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to attack, the British navy decided to fire their cannons and rifles at the kegs. Not knowing the rebels intentions, Philadelphia citizens watched as the British navy destroyed, what appeared to be, trash. This song tells the tale of the Battle of the Kegs from the point of view of |
a British loyalist. Francis Hopkinson, who attended the First Continental Congress, wrote the lyrics and used adjectives such as "strange," and a sight "surprising." He used sarcasm to convey the ridiculousness of the situation and the colonists, and wrote about preparing for "bloody war," and that if the kegs are |
not rerouted downstream, "British courage" will be "doubted." SONG 2. Johnny Has Gone for a Soldier (Verse I, All): Here I sit on Buttermilk Hill, who could blame me cry my fill? And every tear would turn a mill. Johnny has gone for a soldier. (Chorus, All): Shule, shule, shulagra, |
sure and sure and he loves me. When he comes back we'll married be, Johnny has gone for a soldier. (Verse II, Men): Me, oh my, I love her so, Broke my heart, I had to go And only time will heal my woe. Johnny has gone for a soldier. |
(Verse III, Women):I'll sell my rod, I'll sell my reel, likewise I'll sell my spinning wheel. And buy my love a sword of steel. Johnny has gone for a soldier. (Repeat Chorus, All) (Verse IV, Men): With fife and drum I marched away, I could not heed what she did |
say, I'll not be back for many a day. Johnny has gone for a soldier. (Verse V, Women): I'll die [sic] my dress, I'll die it red, and through the streets I'll beg for bread, The lad that I love from me has fled. Johnny has gone for a soldier. |
(Repeat Chorus, All) Except for the first verse, this song has been sectioned off with two male verses and two female verses. It is a lament about having to go away to war and leave the women behind. Of course, during any war, separation between family members is inevitable, and |
couples part each other not knowing when or if they will see each other again. As this song states, men and women may not have liked it, but most felt it was their duty to support the war and their country. Men showed their support by fighting as soldiers, and |
women by sacrificing their fathers, husbands, brothers, and sons. Many families became destitute without the man as provider of the main source of income. One could easily change some of the period rhetoric and apply this song to other wars in World History. SONG 3. Free America Sorry, no sheet |
music available. Lift up your hands ye heroes and swear with proud disdain The wretch that would ensnare you shall lay his snares in vain. Should Europe empty all her force, we'll meet her in array, And fight and shout and shout and fight for North America! Torn from a |
world of tyrants beneath this western sky. We form a new dominion, a land of liberty. The world shall own we're masters here, then hasten on the day. Huzzah, huzzah, huzzah, huzzah for free America! Some future day shall crown us the masters of the main. Our fleet shall speak |
in thunder, to England, France, and Spain. And the nations o'er the oceans' spread shall tremble and obey, The sons, the sons, the sons, the sons of brave America! This song would have been sung heartily with the same strong conviction as one would sing at a current day high |
school football game (i.e. "fight and shout and shout and fight"). The word "huzzah" was used as a celebratory exclamation in colonial America (and in England), and in this context would be like yelling, "Go America!" The last verse refers to the desire to dominate ("the masters of the main") |
and to be recognized as a free and strong country, similar to the reputation of England, France, and Spain at that time. SONG 4. The Congress Ye, Tories all rejoice and sing, success to George our gracious King. The faithful subjects tribute bring, and execrate the Congress. These hardy knaves |
and stupid fools, some apish and pragmatic mules, Some servile acquiescing tools, These compose the Congress. Then Jove resolve to send a curse, and all the woes of life rehearse Not plague, not famine, but much worse, He cursed us with a Congress. Then peace forsook this hopeless shore, Then |
cannons blazed with horrid roar, We hear of blood, death, wounds, and gore, The offspring of the Congress. Prepare, prepare, my friends prepare, For scenes of blood, the field of war To royal standard we'll repair, And curse the haughty Congress. Huzza! Huzza! And thrice Huzza! Return peace, harmony, and |
law! Restore such times as once we saw, And bid adieu to Congress. "The Congress" generates from the Tory, or loyalist, contingent rejoicing "the gracious King." The lyricist called the members of Congress "knaves," "stupid fools," and "servile acquiescing tools," worse than the "plague," and "famine." The writer makes it |
clear that if Congress did not convene, peace, harmony, and law would be restored. It is important for students to realize that not all Americans were rebels. Many, in fact, including some in Congress, desired only to rehabilitate their relationship with the mother country. One could compare the Revolutionary War |
with a fictitious current day secession of any state. It could also be compared with the American Civil War, both in fact, being civil wars. And as many Southerners fought for the North during the Civil War, and vice versa, many native-born Americans fought on the side of the British |
during the Revolutionary War. SONG 5. Chester Let tyrants shake their iron rods. And slavery clank her galling chains. We fear them not, We trust in God. New England's God forever reigns. The foe comes on with haughty stride, our troops advance with martial noise, Their veterans flee before our |
youth, and generals yield to beardless boys What grateful offerings shall we bring, what shall we render to the Lord, Loud Hallelujahs let us sing, and praise His name on every chord. Chester was a popular tune written by William Billings. It eventually became the anthem for the Continental Army. |
One can conclude that this was not a song to be sung in taverns. Notice the piety and solemnity of the words and tune, as it trusts in God to win the war. "Slavery clank her galling chains, we fear them not, we trust in God." Men might have marched |
off to battle singing or humming this patriotic tune. Note that the slavery referred to in this song is not about African chattel slavery, as practiced in the Colonies, but rather a slavery to the British crown. This is a good opportunity to discuss the dual notions of slavery in |
early America. SONG 6. God Save the King God save great George our King, Long live our noble King, God save the King Send him victorious, happy and glorious. Long to reign over us, God save the King God bless the Commonwealth, May it increase in strength, Its foes annoy |
That George is now no more king of this fertile shore, From whence he drew his store, Completes our joy! God save great Washington, Virginia's war-like son, And make him brave Defend him from all the blows of Howe and all his foes Guard him where'er he goes, Washington save. |
Free states attend the song, Now independent from the British throne To earth's remotest bound, echoing skies resound, The sweet melodious sound. Liberty's our own! This patriotic tune originated in Britain and remains the United Kingdom's national anthem today. We borrowed the melody for the song "America" (i.e., "My Country |
Tis of Thee"). An unknown rebel lyricist changed the words as a mockery of British patriotism. Most likely it was sung without the first verse during the Revolution, but in this version it represents the change in sentiment and shows the origin of a tune many thought was written for |
the United States. This is a great song to sing as a class. SONG 7. Come Let Us Drink About Come let us drink about and drive away our sorrows (repeat) Forhaps we may not, forhaps we may not, forhaps we may not drink again tomorrow. Wine, wine it cures |
the gout, the colic and the tizzy (repeat) And is to all men, and is to all men, and is to all men, the very best of physic. He that drinks good ale, goes to bed mellow (repeat) Lives as he ought to do, lives as he ought to do, |
lives as he ought to do, and dies a happy fellow. He who drinks small beer goes to bed sober (repeat) Falls as the leaves do, falls as the leaves do, falls as the leaves do, he'll rot before October. (Repeat Verse One) As one would imagine, this song was |
typically sung by those who frequented taverns. The singers prepare for war realizing that many of them will not return home "to drink again tomorrow." The words speak for themselves as the men encourage each other to drink as much as they want because it might not matter, and they |
may as well die "happy fellow[s]." SONG 8. Revolutionary Tea There was a rich lady lived over the sea, And she was an island queen. Her daughter lived off in the new country, With an ocean of water between With an ocean of water between, with an ocean of water |
between. The old lady's pockets were filled with gold, Yet never contented was she So she ordered her daughter to pay her a tax, Of thrupence a pound on the tea. Of thrupence a pound on the tea, of thrupence a pound on the tea. "Oh mother, dear mother," the |
daughter replied. "I'll not do the thing that you ask. "I'm willing to pay a fair price for the tea, But never a thrupenny tax, But never a thrupenny tax, but never a thrupenny tax, "You shall!" cried the mother, and reddened with rage. "For you're my own daughter you |
see. "And it's only proper that daughter should pay Her mother a tax on the tea, Her mother a tax on the tea, her mother a tax on the tea. She ordered her servant to come up to her And to wrap up a package of tea. And eager for |
threepence a pound she put in Enough for a large family, Enough for a large family, enough for a large family The tea was conveyed to her daughter's own door, All down by the Oceanside. But the bouncing girl poured out every pound On the dark and the boiling tide, |
On the dark and the boiling tide, on the dark and the boiling tide. And then she called out to the island queen "Oh mother, dear mother," called she. "Your tea you may have when 'tis steeped enough. But NEVER a tax from me, But NEVER a tax from me, |
but NEVER a tax from me. Revolutionary Tea is one of the best songs to truly represent the relationship between England and the colonies: it was a mother-daughter relationship. This song also tells the story of the Tea Tax, which was imposed upon the colonists without a voice in British |
parliament. Tea was a widely used beverage in Britain and the colonies. Most Colonists drank tea. A note of contempt is clear as England is portrayed as a rich, old queen who only wanted to become wealthier. The rebellious young daughter who is attached to her "dear mother" is willing |
to pay for the tea, but not a "thrupenny tax." Knowing that her daughter is being rebellious the mother sends a significant amount of tea to her daughter who promptly throws it into the ocean (The Boston Tea Party), and again declares to her "dear mother" that she will never |
pay a tax on tea. This is a great and hardy song for a class to sing together provided that the "NEVER" in the last line of the seventh verse is yelled with fists in the air. SONG 9. Address to the Ladies Young ladies in town, and those that |
live round let a friend at this season advise you; Since money's so scarce, and times growing worse, Strange things may soon surprise you; First then throw aside your high top knots of pride, Wear none but your own country linen; Of economy boast, let your pride be the most, |
To show clothes of your own make and spinning. What if homespun they say is not quite so gay, As brocades, yet be not in a passion; For when once it is known this is much worn in town One and all will cry out 'tis the fashion! No more |
ribands wear, not in rich dress appear, Love your country much better than fine things; Begin without passion, it will soon be the fashion, To grace your smooth locks with a twine string. These do without fear, and to all you'll appear Fair, Charming, true, lovely, and clever, Tho' the |
times remain darkish, young men may be sparkish, And love you much stronger than ever. Then make yourselves easy, for no one will tease ye, Nor tax you, if chancing to sneer, At the sense-ridden tools, who this us all fool; But they'll find the reverse far and near. This |
"cry out" to the ladies before and during the Revolution rallied them to stop buying goods made in or shipped from Britain. They are being asked to make sacrifices of money and fashion, and not to buy any clothing or other goods from Englans. The song pleads with the women |
to "love your country much better than fine things," and in turn the young men will "love you much stronger than ever" because you will "appear fair, charming, true, lovely, and clever." This address can compare with recent advertisement campaigns to encourage people to buy American-made products. The same as |
it does now, it helped boost the American economy, and it told England that the colonies were rebelling in every way. This song helps students understand that it was not only men supporting and perpetuating the war movement, but women, too, came together to help in ways that were socially |
- For Teachers My grammar books sometimes says the reason for using "in order to(so as to)" instead of "to~" is to clarify a purpose, and sometimes it's a formal usage. Which is correct? 1. He went to Beijing to learn Chinese. 2. He went to Beijing in order to(so as to) learn Chinese. Context is important. Please provide enough for us to be |
able to deal effectively with your question. Your thread title should include all or part of the word/phrase being discussed. If you just want to know the meaning of a word, try OneLook Dictionary Search first. I don't see that in order to is more formal than to. I do use it when writing to non-native speakers when I think it will make things |
We often receive questions about copyright, usually from poets who want to know how to copyright their work. As a service to poets, we are providing a few basic facts about copyright. These facts are drawn directly from the government web site of the United States and can be easily |
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send the following three elements in the same envelope or package to Library of Congress, Copyright Office, 101 Independence Avenue, S.E., Washington, D.C. 20559-6000: 1. A properly completed application form. 2. A nonrefundable filing fee of $30 for each application. (subject to change) 3. A nonreturnable deposit of the work |
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Mount Everest is the highest mountain on Earth - everyone knows this. But few people realize its geometric supremacy is true only when measured from sea level. If you want |
to stand atop terra firma's true pinnacle - the place farther than any other from the centre of the Earth - then your destination is a volcano in Ecuador named |
Chimborazo. This is because the Earth is not a perfect sphere; like me and most of my friends approaching middle age, it has a bulge along its midsection. This deformity |
is caused by centrifugal forces from the Earth's rotation, which raise sea level by several kilometres near the equator. At 6,268 metres, Chimborazo is well below Everest's 8,840 metres, but |
measured from an absolute point of reference instead of the malleable oceans, it is more than two kilometres "higher" than Everest. I first learned of Chimborazo when I passed under |
its shadow on a cycling trip through Latin America. Its veil of clouds prevented a clear view of its triangular bulk, but a candlelit dining room photograph of its glaciated |
peak dominating the surrounding landscape haunted me for months afterward. That and the assurance of a local guide it can be climbed easily by a mountaineering wannabe - like me. |
In the past two decades, guided tours up Everest have made it accessible to non-professionals, however the $65,000 price tag ensures only affluent amateurs get a chance. The cost of |
climbing Chimborazo is roughly $250 and that includes a guide, dinner and accommodations on the mountain, and a convenient taxi ride three-quarters of the way up. When I returned to |
Ecuador to attempt to climb Chimborazo, I was cautiously optimistic about my chances of reaching the summit. Success depends on two things that cannot be predicted: the weather and my |
ability to acclimatize to high altitudes in a short time. I flew into Quito, which, at 2,800 metres, is second in altitude among the world's capital cities. Only La Paz, |
in Bolivia, is higher. Quito is a busy city of three million with green mountains looming overhead . And its well-preserved colonial centre provides enough sights and sounds to occupy |
a wannabe mountain climber for a few days before moving on to higher altitudes. My next stop was the Urbina train station near the base of the Chimborazo massif. The |
100-year-old station house, which hasn't hosted a train in 20 years, has eight guest rooms tucked underneath its pitched ceiling. For four days, I explored the lower slopes of Chimborazo, |
walking on an ancient stone highway through tiny villages . Gaining altitude, the villages give way to sparse farmsteads where sheep and cattle graze on sloped pastures. The road eventually |
transitions into a footpath winding up alpine meadows decorated with glacial creeks and flocks of domesticated alpacas and wild vicunas. When I felt ready to make an attempt on Chimborazo, |
I recruited one of Ecuador's finest guides, Paco, from the nearby city of Riobamba. Wanting a guide with experience, I was delighted when the 33-year-old Paco told me he had |
stopped counting his trips up Chimborazo after 200. Neither of us spoke the other's language so our communication relied heavily on gestures and grunts. Nevertheless, I was able to learn |
that Paco had climbed Chimborazo with a French couple the night before, and that he had not slept before our expedition, which started with a 3 p.m. taxi ride to |
4,800 metres and the first of Chimborazo's two high-altitude shelters. While Paco prepared dinner, I explored the surrounding boulder field that had, over the years, sprouted an expansive collection of |
tombstones for those who died on the mountain. The several dozen memorials are a sobering reminder to all climbers of the unavoidable risks that exist at high altitudes, and reinforcement |
that the first priority must not be summiting the mountain, but instead coming back down. I nervously ask Paco about the large number of fatalities, the most recent dating back |
only a few months. Between yawns he replied: "avalancha," and resumed cooking. Because of avalanche danger, the usual strategy for Chimborazo involves climbing through the night so the peak can |
be reached and the retreat off the glacier completed before the sun has time to warm the ice and reduce its stability. After a meal of lentil stew, we hiked |
to a second shelter at 5,000 metres, arriving as daylight faded. I closed my eyes for a few hours of sleep before Paco knocked on my door at 11 p.m. |
With our headlamps glowing, we stepped out into the frosty darkness. We clambered up snow-covered rocks for an hour until we reached an icy ridge, where we paused to attach |
crampons to our boots and a rope to our climbing harnesses. A full moon emerged above the clouds and our headlamps were no longer required. The weather was cold and |
calm, but to the south dark clouds and flashes of light indicated a storm was nearby. As I watched the clouds stack vertically and the frequency of lightning increase, I |
meekly voiced my concerns to Paco. He said a few sentences in Spanish while pointing around, which I interpreted as: "The sky near the summit is calm and we are |
high above the storm clouds, so the weather is not a concern." No longer fearing the storm, for the next few hours I affectionately gazed down on billowing clouds and |
bursts of static electricity; fortunate that from this perspective I was beyond reach of its power and fury, but still privy to its symphonic beauty. The moon eventually fell below |
the horizon and our headlamps were pressed back into service. We spent most of the climb trudging up a glacier while skirting steep pitches and crevasses. The only skill required |
was to follow Paco up the icy slope in a zigzag pattern. My oxygen-deprived brain shut down much of its normal activity and I robotically moved my legs at the |
same slow pace as Paco. We climbed higher and as we approached the rim of the summit crater we were blasted by frozen gusts of wind and howling clouds. We |
were stopping every few minutes but despite ferocious panting, I was never able to fully catch my breath. The fog was too thick to see the topography of the volcano's |
caldera, but Paco knew the way to the summit. It wasn't until he held out his hand to congratulate me that I realized we had made it. Obviously, he deserved |
the "fe-licidades" much more than I since it was his second trip to the summit in 24 hours. It was 5 a.m. and still dark. Originally, I planned to watch |
the sun rise from the summit, but after only a few minutes of idling, my fingers and toes were frozen numb. Desperate to avoid frostbite on my digits we started |
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