And now, the other major bit of writing from my short-lived steampunk/retrofuturism blog, Leaves of Brass: a series of pieces about a popular Victorian song, “The Steam Arm”.
I enjoyed this piece of research, and I’d hate to see it disappear forever from the interwebz. This originally appeared on July 7, 2011. I did it in several parts, but here I’ll combine them.
The Steam Arm
From historian of fantastic Victoriana extraordinaire Jess Nevins comes this discovery: a proto-steampunk ballad from the 1830′s, “The Steam Arm”.
Oh! Wonders sure will never cease,
While works of art do so increase;
No matter whether in war or peace,
Men can do whatever they please.
Ri too ral, etc.
A curious tale I will unfold
To all of you, as I was told,
About a soldier stout and bold,
Whose wife, ‘tis said, was an arrant scold.
Ri too ral, etc.
At Waterloo he lost an arm,
Which gave him pain and great alarm;
But he soon got well, and grew quite calm,
For a shilling a day was a sort o’ balm.
Ri too ral, etc.
The story goes, on every night
His wife would bang him left and right;
So he determined, out of spite,
To have an arm, cost what it might.
Ri too ral, etc.
He went at once, strange it may seem,
To have one made to work by steam,
For a ray of hope began to gleam,
That force of arms would win her esteem.
Ri too ral, etc.
The limb was finished, and fixed unto
His stump of a soldier neat and true;
You’d have thought it there by nature grew,
For it stuck to its place as tight as glue.
Ri too ral, etc.
He started home and knocked at the door,
His wife her abuse began to pour;
He turn’d a small peg, and before
He’d time to think, she fell on the floor.
Ri too ral, etc.
With policemen soon his room was fill’d,
But every one he nearly killed;
For the soldier’s arm had been so drill’d,
That once in action, it couldn’t be still’d.
Ri too ral, etc.
They took him, at length, before the mayor,
His arm kept moving all the while there;
The mayor said ‘Shake your first if you dare,’
When the steam arm knocked him out of the chair.
Ri too ral, etc.
This rais’d in court a bit of a clamour,
The arm going like an auctioneer’s hammer;
It fell in weight like a paviour’s rammer,
And many with fear began to stammer.
Ri too ral, etc.
He was lock’d in a cell for doing harm,
To satisfy those who had still a qualm,
When all at once they hear an alarm,
Down fell the walls and out popp’d the arm.
Ri too ral, etc.
He soon escap’d and reach’d his door,
And knock’d by steam raps half a score;
But as the arm in power grew more and more,
Bricks, mortar and wood soon strew’d the floor.
Ri too ral, etc.
With eagerness he stepp’d each stair,
Popp’d into the room–his wife was there;
‘Oh! Come to my arms’, he said, ‘my dear’;
When his steamer smash’d the crockery ware.
Ri too ral, etc.
He left his house, at length, outright,
And wanders now just like a sprite;
For he can’t get sleep either day or night,
And his arm keeps moving with two-horse might.
Ri too ral, etc.
Nevins dates this ditty to 1834-35. He doesn’t give his source (glaring oversight, that; I’ve asked him), but it sounds reasonable. Waterloo was in 1815, of course, and 20 years is more enough time for the battle to pass into the popular consciousness in this sort of way. And, as he says, the 1830′s are right at the beginning of the Industrial Revolution, when the first stirrings of mechanization were being seen. (I also wonder if there might be a bit of a Frankenstein influence?)
I did a bit of poking around, looking for more information; in particular, I was interested in what the music might have sounded like. Lo and behold, it appears to have been brought to the US, possibly in the late 19th century, and altered to refer to the American Civil War:
In old Virginia he lost his arm,
Which caused him pain and much alarm,
Toori, loorie, lay.
This book also gives a melody. The verse structure is a little different here, so it wouldn’t be exactly what they played with the original; and there’s no way to be sure anyway, since folk songs have always freely traded lyrics and melodies. But, still, it might give an idea.

Nevins claims that this song may be the first appearance of a cyborg in popular culture, as well as the first appearance of a phantom-limb motif. I’m afraid I have to dispute the first claim. The idea of a soldier with a mechanical arm is very likely inspired by the story of Götz von Berlichingen, who lost his arm in 1504 and had a (quite advanced) mechanical replacement made. Goethe wrote a play about this early cyborg in 1775, predating the song by some decades.
(As for the phantom-limb theme, I can’t find a specific example at the moment, but I would be very surprised if it had not appeared in Gothic fiction at some point during the 18th century.)
Anyway. From what I can tell with my limited musical ability, it appears to be a rather catchy little tune. The book mentions a recording from 1984; I may have to track that down. Good material for your friendly neighborhood steampunk filk band, eh?
UPDATE! I heard back this morning from the good Mr. Nevins. He says his source was a songbook from the mid-1860′s called “The Billy-Cock Hat”, and his date of the 1830′s was based on the impact of steam power and when the song seemed to have appeared.
With that clue, I was able to find this essay on the song by Kirstie Blair, in the Journal of Neo-Victorian Studies (of which I was shamefully unaware). It’s a fascinating examination of the song’s themes of control and runaway technology. It also led me to the Broadside Ballads catalog at the Bodleian Library, Oxford, which apparently has several more copies of the song–a couple of which are dated by the Bodleian to between 1819 and 1844. Still no information about the music or the composer, which is hardly surprising.
But oh well. This is a delightful discovery. I will have to find that recording…
(later that day)
I have found music!

This is from Davidson’s Universal Melodist, published in 1853. It sets “The Steam Arm” to another comic song called “The Cork Leg”. It does indeed look like a fun little melody. I also found it in several period songbooks. The last of these sets both it and “The Cork Leg” to a different song called “The King and the Countryman“, which has a similar melody as the above. “The King and the Countryman” goes back to at least 1640(!), and seems to have been a popular melody for comic songs of all kinds. (Meanwhile, this copy credits the song to an H.V. Smith; I’ve not found any other reference to a 19th-century songwriter of that name.)
I also came across a discussion of the song in a rather marvelous journal called Notes and Queries, which contained discussions of all kinds. (It’s the closest thing I’ve seen to a blog on paper; I highly recommend it.) These two bits are from September 22 and October 20, 1888, and are worth repeating in full.
September 22, 1888:
OLD SONG.–Where can I read the words of an old song, which I have not seen or heard since my schooldays, now nearly half a century ago, which commenced thus:–
Oh! wonders sure will never cease,
For works of art do so increase,
No matter whether in war or peace,
For men can do whatever they please.
The song, I fancy, recounted the then recent introduction of railways, steam packets, and possibly the still more recent discovery of the electric telegraph; but, alas! my memory grows no better as I grow older. E. WALFORD, M.A.
7, Hyde Park Mansions, N.W.
October 20, 1888:
OLD SONG (7th S. vi. 229).–The verse commencing–
Oh wonders sure will never cease,
is from ‘The Steam Arm.’ I distinctly call to mind that it was a great favourite at Vauxhall Gardens about the period of the ascents of the Nassau balloon, now more than half a century ago. This song recounted the misery that attended the ownership of a steam arm that, once set in motion, could not be put at rest; and which the singer demonstrated by the vigorous action of the limb that moved rhythmically to the music. Vauxhall Gardens, even at that period, were fading away, despite the “10,000 extra lamps”; and Mr. Simpson, the Master of the Ceremonies, that singular relic of the past, chapeau bras in hand, had made his last bow. At his death, as I recall, a wicker or wire-work effigy of the man, some thirty feet in hight, was erected in the gardens. This structure, when lighted with small variegated lamps, conveyed an excellent idea of this singular character, and attracted the town for weeks. T.F.F.
The lines given are, I think (I am certain as to the first two), the commencement of the old comic song of ‘The Steam Arm,’ a skit upon the introduction of steam as applied to locomotion. I have the song, and a copy is at MR. WALFORD’s service, but am at present away from my books and papers.
R.W. HACKWOOD.
Good stuff. And, at last, we have enough for some enterprising musician to recreate the song–though probably not me.
(Thank you, Google Books; whatever would I do without you?)
P.S. Since I just can’t quit, a bit more info. The quote above about “the ascents of the Nassau balloon” likely refers to the flights of Charles Green in the Great Nassau in 1836 (departing from Vauxhall Gardens and flying to the Duchy of Nassau in Germany). So, even if the song is older, it certainly seems to have had its greatest popularity in the 1830′s.