JAWS and the origin of (farewell and adieu to you fair) "Spanish Ladies"
Just when you thought it was safe to hop back into the water…..
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Robert Shaw's portrayal of Quint in "Jaws" is frequently regarded as the apex of his illustrious acting career. Despite having previously portrayed iconic characters like Henry VIII and the Bond villain Red Grant in "From Russia with Love" (1963), accumulating over 50 screen roles, it was his embodiment of Quint, complete with the now-iconic mutton chops.
However, it was another maritime role that provided the inspiration for a pivotal Quint moment in "Jaws." Ian Shaw, Robert's son and star/co-writer of the Jaws-inspired play "The Shark Is Broken," asserts that this particular moment is the closest depiction of his father's true personality.
Preparing to depart Amity and confront the deadly shark, Hooper meticulously selects and loads his costly equipment onto the Orca. Quint, with his disdain for modern contraptions evident, particularly scoffs at the anti-shark cage, highlighting its inherent peril. "Cage goes in the water, you go in the water. Shark's in the water. Our shark," he gruffly remarks, underlining the imminent danger. Hooper, well aware of the risks, acknowledges Quint's grim assessment. Amidst the preparations, Quint momentarily shifts the mood, serenading Hooper with a few lines from the traditional naval song "Spanish Ladies." The irony hangs heavy, as both men likely recognize the historical context: the same tune once echoed on the doomed Pequod, Ahab's vessel in Moby Dick, as the crew embarked on their fateful quest for the great white whale.
Quint (Robert Shaw) tautning Hooper (Richard Dreyfuss as they prepare to leave Amity Island to hunt the shark in JAWS (1975)
The ballad known as "Spanish Ladies" was officially recorded in the English Stationer's Company records on December 14, 1624. However, the earliest documented mention of this song appears much later in the 1796 logbook of HMS Nellie, suggesting it likely originated during the Napoleonic era. This timing coincides with the War of the First Coalition (1793–96), a period when the Royal Navy provided support to Spain against revolutionary France. Its popularity likely grew during the Peninsular War, as British soldiers were deployed across the Iberian peninsula to aid local rebels against French occupation. Despite their victory over the Grande Armée, these soldiers were not permitted to bring their Spanish spouses, partners, or children back to Britain.
James E, Butterworth's The Clipper Ship Flying Cloud off the Needles, Isle of Wight (1859–60).
"Spanish Ladies" predates the formal development of sea shanties, which were primarily used as work songs by merchant sailors rather than naval personnel. Nevertheless, in his 1840 novel "Poor Jack," Captain Frederick Marryat noted that "Spanish Ladies," once widely enjoyed, had fallen into obscurity. He included the entire song in his novel with the intention of preserving it from being forgotten. The resurgence of sea shanties in the mid-19th century brought renewed attention to "Spanish Ladies," leading to its incorporation into the genre as a "borrowed song."
"Spanish Ladies" recounts the journey of British naval sailors as they sail northward from Spain along the English Channel. Due to the wide expanse between Ushant to the south and the Scillies to the north, the crew finds it challenging to determine their latitude by sight. Instead, they rely on measuring the depth and characteristics of the sandy seabed. Arthur Ransome, in his novel "Peter Duck," proposes that the sequence of headlands along the English coast indicates the ship's progress as it tacks away from the French shoreline, with each tack revealing a new landmark. However, a verse within the song mentions the wind blowing from the southwest, suggesting that they set their mainsails to sail up the Channel rather than struggling against a northeasterly wind.
Lyrics
Farewell and adieu to you, Spanish ladies, (alt: "...to Spanish ladies")
Farewell and adieu to you, ladies of Spain; (alt: "...to ladies of Spain;")
For we have received orders (alt: "...'re under orders")
For to sail to old England,
But we hope in a short time to see you again. (alt: "And we may ne'er see you fair ladies again.")
(Chorus:)
We'll rant and we'll roar, like true British sailors,
We'll rant and we'll roar across the salt seas; (alt: "We'll range and we'll roam all on the salt seas;")
Until we strike soundings
In the Channel of old England,
From Ushant to Scilly 'tis thirty-five leagues.
Then we hove our ship to, with the wind at the sou'west, my boys, (alt: "We hove our ship to, with the wind from sou'west, boys,")
Then we hove our ship to, for to strike soundings clear; (alt: "...deep soundings to take;" "...for to make soundings clear;")
Then we filled the main topsail (alt: "'Twas 45 (or 55) fathoms with a white sandy bottom")
And bore right away, my boys, (alt: "So we squared our main yard")
And straight up the Channel of old England did steer. (alt: "And up channel did make." or "...did steer")
So the first land we made, it is called the Deadman, (alt: "The first land we sighted was callèd the Dodman")
Next Ram Head, off Plymouth, Start, Portland, and the Wight; (alt: "Next Rame Head off Plymouth, Start, Portland, and Wight;")
We sailèd by Beachy, (alt: "We sailed by Beachy / by Fairlight and Dover")
By Fairly and Dungeness,
And then bore away for the South Foreland light. (alt: "Until we brought to for..." or "And then we bore up for...")
Now the signal it was made for the Grand Fleet to anchor (alt: "Then the signal was made...")
All in the Downs that night for to meet; (alt: "...that night for to lie;")
Then stand by your stoppers, (alt: "Let go your shank painter, / Let go your cat stopper")
See clear your shank painters,
Hawl all your clew garnets, stick out tacks and sheets. (alt: "Haul up your clewgarnets, let tack and sheets fly")
Now let every man take off his full bumper, (alt: "Now let ev'ry man drink off his full bumper,")
Let every man take off his full bowl; (alt: "And let ev'ry man drink off his full glass;")
For we will be jolly (alt: "We'll drink and be jolly")
And drown melancholy,
With a health to each jovial and true hearted soul. (alt: "And here's to the health of each true-hearted lass.")
Words by Ross Williams
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