesis: “What Shall We Do with The Drunken Sailor”

A stamp-‘n’-go or walkaway shanties have no distinguishable solo parts and are rather comprised of what is called a “runaway chorus” (Masefield 1908: 301). This quality earns them, in Masefield’s division of shanty types, a flattering title of “the bastard variety” (Masefield

1908: 301). Runaway choruses were extremely rare among sea shanties, but it seems that those that were used were extremely popular. The structure of a runaway chorus and its adaptability for large crews was probably the reason this shanty was used on naval vessels – as discussed earlier, naval crews were much bigger to be able to man the cannons. The shanty was not only sung in fast time but, according to Hugill (1994: 109), it was also relatively short: “Normally, only two to three verses were used […]”.

2.4. Rhytm

Nineteenth century sea shanties were “to the seamen […] as much a part of the equipment as a sheath-knife and pannikin.” (Hugill 1994: 1) The songs existed primarily to help sailors with

37 timing, synchronisation, speed of the work and to make the backbreaking labour aboard a little easier (Bullen 1914: xii). Singing them when ashore was deemed a “rigid tabu” and singing them out of work was “courting trouble” (Hugill 1994: 1).

Apart from their folk song qualities such as unknown composer, oral transmission, susceptibility to frequent changes of tune and words, and usually a performance without accompaniment of musical instruments, sea shanties also had a strong rhythmical (and sometimes textual) connection to a particular work they were created to be sung with and were sung exclusively when working (Whates 1937: 260).

This extreme focus on facilitation of work can be seen in their every aspect. They diverged into specialised types with various rhythmic structures to accommodate for different types of work, have repetitive dialogic structures with heavy emphasis on downbeats, their lyrics mark pulling or pushing actions by the use of specific words (sing-outs, for example

‘Heave away!’, or vocables ‘Way-hay’) and even though many have a certain narrative, it was, together with the rhymes and sometimes even melody a secondary part of the song.

2.5. Words

It is suggested in some of the early collections that the words of sea shanties were only secondary to the tune and rhythm. Some collectors regard them “little more than pegs upon which to hang the notes” (Sharp 1914: xiv), with Thomas Bullen taking this unimportance to such extreme that he does not include anything save the tune, the chorus and sometimes the first line in his collection, noting that shanties were always improvised and had “no set words beyond a starting verse or two and the fixed phrases of the chorus, which were often not words at all.” (Bullen 1914: vi)

On the other hand, other collectors argue that shanties had “proper words, and most of the good ones had a story in verse that never varied, though in a long hoist if the regulation words did not suffice, a good shanty-man would improvise to spin out” (Whall 1913: xiii).

As hown by Hugill’s multi-version collection, sea shanties were indeed highly variable and many different sets of words telling somewhat different stories that interacted with each other existed at the same time. The large number of variations of one song also suggests that improvisation played a huge role and shantymen certainly changed the songs – but to what extent is arguable as different versions of one shanty usually still share a topic, story, prominent words or chorus lines.

Sea shanties often contain vocables defined by Korczynski et al. (2007: 231) as “words and syllables with no specific meaning” such as ‘Way-hay’, ‘Hooray’, ‘Hoodah’, ‘Ho-ho’ etc.

They usually form a part of a chorus and oftentimes indicate an action like pushing, pulling of stomping and help time the work when there was no song raised. Hugill (1994: 28) argues these features are the oldest parts of the songs together with other frequent parts of the chorus, the sing-outs and that from such sing-outs later evolved “rather tuneless” short songs and in the end stage of shanty evolution these evolved into fully fledged songs. Gioia (2006: 126) speculates that the frequent use of nonsense words in sea shanties might be a result of extensive borrowing of songs from other languages and creating a “replacement for the forgotten original words in foreign tongue.”

Sing-outs are words or short phrases with meaning – some are connected closely to the work on hand such as ‘Haul away!’ and some have more universal character, for example the phrase ‘Blow, boys, blow’. Vocables and sing-outs are oftentimes interchangeable in the

English versions as they serve the same purpose of timing (see for example the first chorus lines in the two Czech versions of the “The Banks of Sacramento”).

Other words frequently occurring in choruses as well as in solo lines are personal and place names. Personal names include stock names, such as names of sailors (Stormalong,

Reuben Ranzo, Jack), names of women (Polly, Sally, Maggie), or real names of popular people of the time (Santy Anna), names of companies (Black Ball) etc.

Places include ports (like New York, San Francisco, Liverpool), streets (Paradise Street,

Barbary Coast), places of interest (Mexico, Sacramento) etc. Both placenames and personal names were interchangeable depending on the journey (names of ports often changed to reflect the ports the ship sailed to and from), crew, mood and other factors (Milne 2017: 379).

And lastly, coming from a specialised environment, shanties contain a large amount of specialised vocabulary. From words for popular ships of the time (full-rigger, clipper, packet) and their parts (capstan, bowline, scruppers), through specific actions and jobs aboard (roll the bowline) to nicknames for the captain (Old Man, skipper).

Sea Shanty in Czech

3.1. Singable and Non-singable Versions

There are two types of songs among the Czech versions – with singable and non- singable lyrics. Non-singable lyrics are not created to be sung to the original music and the translated texts are treated rather as poems – these types are in minority among the Czech versions, considering that even one of Mareš’s songs published in Americká idová poezie was formerly intended for singing and Ulbert’s “South Australia” was put to music almost without any change. Singable lyrics, on the other hand, are intended to be sung to the original music or

“to music that has been changed only minimally” (Apter and Herman 2016: About this book).

Singable lyrics are constrained not only by the factors of “meaning and naturalness” (Low 2006:

78) but also by their need to be singable, adhere to the rhythm of the original music and often also still retain rhymes.

Low proposes a group of five factors to consider when creating and assessing singable translations: singability, sense, naturalness, rhythm, rhyme. These considerations are interconnected and influence each other as the translator tries to reach balance between them to create the ideal singable text.

Singability is a characteristic defined by Low as “phonetic suitability of the TT [target text] for singing” (Low 2006: 79), meaning the “demands of articulation, breath, dynamics and resonance” (Low 2006: 81).

The criterion of sense means the need to “convey a song’s meaning without omission, change or addition” (Low 2006: 87). Low (2006: 87) argues that in singable translations “lexical fidelity is often undesirable” as it takes away from the next criterion of naturalness.

Naturalness in regard to singable lyrics means “a text that could have been created spontaneously in the target language” (Low 2006: 88) and includes for example word order or rare words.

The criterion of rhythm in context of singable lyrics is judged by the fit of the text to the music and means for example the match of the “length of the vowels” and notes or adherence to the position of downbeats (Low 2006: 95-96).

Low (2006: 103) considers the last criterion of rhyme the least important, noting that

“rhythm matters more than rhyme” in most cases as making the song rhyme by force leads to lower flexibility (2006: 104) and degradation of sense (2006: 80).

This large number of constraints means that, as a result of balancing the five criteria,

“many things are lost in transit” (Low 2006: 63).

Low (2006: 12) also proposes a continuum between two types of songs according to their relative focus on music or on words – musicocentric and logocentric – arguing that musicocentric songs “tend to be more numerous and certainly have less difficulty in crossing language borders” as they can be appreciated mainly for the melody and logocentric songs being

“too word focused to be appreciated as pure melody”.

When dealing with cultural changes, Venuti’s continuum of foreignization and domestication is useful – but considering the lack of source versions, it cannot be a primary focus of the analysis. Low (2006: 70) states that Venuti’s domestication strategy is a frequent method when dealing with singable translations as “many of them are deeply embedded in a particular place and culture” and translators therefore “might be tempted to supplement linguistic transfer […] with cultural transfer.”

Connected to the lexical changes are structural changes in singable translations. Apter and Herman (2016: 157) argue that “because singable translations are almost always written to pre-existing music, and that music tends to follow the form of the original words, singable translations usually must do likewise. Multiple singable translations, unlike those of spoken poetry, say, will therefore generally differ in characteristics other than form.”

3.2. Adopted Shanties in General

There are 11 sea shanties adopted into the Czech language, most of them having more than one version. The versions of the Czech sea shanties can be divided into two groups – the independent versions with a known author, and folk versions without an identifiable author. Of the 11 sea shanties there are 22 independent versions and 3 folk versions (one created from

Hiršal’s “The Banks of Sacramento” and two versions of “What Shall We Do with The Drunken

Sailor”).

The adopted shanties are extremely specific songs. As illustrated in the two historical chapters, the pool of sea shanties was sifted through many times even before the remaining songs crossed Czech borders. It is therefore somewhat ironic that sea shanties were adopted mostly among the songs sought for their authenticity, as their Czech debut was preceded by decades of alterations, loss of function, editing, preferential collecting and reviving.

Pajer (1989: 92) argues that work songs today are only valuable to us for their aesthetic function as the non-aesthetic functions were lost when the environment the song was created for vanished. After shantying stopped and there was no longer the need for work songs, the position of the aesthetic function indeed became prominent and the focus on precise rhythm, important downbeats and singing as a call-and-response started to get compromised (Wanner

1966: 29). As the first two Czech versions by Braťka show, Czech shanties might have been used for working or re-enactment of working aboard a sailing-ship, but the main bulk of Czech shanties adopted after that point was probably never used for their initial function simply because there was no opportunity for that (apart from the occasional deep-water sailing of the yachting club) and it is safe to assume that it was their aesthetic function, the “proper salty atmosphere” (Hugill 1994: xiii), what attracted the interprets. And, according to the editor of

Americká lidová poezie Lubomír Dorůžka (1961: 487), even the songs in the non-singable anthology Americká lidová poezie were chosen for their assumed effect on the reader.

The interest in aesthetic function of sea shanties meant that it is mostly the songs deemed

“beautiful” (Masefield 1908: 301) and cheery (the wild card hauling walkaway shanty

“Drunken Sailor”) that were transferred into Czech. The table below (Table 3) shows the number of versions and the type of each shanty, illustrating the overwhelming number of heaving shanties.

Sea Shanty NV Type Blow, Boys, Blow 1 hauling Blow the Man Down 2 hauling What Shall We Do with the Drunken Sailor +2 3 stamp-n-go The Banks of Sacramento +1 2 heaving Blow, Ye Winds 2 heaving (ballad) Rio Grande 1 heaving Santa Anna 2 heaving Shenandoah 3 heaving South Australia 1 heaving Stormalong 1 heaving Ten Thousand Miles Away 4 heaving (ballad) Table 3: Adopted shanty types This phenomenon is understandable, as their greater musicality, 4/4 time (the most common time in popular music) and use of grand chorus make them more likable and easier to sing. In addition, many capstan heaving songs were created from shore songs and ballads with stronger focus on story and melody which also made them much more popular when their original use vanished. It is therefore unsurprising that the shanty with the largest number of independent Czech versions is a former ballad “Ten Thousand Miles Away”, followed closely by a stamp-n-go shanty “What Shall We Do with the Drunken Sailor” with the largest number of folk versions. It is, without a doubt, the heaving shanties that strike the best balance between aesthetics and simplicity needed for adoption as a popular song – as shanties, they are focused on memorable rhythm and simple yet catchy tune rather than convoluted wording, making them more musicocentric than logocentric, but as former ballads they still retain the authenticity and atmosphere the singers were looking for in a proper salty ditty.

Most shanties collected in this thesis are distinctly American. Apart from the sailing dominance and therefore larger amount of created sea shanties to choose from, the reason for this is the Czech obsession with American folk culture and the influence of American musicians during the folk revival and the subsequent adoption of songs that entered the American folklore.

In many songs the American source is easily identifiable by the retained place names (New

York, Sacramento, Missouri, Gulf of Mexico etc.) or themes (yankee clipper, gold rush, packet trade, etc.). There are, of course, exceptions – the two Australian shanties and the unclassifiable

“Drunken Sailor” being the obvious choice.

Přibylová (1997: iv) writes that the “distinctive and seemingly illogical interest in

Australian music”26 and the relatively large pool of material is the result of Czechoslovakian emigration during the 1960s. Both the emigrants and their friends in Czechoslovakia were, according to Přibylová (1997: v), connected by the shared interest in tramping and bluegrass.

This cultural transfer between Czechoslovakia and Australia is here represented by Ulbert’s versions of two Australia-themed shanties as the first version of “Ten Thousand Miles Away” is taken from an American songbook and the latter versions only after the Velvet Revolution.

Table 4 below shows the adopted shanties, general topics of the different versions, their translators, lyricists or interprets and place names occurring in each version. The Czech versions with a topic connected to America are coloured blue and the ones connected with Australia green.

Shanty Topic Translator/Interpret Places/Themes American packet Americká loď, yankee, Blow, Boys, Blow Novák shipping amerikán American packet Mareš New York shipping Blow the Man Down universal drunkenness Dubský –

Borovec – What Shall We Do with the Drunken universal drunkenness Dubský – Sailor +2 Koutský –

Novák Kalifornie, Sacramento Banks of Sacramento American gold rush +1 Hiršal Kalifornie, Sacramento New York, Buffalo, Boston, New Bedford, Mareš Tombas, Tuckoona, Blow, Ye Winds American whaling yankee New York, Buffalo, Dubský Boston

Rio Grande sailing to Rio Grande Zagorová Rio Grande historically inaccurate story of the Mexican Hiršal Mexiko, Monterey Santa Anna general Santa Anna sailing to Saint-Malo Fischer Saint-Malo

native chief’s daughter Hiršal Mizzouri and rowing on Mizzouri Shenandoah river in Shenandoah Rangers Maryland Maryland

Shenandoah river Radůza –

Hornův mys, Jižní South Australia sailing to Australia Ulbert Austrálie, Stormalong from the Stormalong Rangers Mexický záliv Gulf Ports

Hiršal Anglie, Londýn

Ulbert Anglie, Londýn Ten Thousand Miles sailing from England to Away Australia Greenhorns Anglie

Fešáci Londýn Table 4: General topics and place names

Přibylová (1997: iii) notes that more independent versions of the same foreign song often appeared in Czech language, and looking at the collection of Czech sea shanties, the tendency to adopt the same song multiple times is obvious. But with sea shanties, the number of possible versions of one shanty to adopt from was quite large, resulting in differences in the

Czech versions as well.

Some sea shanties have Czech versions thematically and structurally extremely close to each other (see the second column of Table 4), suggesting a relatively similar pool of source versions – namely “Ten Thousand Miles Away”, “Blow, Ye Winds” or “Drunken Sailor” which, as discussed earlier, are eighter former ballads or a song much older than sea shanties with almost non-existent story to be changed and simple structure and point.

The songs that have more Czech versions with somewhat different texts are “Blow the

Man Down”, “The Banks of Sacramento”, “Santa Anna” and “Shenandoah”. As discussed earlier, this is probably the result of them being adopted from a different version of the same shanty. In most cases, this convoluted authenticity flow does not have much impact on the analysed sailing-specific structures and words as it is the chorus and the main points of the story of the shanty that rarely change with its numerous versions. The only visible discrepancies can be seen in the two Czech versions of “Blow the Man Down” where the two different source versions result in Dubský’s version being completely without place names or names, and in the two versions of “Santa Anna”, with Hiršal’s version having no grand chorus and Fischer’s having grand chorus (ignoring the obvious differences in the story). But still, even though there are differences, both pairs follow a typical shanty structure of the alternating chorus with vocables and place names which is unchanged and indicates their connection.

3.3. Structures

3.3.1. Alternating Chorus

[1913– 1960s 1970s 1990s 2000+ 1950s] Blow, Boys, Blow Novák

Blow the Man Down Mareš Dubský

Borovec What Shall We Do with the Koutský Drunken Sailor +2 Dubský

Banks of Sacramento +1 Novák Hiršal

Blow, Ye Winds Mareš Dubský

Rio Grande Zagorová

Hiršal Santa Anna Fischer

Hiršal Shenandoah Radůza Rangers

South Australia Ulbert

Stormalong Rangers Greenhorns Ten Thousand Miles Away Hiršal Ulbert Fešáci Table 5: Distribution of alternating chorus lines over time The table above (Table 5) shows the distribution of the alternating chorus among Czech versions. Shanties in the first column that are marked in bold appear to have alternating chorus in most of their English versions. The Czech versions that have alternating chorus are marked in bold. Americká lidová poezie is coloured red and Oheň z dříví eukalyptu green.

Most sea shanties had a typical call-and-response stanza comprised of four lines with alternating solo and chorus lines. The chorus lines are unchanging throughout the song to make it easier to learn and remember (see for example Figure 1 below).

Oh, a Yankee ship came down the river, Blow, boys, blow! Her masts all bent, her sails a-shiver. Blow me bully boys, blow! (Hugill 1994: 174, “Blow, Boys, Blow”: stanza 2) Figure 1 Interestingly, only about one third of all the 22 Czech versions has a true alternating chorus pattern. This phenomenon is partly the result of the adoption of ballad-shanties because even though out of the 11 sea shanties analysed here eight have alternating chorus lines in most of the consulted English collections (see the first column of Table 5), the three shanties without the typical call-and-response structure, “Drunken Sailor”, “Blow, Ye Winds” and “Ten

Thousand Miles Away”, make up half of the Czech versions.

Additionally, there are 13 Czech versions of the eight remaining shanties but only eight versions have the ‘real’ alternating unchanging chorus illustrated in Figure 1 (see the fourth column of Table 6), as there are four versions completely without it or having just traces of it throughout the song (fifth column of Table 6) and one version that has the alternating pattern but changes the second line of the chorus (sixth column of Table 6).

Total With With real Without Changing Shanties that have number of altern. altern. altern. second alternating chorus in EN Czech chorus chorus chorus line versions Blow, Boys, Blow 1 1 1 Blow the Man Down 2 2 2 Drunken Sailor 3 – – Banks of Sacramento 2 2 1 1 Blow, Ye Winds 2 – – Rio Grande 1 1 1 Santa Anna 2 2 1 1 Shenandoah 3 3 1 2 South Australia 1 1 1 Stormalong 1 1 1 Ten Thousand Miles Away 4 – – 22 13 8 4 1 Table 6: Changes in alternating chorus lines

The four songs that do not have alternating chorus even though most English versions have it are Hiršal’s “The Banks of Sacramento”, Rangers’ “Stormalong” and two versions of

“Shenandoah” by Rangers and Radůza. Looking closely, from the four versions only the

Hiršal’s version of “The Banks of Sacramento” completely lacks the alternating chorus despite it being present in most English versions. This is due to the Sandburg’s version being also without these features and therefore not a change made by Hiršal.

In case of Rangers’ “Stormalong”, the source version by The New Christy Minstrels has only two stanzas with chorus lines, and it does not alternate them with solo lines (Figure 2). In the Rangers’ version, there is just a single chorus line repeated at the end of the stanza as the first chorus line is a sailing-specific sing-out that was omitted, erasing the chorus line in the process (see the later chapter about sing-outs).

Bože náš, tys moří pán. Stormy’s gone, that good old man. Stormy, tvůj kapitán, To me way, Stormalong! poslední má plavbu plout. It’s a long, long journey home.

Rangers’ version repeating it at the end of the stanza in the same way their “Stormalong” does, and Radůza’s version only repeating a name near the end of the stanza.

Oh Shenandoah, už cestu mám, Ach Shenandoah, synům svým zpíváš, cestu tam, kam ptáci letí, snad hlas tvůj i mne utěší, k modrým vodám tvým se skláním, v údolí tvém když se stmívá, oh Shenandoah. ach, tenkrát, má Shenendoah, řekou plout je nejtěžší. Já vím, proč křídla chtít, letět tam, kde proud tvůj mizí, Unikám já s dívkou svojí, přes celý Maryland se vlny valí, vlnami tvých peřejí, oh Shenandoah. měsíc svítí skrz chvojí láskám, jimž, má Shenandoah, lidé štěstí nepřejí.

(Rangers 1969, “Oh Shenandoah”: stanza 1– (Radůza 2014, “Shenandoah”: stanza 1–2) 2) Figure 3 Additionally, Fischer’s “Santa Anna” also does not qualify for the ‘real’ alternating chorus because both the first line and the second line of its chorus change throughout the song in the same way the chorus lines in the French version sung by Aufray do.

Jen koření od zádi až po špici Je pars pour de longs mois en laissant veze k nám Santiano. Margot Celá loď voní skořicí, Hissez haut! Santiano! jak ty sladký holky u nás v Saint – Malo. D’y penser, j’avais le cœur gros En doublant les feux de Saint Malo […] A ten, kdo nešel spát slyší vítr hrát […] v ráhnoví Santiána. Tiens bon la vague et tiens bon le vent Zpívá mi tu, co já mám rád, Hissez haut! Hissez haut! Santiano! co ji zpívaj všechny holky u nás v Saint- Si Dieu veut, toujours droit devant Malo. Nous irons jusqu’à San Francisco (Fischer 1967, “Santiano”: stanza 2-4) (Plante 1961, “Santiano”: stanza 2-4) Figure 4 Interestingly, the folk version of Hiršal’s “The Banks of Sacramento” (Figure 5) contains an alternating chorus because in the process of adopting it into a folk song again, the singers added back vocables originally present in other English versions of the shanty.

My s partou svou měli v mžiku fit, My partu měli v mžiku fit, do zaslíbené země vyrazit. – tjudá tjudá, Zlaté rudy má celý cent a tak jsme mohli vyrazit, říční břeh, kudy teče Sacrament. – tjudá tjuda dej.

Tam, kde je zlata celej cent, – tjudá tjudá, na březích řeky Sakrament, – tjudá tjuda dej. (Hiršal 1961, “Kalifornie”: stanza 1) (“Kalifornie”: stanza 1-2) Figure 5

3.3.2. Grand chorus

Total Czech Czech Changing number of versions versions second line Shanties Czech with grand without versions chorus grand chorus Blow, Boys, Blow 1 – Blow the Man Down 2 – Drunken Sailor 3 3 Banks of Sacramento 2 2 Blow, Ye Winds 2 2 Rio Grande 1 1 Santa Anna 2 1 1 Shenandoah 3 – South Australia 1 1 Stormalong 1 – Ten Thousand Miles Away 4 4 22 14 1 0 Table 7: Changes in grand chorus Only heaving shanties and the runaway chorus “What Shall We Do with The Drunken

Sailor” have grand chorus. Generally, the grand chorus remains unchanged in the Czech heaving shanties (see Table 7). Only in case of Hiršal’s “Santa Anna” the grand chorus is missing due to the nature of the source version.

But looking at the three versions of the “Drunken Sailor” (Figure 6), the same phenomenon of changing the chorus lines throughout the song as in case of the alternating choruses (see previous subchapter) in Fischer’s “Santa Anna” appears. The “Drunken Sailor” is possibly the most repetitive shanty adopted into the Czech repertoire, consisting only of chorus stanzas telling of the ways to de-drunk a sailor and ending each stanza with a simple line of “Early in the morning!”. As mentioned earlier, all sea shanties were extremely repetitive songs with rigid unchanging structures used for timing, and that seems to be the reason for the changes in all the chorus lines of the “Drunken Sailor” through all the independent versions – a choice made for the sake of naturalness and aesthetics at the expense of the now obsolete repetitive structure.

Náš lodivod už je zas jak Co uděláme s tím Co uděláme s tím kára, (3x) námořníkem, (3x) námořníkem, (3x) koukej, jak se klátí opilým hned zrána? vždyť on sotva stojí.

Ch: Čert ví, kdy kotvy Ch: Vej hej to jsou věci, (3x) Ch: Z přístavu loď vyplouvá, zvednem, (3x) opilým hned zrána. (3x) když to s ním tak mlátí. a on sotva stojí. (2x)

Hej, všechen rum rychle My pověsíme ho do lanoví Na složené plachtoví ho přes palubu, (3x) (3x) dejme, (3x) ať nepije dále. pověsíme zrána. ať tam sladce dřímá.

Ch: Čert ví, kdy kotvy Ch: Vej hej to jsou věci, (3x) Pak probudíme ho vědrem zvednem, … pověsíme zrána. vody, (3x) nejdřív na Tři krále. (2x) přejem dobré ráno. (Borovec 1970, “Čert ví”: (Dubský 1970, “Co uděláme (Koutský 1995, “Opilý stanza 1-4) s tím námořníkem”: stanza námořník”: stanza 1-4) 1-4) Figure 6 The folk versions of the “Drunken Sailor” (Figure 7) do not change the grand chorus, possibly reverting to simpler structures as they once again start to be transmitted orally and need to be easy and memorable.

V hospodě U Tří Bernardýnů, (3x) V hospodě U Tří bernardýnů, (3x) teče víno proudem. teče pivo proudem.

Ch: Jójó to jsou věci, (3x) Ch: Jé, jé, to jsou věci (3x) teče víno proudem. teče pivo proudem.

Náš kapitán je vožralej, (3x) Vyvalte sudy na palubu (3x) teče víno proudem. teče pivo proudem. (Úlet, “V hospodě U Tří bernardýnů“: (“V hospodě U Tří bernardýnů“: stanza 1-3) stanza 1-3) Figure 7

3.4. Texts

3.4.1. Sing-outs

Vocables and sing-outs are oftentimes interchangeable in sea shanties, as both mark time rather than add to the story. But there is a key difference between them that makes the approach to their adoption different as well – vocables have no meaning, but sing-outs are in its limited meaning closely related to work aboard a sailing-ship.

Sing-outs are words or phrases such as ‘Heave away!’ that appear as parts of the chorus lines. Due to the nature of the adopted songs (many of them are heaving songs with less textual padding thanks to their shore and ballad origins), the number of sing-outs present in the Czech versions is limited, and atop of that without source versions it is impossible to determine whether there was originally a vocable or a sing-out as they are interchangeable. But when inspecting the Czech shanties that have source versions available, there appears to be a tendency to either omit the sing-outs completely or change them into vocables, as there are no sing-outs present in them even though there are in the English (and French) versions. For example, in

Rangers’ “Stormalong” the same sing-out appears twice in the English version by The New

Christy Minstrels but in the Czech version it is in both cases replaced by meaningful words

(Figure 8).

Bože náš, tys moří pán. Stormy’s gone, that good old man. Stormy, tvůj kapitán, To me way, Stormalong! poslední má plavbu plout. It’s a long, long journey home.

Dej Bože náš, dej mu věčně plout. We lowered him down with a silver chain, Mořem plout, dál a sám, To me way, Stormalong! poslední má plavbu plout. It’s a long, long journey home. (Rangers 1996, “Kapitán Stormy”: stanza 1– (The New Christy Minstrels 1964, “Stormy”: 2) stanza 1–2) Figure 8 Another example can be found in Fischer’s “Santiano” (Figure 9). In the French version the same sing-out (meaning ‘Heave away!’ in English) appears in the first alternating chorus line as well as in the grand chorus (marked by Ch.). The sing-out in the alternating chorus line

54 was replaced in favour of a longer more natural sentence (the same change as in the previous example) and the second sing-out in the grand chorus became a more universal vocable instead.

This phenomenon is described by Low when discussing domestication in singable translations. Low notes that there is less intrusive alternative to domestication, arguing that

“when it proves impossible to retain source culture elements […] culture-specific details can often be replaced by universal or neutral ones” (Low 2006: 72) when domestication is unwanted. In this case it is achieved by using the closest functional equivalent (Newmark 1998:

83) – a vocable that was most likely used in other English versions of the song anyway. Sing- outs are one of the “culture-specific details” that Czech audience without any knowledge of sailing or shanties is ought to be puzzled by and it would “most likely be justified” to domesticate in singable translations (Low 2006: 71), but knowing that there was an extreme interest in authentic western folk songs and the culture they stemmed from and that many people listened to foreign folk songs because they were fed up with Czech folklore, it is easy to understand why domestication was not a viable option. The change from lexical to non-lexical words appears to be even somewhat inherent to shanties, as Gioia (2006: 126) speculates that the frequent use of nonsense words might be the result of constant borrowing of songs from other languages and creating a “replacement for the forgotten original words in foreign tongue.”

Kdo o sobě chce říct, že je námořník, C’est un fameux trois-mâts, fin comme un měl by znát Santiano. oiseau Bílou loď, co má štíhlou příď, Hissez haut! Santiano! jak ty krásný holky u nás v Saint – Malo. Dix-huit nœuds, quatre cents tonneaux Je suis fier d’y être matelot Ch: Sem s písničkou a dokola, johohó Santiano. Ch: Tiens bon la vague et tiens bon le vent Když Bůh dá tak už Hissez haut! Santiano! ráno kotva žbluňkne doma u mola. Si Dieu veut, toujours droit devant (Fischer 1967, “Santiano”: stanza 1–2) Nous irons jusqu’à San Francisco (Plante 1961, “Santiano”: stanza 1–2) Figure 9

3.4.2. Vocables

[1913– 1960s 1970s 1990s 2000+ 1950s] Blow, Boys, Blow Novák

Blow the Man Down Mareš Dubský

Borovec What Shall We Do with the Koutský Drunken Sailor +2 Dubský

Banks of Sacramento +1 Novák Hiršal

Blow, Ye Winds Mareš Dubský

Rio Grande Zagorová

Hiršal Santa Anna Fischer

Hiršal Shenandoah Radůza Rangers

South Australia Ulbert

Stormalong Rangers Greenhorns Ten Thousand Miles Away Hiršal Ulbert Fešáci Table 8: Distribution of vocables The table above (Table 8) illustrates the distribution of vocables among Czech independent versions. In the dated columns, the name of the translator, lyricist or interpret of a version that contains vocables is marked in bold. The shanties that seem to contain vocables in their English versions are in bold as well. Anthologies and collections are coloured red for

Americká lidová poezie and green for Oheň z dříví eukalyptu.

The approach to vocables in Czech shanties visibly changes over time. 11 out of 17

Czech versions created before 1990 contain vocables but, interestingly, none of the versions created after.

All retained vocables are naturalised (Newmark 1988: 82) to some extent – their form is changed to better reflect the phonology. This is, again, an approach standing in between foreignization and domestication – the same strategy used when dealing with sing-outs – a neutralizing approach. As the audience of the pre-1990 era was focused on authenticity, leaving nonsense words completely untranslated, which “has a foreignizing effect, because nonwords almost always incorporate the allowable sounds and sound combinations of a specific language” (Apter and Herman 2016: 46), would have been a plausible strategy, but this approach is impractical for singable translations as it breaches the singability and naturalness criteria by leaving the foreign sounds.

Singable versions

The right columns show approximate English versions taken from the multi-version collection of Stan Hugill to illustrate the change in phonology.

Starting with the two earliest Czech-language shanties by Novák, there are no vocables in “Blow Boys Blow” (as there do not seem to be any vocables in the English versions either) and in “The Banks of Sacramento” (Figure 10) Novák’s version has vocables.

Když toulal jsem se nábřežím Oh, as I was walkin’ on the quay, a hůdedej a hůdedej, Hoodah! Hoodah! tu náhle krásnou dívku zřím A charmin’ gal I chanct to see. a hůde, hůdedej. Hoodah, hoodah, day! (Novák, “Když toulal jsem se”: stanza 1) (Hugill 1994: 97, “Sacramento”: stanza 1) Figure 10 Dubský’s versions of “Blow the Man Down” and “Drunken Sailor” (Figure 11) have vocables, but his “Blow, Ye Winds” does not even though the English versions have them.

Jen chvíli se zastav a dej si říci. I’ll sing ye a song all about the high sea, Hola hej, hej, pár mu jich dej. Timme, way, hay, blow the man down! A zpívej, co zpívají námořníci, An’ trust that ye’ll join in the chorus with me. buď na něj zlej a pár mu jich dej. Oooh, gimme some time to blow the man down! (Dubský 1970: , “Pár mu jich dej”: stanza 1) (Hugill 1994: 158-160, “Blow the Man Down”: stanza 1) Ch: Vej hej to jsou věci, Way, hay, an’ up she rises! vej hej to jsou věci, Way, hay, an’ up she rises!

vej hej to jsou věci, Way, hay, an’ up she rises! opilým hned zrána. Ear-lye in the mornin’! (Dubský 1970, “Co uděláme s tím (Hugill 1994: 109, “Drunken Sailor”: stanza námořníkem”: stanza 2) 1) Figure 11 Regarding the popular singers and bands, about half of their versions have vocables.

Borovec’s “Drunken Sailor” and “Shenandoah” by Rangers do not contain any vocables.

Fischer’s “Santa Anna”, as discussed earlier, contains a vocable created from a sing-out and

Zagorová’s “Rio Grande” (Figure 12) contains vocables.

Ch: Sbohem buď lásko má, Ch: Then away, love, away, ó, Rio, Way, Rio! a vzpomínej a dobře se měj, So fare ye well, my pretty young gal, naše loď pluje k Riu Grande. We are bound for the Rio Grande! (Zagorová 1972, “Rio Grande”: stanza 2) (The Almanac Singers 1941, “Rio Grande”: stanza 2) Figure 12 The versions created in the 1990s and early 2000’ by country and tramp bands as well as Koutský’s version for teaching English and Radůza’s “Shenandoah”, the newest Czech shanty version included here, do not have any vocables. It seems that there is a departure from the 1960s authenticity and the musicians instead focus on naturalness. The large number of meaningless vocables in shanties is in itself something unnatural to Czech popular songs as vocables and sing-outs are the most obvious remnants of the shanty’s works-song origin. As there is no longer the incentive to bring authentic American folk songs to Czech culture, this inherent unnaturalness is remediated by omitting the vocables in all the new popular versions.

Another factor might be also the choice of the versions to adopt. In case of Rangers’

“Stormalong” the source version from The New Christy Minstrels is already highly altered and does not contain any vocables. It is possible that Radůza’s “Shenandoah” was also taken from a version that did not have vocables as there is almost no trace of the typical shanty structure.

Anthologies and songbooks

In Americká lidová poezie the approach to vocables depends on the translator or poet, with Hiršal (Figure 13) choosing to retain the vocables in all four of his versions. When

58 comparing Hiršal’s version of “The Banks of Sacramento” to other versions of the song it is obvious there are additional alternating chorus vocables missing. This is because the whole alternating chorus is missing in the source version, as mentioned in the previous subchapter.

Ch: Hej, hoši, jé! Do Kalifonie! Ch: Then ho, boys, ho! To Califonia go, Zlata tají metrák, There’s plenty of gold in the world, jak říkají, I’m told, říční břeh kudy teče Sacrament. on the banks of the Sacramento shore. (Hiršal 1961: 90-91; “Kalifornie”; stanza 2) (Sandburg 1927: 110-112; “California”; stanza 1) Ó, Santy Anna zvítězil! O Santy Anna gained the day, Hurá, Santy Anna! Hoo-ray, Santy Anna! Jednou prohrál, dvakrát vítěz byl! He lost it once but gained it twice, A vždy na pláních Mexika. All on the plains of Mexico! (Hiršal 1961: 47-48; “Santy Anna”; stanza 1) (Colcord 1938: 84-85; “Santy Anna”; stanza 1) Ó, Shannandore, dceru tvou mám rád, O Shannadore, I love your daughter, haj–ou, řeko dunící, Hi-oh, you rolling river, odpluji s ní přes prudký vody spád, I’ll take her‚ cross the rolling water, ah–ah, teď plout chci v dál širokou Mizzouri. Ah-hah, I’m bound away ‘cross the wide Mizzoura. (Hiršal 1961: 158-159; “Široká Mizzouri”; (Sandburg 1927: 408; “The Wide Mizzoura”; stanza 1) stanza 1) Ch: Vějte, větry, hoj, já nenajdu pokoj, Ch: Blow, ye winds, hi oh! A roaming I will opouštím břehy Anglie, spusť kapelo, mám go, cíl; I’ll stay no more on England’s shore, so let na cestu se zítra dám přes řvoucí moře sám, the music play; věrná láska, k níž jdu, je vzdálená na deset I’ll start by the morning train, to cross the tisíc mil. raging main, For I’m on the road to my own true love, ten (Hiršal 1961: 147-148; “Deset tisíc mil v dál”; thousand miles away! stanza 2) (Sandburg 1927: 100-101; “Ten Thousand Miles Away”; stanza 1) Figure 13

Mareš does not retain vocables and opts for added meaning instead (Figure 14).

Já bych ho plác, chlapa, já bych ho plác! Oh, blow the man down, bullies, blow the Pusťte mě blíž, já bych ho plác man down! Já bych ho plác, chlapa, po hubě plác! To me way-aye, blow the man down. Jen kdybych moh, já bych ho plác! Oh, blow the man down, bullies, blow him right down! (Mareš 1961: 153-155, “Já bych ho plác, Give me some time to blow the man down! chlapa”: stanza 1) (Colcord 1938: 55, “Blow the Man Down”: stanza 1) Ch: Jenom foukej nám, větře, zrána, Ch: Blow, ye winds in the morning, jenom foukej, větře, dál! And blow, ye winds, high-o! Stáhni všecko lanoví, Clear away your running gear, a jen foukej, větře, dál! And blow, ye winds, high-o! (Mareš 1961: 150-151, “Foukej, větře”: (Colcord 1938: 191-192; “Bow, Ye Winds”; stanza 2) stanza 2) Figure 14 Both Ulbert’s versions of Australian sea shanties printed in Oheň z dříví eukalyptu also contain vocables (Figure 15). Judging from the sounds of the vocables and the available English versions, both of these songs probably originally contained a sing-out ‘Heave away!’ that was changed to a vocable during translation.

Ch: Králi vod slyš píseň mou, hola hou, hola hej, vzhůru cestou houpavou, tam k jižní Austrálii. (Ulbert 1977: 9-10, “Směr Jižní Austrálie”: stanza 2) Hola hej ou hej, je to pevnej šíf, kterej dobrý plachty má príma kapitán je tý lodi pán, von ji vede vlnama. Von ji vede vlnama, ou hej, abych u svý lásky byl, která zná tu pouť, co já budu plout – vodsud deset tisíc mil. (Ulbert 1977: 11, “Deset tisíc mil”: stanza 1) Figure 15 Folk versions

Both folk versions of “Drunken Sailor” (Figure 15) and “The Banks of Sacramento”

(Figure 16) have vocables. As can be seen in the excerpt in Figure 16 showing Hiršal’s version next to the folk version, the former did not have vocables when published in Americká lidová

60 poezie and they therefore must have been added afterwards, possibly as a result of mixing with another version of the same shanty or by hearing the shanty sung in English.

Ch: Jójó to jsou věci, Ch: Jé, jé, to jsou věci Jójó to jsou věci, jé, jé, to jsou věci, Jójó to jsou věci, jé, jé, to jsou věci, teče víno proudem. teče pivo proudem. (Úlet, “V hospodě U Tří bernardýnů“: stanza (“V hospodě U Tří bernardýnů“: stanza 2) 2) Figure 16

My s partou svou měli v mžiku fit, My partu měli v mžiku fit, tjudá tjudá, do zaslíbené země vyrazit. a tak jsme mohli vyrazit, tjudá tjuda dej. Zlaté rudy má celý cent Tam, kde je zlata celej cent, tjudá tjudá, říční břeh, kudy teče Sacrament. na březích řeky Sakrament, tjudá tjuda dej. (Hiršal 1961: 90-91; “Kalifornie”; stanza 1) (“Kalifornie”; stanza 1-2) Figure 17

3.4.3. Places

[1913– 1960s 1970s 1990s 2000+ 1950s] Blow, Boys, Blow Novák

Blow the Man Down Mareš Dubský

Borovec What Shall We Do with the Koutský Drunken Sailor +2 Dubský

Banks of Sacramento +1 Novák Hiršal

Blow, Ye Winds Mareš Dubský

Rio Grande Zagorová

Hiršal Santa Anna Fischer

Hiršal Shenandoah Radůza Rangers

South Australia Ulbert

Stormalong Rangers Greenhorns Ten Thousand Miles Away Hiršal Ulbert Fešáci Table 9: Distribution of place names

Blow, Boys, Blow Novák řeka Pramy Černý šíp, Shakespeare, New Mareš York Blow the Man Down Dubský –

Borovec – What Shall We Do with the Dubský – Drunken Sailor +2 Koutský –

Novák Kalifornie, Sacramento Banks of Sacramento +1 Hiršal Kalifornie, Sacrament New York, Buffalo, Boston, Mareš New Bedford, Tombas, Blow, Ye Winds Tuckoona Dubský New York, Buffalo, Boston

Rio Grande Zagorová Rio Grande

Hiršal Mexiko, Monterey Santa Anna Fischer Saint-Malo

Hiršal Mizzouri

Shenandoah Rangers Maryland, Shenandoah

Radůza Shenandoah

South Australia Ulbert Hornův mys, Jižní Austrálie,

Stormalong Rangers Mexický záliv

Hiršal Anglie, Londýn

Ulbert Anglie, Londýn Ten Thousand Miles Away Greenhorns Anglie

Fešáci Londýn Table 10: Place names in Czech sea shanties

Place names appear to be less frequent in the singable versions as opposed to the non- singable versions which is not surprising, considering the focus on authenticity and the closer translations treated as poems in the anthologies. The number of place names gets lower the younger the version is, suggesting a departure from the need of authentic foreign folk songs of the 1960s and 1970s and also the tendency of singable translations to leave more things out

(compare for example the non-singable and singable versions of “Blow, Ye Winds” or “Ten

Thousand Miles Away” in Table 10). But overall, there is a tendency to leave at least one foreign place name in as they are vital for the point of the song, oftentimes even included in the title.

There are two interesting placenames that deserve a closer look – Novák’s added river

“Pramy” and Fischer’s French place names. Novák’s version of “Blow, Boys, Blow” has one place name, the puzzling river “Pramy”. In some English-language versions the river Congo is mentioned, for example in one of the Hugill’s versions (1994: 172), but, according to a note to this song on Pětka’s website, the river’s name was invented by Braťka to get the stanza to rhyme.27

Fischer’s place names (Figure 18) are taken directly from the French version sung by

Aufray rather than domesticated even though the song as a whole is heavily altered and shortened. This again shows the interest in the authentic foreignness created by the place names.

Interestingly, Plante’s version also contains San Francisco (as it is, in a proper shanty fashion, listing the two ports the ship traveling to and from), but it is omitted in the Czech version. It is impossible to say whether this is a result of focusing on singability (possibly the number of syllables was inconvenient), (auto)censorship or a way to make the song more French.

Jen koření od zádi až po špici Je pars pour de longs mois en laissant veze k nám Santiano. Margot Celá loď voní skořicí, Hissez haut! Santiano! jak ty sladký holky u nás v Saint-Malo. D’y penser, j’avais le cœur gros En doublant les feux de Saint Malo […] A ten, kdo nešel spát slyší vítr hrát […] v ráhnoví Santiána. Tiens bon la vague et tiens bon le vent Zpívá mi tu, co já mám rád, Hissez haut! Hissez haut! Santiano! co ji zpívaj všechny holky u nás v Saint- Si Dieu veut, toujours droit devant Malo. Nous irons jusqu’à San Francisco (Fischer 1967, “Santiano”: stanza 2-4) (Plante 1961, “Santiano”: stanza 2-4) Figure 18 The only shanty versions that domesticate the place names are the two folk versions of the “Drunken Sailor” (Figure 19) by adding a place name of a pub named after Bernese dogs to the otherwise placeless shanty.

V hospodě U Tří Bernardýnů, (3x) V hospodě U Tří Bernardýnů, (3x) teče víno proudem. teče pivo proudem. (Úlet, “V hospodě U Tří bernardýnů“: (“V hospodě U Tří bernardýnů“: stanza 1) stanza 1) Figure 19

3.4.4. Personal Names

Blow, Boys, Blow Novák Joe Černá Vrána

Mareš – Blow the Man Down Dubský –

Borovec – What Shall We Do with the Dubský – Drunken Sailor +2 Koutský –

Novák –

Banks of Sacramento +1 Hiršal –

Rangers –

Mareš – Blow, Ye Winds Dubský –

Rio Grande Zagorová –

Hiršal Taylor, Santy Anna Santa Anna Fischer Santiano

Hiršal Shannandore, Sally

Shenandoah Rangers –

Radůza –

Ulbert – South Australia Fešáci –

Stormalong Rangers Stormy Hiršal Meg

Ulbert – Ten Thousand Miles Away Greenhorns –

Fešáci – Table 11: Personal names in Czech sea shanties

Personal names are a rare occurrence in Czech sea shanties as most of them were heavily sailor-specific and used as stock words rather than names conveying meanin. Most personal names are to be found in Americká lidová poezie. In the singable versions the personal names are retained possibly only because they are a vital part of the song – they appear in the title or are a part of the chorus.

Sailors included a range of stock personal names in their songs, but it appears that the

Czech versions either omitted them or were already adopted without them. The exception being the Scout version of “Blow Boys Blow” and Ranger’s “Stormalong”.

In Novák’s “Blow, Boys, Blow” appears a possibly stock personal name “Joe Černá

Vrána”. As mentioned earlier, conditions aboard American liners were extremely tough and the ships were therefore not manned by Americans but rather by poor lower class of sailors who were not afraid to call their superiors all sorts of imaginative names, which explains the satirical and sometimes blatantly rude tone of some shanties. The English-language version closely resembling Novák’s one printed in Hugill (1994: 172) suggest that the whole purpose of this shanty was actually the act of name-giving, with 14 stanzas roughly the same as the fourth and five stanzas of the example. Novák’s version is noticeably shorter than that and the complaints and nicknames do not really show (apart from the line about the ship’s captain) as most of the solo lines mentioning the different officers are not present. It is possible that the English version, probably sung by foreign Sea Scouts, was already shortened and adjusted for modern singers before Braťka adopted it into Czech. As a song for young Scouts, it is probable it was cleaned of the former coarseness and double meanings, most of the specialised vocabulary, and references to officers and other people the sailors took liking to.

It seems that even among sailors, nobody could tell who Stormalong really was. Some sailors imagined Stormy as “an embodiment of all prime seamen” (Bullen xiii) or a good captain

(Doerflinger 82). Terry notes that Stormy’s identity is now “undiscoverable, but more than

67 a dozen shanties mourn him” (Terry 1921: xiv) and Hugill gives some of the versions that include Stormy or Stormy’s son as a theme. Interestingly, even though the name Stormalong appears in the Minstrel’s version five times, in the Ranger’s version it is used only in the spoken introduction and the first stanza, suggesting that there was a tendency to omit the name in favour of better singability and naturalness together with the nonsensical chorus lines left from the source sea shanty.

The only stock personal names of women present in the Czech versions are to be found in Hiršal’s “Shenandoah” (Figure 20) – Sally – and “Ten Thousand Miles Away” (Figure 21)

– Meg – both retained from their source versions.

Ó, Shannandore, dceru tvou mám rád, O Shannadore, I love your daughter, – haj–ou, řeko dunící, Hi-oh, you rolling river, odpluji s ní přes prudký vody spád, I’ll take her‚ cross the rolling water, – ah–ah, teď plout chci v dál širokou Ah-hah, I’m bound away ‘cross the wide Mizzouri. Mizzoura.

Sedm let jsem se Sally dvořit směl, For seven years I courted Sally, – haj–ou, řeko dunící, Hi-oh, you rolling river, sedm let jsem se o ni ucházel, For seven more I longed to have her, – ah–ah, teď plout chci v dál širokou Ah-hah, I’m bound away ‘cross the wide Mizzouri. Mizzoura. (Hiršal 1961: 158-159; “Široká Mizzouri”; (Sandburg 1927: 408; “The Wide stanza 1-2) Mizzoura”; stanza 1-2) Figure 20

Tenkrát jsem svou Meg spatřil naposledy, Dark and dismal was the day when las I seen mraky stály na obloze, my Meg, měla pouta na každé paži a jiná zas na noze; She’d a Government band around each a jiná zas na noze, hoši, když koráb hand, and another one round her leg; odplouval –al –al, And another one round her leg, my boys, as vzpomeň na mne, řekla, až já budu pryč the big ship left the bay-ay-ay, deset tisíc mil v dál. Adieu, said she, remember me, ten thousand (Hiršal 1961: 147-148, “Deset tisíc mil miles away! v dál”: stanza 5) (Sandburg 1927: 100-101, “Ten Thousand Miles Away”: stanza 5) Figure 21 The rest of the personal names in Czech sea shanties comprises of the names of historical or semi-historical figures (see for example “Shannadore” in Figure 20) significant for the song’s story.

3.4.5. Ships

Blow, Boys, Blow Novák loď

Mareš fregata, parníček, šíf Blow the Man Down Dubský loď

Borovec – What Shall We Do with the Dubský – Drunken Sailor +2 Koutský loď

Novák loď Banks of Sacramento +1 Hiršal –

Mareš plachetnice, loď Blow, Ye Winds Dubský –

Rio Grande Zagorová loď

Hiršal Santa Anna Fischer loď

Hiršal –

Shenandoah Rangers –

Radůza –

South Australia Ulbert loď

Stormalong Rangers –

Hiršal bárka, koráb, loď

Ulbert šíf, loď Ten Thousand Miles Away Greenhorns loď

Fešáci loď Table 12: Ships in Czech sea shanties

Sea shanties often contain specific words denoting ships – the most frequent being clipper, packet or rigger. These words are not ship types per se (as for example brig, schooner or frigate) but rather descriptions of the ship’s purpose or the number of sails. The various words for ships are generalised (Low 2006: 80) in the singable versions – the more universal

“loď” is used – but in anthologies, there is a tendency to use more specific ones, possibly for added authenticity and because there is less rhythmical constraint in comparison to singable songs.

The closest equivalent to the packets, riggers and clippers is probably “plachetnice” (see

Figure 22), but as there are rhythmical and length constraints for both singable translations and translations of poetry, the monosyllabic “loď” is more practical choice.

Prý plachetnice zrovna se tu k plavbě They tell you of the clipper-ships a-rgoing hotoví – in and out; ta do půl roku nejmíň pět set velryb uloví! And say you'll take five hundred sperm (Mareš 1961: 150-151, “Foukej, větře”: before you're six months out. stanza 7) (Colcord 1938: 191-192; “Bow, Ye Winds”; stanza 7) Figure 22 Interestingly, some versions try to emulate the sailing-specific words by using Czech terms for ship types – often any ship type unrelated to sailing-ships whatsoever. This is most visible in Mareš’s “Blow the Man Down” (Figure 23) where he uses the words “fregata”,

“parníček” and “šíf” but also occurs in Ulbert’s “Ten Thousand Miles Away” (“šíf”).

Pozdravím, ptám se jí: „Fregato, kam?“ I hailed her in English, she answered me „Jsem z Černýho šípu, plout k Shakespearu clear, mám.“ "I'm from the Black Arrow bound to the Shakespeare." […] […] Jak couráme, holka mě balamutí: But as we were going she said unto me, „Koukej se, parníček před vyplutím!“ “There's a spanking full-rigger just ready for sea.”

Parníček akorát k New Yorku táh, That spanking full-rigger to New York was stavěnej fajn, mužstvo na palubách. bound; She was very well manned and very well found.

Sotva se parníček z přístavu vlík, But soon a that packet was clear of the bar, záporou natřel mě kormidelník. The mate knocked me down with the end of a spar.

Když na moře vyplul ten proklatej šíf And as soon as that packet was out on the zkusil jsem trápení nejhroznější. sea, `Twas devilish hard treatment of every degree. (Colcord 1938: 55, “Blow the Man Down”: stanza 4-9) (Mareš 1961: 153-155, “Já bych ho plác, chlapa”: stanza 4-9) Figure 23 Mareš’s use of the word “fregata” has two possible explanations. Firstly, the song uses sailing vocabulary to denote body parts as a joke and therefore the word “fregata” can just mean a woman and nothing more. But looking closely at the available English versions, some include much longer description of the lady in question than does Mareš’s source version. One of

Hugill’s versions (1994: 158) gives her nationality as Dutch, the first country where large seagoing frigates were first built. It is impossible to say whether this is a coincidence or Mareš’s deliberate choice to add back information his English version lost.

The word “parníček” is puzzling as it is used as a translation for both “full-rigger” and

“packet”. This rules out the possible explanation of an actualising strategy because even though

“packet” can denote both sailing-ships and steam boats sailing on the packet trade line

(depending on the time the song is set in), “full-rigger” refers specifically to a sailing-ship with masts that have all their sails square, and therefore cannot be a steam boat. It is possible that the translator wanted to retain at least the approximate sound and length of the original

“prominent word” (Low 2006: 80) to retain the atmosphere and sound of the song (because even though Mareš’s versions are published in the anthology not for singing, the rendition of his second shanty “Blow, Ye Winds” was a singable version) or maybe the sound of the word

“packet” influenced his interpretation.

Lastly, the word “šíf” used in Mareš’s “Blow the Man Down” (Figure 23) and Ulbert’s

“Ten Thousand Miles Away” (Figure 24) is oftentimes used to denote just any ship in Czech, not a specific type, which is probably why it is used here as a universal word instead of the word “loď”. The word is historically rooted in Czech culture, partly because these wide wooden boats were used for transportation and later as pleasure boats on the river Vltava until the first half of the twentieth century28. It is also a monosyllabic word with a sound closely resembling

“ship” (to which it is actually related via German), making it easier to fit to a song. In Mareš’s version it is, once more, used as a universal term for “packet”, making it the second translation of the packet sailing-ship. Ulbert’s “šíf” is also a sailing-ship, because it has “dobrý plachty”, but as there is no source version, it is impossible to say what type if any. Interestingly, after this initial specification, the word never appears again in the song and the universal “loď” is used instead.

Hola hej ou hej, je to pevnej šíf, kterej dobrý plachty má príma kapitán je tý lodi pán, von ji vede vlnama. […] (Ulbert 1977: 11, “Deset tisíc mil”: stanza 1) Figure 24 Hiršal’s version of “Ten Thousand Miles Away” (Figure 25) also contains “bárka” and

“koráb” which were both retained from the source version’s “barque” and “large ship”.

Opěvám svou bárku tak báječnou a s ní vítr, Sing I for a brave and a gallant barque, and co ráhny chví, a stiff and a rattling breeze kapitána, mužstvo výtečné, že k milé mě A bully crew and a Captain true, to carry me dopraví; […] o’er the seas; […] (Hiršal 1961: 147-148, “Deset tisíc mil (Sandburg 1927: 100-101, “Ten Thousand v dál”: stanza 1) Miles Away”: stanza 1) […] a jiná zas na noze, hoši, když koráb […] And another one round her leg, my odplouval –al –al, boys, as the big ship left the bay-ay-ay, vzpomeň na mne, řekla, až já budu pryč Adieu, said she, remember me, ten thousand deset tisíc mil v dál. miles away! (Hiršal 1961: 147-148, “Deset tisíc mil (Sandburg 1927: 100-101, “Ten Thousand v dál”: stanza 5) Miles Away”: stanza 5) Figure 25

3.4.6. Captains

Blow, Boys, Blow Novák kapitán

Mareš – Blow the Man Down Dubský kapitán

Borovec – What Shall We Do with the Dubský – Drunken Sailor +2 Koutský –

Novák – Banks of Sacramento +1 Hiršal –

Mareš patron, kapitán Blow, Ye Winds Dubský kapitán

Rio Grande Zagorová –

Hiršal starej Santa Anna Fischer –

Hiršal –

Shenandoah Rangers –

Radůza –

South Australia Ulbert –

Stormalong Rangers kapitán

Hiršal kapitán

Ulbert kapitán Ten Thousand Miles Away Greenhorns –

Fešáci kapitán Table 13: Captains in Czech sea shanties

Sailors often called their captains ‘old man’ or ‘skipper’ in shanties. There are, of course, exceptions as many sea shanties were adopted from shore ballads authored by non-sailors and the word ‘captain’ was therefore also used.

In more than half of the Czech versions there is no mention of the captain at all, but in the nine versions that do mention him in any way, a universal “kapitán” is used. The only two exceptions are again to be found in Americká lidová poezie. Mareš (“Blow, Ye Winds”) uses

“patron” as a neutral and possibly slightly more colloquial translation for the sailing-specific

“skipper”.

The only version where one of the sailing-specific words for captain can be found unchanged is Hiršal’s “Santa Anna” (Figure 26). Interestingly, to retain this sailing-specific word, there was a need to switch perspective to explicate by adding a word “námořníkům” to make the line easier to understand for the Czech audiences while retaining the mention of “the

Old Man”.

Zaslech jsem, že námořníkům I thought I heard the Old Man say dá starej večír nalejt rum. He’d give us grog this very day. (Hiršal 1961: 47-48; “Santy Anna”; stanza (Colcord 1938: 84-85; “Santy Anna”; stanza 6) 7) Figure 26

Conclusion

Sea shanties as a genre are deeply connected with the environment they were created in.

Their relatively short rise in popularity and usage in the nineteenth century was fuelled by the desperate need to work harder and faster in a dangerous and unrewarding environment aboard

English and American sailing-ships competing for the merchant naval superiority. The songs reflect the life, interests and hardships of the sailing-ships’ crews comprised of lower-class seamen, thematising the fast and popular American clippers sailing the packet lines, the backbreaking work aboard as the clippers reached speed and punctuality records, the loving captains and mates, the international journeys and crews, the competition between the nations and, finally, the wishes and dreams of the simple sailors.

These topics, even though properly cleaned of vulgarities and preferentially collected, remained conserved thanks to the early twentieth century collectors even after the age of sail ended. The early collections helped sea shanties start a new life on dry land and experience a great resurgence during the folk revival of the 1960s, when they appeared on the albums of

Pete Seeger, Hugues Aufray, The Seeker, The Almanac Singers, The New Christy Minstrels and many more, and were subsequently adopted in relatively large quantities into the repertoires of many Czech interprets and bands as well as Scouts and tramps.

The earliest sea shanties in Czech can be traced to a Water Scout unit Pětka and its founder Jaroslav ‘Braťka’ Novák. The Scouts were extremely interested in sailing and boating

(even sailing the Adriatic Sea on a borrowed sailing-ship) and were the only ones who possibly adopted sea shanties through international exchange on one of the Scout Jamborees.

Only a few years after Scouting, tramping emerged and with it the interest in everything western, adventurous, and free. The tramp song, also strongly connected to boating, pawed the thematic road for the later adoption of sea songs and sea shanties into the emerging folk and country band’s repertoires of the 1960s and during the two decades of the greatest popularity

75 of country and folk music, the largest bulk of sea shanties was adopted. The folk revival happening in America stirred the general interest in western music even more and combined with the looser political climate and dislike of Czech folklore raised a hunger for authentic western folk music. It is at this time that shanties become extremely popular even though the genre as a whole is unknown in Czechoslovakia. With the publishing of Americká lidová poezie, everyone gained an access to authentic American folk songs and later, thanks to Pete Seeger’s and Hugues Aufray’s tours, sea shanties entered the repertoires of popular singers and bands such as Matuška, Zagorová, Rangers, Greenhorns and Fešáci. There were also songbooks and anthologies from Ulbert and Dubský that tramps and country bands happily put to a good use.

The age of Czech shantying ended with the tougher grip the regime exercised over culture from the 1970s and a larger number of sea shanties appears again only after 1990s but, interestingly, the majority of the new versions is sung by country bands formed in the 1960s and no new sea shanties get adopted.

There are 11 Czech sea shanties with 22 independent versions and 3 folk versions analysed in the thesis. The adopted songs are in majority heaving shanties (focusing on the greater musicality and aesthetic function derived from their shore origins), American or

Australian, and some Czech versions of the same shanty are adopted from distinctly different

English versions, creating a thematic dissonance.

Regarding the prominent structural features of the Czech versions, alternating chorus and grand chorus, it appears that due to the frequent adoption of shanties created from ballads and heavily altered shanties, the number of Czech shanties with a ‘proper’ alternating chorus is rather low as the repetitiveness makes it less musical and therefore less interesting outside of their intended work-specific environment.

The grand chorus seems to be the exact opposite, appearing in almost every Czech sea shanty, which is again the result of the adopted versions being overwhelmingly hauling

76 shanties. Interestingly, the most repetitive “Drunken Sailor”, comprised only of chorus stanzas, is altered in all Czech independent versions to slightly change with each stanza, possibly to make the song more interesting to listen to. This changing is negated in the folk versions of the song, suggesting a return to simple structures as the songs are once again transmitted orally.

Textually, the adopted shanties can be divided into two groups – pre-1990s and post-

1990s. In the pre-1990s group there are both non-singable (versions appearing in Dorůžka’s

Americká lidová poezie and Ulbert’s Oheň z dříví eukalyptu) and singable versions.

The non-singable versions, due to the greater focus on authenticity, retain more textual features than the singable versions of the period. For example, Hiršal’s and Ulbert’s versions all retain vocables and place names, Hiršal’s versions retain personal names that are otherwise almost nonexistent in Czech shanties, Mareš’s and Ulbert’s versions experiment with non- neutral words for ships and one Hiršal’s version also retains the sailing-specific word for captain.

An approach that seems to frequent the various singable versions of the period can be described as something in the middle between Venuti’s foreignization and domestication. Most analysed features that are retained because of the focus on authenticity seem to be translated neutrally rather than with sailing-specific or domesticated word – they are changed to still retain the naval atmosphere but also to be quickly understandable for the Czech audience as apprehensibility, or Low’s criterion of sense, is extremely important when there is no time to think about the lyrics. The sailing-specific sing-outs are eighter omitted or changed into neutral vocables, vocables are retained and naturalised, at least one place name is retained in all but one singable version as they make the song more authentic, the neutral word “loď” is used as well as the neutral word “kapitán”.

The post-1990s versions are all singable and appear to stray from the previous focus on authenticity. There are no sing-outs and vocables, less place names (they are still retained but

77 their number lowers), no personal names and, if retained, the universal “loď” is used as well as the universal “kapitán”.

Notes 1. Phillips, William Q (1931) ‘Shanty’ or ‘Chanty’? In: The Musical Times, vol. 72(1058), p.349. Available at: https://www.jstor.org/stable/916472. Accessed on 11 November 2019. Also see Sharp’s introduction (IX) for earlier discussion of the word. Ted Gioia (115) also gives two possible spellings. 2. La Grange, Helen and Lagrange, Jacques (1936) Clipper Ships of America and Great Britain. New York: Putnam. Available at: https://archive.org/details/clippershipsofam00lagr/page/38/mode/2up. Accessed on 12 April 2021. p. 38. 3. Draskóy, Andrew (1993-2009) The Black Ball Line. Shanties & Sea Songs. Available at: https://shanty.rendance.org/lyrics/showlyric.php/blackball. Accessed on 12 April 2021. 4. hakim (2012) Fotogalerie Pátého oddílu Praha: Americká loď. Pětka Praha. Available at: http://www.galerie.petka.org/displayimage.php?album=91&pid=1534#top_display_m edia. Accessed on 15 January 2020. 5. Pešek (2015) Boston. 555. Available at: http://petka.img.cas.cz/Zpevnik555/index.php/Boston. Accessed on 15 January 2020. 6. Free translation. 7. Qrka (n.d.) Sea (Water) Scouts in the Czech Republic. HLAVNÍ KAPITANÁT VODNÍCH SKAUTŮ. Available at: http://vodni.skauting.cz/english-2. Accessed on 15 January 2020. 8. Free translation. 9. See for example Hugill, Stan (1994) Shanties from the Seven Seas: shipboard work-songs and songs used as work-songs from the great days of sail. Mystic, Conn.: Mystic Seaport Museum. pp. 290-292. 10. Free translation. Novák, Jaroslav (n.d.) “Když toulal jsem se”. Available at: http://petka.img.cas.cz/Zpevnik555/index.php/Kdy%C5%BE_toulal_jsem_se. Accessed on 21 March 2021. 11. Free translation. 12. Free translation. 13. Free translation. 14. “ahoj” (n.d.). Ústav pro jazyk český. Available at: https://ujc.avcr.cz/jazykova- poradna/dotazy/0123.html. Accessed on 15 January 2020. 15. Free translation.

16. Free translation. 17. Free translation. 18. Free translation. 19. Free translation. 20. Free translation. 21. Free translation. 22. Free translation. 23. -red- (2017) Pár mu jich dej a buď na něj zlej! Krása jachtingu. Available at: https://krasajachtingu.cz/par-mu-jich-dej-a-bud-na-nej-zlej/. Accessed on 12 January 2020. 24. Česká televize (2010). Příběhy slavných – Waldemar Matuška – Walda [Video]. iVysílání. Available at: https://www.ceskatelevize.cz/ivysilani/10123383458-pribehy- slavnych/410235100211008-walda/titulky. Accessed on 15 January 2021. 04:30- 04:44. 25. Smyth, Gerry (2021) Perfect timing: an Irish academic’s sea shanty book boosted by a TikTok trend. The Irish Times. Available at: https://www.irishtimes.com/life-and- style/abroad/perfect-timing-an-irish-academic-s-sea-shanty-book-boosted-by-a-tiktok- trend-1.4516871. Accessed on 12 February 2021. 26. Free translation. 27. Pesek (2015) Americká loď. 555. Available at: http://petka.img.cas.cz/Zpevnik555/index.php/Americk%C3%A1_lo%C4%8F. Accessed on 21 March 2021. 28. Schuster, Jakub (n. d.) Co je to vlastně ten šíf? VOŠ A SPŠ VOLYNĚ. Available at: http://www.sps.volyne.cz/web/co-je-to-vlastne-ten-sif/. Accessed on 23 March 2020.

Bibliography Primary Sources Czech Versions of Sea Shanties: Blow, Boys, Blow Novák, Jaroslav (?) “Americká loď”. Available at: http://petka.img.cas.cz/Zpevnik555/index.php/Americk%C3%A1_lo%C4%8F. Accessed on 21 March 2021. Blow the Man Down Mareš, Stanislav (1961) “Já bych ho plác, chlapa”. In: Dorůžka, Lubomír (ed.) (1961) Americká lidová poezie. Praha: Státní nakladatelství krásné literatury a umění. pp. 153- 155. Dubský, Vilém (1970) “Pár mu jich dej”. In: Dubský, Vilém (ed.) (1970) Kytara & kolty. Ostrava: Tábornická unie v Ostravě. Blow, Ye Winds Mareš, Stanislav (1961) “Foukej, větře”. In: Dorůžka, Lubomír (ed.) (1961) Americká lidová poezie. Praha: Státní nakladatelství krásné literatury a umění. pp. 150-151. Dubský, Vilém (1970) “Jen ať vítr fouká”. In: Dubský, Vilém (ed.) (1970) Kytara & kolty. Ostrava: Tábornická unie v Ostravě. Rio Grande Zagorová, Hana (1972) “Rio Grande”. Available at: http://zagorovahana.cz/modules.php?name=Reviews&rop=showcontent&id=652. Accessed on 1 October 2019. Santa Anna Hiršal, Josef (1961) “Santy Anna”. In: Dorůžka, Lubomír (ed.) (1961) Americká lidová poezie. Praha: Státní nakladatelství krásné literatury a umění. pp. 47-48. Fischer, Ivo (1974) “Santiano”. Recorded by Waldemar Matuška (1974). In: Černý, Miroslav (ed.) (2002) Waldemar Matuška 1. díl. Cheb: G + W spol. s.r.o. p. 42. Shenandoah / Across the Wide Missouri Hájek, Antonín and Tomášek, Radek (1969) “Oh, Shenandoah”. Recorded by Rangers (1969). In: Dufek, Milan and Jiří Kaleš and Jiří Macek (ed.) (1998) Rangers–Plavci 2. díl O-Ž. Cheb: G + W spol. s.r.o. p. 36. Hiršal, Josef (1961) “Široká Mizzouri”. In: Dorůžka, Lubomír (ed.) (1961) Americká lidová poezie. Praha: Státní nakladatelství krásné literatury a umění. pp. 158-159. Radůza (2014) “Shenandoah”. On Wabi & Ďáblovo stádo [CD]. Prague: Supraphon.

South Australia Ulbert, Karel (1977) “Směr Jižní Austrálie”. In: Ulbert, Karel and Ian Milner (1977) Oheň z dříví eukalyptu: výběr z australské lidové poezie. Praha: Mladá fronta. pp. 9-10. Stormalong Rada, Petr (1996) “Kapitán Stormy”. Recorded by Rangers (1996). On Stalo se na západě [CD]. Prague: Supraphon. Available at: https://www.youtube.com/watch?v=S17AiSIGkDg. Accessed on 21 March 2021. Ten Thousand Miles Away Fešáci (1998) “Deset tisíc mil”. On Fešáci (2002) Fešáci u klokanů [CD]. Rudná u Prahy: Master Music: Bohemian Music Service. Hiršal, Josef (1961) “Deset tisíc mil v dál”. In: Dorůžka, Lubomír (ed.) (1961) Americká lidová poezie. Praha: Státní nakladatelství krásné literatury a umění. p. 147-148. Kocman, Petr (1997) “Začni větře dout”. Recorded by Greenhorns (1997). In: Greenhorns (1997) Hlavou dolů [CD]. Praha: Venkow Records. Ulbert, Karel (1977) “Deset tisíc mil”. In: Ulbert, Karel and Ian Milner (1977) Oheň z dříví eukalyptu: výběr z australské lidové poezie. Praha: Mladá fronta. p. 11. The Banks of Sacramento Hiršal, Josef (1961) “Kalifornie”. In: Dorůžka, Lubomír (ed.) (1961) Americká lidová poezie. Praha: Státní nakladatelství krásné literatury a umění. pp. 90-91. Hiršal, Josef (1961) “Kalifornie”. In: Jiří Macek (ed.) (1995) Country zpěvník II. Cheb: G + W spol. s.r.o. pp. 46-47. Novák, Jaroslav (n.d.) “Když toulal jsem se”. Available at: http://petka.img.cas.cz/Zpevnik555/index.php/Kdy%C5%BE_toulal_jsem_se. Accessed on 21 March 2021. What Shall We Do With the Drunken Sailor “Bernardýni”. Recorded by Úlet (n.d.). On: Dobrý je to [CD]. Chomutov: self-published. Available at: https://supermusic.cz/skupina.php?action=piesen&idpiesne=982178. Accessed on 11 December 2020. “Bernardýni”. Available at: http://zlata-kotva.cz/kestazeni/zpevnikZK.pdf. Accessed on 11 December 2020. Borovec, Zdeněk (1974 [1970]) “Čert ví (kdy kotvy zvednem)”. Recorded by Waldemar Matuška (1974). In: Černý, Miroslav (ed.) (2002) Waldemar Matuška 1. díl. Cheb: G + W spol. s.r.o., p. 141.

Dubský, Vilém (1970) “Co uděláme s tím námořníkem”. In: Macek, Jiří (ed.) (1997) Country zpěvník III. Cheb: G + W spol. s.r.o., p. 18. Koutský, Jaroslav (1995) “Opilý námořník”. In: Koutský, Jaroslav (1995) Zpěvník 2: písničky z celého světa. Prague: Tomáš Houška, pp. 156-157. “V hospodě U Tří bernardýnů”. Available at: https://www.velkyzpevnik.cz/matuska- waldemar/hospoda-u-tri-bernardynu. Accessed on 1 December 2020. Identified English Source Versions of Sea Shanties: “Blow the Man Down”. In: Colcord, Joanna C. (ed.) (1938) Songs of American Sailormen. New York: W. W. Norton & CO. Available at: https://archive.org/details/songsofamericans0000colc. Accessed on 1 October 2019. p. 55. “Blow, Ye Winds”. In: Colcord, Joanna C. (ed.) (1938) Songs of American Sailormen. New York: W. W. Norton & CO. Available at: https://archive.org/details/songsofamericans0000colc. Accessed on 1 October 2019. pp. 191-192. “California”. In: Sandburg, Carl (ed.) (1927) The American Songbag. New York: Harcout, Brace & Company. Available at: https://archive.org/details/americansongbag029895mbp/page/n5/mode/2up. Accessed on 1 October 2019. pp. 110-112. “Santy Anna”. In: Colcord, Joanna C. (ed.) (1938) Songs of American Sailormen. New York: W. W. Norton & CO. Available at: https://archive.org/details/songsofamericans0000colc. Accessed on 1 October 2019. pp. 84-85. Sparks, Randy (1964) “Stormy”. On Land of Giants [LP]. New York: Columbia Records. Available at: https://www.youtube.com/watch?v=CdPsb3juRPk. Accessed on 1 October 2019. “The Wide Mizzoura”. In: Sandburg, Carl (ed.) (1927) The American Songbag. New York: Harcout, Brace & Company. Available at: https://archive.org/details/americansongbag029895mbp/page/n5/mode/2up. Accessed on 1 October 2019. pp. 408. “Ten Thousand Miles Away”. In: Sandburg, Carl (ed.) (1927) The American Songbag. New York: Harcout, Brace & Company. Available at: https://archive.org/details/americansongbag029895mbp/page/n5/mode/2up. Accessed on 1 October 2019. pp. 100-101.

“What Shall We Do with the Drunken Sailor”. In: Koutský, Jaroslav (1995) Zpěvník 2: písničky z celého světa. Prague: Tomáš Houška, pp. 156-157. Other Source Versions of Sea Shanties: Plante, Jacques (1961) “Santiano”. On Santiano; Notre rivière / Georgia; Mille rayons [LP]. Bruxelles: S.A. Fonior. Available at: https://lyricstranslate.com/en/santiano- santiano.html. Accessed on 1 October 2019. Secondary Sources Collections: Bullen, Frank Thomas (ed.) (1914) Songs of Sea Labour (Chanties). London: Swan & Co., Watson & Willcock. Available at: https://archive.org/details/songsofsealabour1914bull/page/n4/mode/2up. Accessed on 1 October 2019. Colcord, Joanna C. (ed.) (1938) Songs of American Sailormen. New York: W. W. Norton & CO. Available at: https://archive.org/details/songsofamericans0000colc. Accessed on 1 October 2019. Doerflinger, William Main (ed.) (1951) Shantymen and shantyboys; songs of the sailor and lumberman. New York: Macmillan. Available at: https://archive.org/details/shantymenshantyb0000doer/page/n419/mode/2up. Accessed on 1 October 2019. Drbohlav, K. and Vočadlo, Radoslav Bernard and Zajíček, J. (ed.) (1948) Anglické písně. Praha: Státní nakladatelství v Praze. Hugill, Stan (ed.) (1994[1961]) Shanties from the Seven Seas: shipboard work-songs and songs used as work-songs from the great days of sail. Mystic, Conn.: Mystic Seaport Museum. Masefield, John (ed.) (1908) A Sailor’s Garland. London: Methuen & CO. Available at: https://archive.org/details/sailorsgarland00maserich/page/n6/mode/2up. Accessed on 1 October 2019. Sharp, Cecil James (ed.) (1914) English folk-chanteys : with pianoforte accompaniment, introduction and notes. London: Simpkin, Marshall, Hamilton, Kent & CO. Available at: https://archive.org/details/englishfolkchant00shar/page/n4/mode/2up. Accessed on 1 October 2019. Whall, William Boultbee (ed.) (1913) Ships, sea songs and shanties. Glasgow: James Brown & Son. Available at:

https://archive.org/details/shipsseasongssha00whal/page/n8/mode/2up. Accessed on 1 October 2019. Other Sources: (unavailable) (2008) Krátká historie vodáctví v čechách. Povoda.cz. Available at: https://web.archive.org/web/20151216223400/http://www.povoda.cz/clanky/135432658 6/kratka-historie-vodactvi-v-cechach.html. Accessed on 4 April 2021. Apter, Ronnie and Herman, Mark (2016) Translating for Singing. London: Bloomsbury Academic. Clark, Arthur H. (1911) The Clipper Ship Era. New York: Puntam. Available at: https://archive.org/details/clippershiperaep00claruoft/page/viii/mode/2up. Accessed on: 12 April 2021. Dorůžka, Lubomír (1961) Americká lidová poezie. Praha: Státní nakladatelství krásné literatury a umění. Dorůžka, Lubomír (1997) Panoráma paměti. Praha: Torst. pp. 304-309. Fox-Strangways, Arthur Henry (1922-1923) ‘Translation of Songs’. In: Proceedings of the Musical Association, pp. 79-99. Available at: https://www.jstor.org/stable/765665. Accessed on 1 October 2019. Gioia, Ted (2006) Work Songs. Durham and London: Duke University Press Korczynski, Marek and Pickering, Michael and Robertson, Emma (2007) ‘Rhythms of Labour: The British Work Song Revisited’. In: Folk Music Journal, vol. 9(2), pp. 226- 245. Available at: http://www.jstor.org/stable/4522809. Accessed on 1 October 2019. Kotek, Josef (1998) Dějiny populární hudby a zpěvu. Praha: Academia. Linhart, Antonín (1998) Všech vandráků můza II. – Velký trampský zpěvník. Praha: Folk & Country. Low, Peter Allan (2017) Translating Song. Milton park, Abingdon, Oxon; New York: Routledge. Milne, G. J. (2017) ‘Collecting the sea shanty: British maritime identity and Atlantic musical cultures in the early twentieth century’. In: International Journal of Maritime History, vol. 29(2), pp. 370–386. doi: 10.1177/0843871417693997. Accessed on 20 December 2019. Newmark, Peter (1988) A Textbook of Translation. New York: Prentice Hall. Oráč, Ctirad and Oráčová, Hana (ed.) (2010) Trampské písně 1920-1939. Brno: Ctirad Oráč – Outdooring.cz. Pajer, Jiří (1989) Svět lidové písně. Strážnice: Ústav lidového umění.

Přibylová, Irena Silence (1992) Kořeny country hudby [Introduction]. In: Kozák, Miroslav (ed.) (1993) Country zpěvník I. Cheb: G + W spol. s.r.o. pp. 1-12. Přibylová, Irena Silence (1995) Po stopách lidové písně [Introduction]. In: Macek, Jiří (ed.) (1995) Country zpěvník II. Cheb: G + W spol. s.r.o. pp. iii-xii. Přibylová, Irena Silence (1997) Cesta na Západ [Introduction]. In: Macek, Jiří (ed.) (1997) Country zpěvník III. Cheb: G + W spol. s.r.o. pp iii-xi. Saunders, William (1928) ‘Sailor Songs and Songs of the Sea’. The Musical Quarterly, vol. 14(3), pp. 339-357. Available at: http://www.jstor.org/stable/738433. Accessed on 15 October 2019. Smyth, G. (2017) ‘Shanty singing and the Irish Atlantic: Identity and hybridity in the musical imagination of Stan Hugill’. In: International Journal of Maritime History, 29(2), 387- 406. doi:10.1177/0843871417694013. Accessed on 12 October 2020. Stefanowska, Halina (1975) Rozśpiewane morze. Gdańsk: Wydawnictwo Morskie. Tackley, C. (2017) ‘Shanty singing in twenty-first-century Britain’. International Journal of Maritime History, vol. 29(2), pp. 407–421. doi:10.1177/0843871417694014. Accessed on 12 October 2020. Terry, Richard (1914) ‘Sea Songs and Shanties’. In: Proceedings of the Musical Association, vol. 41, pp. 135-140. Available at: http://www.jstor.org/stable/765627. Accessed on 1 October 2019. Trumšaj (2014) ZROZENÍ PĚTKY – 1913 – 1923. Vodní pětka. Available at: https://vodni.petka.org/2014/03/zrozeni-petky/. Accessed on: 5 January 2021. Trumšaj (2014) PĚTKA ROSTE, SÍLÍ A MĚNÍ SE – LÉTA ZRÁNÍ 1923 – 1933. Vodní pětka. Available at: https://vodni.petka.org/2014/03/petka-roste-sili-a-meni-se-leta-zrani-1923- 1933/. Accessed on: 5 January 2021. Trumšaj (2014) DO SVĚTA A NA MOŘE – NA VRCHOLU SIL 1933 – VÁLKA. Vodní pětka. Available at: https://vodni.petka.org/2014/03/do-sveta-a-na-more-na-vrcholu-sil-1933- valka/. Accessed on: 5 January 2021. Vondrák, Jiří and Skotal, Fedor (2004) Legendy folku a country. Brno: Jota. Wanner, H (1966) ‘Die Hauptformen des Hochseeshantys’. In: Jahrbuch Für Volksliedforschung, vol. 11, pp. 26-36. doi:10.2307/847130. Accessed on 1 October 2019. Whates, Harold (1937) ‘The Background of Sea Shanties’. In: Music & Letters, vol. 18(3), pp. 259-264. Available at: http://www.jstor.org/stable/727760. Accessed on 20 December 2019.

Resumé (English)

The aim of this thesis is to introduce the genre of sea shanties and provide an overview of its most prominent features for later analysis of the Czech versions, track and collect Czech versions of sea shanties, discuss the reasons for their adoption, the process of their adoption and the actors that played a role in it, and to analyse the change of position of the most prominent sailing-specific features due to the adoption of sailor’s work songs to a completely landlocked

Czech culture.

The first chapter provides a historical overview of shantying (the act of singing sea shanties) divided into two parts – shantying in English and in Czech. The first part focuses on the creation and use of shanties in the nineteenth century, their subsequent collecting by folklorists in the early decades of the twentieth century and their resurgence during the folk revival of the 1960s. The second part introduces the first Czech versions adopted by Scouts, discusses the influence of tramp movement on the later wave of shanty adoptions during the

1960s and 1970s, introduces the prominent translators, interprets and poets of the Czech shanty resurgence in the 1960s and 1970s and examines the singers and bands who adopted sea shanties after the Velvet Revolution.

The second chapter analyses the most prominent sailing-specific features of sea shanties that are later used as a basis for the analysis of the Czech versions. It points out the difference between sea shanties and other songs of the sea, discusses the possibility of definitive versions of sea shanties, provides a basic typology of the songs, comments on the importance of rhythm and provides an overview of the textual features of sea shanties.

The third chapter analyses the prominent sailing-specific features of Czech versions. It is divided into two categories – structural (alternating chorus and grand chorus) and textual

(sing-outs, vocables, place names, personal names, words for ships and words for captains).

Resumé (Czech)

Práce si klade za cíl uvést a popsat v Česku neznámý hudební žánr námořnických pracovních písní ‚sea shanties‘ – snaží se shrnout historický kontext jejich vzniku a používání a popsat jejich nejdůležitějších rysy neodmyslitelně spjaté s námořní kulturou. Dále se práce zabývá sběrem českých verzí těchto písní, analýzou procesu přejímání a představením hlavních osobností, které se na jejich přenosu zasloužily. Praktická část práce se následně zaměřuje na změny ve zmíněných nejdůležitějších rysech v českých verzích těchto písní způsobené přenosem z námořní kultury do kultury suchozemské.

První kapitola obsahuje historický přehled vývoje ‚sea shanties‘ rozdělený na dvě části

– anglickou a českou. Anglická část popisuje vznik a použití těchto písní v devatenáctém století, jejich následný úpadek a zařazení do antologií a kolekcí předních i neznámých folkloristů počátku dvacátého století, a jejich znovuobjevení v době folkové revoluce v 60. letech. Česká

část je sestavená podobným způsobem – zaměřuje se na první přejaté ‚sea shanties‘ v repertoáru vodních skautů, vliv trampského hnutí na otevřenost české kultury k námořním písním, hlavní vlnu přejímání v 60. a 70. letech s důrazem na důležité překladatele, básníky a interprety, kteří se zasloužili nejen o existenci, ale především o popularitu ‚sea shanties‘ v tehdejších hudebních

žebříčcích, a nakonec na kapely a zpěváky přejímající tyto písně po sametové revoluci.

Druhá kapitola se zabývá nejdůležitějšími rysy pevně spojenými s námořní kulturou, která dala zkoumaným písním vzniknout. Její jednotlivé části se zaměřují na rozdíly mezi námořnickými písněmi a specifickým žánrem ‚sea shanties‘, nemožnost určení původní verze, typologii zkoumaných písní, důležitost rytmu a také na hojně se vyskytující slova.

Třetí kapitola obsahuje analýzu vybraných rysů z předchozí kapitoly a dělí se na dvě

části – analýzu struktur (refrén rozdělující verš, hlavní refrén) a analýzu textů (námořnických výkřiků, nelexikálních zvolání, místních názvů, jmen, typů lodí a přezdívek pro kapitány).

Appendix

Hauling Shanties

Blow Boys Blow

Americká loď Jaroslav Novák ?

To Americká loď se nese, – vpřed, kluci vpřed. To yankee loď a neuhne se, –vpřed, vy řvouni, vpřed vy řvouni vpřed.

To yankee loď na řece Pramy. Má stěžeň v půli plachty zdrány.

Jak‘s poznal že to amerikán. Má hvězdy, pruhy pohlédni tam.

Jak‘s poznal jejich kapitána. To starý Joe Černá Vrána.

Jak‘s poznal jejich tajný náklad. Znám jeho způsob lidi lákat.

Jak‘s poznal co k obědu měli. Nic, do hrnce jenom čuměli.

A pějme dnes a řveme zítra. snad dočkáme se všichni jitra.

Blow the Man Down

Já bych ho plác, chlapa Blow the Man Down Stanislav Mareš Colcord (ed.) 1961 1938

Já bych ho plác, chlapa, já bych ho plác! Oh, blow the man down, bullies, blow the – Pusťte mě blíž, já bych ho plác man down! Já bych ho plác, chlapa, po hubě plác! To me way-aye, blow the man down. – Jen kdybych moh, já bych ho plác! Oh, blow the man down, bullies, blow him right down! Give me some time to blow the man down!

Jednou se procházím po ulici As I was a walking down Paradise Street a natrefím panenku krasavici. A pretty young damsel I chanced for to meet.

Má kulatou záď, hezky vysokou příď She was round in the counter and bluff in plachty jsem všecky stáh, jen jsem ji zhlíd. the bow, So I took in all sail and cried, "Way enough now."

Já podal jí ploutev a do vleku vzal So I tailed her my flipper and took her in a ráhno u ráhna jsme courali dál. tow And yardarm to yardarm away we did go.

Jak couráme, holka mě balamutí: But as we were going she said unto me, „Koukej se, parníček před vyplutím!“ “There's a spanking full-rigger just ready for sea.”

Parníček akorát k New Yorku táh, That spanking full-rigger to New York was stavěnej fajn, mužstvo na palubách. bound; She was very well manned and very well found.

Sotva se parníček z přístavu vlík, But soon a that packet was clear of the bar, záporou natřel mě kormidelník. The mate knocked me down with the end of a spar.

Když na moře vyplul ten proklatej šíf And as soon as that packet was out on the zkusil jsem trápení nejhroznější. sea, `Twas devilish hard treatment of every degree.

A proto, než dozpívám, radu ti dám: So I give you fair warning before we belay; Nevěř, co holka ti napovídá! Don’t never take heed of what pretty girls say.

Pár mu jich dej Vilém Dubský 1970

Jen chvíli se zastav a dej si říci. – Hola hej, hej, pár mu jich dej. A zpívej, co zpívají námořníci, – buď na něj zlej a pár mu jich dej.

Já jsem pravej námořník, loď je můj dům, že voda je pro ryby, piju jen rum.

Náš hodnej pan kapitán je muž činu. On nepije alkohol kromě ginu.

Když v přístavu kotvíme, jó to jsem rád, hodně se napít a trošku se prát.

Řek kapitán, že loď má v boku díru a žralok, že bere si na nás míru.

Až kapitán zakotví tu loď starou, my hned na břeh vyplujem plnou parou.

Sto děvčat už čeká nás u přístavu a já budu první, co ztratí hlavu.

Jsou v přístavech krčmy a restaurace a my do všech zajdeme podívat se.

A až zazní sirény píseň známá, zas budem mít oceán pod nohama.

Running Chorus

What Shall We Do With The Drunken Sailor

Čert ví (kdy kotvy zvednem) Zdeněk Borovec 1970

Náš lodivod už je zas jak kára, náš lodivod už je zas jak kára, náš lodivod už je zas jak kára, koukej, jak se klátí

Ch: Čert ví, kdy kotvy zvednem, čert ví, kdy kotvy zvednem, čert ví, kdy kotvy zvednem, když to s ním tak mlátí. (2x)

Hej, všechen rum rychle přes palubu, (3x) ať nepije dále.

Ch: Čert ví, kdy kotvy zvednem, … nejdřív na Tři krále. (2x)

Náš lodivod není už jak kára, náš lodivod není už jak kára, náš lodivod už je fit a kárá námořníky hloupý.

Ch: Já vím, kdy kotvy zvednem, … až se rum zas koupí. (2x)

Až se rum zas koupí, až se rum zas koupí, až se rum zas koupí.

Co uděláme s tím námořníkem Vilém Dubský 1970

Co uděláme s tím námořníkem, co uděláme s tím námořníkem, co uděláme s tím námořníkem, opilým hned zrána?

Ch: Vej hej to jsou věci, vej hej to jsou věci, vej hej to jsou věci, opilým hned zrána.

My pověsíme ho do lanoví (3x) pověsíme zrána.

Ch: Vej hej to jsou věci, ... pověsíme zrána.

Dáme ho do trnitého křoví, (3x) dáme ho tam zrána.

Ch: Vej hej to jsou věci, ... dáme ho tam zrána.

Až se vzbudí bude jako nový, (3x) až se vzbudí zrána.

Ch: Vej hej to jsou věci, ... až se vzbudí zrána.

Opilý námořník What Shall We Do With the Drunken J. Koutský Sailor 1995 Koutský’s source version 1995

Co uděláme s tím námořníkem, What shall we do with the drunken sailor, co uděláme s tím námořníkem, what shall we do with the drunken sailor, co uděláme s tím námořníkem, what shall we do with the drunken sailor vždyť on sotva stojí. early in the morning.

Ch: Z přístavu loď vyplouvá, Hooray and up she rises, Z přístavu loď vyplouvá, hooray and up she rises, Z přístavu loď vyplouvá, hooray and up she rises, a on sotva stojí. early in the morning.

Na složené plachtoví ho dejme, (3x) Take him and shake him and try to awake ať tam sladce dřímá. him, (3x) early in the morning.

Pak probudíme ho vědrem vody, (3x) Give him a dose of salent water, (3x) přejem dobré ráno. early in the morning.

Zuby mu srovnáme pevnou pěstí, (3x) Give him a dash with a besoms rubber, (3x) aby dobře kousal. early in the morning.

Na záda přišijem pevnej flastr, (3x) Put on his back a moster plaster, (3x) aby nám stál rovně. early in the morning.

Řetězem kotevním ho obalíme, (3x) Put him in the long-boat till he’s sober, (3x) ať se nenachladí. early in the morning.

Za šos ho vytáhnem a proklepem, (3x) Pull out the plug and wet him all over (3x) na šatech měl smítko. early in the morning.

Osvěží ho odtoková roura, (3x) Put him in the scruppers with a hose-pipe on už otvírá oči. him, (3x) early in the morning.

Potom ho za nohu zčerstva zvedne, (3x) Heave him by the leg in a running bowlin‘, už nám stojí zpříma. (3x) early in the morning.

To uděláme s tím námořníkem, (3x) That’s what to do with the drunken sailor, aby se nám probral. (3x) early in the morning.

V hospodě U Tří Bernardýnů V hospodě U Tří bernardýnů Úlet ? ? ?

V hospodě U Tří Bernardýnů, V hospodě U Tří Bernardýnů, V hospodě U Tří bernardýnů, V hospodě U Tří Bernardýnů, v hospodě U Tří bernardýnů, teče víno proudem. v hospodě U Tří bernardýnů teče pivo proudem. Ch: Jójó to jsou věci, Jójó to jsou věci, Ch: Jé, jé, to jsou věci Jójó to jsou věci, jé, jé, to jsou věci, teče víno proudem. jé, jé, to jsou věci, teče pivo proudem. Náš kapitán je vožralej, (3x) teče víno proudem. Vyvalte sudy na palubu (3x) teče pivo proudem. Co s ním teda uděláme, (3x) teče víno proudem. Náš kapitán je zas jak kára (3x) teče pivo proudem. Hodíme ho přes palubu, 3x) teče víno proudem. Co uděláme s tím kapitánem, (3x) teče pivo proudem. Teď poplujem beze směru, (3x) teče víno proudem. Kapitána hodíme přes palubu, (3x) teče pivo proudem. V hospodě U tří Bernardýnů, (3x) teče víno proudem. Kapitán už to nerozchodí, (3x) teče pivo proudem.

V hospodě U Tří bernardýnů, (3x) teče pivo proudem.

Heaving Shanties

The Banks of Sacramento

Když toulal jsem se Jaroslav Novák (Braťka) ?

Když toulal jsem se nábřežím – a hůdedej a hůdedej, tu náhle krásnou dívku zřím – a hůde, hůdedej.

Ch: Vpřed kluci, vpřed do Kalifornie, kde plno zlata čeká nás, na břehu Sacramenta.

Ta dívka byla spanilá, a tůze se mi líbila.

Já tázal jsem se zda byla již tam, kde loď má kotvila.

Zda dovésti ji tam snad smím a zda ji opět uvidím.

A ona na to „hiheho“ já mám už svého milého.

Kalifornie California Josef Hiršal Carl Sandburg (ed.) 1961 1927

My s partou svou měli v mžiku fit, When formed our band, we are all well do zaslíbené země vyrazit. manned, Zlaté rudy má celý cent To journey afar to the promised land; říční břeh, kudy teče Sacrament. The golden ore is rich in store On the banks of the Sacramento shore. Ch: Hej, hoši, jé! Do Kalifonie! Zlata tají metrák, Then ho, boys, ho! jak říkají, To Califonia go, říční břeh kudy teče Sacrament. There’s plenty of gold in the world, I’m told, on the banks of the Sacramento shore. Když plujem po pěně na vlnách, jsme u drahých vzdálených As oft we roam o’er the dark sea’s foam v myšlenkách. We’ll not forget kind friends at home, A vzpomínky nám donesou But memory kind shall bring to mind lásku ode všech, kteří doma jsou. The love of friends we left behind.

Náš život bude jen strádání, We’ll expect our share of the coarsest fare, až pod nebem ulehnem ke spaní. And sometimes sleep in the open air, Na holé zemi najdem klid, On the cold damp ground we’ll all sleep sound nebudou-li však kolem vlci výt. Except when the wolves go howling round.

Až prohledáme ten dálný břeh As we explore the distant shore, a zlatý prach rozcinká kapsy všech, Filling our pockets with the shining ore, pak rozlehne se křik a jek, How it will sound as the wind goes round, kapsy naplní tucty bankovek. Filling our pockets with dozen of pounds.

Zlato je všude, kam se hnem, The gold is there almost anywhere; vylámeme ho kupy sochorem. We dig it out rich with an iron bar, A kde je žíla bohatá, But where it is thick, with spade or pick špalky ze zlata vyloupne lopata. We take out chunks as big as a brick.

Kalifornie (folk version) ? ?

My partu měli v mžiku fit, – tjudá tjudá, a tak jsme mohli vyrazit, – tjudá tjuda dej.

Tam, kde je zlata celej cent, na březích řeky Sakrament,

Ch: Hej, hoši hej do Kalifornie, tam zlata metrák najdeme na březích Sakramenta.

Život náš bude strádání, pod nebem lehnem ke spaní,

Na holý zemi najdem klid, jen když nebudou vlci výt,

Až prohledáme dálný břeh, rozcinká zlato kapsy všech,

Pak rozlehne se křik a jek, my shrábnem tucty bankovek,

Zlato je všude kam se hnem, vylámem skály sochorem,

A kde je žíla bohatá, nabere zlato lopata,

Blow, Ye Winds

Foukej, větře Blow, Ye Winds Stanislav Mareš Colcord (ed.) 1961 1938

V New Yorku, v Buffalu i v Bostonu koukáš ‘Tis advertised in Boston, New York and na plakát, Buffalo, že pět set smělých chlapců budou Five hundred brave Americans, a-whaling for k velrybářům brát. to go, singing,

Ch: Jenom foukej nám, větře, zrána, Blow, ye winds in the morning, jenom foukej, větře, dál! And blow, ye winds, high-o! Stáhni všecko lanoví, Clear away your running gear, a jen foukej, větře, dál! And blow, ye winds, high-o!

Jo, New Bedford, to je velrybářů přístav They send you to New Bedford, that famous proslulý, whaling port, tam suchozemskej žralok s výstrojí tě ošulí. And give you to some land-sharks to board and fit you out.

Pak tě do hotýlku pošlou, kde se načekáš až They send you to the boarding house, there for až, a time to dwell; víc zlodějů než tady ani v pekle nepotkáš! The thieves they there are thicker than the other side of hell!

Prý plachetnice zrovna se tu k plavbě hotoví – They tell you of the clipper-ships a-rgoing in ta do půl roku nejmíň pět set velryb uloví! and out; And say you'll take five hundred sperm before you're six months out.

Už jsme v širým oceánu a už vítr začíná – It‘s now we're out to sea, my boys, the wind půl hlídky blinká na palubě, zbytek comes on to blow; v kabinách. One half the watch is sick on deck, the other half below.

A co se týče jídla, to ti řádně vytráví – But as for the provisions, we don't get half máš denně pytlík sucharů a maso smradlavý. enough; A little piece of stinking beef and a blamed small bag of duff.

Pak s kompasem se trápíš, tyhle čárky čert má Now comes that damned old compass, it will vzít, grieve your heart full sore. když místo čtyřiceti čtyř máš dvaatřicet mít. For theirs is two-and-thirty points and we have forty-four.

A plachty musíš podkasat a šplháš výš a výš – Next comes the running rigging, which you're „Lez, mrcho, nebo přes palubu rovnou all supposed to know; poletíš!“ 'Tis "Lay aloft, you son-of-a-gun, or overboard you go!"

A na přídi už bednář sudy stloukat začíná The cooper's at the vise-bench, a-making iron a kormidelník z průvlaku nás všecky proklíná. poles, And the mate's upon the main hatch a-cursing all our souls.

Na můstku stojí patron a nás řádně prohání, The Skipper's on the quarter-deck a-squinting když tu hlídka hlásí shůry celý hejno vorvaní! at the sails, When up aloft the lookout sights a school of whales.

„Hej, hoši, čluny na vodu a jeďte jak sám ďas, "Now clear away the boats, my boys, and after jenom pozor, nebo ocasem svým k čertu him we'll travel, pošlou vás!“ But if you get too near his fluke, he'll kick you to the devil!"

A vorvaně už máme, už tu mrchu vlíkneme Now we have got him turned up, we tow him a stahovacím hákem z něho kůži svlíkneme. alongside; We over with our blubber-hooks and rob him of his hide.

Náš harpunář zas hlídá práci na těch Now the boat-steerer overside the tackle zvedákách overhauls, a patron jenom u řetězů na nás huláká. The Skipper's in the main-chains, so loudly he does bawl!

Pak ukládáme tuk a teprv k ránu jdeme spát – Next comes the stowing down, my boys; 'twill půl dolaru ti dělá celý podíl tentokrát! take both night and day, And you'll all have fifty cents apiece on the hundred and ninetieth lay.

A Tombas už se blíží – prima přístav, řeknu Now we are bound into Tonbas, that blasted vám! whaling port, V tu ránu tě tam lapnou, neboť utéct nemáš And if you run away, my boys, you surely will kam! get caught.

A už Tuckoona se blíží, zase díra akorát, Now we are bound into Tuckoona, full more tam kapitán by za sud mouky skoupil in their power, konsulát! Where the skippers can buy the Consul up for half a barrel of flour!

Ale teď už máme plnou loď a o víc neběží – But now that our old ship is full and we don't plachty napnem a zas plujem k yankeeskýmu give a damn, pobřeží! We'll bend on all our stu'nsails and sail for Yankee land.

Až dorazíme domů z týhle plavby sezónní, When we get home, our ship made fast, and pak čert vem všecky velryby, až sklínky we get through our sailing, zazvoní! A winding glass around we'll pass and damn this blubber whaling!

Jen ať vítr fouká Vilém Dubský 1970

My obepluli Boston, New York a Buffalo, a na cestě za velrybou nás štěstí potkalo. A proto:

Ch: Jen ať vítr fouká, fouká do plachet. Nesmí přestat dříve nežli obeplujem svět.

Když hlídka na stožáru „Tam stříká“ zakřičí, potom náš pan kapitán nás řádně rozcvičí.

S tou naší těžkou prací se nikdo nechlubí. Půlka mužstva hlídá, půlka spí v podpalubí.

Když v koši na stožáru musíš držet stráž, pak musíš koukat kolem, až si oči vykoukáš.

Když velryba je blízko, my v člunu plujem k ní a v okamžiku harpuna se vzduchem zavlní.

Však velryba se brání, krvácí ze svých ran, a nežli slunce zajde, krutý čin je dokonán.

A do příštího rána už nezbude z ní nic a my pak s větrem v zádech poplujem dobrodružství vstříc.

Rio Grande

Rio Grande Hana Zagorová 1972

Teď slyšte tu píseň, co oceán pěl, ó,Rio, teď slyšte tu píseň, co oceán pěl, naše loď pluje k Riu Grande.

Ch: Sbohem buď lásko má, ó, Rio, a vzpomínej a dobře se měj, naše loď pluje k Riu Grande.

Je naše loď rychlá, je rovníku blíž, ó,Rio, a její příď směřuje na Jižní Kříž, naše loď pluje k Riu Grande.

Ch: Sbohem bud lásko má…

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Santa Anna

Santy Anna Santy Anna Josef Hiršal Colcord (ed.) 1961 1938

Ó, Santy Anna zvítězil! O Santy Anna gained the day, – Hurá, Santy Anna! Hoo-ray, Santy Anna! Jednou prohrál, dvakrát vítěz byl! He lost it once but gained it twice, – A vždy na pláních Mexika. All on the plains of Mexico!

A Taylor musel roha vzít, And General Taylor ran away, až v Monterey se zastavit He ran away at Monterey.

Santy Anna chtiv slávy byl Oh, Santy Anna fought for fame, a každý o něm hovořil. And there’s where Santy gained his name.

Santy Anna se chrabře bil Oh, Santy Anna fought for gold, a v hrozném boji zvítězil. And the deeds he done have oft been told.

Teď Santy Anna půjde spát, And Santy Anna fought for his life, už nebude víc bojovat. But he gained his way in a terrible strife.

Zaslech jsem, že námořníkům Oh, Santy Anna’s day is o’er, dá starej večír nalejt rum. And Santy Anna will fight no more.

I thought I heard the Old Man say He’d give us grog this very day.

Santiano Santiano Ivo Fischer Jacques Plante / Hugues Aufray 1967 1961

Kdo o sobě chce říct, že je námořník, C’est un fameux trois-mâts, fin comme un měl by znát Santiano. oiseau Bílou loď, co má štíhlou příď, Hissez haut! Santiano! jak ty krásný holky u nás v Saint-Malo. Dix-huit nœuds, quatre cents tonneaux Je suis fier d’y être matelot Ch: Sem s písničkou a dokola, Tiens bon la vague et tiens bon le vent johohó Santiano. Hissez haut! Santiano! Když Bůh dá tak už Si Dieu veut, toujours droit devant ráno kotva žbluňkne doma u mola. Nous irons jusqu’à San Francisco

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A ten, kdo nešel spát slyší vítr hrát Tiens bon la vague et tiens bon le vent v ráhnoví Santiána. Hissez haut! Hissez haut! Santiano! Zpívá mi tu, co já mám rád, Si Dieu veut, toujours droit devant co ji zpívaj všechny holky u nás v Saint- Nous irons jusqu’à San Francisco Malo. On prétend que là-bas, l’argent coule à flots Tvou přídí zatím dál vlny zmítají, Hissez haut! Santiano! ale já, Santiano, On trouve l’or au fond des ruisseaux vidím, jak nás vítají J’en ramènerai plusieurs lingots všechny holky u nás doma v Saint-Malo. Tiens bon la vague et tiens bon le vent Hissez haut! Hissez haut! Santiano! Si Dieu veut, toujours droit devant Nous irons jusqu’à San Francisco Un jour je reviendrai, chargé de cadeaux Hissez haut! Santiano! Au pays, j’irai voir Margot À son doigt, je passerai l’anneau Tiens bon le cap et tiens bon le flot Hissez haut! Hissez haut! Santiano! Sur la mer qui fait le gros dos Nous irons jusqu’à San Francisco.

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Shenandoah

Široká Mizzouri The Wide Mizzoura Josef Hiršal Carl Sandburg (ed.) 1961 1927

Mou prý být nechce ani jeden den, She said she would not be my lover, – haj–ou, řeko dunící, Hi-oh, you rolling river, jsem pro ni prostým námořníkem jen, Because I was a dirty sailor, – ah–ah, teď plout chci v dál širokou Ah-hah, I’m bound away ‘cross the wide Mizzouri. Mizzoura.

Tabáček žvýkám, piju si svůj rum, A-drinkin’ rum and a-chewin’ t’baccer, – haj–ou, řeko dunící, Hi-oh, you rolling river, tabáček žvýkám, piju si svůj rum, A-drinkin’ rum and a-chewin’ t’baccer, – ah–ah, teď plout chci v dál širokou Ah-hah, I’m bound away ‘cross the wide Mizzouri. Mizzoura.

Oh Shenandoah Rangers / Antonín Hájek, Radek Tomášek 1969

Oh Shenandoah, už cestu mám, cestu tam, kam ptáci letí, k modrým vodám tvým se skláním, oh Shenandoah.

Já vím, proč křídla chtít, letět tam, kde proud tvůj mizí, přes celý Maryland se vlny valí, oh Shenandoah.

Žal svůj chceš moři dát, vem i můj a nes ho chvíli, síla tvá ty lesy kácí, vem i můj.

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Oh Shenandoah, už cestu mám, cestu tam, kam ptáci letí, k modrým vodám tvým se skláním, vlny jdou, vlny jdou, vlny jdou, oh Shenandoah.

Shenandoah Radůza 2014

Ach Shenandoah, synům svým zpíváš, snad hlas tvůj i mne utěší, v údolí tvém když se stmívá, ach, tenkrát, má Shenandoah, řekou plout je nejtěžší.

Unikám já s dívkou svojí, vlnami tvých peřejí, měsíc svítí skrz chvojí láskám, jimž, má Shenandoah, lidé štěstí nepřejí.

V skalách, kde tok tvůj se stáčí, vesla zlámal divý proud, oči mé navěky pláčí, že jsem ztratil lásku svou, ve tvých vodách, Shenandoah.

Ať břehy tvé navěky smlčí, že ani já už nechtěl žít, nech zpívat smečky vlčí, že i já, má Shenendoah, navždy spím ve vlnách tvých.

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South Australia

Směr Jižní Austrálie Karel Ulbert 1977

Jó, jih australskej domov můj, – hola hou, hola hej, Hornův mys jen obepluj – k Jižní Austrálii!

Ch: Králi vod slyš píseň mou, hola hou, hola hej, vzhůru cestou houpavou, tam k jižní Austrálii.

Má matka píše po sedmí, zanech moře, vrat' se mi,

Snad radši někdy nežil bys, loď když míjí Hornův mys,

Mý ženě tryská slzí proud, loď když vidí zpátky plout,

Já musím moře v očích mít, houpat se a whisky pít,

Jó jih australskej domov můj, Hornův mys jen obepluj,

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Stormalong

Kapitán Stormy Stormy Rangers / Petr Rada The New Christy Minstrels 1996 1964

Ani ti nejlepší muži nemohou žít věčně. Even giants don’t live forever. And when their Když splní svůj pozemský úkol, odcházejí, work is done and they move on, it’s a mighty a nás zanechají našemu smutku. Kapitán sad time. The greatest giant among the sea Stormalong byl vážený ve všech přístavech captains of the Gulf Ports was a man named Mexického zálivu. Ti, kteří ho měli rádi, Stormalong. Those who knew him and loved mu říkali Stormy. him called him Stormy.

Bože náš, tys moří pán. Stormy’s gone, that good old man. Stormy, tvůj kapitán, To me way, Stormalong! poslední má plavbu plout. It’s a long, long journey home.

Dej Bože náš, dej mu věčně plout. We lowered him down with a silver chain, Mořem plout, dál a sám, To me way, Stormalong! poslední má plavbu plout. It’s a long, long journey home.

Ať mu vítr svou píseň hrá nebeskou, And the waves that rolled and the winds that jak je krásné po zátokách snít. blowed, Ať mu září tmou jasné hvězdy nad hlavou. will carry him home to the sea. Jen v našich srdcích smí žít. To a place I know, where the best of sailors go, that’s where our captain will be.

Dej Bože náš, dej mu věčně plout. We’ll pipe all hands, bid a last farewell. Mořem plout, dál a sám, To me way, Stormalong! poslední svou plavbu, dál a sám, It’s a long, long journey, roll along, poslední svou plavbu plout. It’s a long, long journey home.

Bože náš, tys moří pán. Stormy’s gone that good old man!

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Ten Thousand Miles Away

Deset tisíc mil v dál Ten Thousand Miles Away Josef Hiršal Carl Sandburg (ed.) 1961 1927

Opěvám svou bárku tak báječnou a s ní vítr, Sing I for a brave and a gallant barque, and a co ráhny chví, stiff and a rattling breeze kapitána, mužstvo výtečné, že k milé mě A bully crew and a Captain true, to carry me dopraví; o’er the seas; že k milé mě dopraví, hoši, které jsem To carry me o’er the seas, my boys, to my sbohem dal –al –al, true love so gay-ay-ay, než podnikla cestu na vládní lodi deset tisíc Who went on a trip on a Government ship, mil v dál. ten thousand miles away!

Ch: Vějte, větry, hoj, já nenajdu pokoj, Blow, ye winds, hi oh! A roaming I will opouštím břehy Anglie, spusť kapelo, go, mám cíl; I’ll stay no more on England’s shore, so na cestu se zítra dám přes řvoucí moře let the music play; sám, I’ll start by the morning train, to cross věrná láska, k níž jdu, je vzdálená na the raging main, deset tisíc mil. For I’m on the road to my own true love, ten thousand miles away!

Má láska byla tak ztepilá, moje láska byl My true love she was handsome, my true mládí pel, love she was young, v očích květy modré fialky a její hlas Her eyes were blue as the violet’s hue, and stříbrem zněl; silvery was the sound of her tongue; a její hlas stříbrem zněl, hoši, co bych vám And silvery was the sound of her tongue, my povídal –al –al, boys, and, while I sing this lay-ay-ay, a teď dělá dámu v zemi vzdálené deset tisíc She’s a-doing of the grand in a far off land, mil v dál. ten thousand miles away!

Vějte, větry, hoj, já nenajdu pokoj… Blow, ye winds, hi oh…

Hej, kdybych se námořníkem směl stát nebo Oh! if I were a sailor lad, or even a kanonýrem snad byl, bombardier, najal bych loď a za svou láskou své I’d hire a boat and go afloat, and straight to kormidlo natočil; my true love steer; své kormidlo natočil, hoši, kde delfín And straight to my true love steer, my boys,

107 tancoval –al –al, where the dancing dolphins play-ay-ay, kde se mořem honí žralok s velrybou deset And the whales and sharks kick up their tisíc mil v dál. larks, then thousand miles away!

Vějte, větry, hoj, já nenajdu pokoj… Blow, ye winds, hi oh…

Spíš slunce zlomí mlhu Londýna, volný The sun may shine through a London fog, or proud bude řeka mít, the river run bright and clear, vína bude plný oceán, já přestanu pivo pít; The ocean’s brine be changed to wine, and I spíš přestanu pivo pít, hoši, nevzdechnu na forget my beer, kvartál –al –al, And I forget my beer, my boys, or the od své milé ale neodejdu víc deset tisíc mil landlord’s quarter day-ay-ay, v dál. But never will I part from my own sweetheart ten thousand miles away.

Vějte, větry, hoj, já nenajdu pokoj… Blow, ye winds, hi oh…

Deset tisíc mil Karel Ulbert 1977

Hola hej ou hej, je to pevnej šíf, kterej dobrý plachty má príma kapitán je tý lodi pán, von ji vede vlnama. Von ji vede vlnama, ou hej, abych u svý lásky byl, která zná tu pouť, co já budu plout – vodsud deset tisíc mil.

Ch: Jenom zafoukej, větře, do plachet, já se chystám cestovat. Mlha zakryje břehy Anglie, a tak začněte už hrát, a tak začněte už hrát, ou hej, abych u svý lásky byl! Stráž mi říká: Poď, máš tu vládní loď, pluje deset tisíc mil.

Ach ta láska má byla kouzelná, byla hezká, mladičká, voči měly třpyt, že by kámen chyt a hlas jak hrdlička, a hlas jak hrdlička, ach jo, jenom popěvek mi zbyl, vona v cizině září nevinně – vodsud deset tisíc mil.

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Ach, jak ponurej a jak zoufalej byl ten večer poslední: čtyři náramky měla na zámky, když já se loučil s ní. Kdy já loučil sem se s ní, ach jo, šedej šat jí tělo kryl, řekla: Adijé, lásku zabije – dálka deset tisíc mil.

To dřív z Londýna mlha vodvane nebo Temže ztratí kal, nebo stačí džbán přelejt oceán, než bych piva zanechal. Než bych piva zanechal, to ne, než bych lásku vopustil, která náhodou zmizla za vodou – vodsud deset tisíc mil.

Začni větře dout 1997 Greenhorns / Petr Kocman

Sbohem stará Anglie, už břeh máš pod mlhou už začínají vlny hrát svou píseň houpavou. Tak ať už tedy jdou jó jedna za druhou, já budu foukat ze všech sil, ať plachty víc se hnou.

Ch: Začni větře dout já už musím plout v dálný zemi australský prohledám každej kout, začni větře dout já už musím plout v dálný zemi australský svou milou obejmout.

V nejsmutnějším ze všech dní já viděl dívku svou na vládní loď ji odváděli s pouty na rukou. Moc nehezky jí pad ten trestaneckej šat, deset tisíc mil nás dělí však ne napořád.

Od té doby, co jsem sám, jsem jak prasklej džbán pláč té mojí vzdálené já pořád v uších mám, když loučil jsem se s ní s tou dívkou nevinnou, deset tisíc mil nás dělí mořskou hladinou.

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Deset tisíc mil Fešáci 1998

Zpívej s nadějí a odvahou a bůh nám požehnej, lodi téhleté velí kapitán a tomu svou duši dej. S věrnou posádkou jedu za dívkou a už abych u ní byl, tak dej povel Vpřed! tou vládní lodí těch deset tisíc mil.

Ch: Ty větře musíš dout, abychom mohli plout, už neuslyším ranní vlak v zatáčce zapísknout, ani třeskné? hudby styl, kde tolikrát jsem byl, tak vydávám se na pouť dlouhou těch deset tisíc mil.

Má láska byla překrásná a mladá jako já, a její oči zářily jak hřivna stříbrná. Už je dlouho pryč tou vládní lodí, já abych o ní jen snil, ta loď mi ji dávno odnesla těch deset tisíc mil.

Den co viděl jsem ji naposled byl černý a děsivý, vládním lanem ruce svázaný to každej asi ví, že když loď přístav opouští, konec je krásných chvil, snad vzpomene si někdy na mě těch deset tisíc mil.

Ch: Ty větře musíš dout …

Chtěl bych jet lodí po řece, co míří zas tam k nám, kde hraje třeskná muzika a žízeň máš jak trám. A chlapi křičej přes řeku a pořád bys jen pil, jenže vládní loď mě odváží těch deset tisíc mil.

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S bohem vy mlhy londýnský, už vodráží můj šíf, už nesednu si s mládenci na pivo jako dřív. Kdybych tu dívku neměl rád tak snad bych nezhřešil, a nejel bych přes oceán těch deset tisíc mil.

Ch: Ty větře musíš dout …

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