The words of these windlass and bowline "shanties" have, of course, little of the element of finished poetry about them. They are not songs, but chants, whose purpose is to give accentuation and force to the exertion of united strength rather than to the expression of sentiment, and of which the rhythmical melody is the essential element. Whether they be new or old, they always have been essentially improvisations, capable of being stopped at any moment or added to indefinitely, and, like the refrains of the old ballads, are dependent upon the sound rather than the sense for their effect. Nevertheless, however imperfect and indefinite their expression, they took their tone and color originally from the elements in which they were born, and gave out not only the voice of the sea and the wind, the notes of the never silent Æolian harp of the cordage and the bellying sails, but the prevailing sentiment of the human heart upon the great deep, its underlying oppression, its longing for home, its craving for relief from monotony; and it is a dull ear that would not detect this, under the most absurd and uncouth words ever strung together in a sailor's shanty. As among the seamen of all races, the chants of the American sailors, before they were so reduced in quality and number by the combined influence of steam vessels and a protective tariff, were of ancient and indefinite origin, and were constantly being altered or added to by circumstance and improvisation. They came, of course, first from the English seamen, who were our sailors' ancestors and associates, to whom at least the element descended from the songs to which the galleys of the sea kings of Scandinavia were impelled over the foaming brine, or the Celtic coracle was paddled on the lonely lake; and it is impossible, in a mass of rude verse, of little definite meaning, of a fluid and fluctuating form, and handed down from lip to lip without ever, except incidentally, having been put into print and preserved, to fix the origin or the date of creation of any of these songs. There are traces of old phrases and archaisms, ancient words strangely metamorphosed into a semblance of modern meaning, and all such settlings and deposits as are to be found in the geological strata of spoken language,--references to mermaids, sea-serpents, and survival of myths regarding the powers of the sea and air; but they are of no such distinct historic value as are the indications to be found in the more definite folk-lore in prose or verse, which have the element of dramatic interest and narrative. It is to be remembered that these chants, as we have said, were essentially improvisations, with a purpose different from ordinary song,--that is, to give the governing power of melody to united exertion,--and that whatever color and substance they have are extraneous, and not inherent. What is distinctively American can be determined only by local allusions