The song was published in 1840 in Boston, with lyrics by Henry John Sharpe, of whom I know nothing, and music by the English singer/songwriter Henry Russell (1812-1900). Russell was an immensely successful performer who toured widely in Britain, Western Europe, and the U. S. He had even more success as a composer, and several of his songs regularly appeared on lists of most beloved songs. An article in the New York Times in 1890, titled "Songs We Used To Sing," includes two of his songs among the thirteen discussed. The most popular of his songs were "Woodman, Spare That Tree" (1837), "A Life on the Ocean Waves" (1838), and "Cheer, Boys, Cheer." The original publication date of the last is uncertain, but it was adapted several times, without composer credit and with new lyrics, as Civil War battle songs.

The cover of "Rockaway" is a lithograph by Benjamin Champney, known for his scenic paintings of the White Mountain region of New Hampshire. The lithograph does not appear to be of a Rockaway scene.

We would like to think that this song was inspired by Russell, or his lyricist, lazing on the beaches in Rockaway. But Andrew Lamb, author of A Life on the Ocean Wave: The Story of Henry Russell, tells us that he has found no information to support our wishes. However, the failure to uncover specific evidence of such visits does not mean they did not occur. Rockaway, during this period, was a favorite vacation spot for the wealthy and successful artists and writers, several of whom numbered among Russell's friends. One, for example, was the poet/journalist William Cullen Bryant, who had a home (still standing) on Long Island's north shore.

On old Long Island's sea girt shore,
Many an hour I've whil'd away,
In list'ning to the breaker's roar,
That wash the beach at Rockaway.

On old Long Island's sea girt shore,
Many an hour I've whil'd away,
In list'ning to the breaker's roar,
That wash the beach at Rockaway

Transfix'd I've stood while nature's lyre,
In one harmonious concert broke,
And, catching its promethean fire,
My inmost soul to rapture woke.

Oh! On old Long Island's sea girt shore,
Many an hour I've whil'd away,
In list'ning to the breaker's roar,
That wash the beach at Rockaway.

Oh how delightful 'tis to stroll
Where murm'ring winds and waters meet,
Marking the billows as they roll,
And break resistless at your feet;

To watch young Iris, as she dips
Her mantle in the sparkling dew,
and chas'd by Sol away she trips
O'er the horizon's quiv'ring blue,

Oh! On old Long Island's sea girt shore,
Many an hour I've whil'd away,
In list'ning to the breaker's roar,
That wash the beach at Rockaway.

To hear the startling night winds sigh,
As dreamy twilight lulls to sleep;
While the pale moon reflects from high,
Her image in the mighty deep;

Majestic scene where nature dwells,
Profound in everlasting love,
While her unmeasur'd music swells,
The vaulted firmament above.

Oh! On old Long Island's sea girt shore,
Many an hour I've whil'd away,
In list'ning to the breaker's roar,
That wash the beach at Rockaway.

The melody Russell wrote to set the poem has two distinct sections, the first starting with the line "On old Long Island's," the other, first heard with the words "Transfix'd I stood." These two melodic segments occur several times. The setting is good, for the most part, though it falters twice with weak syllables set to accented notes: "Mar-KING the billows" and "While THE pale moon." The accompaniment to the melody is frequently simple, in the style of the time, but on some repeats of the first part of the melody the accompaniment becomes a rolling motion, suggesting the ebb and flow of the surf. The most effective line and musical setting, repeated with appropriate frequency, is "On list'ning to the breaker's roar, That wash the beach at Rockaway." That's an experience with which we can all identify.