warned, joined in the second chorus. He was always careful to rest his voice while the others were singing, and it was considered the proper thing for him to begin his lines so closely after each chorus as to make his first note a prolongation of the last note of the preceding chorus. His lines were expected to rhyme, but he was prudently economical of them, generally using only one line, repeated twice, for each verse. One of the best known of the windlass songs was the " Shanandore": You Shanandore,I long to hear you. Hurrah, you rollin' river! You Shanandore, I long to hear you. Ah, ha, you Shanandore. This is clearly of negro origin, for the "Shanandore" is evidently the river Shenandoah. In course of time some shanty-man of limited geographical knowledge, not comprehending that the "Shanandore" was a river, but conceiving that the first chorus required explanation, changed the second chorus. Thus the modified song soon lost all trace of the Shenandoah River, and assumed the following form, in which it was known to the last generation of sailors: For seven long years I courted Sally. Hurrah, you rollin' river! I courted Sally down in yon valley. Ah, ha! I'm bound away on the wild Missouri. // I'm going to assume for now that by "windlass" he means "capstan." SHENANDOAH would be awkward at the brake/pump windlass, no? // Perhaps the wildest, most mournful, of all sailor songs is "Lowlands." The chorus is even more than usually