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<title level="m" type="main">Extracts from Gauntt</title>
<author>Charles Gauntt</author>
<editor>Mary Isbell</editor>
<respStmt>
<resp>Transcription, encoding, and notes</resp>
<name xml:id="initials">Mary Isbell</name>
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<date>2018</date>
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<publisher>?????</publisher>
<date>2018</date>
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<p>This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. </p>
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<author>Charles Gauntt</author>
<editor>Ireton Gauntt</editor>
<editor>Charles Stockton Gauntt</editor>
<title>Private record of Charles Gauntt, commander in the Navy of the United States</title>
<idno type="callno">Edition created from copy held at the American Antiquarian Museum R G272 Gaun P839</idno>
<imprint>
<date>1839</date>
<biblScope>
<!-- type="pubPlace" -->
<ref type="address">Philadelphia</ref>
<name type="publisher">Privately Printed</name>
</biblScope>
<note type="project">?????</note>
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<person xml:id="Franey">
<note>Mathias Franey is described in these accounts as a veteran (not sure if this means of war or theatrical performance) and a
steerage servant. The steerage refers to the quarters of the officers in training (midshipmen), who would have servants. It seems
quite likely that Franey was in a servant role, rather than a role at the rigging [primary sources describing "steerage servant"
can be added to this note--they are saved in Zotero]. He joined the Macedonian on August 20, 1818 in Boston and is listed as "O.
Sea," which means ordinary seaman. An ordinary seaman had at least three years' experience at sea, and was the second lowest
ranking (above landsman, but below able-bodied seaman). There is a note in the musters that says "noted landsman October 1,
1819," which could signify a demotion? (Mathias Franey, 9 of 48 in musters pdf)</note>
</person>
<person xml:id="Williams_carpenter">
<note>Williams, of the carpenter's crew, played Variella. At least two members of the crew have the surname Williams, so it is hard
to identify which describes this sailor. John Williams (#1 in musters) is designated as "O. Sea," which means Ordinary Seaman. An
ordinary seaman had at least three years' experience at sea, and was the second lowest ranking (above landsman, but below
able-bodied seaman). He is noted to have done something particular on July 20, 1820. It is hard to read the muster log, but it
seems like it might say "Gunman" (9 of 48 in musters pdf). John Williams (#2 in musters) is also designated as an ordinary
seaman. He is noted to have done something particular on September 6, 1818 (which was before the ship left on the voyage). It is
hard to read the muster log, but it seems like it might say "Capt. Coxwain" (11 of 48 in musters pdf). There are more members of
the crew with the surname Williams (Thomas Williams, 11 of 48 in pdf).</note>
</person>
<person xml:id="Bunnell">
<note>Carpenter's Yeoman. Bunnell joined the Macedonian (perhaps in Philadelphia?) on August 20, 1818 and left the Macedonian for
USS Constellation on March 10, 1821 (page 8 of 48 in pdf of macedonian musters). Bunnell was injured at the Battle of Little York
and remained in the US Navy as long as he possibly could, and then was officially discharged when diagnosed with
consumption.</note>
</person>
<person xml:id="Williams_Sneer">
<note>At least two members of the crew have the surname Williams, so it is hard to identify which describes this sailor. This
Williams is said to be "of the foretop," meaning he handles the foretopsail of the vessel (the sail at the middle height on the
forward-most mast of the vessel. John Williams (#1 in musters) is designated as "O. Sea," which means Ordinary Seaman. He is
noted to have done something particular on July 20, 1820. It is hard to read the muster log, but it seems like it might say
"Gunman" (9 of 48 in musters pdf). John Williams (#2 in musters) is also designated as "O. Sea," which means Ordinary Seaman. He
is noted to have done something particular on September 6, 1818 (which was before the ship left on the voyage). It is hard to
read the muster log, but it seems like it might say "Capt. Coxwain" (11 of 48 in musters pdf). There are more members of the crew
with the surname Williams (Thomas Williams, 11 of 48 in pdf).</note>
</person>
<person xml:id="Fanigan">
<note>John Fanigan is designated as "O. Sea," which means Ordinary Seaman. An ordinary seaman had at least three years' experience
at sea, and was the second lowest ranking (above landsman, but below able-bodied seaman). He is described in these reviews as
working on the scenery for the performances (page 7 of 48 in musters pdf)</note>
</person>
<person xml:id="Horton">
<note>Described in these accounts as being "of the foretop," meaning he handles the foretopsail of the vessel (the sail at the
middle height on the forward-most mast of the vessel. He played Briefwit and has not yet been located in Musters, but his
proximity in position to the sailors playing Sneer (both of the foretop) would have permitted opportunities for
rehearsals.</note>
</person>
<person xml:id="Goodfellow">
<note>William Goodfellow joined the Macedonian on August 20, 1818 from ??? and he left the ship on January 9, 1820, though it
difficult to decipher where he went (perhaps "Captain Phillips"?). Goodfellow is listed as "lands," which means landsman. This is
the lowest ranking, for those who have sailed for less than three years. He is described in these reviews as a new hand at the
bellows, and plays the gardener in a scene with Tristram (played by Bunnell)</note>
</person>
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<listOrg>
<org xml:id="Macedonian">
<note>US Navy Vessel captured from the British during the War of 1812. During this cruise, the ship holds a complement of 422
men.</note>
</org>
<org xml:id="Congress">
<note>Another US Navy Vessel, which Bunnell served aboard just before joining the Macedonian. Bunnell recounts being aboard the US
Congress for a 14-month cruise that spent the majority of time at the New Orleans station, then the West Indies (143).</note>
</org>
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<p>format of book retained; not much else to say</p>
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<pb n="19"/>
<div type="narrative">
<p>...</p>
<p>I again visited Washington, and was ordered, July 10th. 1818, to join my old ship the Macedonian I proceeded to the Navy Yard
Charleston, Massachusetts, where the ship lay fitting out for a three years' cruise to the Pacific Ocean, and reported, 19th. July, to
Captain Downes for duty.[list of the officers of the Macedonian, not transcribing now <pb n="20"
facs="https://farm8.staticflickr.com/7875/46564973305_f82b921881_k_d.jpg"/>...] Officers and crew in number 422.</p>
<p>The equipment of the Macedonian was completed September the 19th. and on Sunday the 20th. 1818, we sailed from Boston with a fine
breeze from W. S. W.</p>
<p>On the 27th. of September, Latitude 36° N. Longtitude 56° W. we were dismasted in a hurricane--during the night it blew
immoderately, causing a heavy mountainous sea--at 5 o'clock in the morning the mizen mast fell, carrying with it three fine boats;
besides which, by 7 o'clock, we lost, by force of the wind, every sail, and every spar, except the bowsprit and fore and main masts,
which were badly sprung. During the gale life lines were rove fore and aft to enable the officers and crew to keep their footing upon
the decks--no human voice could be heard above the storm, so fiercely did the wind rage that to communicate an order it was necessary
to give it in a subdued, instead of a loud, voice close to the ear of the seaman. The hull remained tight and sound, but the ship was
otherwise a complete wreck. We lost overboard the captain of the mizen top--the life buoy was cut adrift, but no human aid could avail
him: the poor fellow was abandoned to his fate</p>
<pb n="21" facs="https://farm8.staticflickr.com/7927/40514143253_9e73098c45_k_d.jpg"/>
<p>At meridian of the 28th. the gale abated to which may be ascribed our escape from foundering; for our situation was at one time
exceedingly dangerous. All hands were now employed rigging jury-masts, and preparing the ship to return to port. Norfolk, Virginia,
being the most convenient place, at which to refit, we directed our course thither, where we arrived, and anchored off the Navy Yard,
October the 10th.</p>
<p>Our refit being complete, on the 6th. of November we sailed from Norfolk, and received three hearty cheers from the inhabitants as we
passed the Town. On the 5th. December we saw the Island St Jago, one of the cape de Verds, saw also the Island Fuego, of the same
group. We crossed the Equator December the 12th, at the 25th. degree of west longitude, and met with light airs and calms, and rain and
frequent light<del>e</del>ning. Dad Neptune, with his wife Amphitrite, and their retinue, came on board, and went through the usual
ceremonies of crossing the Line--a visit much better omitted than observed, on board a man of war.</p>
<p>You will see, my sons, by what follows, that the crew of the Macedonian were not without their amuseuments.</p>
<p>Written hand bills were distributed about the ship, giving notice that, on the evening of Christmas, a play, called the Weathercock,
with an after piece entitled the Sailor's Fortune, would be performed: the author-<pb n="22"
facs="https://farm8.staticflickr.com/7885/46564973415_187e6ec4ec_k_d.jpg"/>ship of the latter piece was claimed by <persName
ref="#Bunnell">D.C.B.</persName> carpenter's yeoman of the frigate. By permission of Captain Downs, the play and farce were acted,
affording a novel treat to the officers and crew of the ship.</p>
<p>On new year evening, the play of the Weathercock was again performed, after which we were entertained with the Cobbler and his
Daughter, interspersed with songs &, the whole got up, and the farce written, by our indefatigable <hi>author</hi> and
<hi>actor</hi> D.C.B. carpenter's yeoman. A criticism of the whole performance appeared in the Thespian Critic and Theatrical
Review, a paper written and edited on board by some of the crew--of which the following is a copy.</p>
</div>
<div source="Thespian_Critic" type="quotation">
<head>THE THESPIAN CRITIC AND THEATRICAL REVIEW.</head>
<fw>No. 2--vol. I. JANUARY 2nd. 1819. 12 1/2 cents single.</fw>
<note>the fact that this header is formatted differently (and includes price information not transcribed in the manuscript journal)
suggests that Gauntt's sons may have been looking at the actual manuscript page when creating this edition. The manuscript journal does
include one newspaper clipping at the end, but no manuscript copy of The Thespian Critic and Theatrical Review. This is not to say that
such a manuscript was not in the possession of Gauntt or his sons as they prepared this edition.</note>
<head type="sub">THEATRICAL</head>
<p>The Thespian Theatre was opened last evening for the second time, with the following entertainment of the Weathercock--and the Cobbler
and his Daughter; Tristram by <persName ref="#Bunnell">Mr. D.C.B.</persName> from the Theatre Royal. As expectation is always on
tipto<add>e</add> at the <hi>debut</hi> of a new performer, and his merits and demerits occasion much animadversion, we have taken
the trouble of minutely observing this new performer's beginning to give our <pb n="23"
facs="https://farm8.staticflickr.com/7880/46756931434_a3d31e1fd0_k_d.jpg"/>friends an impartial account of him; and we must say that
our expectations were much disappointed, particularly with regard to his tautology and his gesticulation.</p>
<p>In act 1st scene 1st, for saying "did you never hear of Demosthenes the Athenean orator &," he repeats, did you never hear of
De--mo--thens the A--the--an orator--certainly the most vulgar pronunciation. In his next speech of "I think I see him now awaking
&," his gesticulations were so violent that it reminded us of a frantic bedlamite, and seemed possessed with the idea that the more
noise there was, the more admirable his performance. Again he says "one soul a--ni--ha--mates &, for animates, Where he picked this
jargon, or whether in his deep researches after literature, he conceives he has found a more correct manner of pronounciation than his
contemporaries Johnson or Walker, we must leave the public to judge. Again, while conversing with <persName ref="#Williams_Sneer"
>Sneer</persName>, (Mr. Williams of the fore top,) to personate Juliet in saying "Oh that I were a glove upon that hand &," his
grimace is so intolerable, that it was painful to observe him; and he either forgot or was ignorant that, in addressing Juliet, he
ought to have bended one knee; but no, with his finger pointed as if to command silence of his Juliet that she may hear his rhapsody:
But of all the canting, noisey Billingsgate slang, his speech of a Soldier, a General &, is made to represent to a hair: his
eyes<pb n="24" facs="https://farm8.staticflickr.com/7890/46756931574_0af4f959af_k_d.jpg"/>roll, his chest is extended, his limbs
compressed into the form of the letter S, and he makes the whole house tremble while he wars it out, and at intervals, bellowing like a
child crying for a piece of bread and butter; but when he takes his sword--then comes the tug of war, and he fancies that admiration
sits on every countenance, and he dances from one end of the stage to the other like a dancing bear. Again--in the scene between
<persName ref="#Bunnell">Tristram</persName> and <persName ref="#Goodfellow">the gardener</persName>--for "vile habilaments," he
repeats--vile ha--bit--a--ments--what he means, no one could form an idea, unless it was by the action of throwing off his clothes; but
enough for the present. We could point out a number of other material instances of defect; but hope that these will infuse into him a
wish to correct his manners and pronounciation.</p>
<p>Old Fickle by <persName ref="#Franey">Franey</persName>, steerage servant<note>A steerage servant is a servant in the steerage,
preparing meals and generally caring for midshipment, or young officers in training. This is unique position in a ship because the
steerage servant is likely well-known to these young officers, but is not equal to them. This person is also not working alongside
the able-bodied seamen (though he may be bunking with them in separate quarters). The most important thing to note is that this
performer gets kind criticism--it would seem the reviewer knows him. This suggests that the reviewer was a midshipman</note>, a
veteran--on the whole were much entertained by him and the performance of the character, though we hope he will be rather less
forgetful on another night; and we sincerely believe that he will be a valuable acquisition to our Theatre.</p>
<p>Miss Variella, by Williams of the carpenter's crew, --"grace in all <hi>her</hi>steps, heaven in <hi>her</hi> eye, in every gesture
dignity and love."</p>
<p><persName ref="#Horton">Briefwit, Mr. H</persName>, as stiff a piece mechanism and greater than the author intended him I dare say, for he was both briefwit and
briefless. Sneer Mr. W with a<pb n="25" facs="https://farm8.staticflickr.com/7877/46564973505_1062fed82c_k_d.jpg"/>little improvement
will do well in those characters. The piece went off without either many marks of approbation or disapprobation, and we hope that the
piece will not be resumed without some attention being paid to the errors and defects pointed out.</p>
<p>The Pantomime was so wretchedly performed that even the name of it would have been incomprehensible, unless we had seen it in the play
bills.</p>
<p>The songs were however, very well, but the subject too pointed; though we believe unintentionally so by the author. We were glad to see
a full house on the commencement, as, without that, the expense could not be continued. We saw the side boxes were filled with Naval
Heroes--some of distinction and rank. We have been thus particular with the faults of <persName ref="#Bunnell">Mr. D.C.B.</persName>,
not with the wish to dishearten him; but to lead him to improvement, that he may thereby reap the reward of his exertion and
talents.</p>
</div>
<div type="narrative">
<p>About this time an opposition paper appeared called the "Macedonian Scourge," --the following remarks are taken from paper No. 7.</p>
</div>
<div source="Macedonian_Scourge" type="quotation">
<head><hi>Editorial</hi></head>
<p>The Editor of this paper is really sorry that the remarks contained in his paper of January the third should have been of such a nature
as to draw forth the "ire" of the gentleman who heads the Thespian Band. That a gentleman of his qualifications should have recourse to
caricature for the purpose of defaming <pb n="26" facs="https://farm8.staticflickr.com/7808/46564973595_88e0a11059_k_d.jpg"/>him, (who
would be the last to injure the Thespian Throng,) is really astonishing. With pleasure do we appeal to an enlightened public for an
opinion of the following, which was made with no other view than to maintain the dignity of the stage, and that lustre which spreads it
refulgent beams around the personage of this modern Othello,</p>
<p>Theatrical Entertainment, January 2nd. 1819. Last evening the crew of the Macedonian frigate were politely favoured with a rich repast
of Theatrical labour in the display of the Weathercock, and a pantomime of the Cobbler and his Daughter. We hope our subscribers will
excuse us for a digression from our accustomed mode of issuing this paper in noticing the <hi>Dramatis Personae</hi> of those
celebrated pieces. Tristram, that most important part of the Weathercock, was assigned to the <hi>natural</hi> and <hi>acquired</hi>
abilities of <persName ref="#Bunnell">Mr. David C. Bunnel</persName>, who has for a length of time appeared with so much honor to
himself, and advantage to the community, upon the Theatres of the Congress and Macedonian frigates. He is not, however, without his
imperfections, and in reminding him of them, we have not only the stage at heart; but that of his own welfare on the stage, and that to
which he may be translated.</p>
<p>In the part which relates to his having arrived to the acme of perfection in the study of the Law, and the learned speech which he
makes to prove that he possesses that<pb n="27" facs="https://farm8.staticflickr.com/7855/46756931684_08d43c9a8d_k_d.jpg"/> fund of
knowledge, we discover that his pronounciation is totally incorrect, as he differs from Johnson, Walker, and others. In pronouncing
Demosthenes, he says "De--mo--thens, which must be disgusting to those who are familiar with pointing and diction. In another part he
says the Ane--than instead of the Athenean Orator. We hope that he will make it his study to repair the damages done to the King's
English by a proper adherence to the rules of pronounciation, in order that the brilliancy of his Theatrical abilities may not be
tinged by imperfection which require little or no gumption to remove. </p>
<p>in regard to <persName ref="#Williams_Sneer">"Williams"</persName> of the fore top, we doubt not but that he possesses more assurance
than generally falls to the lot of mankind. It is not within the compass of our power to conceive what it was that actuated Williams to
embark in that line of life, for which he has neither earthly or heavenly capacity; and we are at a loss to know what will cause him to
recede from that line of life which ruins his judgement, and consigns his reputation to merited contempt and just indignation.</p>
<p>In regard to <persName ref="#Franey">old Fickle</persName>, great allowances should be made. A little of that <hi>twang</hi> which
seems to be forced more than natural, should give way for more ease and elegance in pronounciation, together with a more retentive
memory, that recourse need not be had to written papers in presence of the audience.</p>
<p>Great credit is due to the unwearied exertions of<pb n="28" facs="https://farm8.staticflickr.com/7803/46564973795_8f3717b116_k_d.jpg"/>
"<persName ref="#Fanigan">Fanigan</persName>," who has been zealously employed in getting up the scenery & &. One gross
mistake however, caught our eye as soon as we entered the room, which was a Turkey Buzzard substituted for the American coat of arms:
without this, the scenery was in every respect complete.</p>
<p>"<persName ref="#Goodfellow">Goodfellow</persName>," whom it seems is a new hand at the bellows, did not more than rise to mediocrity:
But his articulation at the time Tristram discovers him in the capacity of a gardener, gave evident proof of his being likely to prove
a great acquisition to the Thespian Band.</p>
<p>Briefwit, alias <persName ref="#Horton">Horton</persName> of the fore top, was both dull and tedious. Tameness was perceivable in every
gesture, which may be attributed to his being totally unaquainted with the Latin tongue, which which his part abounded. Let <persName
ref="#Bunnell">the Manager</persName> hereafter be cautious how he disposes of those parts of the play on which depend solely the
merit or demerit of the performers.</p>
<p><persName ref="#Williams_carpenter">Variella</persName> was immeasurably disgusting. Her appearance denoted a girl who had been rioting
in all the pleasures which fancy could bestow from her earliest infancy, with a countenance which denied all shame, and which had not
felt a blush since she entered her teens; she labored through her part without the least display of any thing like gesture or
simplicity of manner which would even have caused the spectators of an inverted comedy to smile.</p>
<pb n="29" facs="https://farm8.staticflickr.com/7842/46756931764_043b8016c1_k_d.jpg"/>
<p>In taking a retrospect of the whole, we cannot say that it crowns every thing that was ever presented to our view, If these gentle
admonitions should be of any avail, we will be foremost in noticing it after the next performance; but if the reverse, we shall
continue to hold them up as subjects of severe criticism, and exclaim that we have not nor shall we ne'er look upon their like
again."</p>
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