Four years aboard the whaleship: Embracing cruises in the Pacific, Atlantic, Indian, and Antarctic oceans, in the years 1855, '6, '7, '8, '9Whitecar, William B.
History
Four years aboard the whaleship: Embracing cruises in the Pacific, Atlantic, Indian, and Antarctic oceans, in the years 1855, '6, '7, '8, '9
Whitecar, William B.
Sailors; Voyages and travels; Whaling
Great attention was paid by these dames to the younger members of our
crew, whom they hoped, on account of their inexperience, easily to
dupe; but it was only on one occasion, (the eve of our sailing,) that
any encouragement was extended to induce them to prolong their visit
aboard our ship. On that evening--fancying that we had some stray
shillings in the corners of our pockets, and wishing to relieve us of
an article that would be of no use to us when at sea--they came off to
the number of a score; and as their blandishments could produce no ill
effect, (for none of us wanted to go ashore again at Hobartown,) our
accordeon-player was pressed into service, the quarter-deck cleared
away, and all hands indulged in dancing--officers, men, and visitors
taking a part. The presence of the officers, and respect for the old
ship, restrained those whose buoyancy of spirit would otherwise have
led them to run riot.
After being tired out with dancing, singing was substituted; and,
take it all in all, it was about as merry an evening as could well be
passed. All parties, before entering into these gayeties, had been
pledged to decorum; and, as there were no intoxicating liquors, by an
indulgence in which any one might be led to forget his or her sense of
propriety, nothing was said or done that could have called a blush to
the most modest cheek: a circumstance, the more remarkable, when the
motley character of the assemblage is remembered.
There are several establishments in the city, professedly theaters, but
really houses of questionable character, where dancing, in which all
the audience indulge, is by far the greatest part of the performance.
One of these houses my curiosity led me to enter. Having paid over my
shilling to the door-tender, I was ushered into a small amphitheater.
On its stage sat five performers, whose faces were blackened with
burned cork. They were attempting to give delineations of Ethiopian
characteristics; but, although the audience seemed delighted with the
performance, their brogue smacked more of the Paddy or Sandy than of
that of the Virginia Darkie.
Public-domain text, read in full here on John Shaqi.
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