Omeka ID	Omeka URL	Title	Subject	Description	Creator	Source	Publisher	Date	Contributor	Rights	Relation	Format	Language	Type	Identifier	Coverage	Is Required By	Is Referenced By	Is Replaced By	Is Version Of	Has Version	License	Mediator	Medium	Provenance	References	Replaces	Requires	Rights Holder	Spatial Coverage	Table Of Contents	Temporal Coverage	Date Copyrighted	Access Rights	Accrual Method	Accrual Periodicity	Accrual Policy	Alternative Title	Audience	Audience Education Level	Bibliographic Citation	Conforms To	Date Accepted	Date Available	Is Part Of	Date Created	Date Issued	Date Modified	Date Submitted	Date Valid	Extent	Has Format	Has Part	Abstract	Instructional Method	Is Format Of	Original Format	Venue	URL	Transcription	To	TEI File	Summary	Publication Type	Publication	Pseudonym	Physical Dimensions	Bibliography	Occupation	Ngram Text	Ngram Date	Location	From	Event Type	Death	Birthplace	Birth	Biographical Text	Files	Tags
254	https://dickenssearch.com/items/show/254	First Anniversary Festival of the General Theatrical Fund		Speech at the First Anniversary Festival of the General Theatrical Fund (6 April 1846).	Dickens, Charles			<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=40&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=18460406">18460406</a>							1846-04-06_Speech_First-Anniversary-Festival-General-Theatrical-Fund																										<span>Dickens, Charles. 'Speech at the First Anniversary Festival of the General Theatrical Fund' (6 April 1846).</span><span>&nbsp;</span><em>Dickens Search</em><span>. Eds. Emily Bell and Lydia Craig. Accessed [date].&nbsp;</span><a href="https://dickenssearch.com/speeches/ 1846-04-06_Speech_First-Anniversary-Festival-General-Theatrical-Fund">https://dickenssearch.com/speeches/ 1846-04-06_Speech_First-Anniversary-Festival-General-Theatrical-Fund</a><span>.</span>																	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=97&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London+Tavern">London Tavern</a>												Gentlemen, in offering to you a toast which has not yet been publicly drunk in any company, it becomes incumbent on me to offer a few words in explanation, – in the first place premising that the toast will be, ‘The General Theatrical Fund’. The association whose anniversary we celebrate tonight, was founded seven years ago, for the purpose of granting permanent pensions to such members of the corps dramatique as had retired from the stage, either from a decline in their years or decay in their powers. Collected within the scope of its benevolence are all actors and actresses, singers or dancers, of five years’ standing in the profession. To relieve their necessities and to protect them from want is the great aim of the society; and it is good to know that for seven years the members of it have steadily, patiently, quietly, and perseveringly pursued this end, advancing by regular contribution moneys which many of them could ill afford, and cheered by no external help or assistance whatsoever. It has thus served a regular apprenticeship; but I trust that we shall establish tonight that its time is out, and that henceforth the Fund will enter upon a flourishing and brilliant career. I have no doubt that you are all aware that there are, and were when this institution was founded, two other institutions existing, of a similar nature – Covent Garden and Drury Lane – both of long standing, both richly endowed. It cannot, however, be tpo distinctly understood that the present institution is not in any way adverse to those. How can it be, when it is only a wide and broad extension of all that is most excellent in the principles on which they are founded? That such an extension was absolutely necessary was sufficiently proved by the fact that the great body of the dramatic corps were excluded from the benefits conferred by a membership of either of these institutions; for it was essential in order to become a member of the Drury Lane society that the applicant, either he or she, should have been engaged for three consecutive seasons as performer. This was afterwards reduced, in the case of Covent Garden, to a period of two years; but it really is as exclusive one way as another, for I need not tell you that Covent Garden is now but a vision of the past. You might play the bottle-conjuror with its dramatic company, and put them all into a pint bottle. The human voice is rarely heard within its walls save in connexion with Corn, or the ambidextrous prestidigitation of the Wizard of the North. The only run there, is the run of rats and mice. In like manner Drury Lane is so devoted to foreign ballets and foreign operas that it is more deserving of the name of the Opéra Comique, than of a national theatre; while the statue of Shakespeare is well placed over its portal, since it serves as emphatically to point out his grave as does his bust at Stratford-upon-Avon. How can the profession generally hope to qualify for the Drury Lane or Covent Garden institutions, when the oldest and most distinguished members have been driven from the boards on which they earned their reputations, to delight the town in theatres to which the General Theatrical Fund alone extends? I will again repeat that I attach no reproach to those other Funds, with which I have had the honour of being connected at different periods of my life. At the time those associations were established, an engagement of one of those theatres was almost a matter of course, and a successful engagement would last a whole life; but in an engagement of two months’ duration at Covent Garden would be a perfect Old Parr of an engagement just now. It should never be forgotten that when those two funds were established the two great theatres were protected by patent, and that at that time the minor theatres were condemned by law to the representation of the most preposterous nonsense, and some gentlemen whom I see around me could have no more belonged to the minor theatres of that day than they could now belong to St. Bartholomew’s Fair. As I honour the two old Funds for the great good which they have done, so I honour this for the much greater good it is resolved to do. It is not because I love them less, but because I love this more – because it includes more in its operation. Let us ever remember that there is no class of actors who stand so much in need of a retiring fund as those who do not win the great prizes, but who are nevertheless an essential part of the theatrical system, by consequent bear a part in contributing to our pleasure. We owe them a debt which we ought to pay. The beds of such men are not of roses, but of very artificial flowers indeed. Their lives are full of care and privation, and hard struggles with very stern realities. It is from among the poor actors who drink wine from goblets, in colour marvellously like toast and water, and who preside at Barmecide feasts with wonderful appetites for steaks, – it is from their ranks that the most triumphant favourites have sprung. And surely, besides this, the greater the instruction and delight we derive from the rich English drama, the more we are bound to succour and protect the humblest of those votaries of the art, who add to our instruction and amusement. Hazlitt has well said that ‘There is no class of society whom so many people regard with affection as actors. We greet them on the stage, we like to meet them in the streets; they almost always recall to us pleasant associations.’ When they have strutted and fretted their hour upon the stage, let them not be heard no more, – but let them be heard sometimes to say that they are happy in their old age. When they have passed for the last time behind that glittering row of lights with which we are all familiar, let them not pass away into the gloom and darkness; but let them pass into cheerfulness and light, into a contented and happy home. This is the object for which we have met; and I am too familiar with the English character not to know that it will be effected. When we come suddenly in a crowded street upon the careworn features of a familiar face, crossing us like the ghost of pleasant hours forgotten, let us not recall these features in pain, in sad remembrance of what they once were; but let us in joy recognize, and go back a pace or two to meet it once again, as that of a friend who has beguiled us of a moment of care, who was taught us to sympathize with virtuous grief cheating us to tears for sorrows not our own – and we all know how pleasant are such tears. Let such a face be ever remembered as that of our benefactor and our friend. I tried to recollect, in coming here, whether I had ever been in any theatre in my life from which I had not brought away some pleasant association, however poor the theatre; and I protest, out of my varied experience, I could not remember even one from which I had not brought some favourable impression – and that, commencing with the period when I believed that the Clown was a being born into the world with infinite pockets, and ending with that in which I saw the other night, outside one of the ‘Royal Saloons’, a playbill which showed me ships completely rigged, carrying men and careering over boundless and tempestuous oceans. And now, bespeaking your kindest remembrance of our theatres and actors, I beg to propose that you drink as heartily and freely as ever a toast was drunk in this toast-drinking city, ‘Prosperity to the General Theatrical Fund’.	18460406	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a>
244	https://dickenssearch.com/items/show/244	General Theatrical Fund Anniversary Festival 1847		Toast at the General Theatrical Fund Anniversary Festival (29 March 1847).	Dickens, Charles			<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=40&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1847-03-29">1847-03-29</a>							1847-03-29_Speech_General-Theatrical-Fund-Dinner																										<span>Dickens, Charles. 'General Theatrical Anniversary Festival' </span><span>(29 March 1847). </span><em>Dickens Search</em><span>. Eds. Emily Bell and Lydia Craig. Accessed [date].&nbsp;</span><a href="https://dickenssearch.com/speeches/1847-03-29_Speech_General-Theatrical-Fund-Dinner">https://dickenssearch.com/speeches/1847-03-29_Speech_General-Theatrical-Fund-Dinner</a>.																	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=97&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London+Tavern">London Tavern</a>												Gentlemen, it is well for me, and better for you, that the admirable exposition we have heard from my friend on my left of the claims and merits of the General Theatrical Fund, and its immense superiority in its freedom from exclusive restrictions to any other institution having any similar but narrower object, leaves nothing to be added on that head: though the case is so clear and so strong, and has always in its common sense and justice interested me so earnestly, that I could hold forth on this theme ‘until my eyelids could no longer wag’, and am happy to be relieved of the danger of producing any influence on your eyelids by dealing with it at all. As it has been written of Vice, that she is A monster of such hideous mien, As to be hated needs but to be seen. so, I am sure, it might be written of the General Theatrical Fund, that its objects are: so worthy and so much its own As to be favoured, need but to be known. And better known they never can be, than from the lips which have proclaimed them to the room this night. There is, however, gentlemen, one point that seems to me to arise naturally out of the observations of our distinguished President, and at which I cannot help just glancing as I go along. Hope lingered at the bottom of a box in ancient days, as we are told: I cannot help fancying that I descry her lingering yet, at the bottom of those two strong-boxes of the Covent Garden and Drury Lane Theatrical Funds, to offer solid consolation to the General Theatrical Fund in time to come. For as the natural recipients of that treasure pass away in natural course, and no one among them bears in his hand ‘a glass that shows me many more’ – or any more – I cannot help fancying that some portion of the garnered wealth must come our way at last, and float into our roomy coffers. Gentlemen, I hardly think it possible that two such large golden camels can entirely pass through the eyes of two such little needles; and when an institution has arisen, so broad and free as this is, which extends its advantages, not to the pale shades of two dead and buried companies of actors, but to the whole theatrical profession throughout England, I hold it would be a faint-hearted blinking of the question not to avow what most of us here must surely feel – a confident belief that to such resources it may justly, and of right, look for valuable endowment in the days to come. It is ill ‘waiting for dead men’s shoes’, I know; but it is quite another matter waiting for shoes that have been made for people who can never be born to try them on. I come now, gentlemen, to propose to you a toast which is uppermost, I dare say, in the thoughts of everybody present, which is ‘the very head and front’ of the occasion, and the cause which brings us together; which is, and ever must be, inseparably associated with the honour, dignity, and glory of the English stage; with its revival in splendour and magnificence from ruin and rubbish, with its claims to be respected as an art and as a noble means of general instruction and improvement. To whom could such a toast apply, if not to our chairman, Mr. Macready? Of whom, gentlemen – so graceful and appropriate is the position he now occupies among us – I would say, if I may paraphrase what he knows well, that nothing in the Chair became him like the taking of it. It is as generous and true in him – at the head of his profession, and at the zenith of a proud and prosperous career, to take part with this Fund, and to be heard in this pace urging its claims with a manly earnestness, because it is not restrictive, and because it does not favour a few, and because it addresses itself to the great body of actors, and most of all to those who most need it, – as it must be of enduring service to the institution to receive such high and valuable testimony. Gentlemen, it would be difficult for me to find terms in which to discharge the duty of proposing our chairman’s health, in the difficulty I always feel as to the separation of his name from sentiments of strong personal affection and attachment, if I were not happily relieved by the knowledge that, in your breasts as well as mine, the mere mention of Mr. Macready’s name awakens a host of eloquent associations, – Hamlet, Macbeth, Othello, grey-haired Lear, Virginius, Werner, and a host of others, speak for him within us, like spirits. We once again forget the encircling walls of his Covent Garden Theatre, or of Drury Lane – theatres then with nothing infamous to mock the lesson that the poet taught or shame the woman-student of it – and look upon old Rome, its senate and its army, or the Forest of Arden with its gnarled and melancholy boughs, or Swinstead Abbey Gardens with the cruel king upon his death-bed, or Prospero’s enchanted island, or any of those scenes of airy nothings that he made plain and palpable. Oh! if one touch of nature makes the whole world kin, think, gentlemen, for how much of the kindred feeling that is amongst us tonight, or at any time, we are indebted to such an art, and such a man! May we be more and more indebted to him, year by year, for very many years to come! May we yet behold the English drama – this is a hope to which I always cling – in some theatre of his own, rising proudly from its ashes, into new and vigorous existence. And may we, in the reception we now give his name, express all this, and twenty times as much; including the past, the present, and the future; and give him reason years hence to remember this occasion, with something of the pleasure and delight that we have through him derived from it ourselves! I beg to propose to you to drink the health of our chairman, Mr. Macready.	18470329	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a>
255	https://dickenssearch.com/items/show/255	General Theatrical Fund Anniversary Festival 1848		Toasts given at the General Theatrical Fund Anniversary Festival (17 April 1848).	Dickens, Charles			<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=40&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1848-04-17">1848-04-17</a>							1848-04-17_Speech_General-Theatrical-Fund-Anniversary-Festival																										<span>Dickens, Charles. 'Toasts given at the General Theatrical Fund Anniversary Festival' (17 April 1848).</span><span>&nbsp;</span><em>Dickens Search</em><span>. Eds. Emily Bell and Lydia Craig. Accessed [date].&nbsp;</span><a href="https://dickenssearch.com/speeches/1848-04-17_Speech_General-Theatrical-Fund-Anniversary-Festival">https://dickenssearch.com/speeches/1848-04-17_Speech_General-Theatrical-Fund-Anniversary-Festival</a><span>.</span>																	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=97&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London+Tavern">London Tavern</a>					He had, he said, never been in limbo, and therefore his knowledge of the Old Bailey was limited; and as the sheriff had been pleased to remark that but few, if any actors, had been in ‘durance vile’, he thought he might return the compliment by saying that but few sheriffs had been resident in Newgate. With respect to the speech of the gallant officer, who returned thanks for the Navy, he could assure him that though his friend Captain Cuttle was not present, he would most indubitably ‘take a note of it’. ‘Good wine’, as Rosalind says, ‘needs no bush’; so a good play needs no epilogue; a good book no preface; and a good toast but few words. It was conventionally supposed that actors were an improvident race; but he would maintain that it was more creditable to those who yielded up out of so many shillings so many pence to a fund for their decayed brethren, than those who hoarded up hundreds. And he would assert that, in the profession, there were a number of highly honourable, talented and striving men and women, of whose daily lives many of the company then assembled might take an example. Dickens then pronounced a high eulogium on the talents of the chairman, who, he said, had written the best comedy since Goldsmith’s time; and as to his works of fiction, they were known and appreciated by all the world. He concluded by calling on the company to drink his health.; He had, he said, but half a dozen words to say. The Muses were ladies; the Graces were ladies; some of the best writers were ladies; some of the best characters in tragedy and comedy were ladies; the brightest portion of our existence were ladies. He would, therefore, give ‘The Ladies’.								18480417	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a>
256	https://dickenssearch.com/items/show/256	General Theatrical Fund Anniversary Festival 1849		Speech at the General Theatrical Fund Anniversary Festival (21 May 1849).	Dickens, Charles			<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=40&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1849-05-21">1849-05-21</a>							1849-05-21_Speech_General-Theatrical-Fund-Anniversary-Festival																										<span>Dickens, Charles. 'Speech at the General Theatrical Fund Anniversary Festival' (21 May 1849).</span><span>&nbsp;</span><em>Dickens Search</em><span>. Eds. Emily Bell and Lydia Craig. Accessed [date].&nbsp;</span><a href="https://dickenssearch.com/speeches/1849-05-21_Speech_General-Theatrical-Fund-Anniversary-Festival">https://dickenssearch.com/speeches/1849-05-21_Speech_General-Theatrical-Fund-Anniversary-Festival</a><span>.</span>																	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=97&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London+Tavern">London Tavern</a>												Gentlemen, in hope that you will not object to a Trustee with a cold, however naturally you might object to a cold Trustee, I beg, in behalf of my absent colleagues, to return you their thanks for the honour you have rendered them, and on my own part to acknowledge the honour you have rendered me. And I am well assured, gentlemen, that I express their feelings no less than my own, when I congratulate the General Theatrical Fund on the brilliant assembly by which I am surrounded; and on its being presided over by a gentleman who has a triple claim on its consideration and respect. I do not mean to say, gentlemen, with Mrs. Malaprop’s own happy confusion of ideas, that the chairman is ‘like Cerberus, three gentlemen at once’; but I think I give utterance to the sentiment – to the general sentiment – of all this company, when I hail him as gracefully seated in his right place tonight, not only in consideration of his own talents and public position, but in memory of the genius of his immortal father, and in consideration of the many tender and sweet remembrances all England must associate with his accomplished wife. Gentlemen, if, like some Trustees on an infinitely larger scale – some of those legislative Trustees who occasionally refresh themselves with odd vagaries elsewhere – I might espy ‘strangers present’; though Heaven forbid that the sudden sharpness of my eyesight should be attended with the disastrous House of Commons consequences, and lead to the withdrawal of those fair ornaments of our society; but I say, if, with the proverbial clearness of vision of an Irish member, I might espy ‘strangers present,’ I would appeal to them confidently as the best judges whether their sex has ever had a gentler, better, truer exponent than the lady of whom I speak. Perchance, gentlemen, I would appeal to them to say whether her sitting among us at this time is not the crowning grace of our festivity. In common, gentlemen, both with the chairman and Secretary, I regret very much to miss at this board today the pleasant and familiar face of our Treasurer; I regret it selfishly for our sakes, for I can guess to how many faces his is imparting something of its own delightful cheerfulness and mirth at this moment. But as a less important officer of this institution, it is a great pleasure to me to confirm all that you have heard stated of its continued prosperity, and to bear my admiring testimony to the patience and perseverance with which its members contribute, many of them from very scanty and uncertain resources, those periodical sums which are to be a provision for their old age; to exult, as I annually do, in the refutation thus afforded to the sweeping charge of improvidence, which is somewhat thoughtlessly made, and as I conceive ungenerously, against the members of the theatrical profession, and other not dissimilar pursuits. Gentlemen, I always consider when I hear that charge made, that it is not sufficiently recollected that if you are born to the possession of a silver spoon, it may not be very difficult to apply yourself to the task of keeping it well polished on the side-board, but that if you are born to the possession of a wooden ladle instead, the process of transmuting it into that article of plate is often a very difficult and discouraging process. And most of all we should remember that it is so at a time of general trouble and distress. ‘Uneasy lies the head that wears a crown’ indeed, in days when crowns of so many sorts, of gold, brass, and iron, are tumbling from the heads of the wearers; but the head that wears a mimic crown, and the hand that grasps a mimic sceptre, fare at such a season, worst of all; for then the peaceful, graceful arts of life go down, and the slighter ornaments of social existence are the first things crushed. Therefore, gentlemen, if the King of Sardinia cannot get into trouble without involving the King or Mr. Daggerwood’s Company; and if the leader of the Austrian armies cannot make a movement without affecting the leader of the business at the Theatre Royal, Little Pedlington, so much the more have we reason to rejoice in the continued prosperity of this institution – so much the more have we reason to rejoice in its floating on this sea of trouble; like the veritable sea-serpent, according to Captain McQuhae, with which it tallies in all its essential features, for it is apparently bent on a vigorous and determined object, with its head considerably above water, and drawing easily behind it a long train of useful circumstances. One other word, gentlemen, on the hopes of the Drama, and consequently on the hopes of the extended operations of this establishment, and I have done. When the chairman made his first admirable speech, I confess I had some doubts whether I quite agreed with him, but I was quite sure that if we did not agree, we should agree to differ; but when made that admirable other speech in reference to the Fund, I was happy to find that we were cordially agreed. Gentlemen, I allude to the regeneration of the Drama. I think it is next to impossible but that it must come to pass, because the Drama is founded on an eternal principle in human nature. I say it respectfully, I do not think it within the power of any potentate on earth, however virtuous, however munificent, however strong in the love and honour of a people, to raise the Drama up, or to pull the Drama down. In this room, in Windsor Castle, in an African hut, in a North American wigwam, there is the same inborn delight and interest in a living representation of the actions, passions, joys, and sorrows of mankind. In England, of all countries on the earth, this interest is purified and exalted by the loftiest masterpieces of human fancy, and the proudest monuments of human wit. Such an art, gentlemen, I hold to be imperishable; reverses it may suffer, from many causes, but ‘malice domestic, foreign levy, nothing’, to my thinking, can root it out.	18490521	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a>
258	https://dickenssearch.com/items/show/258	General Theatrical Fund Anniversary Festival 1850		Speech at the General Theatrical Fund Anniversary Festival (25 March 1850).	Dickens, Charles			<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=40&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1850-03-25">1850-03-25</a>							1850-03-25_Speech_General-Theatrical-Fund-Anniversary-Festival																										<span>Dickens, Charles. 'Speech at the General Theatrical Fund Anniversary Festival' (25 March 1850).</span><span>&nbsp;</span><em>Dickens Search</em><span>. Eds. Emily Bell and Lydia Craig. Accessed [date].&nbsp;</span><a href="https://dickenssearch.com/speeches/1850-03-25_Speech_General-Theatrical-Fund-Anniversary-Festival">https://dickenssearch.com/speeches/1850-03-25_Speech_General-Theatrical-Fund-Anniversary-Festival</a><span>.</span>																	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=97&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London+Tavern">London Tavern</a>												Mr. Chairman and Gentlemen, Before I proceed to discharge the very simple office entrusted to me, you will perhaps allow me to congratulate you upon the very agreeable mode of spending Quarter Day – a day not always connected with agreeable associations, or devoted to such hilarity. Perhaps we will also allow me, gentlemen, to renew my annual congratulations on the prosperity of the General Theatrical Fund, and the courage and perseverance with which its members, many of them under very unpropitious circumstances indeed, continue to fulfil their task. I never go into any of our smaller London theatres, or even into country theatres – such a one for instance as I was at the other night, where no particular piece belonged to the immense night in the bill, where generally people walked in and out, where a sailor fought a combat with anyone he chanced to meet and who happened to be in possession of a sword, – I never go into any of the neglected temples of the drama, where it is so hard to get a living, but I come out again with a considerably strengthened and increased admiration of those who are the members of this Fund, and who, with constancy and perseverance, bear up under the greatest difficulties. It is, I say, an extraordinary and a remarkable fact, and an excellent example to the members of other and more lauded professions. Gentlemen, I now come to the toast which I have to propose to you. I shall not express, as I ought to express according to all precedent, my sorrow that it has not fallen into better hands; although it might easily have done that, to tell the truth, I am exceedingly glad to hold it in mine, as it gives me the opportunity of publicly rendering my humble tribute of respect to the character and exertions of a gentleman to whom this fund is much indebted, who is connected in no slight degree with the public enjoyment, and in no slight degree with the successes and hopes of the English Drama, its literature and art. I mean our chairman, Mr. Webster. I knew very well you would give a cordial reception to his name. I was well assured of it because I esteem, as every friend of this institution must esteem, the very great importance of his encouragement, because I feel it is honourable to him and to it, that setting aside all considerations of this Fund or that Fund, of this theatre or that theatre, he puts himself at the head of a society which comprehends all theatres, and which includes all the members of the profession of which he is an old and great supporter. I felt assured, gentlemen, of the sympathy of all this company who are not connected with the profession, because our chairman has been now, for a long time, the manager of two admirably conducted theatres; because he has never been behind the public requirements in any respect, but has even outstripped them; because he has a very strong demand upon our respect and admiration. My friend, Mr. Buckstone, admirably expressed in one sentence a capital summary of his merits, that ‘he not only employed a great number of actors, but paid them too’; and really, gentlemen, in drinking such a toast as the present, we must not forget what a very difficult and arduous career such a manager has to encounter; what untoward circumstances and great difficulties he has to struggle against, and how likely he is to be injured by any depression in the public mind, from whatever cause. Yet, notwithstanding all this, he has evinced a steadiness of purpose not to close his theatre, night after night, whatever may be the great temptations he has had to do so, being too mindful of the poor hangers-on dependent upon him for their daily bread, and who hope for the public support. Such a manager as this, gentlemen, Mr. Webster has always been; And when we add to this, that for many years he has fought a manly, stand-up English battle against very powerful rivals of various countries, English, Swedish, French, Italian, and has encountered all kinds of strange animals, lions, tigers, Ethiopians and Nightingales; and when we add to this list that it is sometimes softly whispered, though I do not believe it myself, that certain members of the theatrical profession, on rare and particular occasions, at great distances apart, are a little capricious and difficult to deal with: when we take all these circumstances into our consideration, I think we shall agree that he has come very nobly through his difficulties, and looks exceedingly well tonight after all that he has gone through. I cannot, gentlemen, in conclusion, express my sense of Mr. Webster&#039;s position in reference to the Drama, and in reference to this society , more to my own satisfaction, at all events, than by relating little story (a very short one) that was told to me last night of an exceedingly intelligent and strictly veracious friend of mine, an American Sea Captain. Gentlemen, once upon a time, he had as a passenger upon board his ship a young lady of great personal attractions, they used that phrase as one entirely new to you, and five young gentlemen, also passengers, and who in the course of a short voyage all fell desperately in love with the young lady. The young lady, liking all the five young gentlemen, and liking them all equally well, felt herself placed in a position of some difficulty, and in this emergency applied for advice to my friend the Captain. My friend the Captain, himself a man of an original turn of mind, proposed to the young lady that she should jump overboard, he having a well-manned boat alongside to prevent the possibility of accidents, and that she should marry the man that jumped in after her. She was very much struck by it, and it being summer time and fine weather, and naturally fond of bathing, decided to accept the proposition. Accordingly, on a certain morning, when her five admirers were all on deck, she went over the side head foremost. Four of the five immediately plunged in after her; and, said the young lady to the Captain when they were all on deck again, ‘What am I to do now? See how wet they are.’ Said the Captain to the young lady, ‘Take the dry one!’ Which she did. Now the way in which I adapt this story to the present purpose is simply by reversing it: that the British drama having gone overboard, and a great many admirers having looked on coolly, and one having gone in and kept his head above water for a long time, my advice to this society would have been, ‘Take the wet one.’ And you have got him. I am thoroughly glad you have, and I beg to propose to you, in all sincerity, to drink his health with acclamation. On behalf of the Hon. Mr. Justice Talfourd, and my brother Trustee, I beg to return you my best thanks, and particularly to my friend Mr. Webster, for his kind mention of my name. The only embarrassment that I feel on these occasions is that I really don&#039;t know what we have to do. I might illustrate our position by a theatrical case. Perhaps you may have observed that when a young lady performs a piece of horsemanship, there are generally two or three ambiguous looking gentleman who follow Mr. Widdicombe about, and who are indispensable to the performance, though the lady never knows why or in what particular, but she is perfectly satisfied that they must be there, and that without them the thing could not possibly be done. I might suppose my friend Mr. Buckstone, in reference to this institution, to be the party representing Mr. Widdicombe, and Mr. Cullenford performing the pleasing act of Secretaryship upon the highly trained charger: well we, the Trustees, represent those attendants looking on so very hard after them.	18500325	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a>
259	https://dickenssearch.com/items/show/259	General Theatrical Fund Anniversary Festival 1851		Chairman&#039;s speeches at the General Theatrical Fund Anniversary Festival (14 April 1851).	Dickens, Charles			<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=40&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1851-04-14">1851-04-14</a>							1851-04-14_Speech_General-Theatrical-Fund-Anniversary-Festival																										<span>Dickens, Charles. 'Chairman's speeches at the General Theatrical Fund Anniversary Festival' (14 April 1851).</span><span>&nbsp;</span><em>Dickens Search</em><span>. Eds. Emily Bell and Lydia Craig. Accessed [date].&nbsp;</span><a href="https://dickenssearch.com/speeches/1851-04-14_Speech_General-Theatrical-Fund-Anniversary-Festival">https://dickenssearch.com/speeches/1851-04-14_Speech_General-Theatrical-Fund-Anniversary-Festival</a><span>.</span>																	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=97&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London+Tavern">London Tavern</a>					<p>In reply the chairman begged to be allowed to offer them his deepest thanks for the manner in which the last toast had been responded to. He deeply felt the honour conferred upon him, having attended the meeting as a matter of duty, though placed from peculiar circumstances in a highly painful and difficult position. If his services were of any value to the institution, he said, he could assure its members that those services were always freely and heartily at their disposal. He would say no more upon the subject, but proceed to a toast which he doubted not would be warmly received and responded to.</p> <p>He had always taken the highest interest in the prosperity of the Drama, because he believed that a noble Drama tended to purify the human heart, and was the most important agent in the work of education and civilization. He would not dismiss the hope that the British Drama would ultimately ‘look up’, after a pretty long contemplation of its feet; because he could not believe that any art which so appealed to the various passions and affections of human nature could become extinct. A love of the Drama in some shape was implanted in the breast of all people. When the officers of Captain Cook’s ships, who had left their children enacting mimic plays in this country, arrived in the South Sea Uslands, they found the untutored natives doing the same beneath the shadow of their broad-leaved trees. It constituted one of the distinctions which separated man from the brute creation, and he should continue in that belief until he heard of the monkeys producing a play, or the elephants coming out in a good jog-trot, see-saw comedy.</p> <p>It had often been his misfortune to hear the Drama decried by people of the best intentions because of its abuses. Now doubt the Drama had its abuses like other institutions, but so far from that being a reason why they should decry it, it was a reason why they should endeavour to improve and elevate it. In some shape you would always have it; and, depend upon it, if you would not have it at its best, with your own help and consent, you would have it at its worst in your own despite. Perhaps the one reason why the Drama did not hold so good a position in this country as it ought to do, was to be found in the fact that, up to a comparatively recent period, English legislation had drearily discouraged it, and its professors had not been looked upon with respect to which they were justly entitled. But notwithstanding all discouragement, he hoped that it could, and believed that it would, be restored to its proper position among the Arts; and in no way could they better assist the endeavour to raise it, than by extending their support and assistance to those who had always shown their anxiety to maintain the respectability and honour of Dramatic Profession.</p>; <p>The chairman then said that the next toast he had to give was the Professional Ladies and Gentlemen who delighted them with their exertions that evening. After what they had heard and witnessed he felt sure that he need do no more to recommend that toast to them, than to remind them that the whole of those Ladies and Gentlemen gave their assistance, not only gratuitously, but cheerfully, to aid the cause which they had met to promote, and he was sure that they wished for no greater reward than the knowledge that they had been instrumental in promoting the prosperity of the General Theatrical Fund.</p> <p>The Chairman said that he had now come to the last toast of the evening. There was a story told of an Eastern potentate, that when any intelligence of mischief having occurred was brought to him, he always used to exclaim, ‘Who is she?’ – invariably anticipating that it must be caused by a woman. In this country they had a somewhat better application of the same idea, for whenever there was a cause of benevolence to be served, they had only to say ‘Where is she?’ and the answer was sure to be ‘She is here'. The Drama was full of beautiful specimens of woman’s love and woman’s wit, but without stopping to draw comparisons between the characters of Desdemona, Juliet, or other interesting creatures of the poet's brain, he would conclude by giving them, ‘The Ladies’.</p>							Gentlemen, in offering to you the loyal and always acceptable toast, ‘The Queen’, I have the pleasure of informing you that the Secretary has, this morning, received Her Majesty’s usual annual donation of one hundred pounds to the funds of the Institution. ‘The Queen.’ Gentlemen, I am sure it will not be necessary for me in presenting to you the next toast, to remind any gentleman present – it being sufficiently known to all parties – of the great interest taken by the illustrious individual whose health I am about to propose, in all the arts and sciences, or the zealous co-operation which His Royal Highness Prince Albert has always shown to any measure devised for their encouragement. At the present time, that is more particularly brought under the attention of the public through the exertions now being made on the suggestion of His Royal highness, to open within a few days, an Exhibition of the world’s progress in the arts and sciences in the magnificent and surprising Palace of Glass, which is, of itself, one of the most remarkable works of art of the age. ‘His Royal Highness Prince Albert, Albert Prince of Wales, and the rest of the Royal Family.’ Gentlemen, the next toast which I have to propose is one, in reference to which the gallant deeds of the members of the professions that are the subjects of it, speak sufficiently in themselves, and need no words of mine, – ‘The Army and Navy.’ Gentlemen, I have so often have the gratification of bearing my testimony in this place to the usefulness of the excellent institution in whose behalf we are assembled, that I should be sensible of the disadvantage of having nothing new to say to you in proposing the toast you all anticipate, if I were not relieved by the conviction that nothing new needs to be said, inasmuch as its old grounds of appeal to you can neither be weakened or strengthened by any advocacy of mine. Although the General Theatrical Fund, unlike some similar public institutions, is represented by no fabric of stone, or brick, or glass – like that wonderful achievement of my ingenious friend Mr. Paxton, of which the great demerit, as we learn from the best authorities, is, that it ought to have fallen down before it was quite built, and would by no means consent to do it. Although, I say, the General Theatrical Fund is represented by no great architectural edifice, it is nevertheless as plain a fact, rests upon as solid a foundation, and carries as erect a front as any building in the world. And the best that its exponent, standing in this place, can do, is to point it out to all beholders, saying simply, ‘There it is! Judge of it for yourselves.’ But, gentlemen, though there may be no necessity for me to state what the General Theatrical Fund is, it may be desirable (with reference to that portion of the present company who have hitherto had but a limited acquaintance with it), that I should state what it is not. It is not a theatrical association whose benefits are confined to a small body of actors, while its claims to public supports are uniformly preferred in the name of the whole histrionic art. It is not a theatrical association adapted to a state of things entirely past and gone, and no more a feature of the present time than groves of highwaymen hanging in chains on Hounslow Heath, or strings of packhorses between London and Birmingham. It is not a rich old gentlemen, with the gout in his vitals, brushed up once a year to look as vigorous as possible, and taken out for a public airing by the few survivors of a large family of nephews and nieces, who keep him laid up in lavender all the rest of the year as a mighty delicate old gentleman: then ask his poor relations, whom they lock out with a double turn of the street door key, why they don&#039;t come in and enjoy his money? It is not a theatrical association, which says to the poor actor, ‘You have only to strut and fret your hour, for so many consecutive nights and for so many seasons, on this stage – whereon it is impossible you ever can set foot; you have only to declaim for so many consecutive nights, in English – here, upon these boards where the English tongue is never heard; you have only to force yourself between these bars (of music), and to make your way – you, an unwieldy Swan of Avon, into this aviary of singing birds – you have only to do this, and you shall come into your share of the advantages of the fund which was raised from the public, in the name, and for the love, of your all-embracing art.’ No, gentlemen, if there be any such funds, this Fund is not of that kind. This Fund is a theatrical association, addressed to the means, and adapted to the wants – and sore and dire those often are – of the whole theatrical profession throughout England. It is a society in which the word ‘exclusiveness’ is unknown. It is a society which says to the actor, ‘You may be the Brigand, or the Hamlet, or the Ghost, or the Court Physician, or the King&#039;s whole army; you may do the light business, or the heavy business, or the comic business, or the serious business, or the eccentric business; you may be the captain who courts the young lady, whose guardian unaccountably persists in dressing himself a hundred years behind the time; or you may be the lady&#039;s younger brother, in white kid gloves and trousers, whose position in the family would appear to be to listen to all the female members of it when they sing, and to shake hands with them between all the verses; or you may be the Baron who gives the fête, and who sits on the sofa under the canopy, with the Baroness, to behold the fête; or you may be the peasant who swells the drinking chorus at the fête, and who may usually be observed to turn his glass upside-down immediately before drinking the Baron’s health; or you may be the Clown who takes away the door-step of the house where there&#039;s a dinner party; or you may be the first stout gentleman who issues forth out of that house, on the false alarm of fire, and precipitates himself into the area; or you may be a Fairy, residing for ever in a revolving Star, in the Regions of Pleasure, or the Palaces of Delight; or you may even be a Witch in Macbeth, bearing a marvellous resemblance to the Malcolm or Donalbain of the previous scenes with his wig hind-side before. But, be you what you may; be your path in the profession never so high or never so humble, this institution addresses you, and offers you the means of doing good to yourself, and doing good to other people.’ Nor let it be forgotten, gentlemen, that the General Theatrical Fund is essentially a Provident Institution. Its members are of a class whose earnings are, at the best, precarious; and they are required to lay by, out of their weekly salary, when they get it, a certain small weekly sum. This they do through every difficulty, with constancy that cannot be too much admired; and the first effect of the institution on them, is, to engender a habit of forethought and self-denial. By becoming a member of this society the actor is placing himself in a position to secure his own right at no man&#039;s wrong; and when in old age or times of distress he makes his claim to it, he will be entitled to say, ‘I do not compromise my independence herein; I do not disgrace my children; I am neither a beggar nor a suppliant; I come to reap the harvest from the seed which I sowed long ago.’ Therefore it is, gentlemen, that in asking you to support this Institution, I never will hold out to you the inducement, that you are performing an act of charity in the common acceptation of the word. Of all the abuses of that much abused term, none have so raised my indignation as some that I have heard in this room. If you help this Fund you will not be performing an act of charity, but you will be helping those who help themselves, and you will be coming to the aid of men who put their own shoulders to the wheel of their sunken carriage, and did not stand idly by while it sank deeper in the mire. Have you help this Fund you will not be performing an act of charity, but you will do an act of Christian kindness, benevolence, encouragement. You will do an act of justice – you will do an act of gratitude. But I will not so wrong a body of men struggling so manfully for independence, as to solicit you to perform, in their behalf, an act of charity. Gentlemen, I have used the term ‘gratitude’. Let any of us look back upon his past life, and say whether he owes no gratitude to the actor’s art! Not because it is often exercised in the midst of sickness, poverty, and misfortune, – other arts, God knows, are liable to the like distresses! Not because the actor sometimes comes from scenes of affliction and misfortune – even from death itself – to play his part before us; all men must do that violence to their feelings, in passing on to the fulfilment of their duties in the great strife and fight of life. But because in the relief afforded to us by the actor’s art, we always find some reflection, humorous or pathetic, sombre or grotesque, of all the best things that we feel and know. If any man were to tell me that he owed no great acknowledgement to the stage, I would ask him the one question, whether he remembered his first play? Oh, gentlemen, if you can but carry back your thoughts to that night, and think a little of the bright and harmless world it opened to your view, full well assured am I that we shall hear of it expressively from Mr. Cullenford, when he comes to read out the donations by and by! Gentlemen, this is the sixth year the members of this society have met together in this room. This is the sixth time your child has been brought down and introduced to the company after dinner. His nurse, a very worthy person of the name of Buckstone, with excellent characters from several places, is here, and will presently speak to you regarding the health of the child; and will, I have no doubt, be able to tell you that is chest is perfectly sound, and its general health in the best condition. Long may it continue so – long may it thrive and grow! Long may we meet here to congratulate each other on its increased and increasing prosperity, and longer than the line of Banquo may the line of figures be, in which its patriotic share in the National Debt shall be stated a hundred years hence, in the account books of the Governor and Company of the Bank of England! I beg to give you, ‘Prosperity to the General Theatrical Fund!’	18510414	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a>
260	https://dickenssearch.com/items/show/260	General Theatrical Fund Anniversary Festival 1852		Speech at the General Theatrical Fund Anniversary Festival (5 April 1852).	Dickens, Charles			<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=40&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1852-04-05">1852-04-05</a>							1852-05-04_Speech_General-Theatrical-Fund-Anniversary-Festival-1852																										<span>Dickens, Charles. 'Speech at the General Theatrical Fund Anniversary Festival' (5 April 1852).</span><span>&nbsp;</span><em>Dickens Search</em><span>. Eds. Emily Bell and Lydia Craig. Accessed [date].&nbsp;</span><a href="https://dickenssearch.com/speeches/1852-05-04_Speech_General-Theatrical-Fund-Anniversary-Festival-1852">https://dickenssearch.com/speeches/1852-05-04_Speech_General-Theatrical-Fund-Anniversary-Festival-1852</a><span>.</span>																	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=97&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London+Tavern">London Tavern</a>					<p>He could assure them, he said, that he really was not using a common form of words, but was honestly expressing the feeling at the moment when he avowed himself at some loss, both to think the company for their hearty greeting, and to thank his generous friend in the Chair for the terms in which he had referred to him. Sir Anthony Absolute was of the opinion that in love of affairs it was best to begin with a little aversion; and if he (Mr. Dickens) could only have started with a little coldness on the part of his friend in the Chair, or even a moderate warmth on the part of the audience, it was quite unknown into what an admirable speech he should have presently soared. But a tribute so noble, and a welcome so cordial, he found to be very bad preparations indeed for such an achievement.</p> <p>Before referring to the Fund, which is the main object of interest with all of them my evening, he would take leave to say that he was exceedingly glad that his friend, the chairman, it happened to allude to him, and that company, in his Stage-Managerial capacity; because he did particularly desire to express his conviction in such a company, of all others, that the dramatic profession was very ill served by some misjudging friends, when they supposed that it could possibly be injured by, or could possibly regard with anything like resentment or jealousy, Amateur Theatricals. He had, for a brief space, assumed the functions of an amateur manager and actor, in furtherance of a cause in which his warmest sympathies and aspirations were (like those of his friend in the Chair) enlisted; and to represent that the stage could possibly be injured, or could fairly claim any right to consider itself injured by such performances was to exclude it from the liberal position assumed in such wise by every other liberal art. And literature there were received, freely, and, without cavil, amateurs of all kinds: physicians, lawyers, officers of the army and navy, merchants’ clerks who travelled and saw strange countries, lords and ladies of various degrees, – anybody who had anything to say, and possibly, now, and then, somebody had nothing to say. Through the whole of the last season, a gallery was opened in Pall Mall for the exhibition of pictures of amateur artists; he never heard that the members of the Royal Academy were much aggrieved by the circumstance, or very desperately alarmed by its public patronage, and success. So, in music: he believed it was generally acknowledged that some excellent lessons have been given to the public and the profession by the knowledge and patience of amateurs in chorus singing, and that the production of some of the most admired works of the old masters were due to the exertions of amateurs, without the least injury to the regular professors of the art. The liberal and generous feeling which thus distinguished other kindred arts, surely was to be claimed for the stage, as <em>its</em> just characteristic too; and could not be better claimed for it than at the anniversary celebration of its most comprehensive and its least restricted institution.</p> <p>With reference to the General Theatrical Fund, he had been so often before them as one of the Trustees, that he found it very difficult to say anything relative to it which he had not said before, or which they did not know as well as himself. Independently of the fact that their Fund had been established seven years, and that their position was improving every time they met, the eloquence of their chairman in proposing the toast of the evening, and their Treasurer’s admirable acknowledgement of it, had completely exhausted the subject, and he now stood before them a bankrupt Trustee without a leg to stand upon. If he could only have found one good vice in the management, he would have been well set up in business for the evening, and might have remained in a perfectly self-satisfied condition until next year. If, for instance, he could only have complained that the institution was expensively managed, that there was nobody connected with the management, who had any sympathy with the unfortunate members of the Dramatic profession: that none of them had had any experience of the habits or struggles of poor actors; if hr could only have said that the Treasurer was a stern, austere man, altogether a hard-favoured person, severe of countenance and very difficult to approach; or if he could have said that the institution was exclusive in its nature, one that required candidates for admission to its benefits to have complied with some trifling condition – reasonable, but not easy, such as having held an engagement for two or three consecutive years in the moon, or having appeared in Sir Edward Lytton’s <em>Money</em> two or three hundred nights before the Esquimaux – if he could have found any such trifling ground of complaint, he would have been at no loss for a topic. But, whereas in the General Theatrical Fund, the local comedian was not expected to have fulfilled those consecutive engagements in the moon; the tragedian was not expected to have played Evelyn two or three hundred consecutive nights in the icy regions of the North; Fenella, the sister of Masaniello, was not refused relief because she was only a dancer, nor Masaniello himself because he was only a singer.</p> <p>He had nothing left to say in lieu of that great speech he might, and indisputably would, under these happiest circumstances have made, but that he wanted a grievance. Indeed, he was so utterly utter loss for a grievance that he had had serious thoughts of abandoning these festivals altogether, and taking to attending those banquets which he sometimes saw advertised to take place in the neighbourhood of Freemasons’ Hall, where he was informed that he could find all these causes of complaint ready made to his hand. Like his friend, Mr. Buckstone, however, he did not wish to indulge in any unkind expressions towards the other theatrical funds, some old and esteemed friends of his were connected with them, and as he would wish to make them also the friends of this institution. What he would suggest, afar off, was that these Funds should make some change in their constitutions adopted to the altered times, and he thought there was nothing so likely to reconcile all differences, and to do so much good to all parties, as a happy marriage.</p> <p>All he would say in his official position was that the General Theatrical Fund was progressing steadily, that they had not the slightest difficulty to state to that company, and that the institution was steadily and gallantly supported by the members of the profession. All who had the least theatrical experience must know how necessary it was to any play, in order to ensure success, that it should possess some female interest. No institution could succeed that was not backed by that influence; and, therefore, it was with great pleasure that he learned from their worthy Secretary that a large portion of the subscribers consisted of the gentler sex. Nor were they wanting there, to shed on the assembly a grace which nothing else could give to it; for whether he looked before or behind him (and here he might be allowed to say that he almost regretted, to occupy one of the posts of honour, and wished he was situated among some of his friends in a more private situation at the side of the room) –, he met with nothing but beaming faces, encouraging and gentle looks. On the part of his brother Trustees, and on his own behalf, he begged to acknowledge the toast with many thanks; and he begged to assure those present that they need not be in the least afraid, that evening, of troubling the Treasurer or the Trustees by swelling their contributions and support of the fund to any inconvenient amount; for they were perfectly ready to bear, with the utmost cheerfulness, the heaviest total with which they might think fit to burden them.</p>								18520405	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a>
261	https://dickenssearch.com/items/show/261	Royal General Theatrical Fund Anniversary Festival 1853		Speech at the Royal General Theatrical Fund Anniversary Festival (22 March 1853).	Dickens, Charles			<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=40&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1853-03-22">1853-03-22</a>							1853-03-22_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival-1853																										<span>Dickens, Charles. 'Speech at the Royal General Theatrical Fund Anniversary Festival' (22 March 1853).</span><span>&nbsp;</span><em>Dickens Search</em><span>. Eds. Emily Bell and Lydia Craig. Accessed [date].&nbsp;</span><a href="https://dickenssearch.com/speeches/1853-03-22_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival-1853">https://dickenssearch.com/speeches/1853-03-22_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival-1853</a><span>.</span>																	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=97&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London+Tavern">London Tavern</a>					<p>On a recent occasion, he said, they were informed that a respectable and active police officer had insinuated himself into the midst of an incorruptible election. This very intellectual person had reason to believe, from information he had received, that if he proceeded in a certain direction he would encounter a sage, between whom and himself a most mysterious and magnetic influence would arise if he laid his hand upon his nose. He obeyed these instructions, and in reply to the gesture alluded to, the sage observed, ‘It is all right, but there is something more’; whereupon the police officer repeated the necessarily cabalistic sign, which secured his admission into the mysterious region, and he took the chief magician into custody.</p> <p>If he might adapt this incident, of a not very agreeable or creditable nature, to the present very agreeable and creditable occasion, he would suggest it was all right, but there was something more. Without having applied their hands to their noses, they might be said to have placed them in grateful homage on their hearts, and also to their ears in listening to those sweet sounds produced by the musicians, and which gave delight, not only in themselves, but from the generous spirit in which they were uttered. They had used their hands in making those sounds very agreeable to the management of the fund, and in acknowledging the very admirable exposition of its claims they had heard from the Chair. In reference to the Chair, he would simply say that he hoped the ‘devil’s bird-catchers’ might always be able to lime so good a bird. He was too old a bird to be caught by chaff, whether of a celestial or infernal description.</p> <p>The chairman had laid the fund, under a very great obligation, and the cabalistic sign which he was advised as the next in order was, that every gentleman presented empty a wine glass in his honour. They were so fortunate in having for their president a gentleman who was the representative of a large mercantile community, and his presence afforded a graceful expression of that union of sympathy which should exist between the busy pursuits of life and its wholesome recreations. They also had in their chairman of the night one who was personally and pleasantly acquainted with the objects of their assembly. He, therefore, called up upon them to drink his health, and when they had done that, he hoped they would recollect that they were still ‘something more’.</p>								18530322	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a>
266	https://dickenssearch.com/items/show/266	Royal General Theatrical Fund Anniversary Festival 1855		Speeches at the Royal General Theatrical Fund Anniversary Festival (2 April 1855).	Dickens, Charles			<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=40&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1855-04-02">1855-04-02</a>							1855-04-02_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival																										<span>Dickens, Charles. 'Speeches at the Royal General Theatrical Fund Dinner' (2 April 1855).</span><span>&nbsp;</span><em>Dickens Search</em><span>. Eds. Emily Bell and Lydia Craig. Accessed [date].&nbsp;</span><a href="https://dickenssearch.com/speeches/1855-04-02_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival">https://dickenssearch.com/speeches/1855-04-02_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival</a><span>.</span>																	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=97&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London+Tavern">London Tavern</a>					<p>He was sure, he said, that after the address they had just heard, he need say but little in proposing to them the health of their respected chairman, and prosperity to the Haymarket Theatre. If Mr. Buckstone were any ordinary chairman, he might pass the toast over without any further observations; but he was not so – he was a gentleman who had a special claim upon their regards. He could answer for it from his recollections as a boy, twenty-five years ago, how much the acting of that gentleman had enchanted him, as no doubt it then did many others, and how he went home to dream of his comicalities. When at the Adelphi, Mr. Buckstone was great in his most original boys, as he is excellent in everything. Who can forget at that time his leading home the inebriated Master Magog, the Beadle; or, in later days, his drunken man in <em>Presented at Court</em>; or his <em>Rough Diamond</em>, with his huge short collar and most natural account of the doings at his village home? It was gratifying to notice the progress Mr. Buckstone had made in his profession since that time, but that was not the only claim the chairman had upon them – he had always shown himself most ready to urge the claims of their benevolent fund, and to support and aid a brother actor.</p> <p>Mr. Buckstone had now become a manager, and it was to be hoped that by keeping everybody and everything in their proper places, he would command that success which he so much deserved. If in the Crimea, or in the East at the theatre of war, they had met with some checks, and nothing was to be found that was required, it was gratifying to know that such was not the case at the Haymarket Theatre. If Mr. Buckstone had some slight comestibles and luxuries to present to his patrons, if he had to bring his ships upon the stage, they might depend upon it that everything good would not be found packed under 500 tons of irons, nor would he be unable to fire a shot because they had all been left somewhere where they were not wanted. It had given him great delight to witness the spirit with which Mr. Buckstone had conducted his house – to enjoy the acting of Miss Cushman, or the twinkling of the feet of the Spanish Dancers. Again, wishing them every success, he begged to propose to them ‘The health of Mr. Buckstone, and success to the Haymarket Theatre’.</p>							I dare say, gentlemen, it is within the theatrical experience of most of us that upon some occasion when we have been at the play – when everything has progressed in the most satisfactory manner –when the principle actor has been a decided favourite – when every point has been told with the people in front – when no one has had the misfortune to make one of those little mistakes which we call ‘missing his tip&#039; – I dare say that, within the theatrical experience of most of you, on some occasion, the act drop being down, there has unexpectedly appeared before it, on one side, a gentleman in plain clothes, with his hat feelingly clasped in both his hands, and not without some appearances of the street upon his boots – a gentleman of pale aspect insight of the audience which is partly referable to the agitation of his feelings, and partly to the strong action floating on features unprepared by the hare’s foot – but before that gentleman has opened his lips in reference to the ‘proverbial generosity of the British public’. You immediately perceive with dismay that he has come forward to apologize. Now, I am that gentleman on the present occasion. ‘Ladies and gentlemen, therefore, I am commissioned by the management to inform you that Mr. Buckstone, owing to circumstances over which he has no control, has been put up for two parts in this piece, and finds himself unable to appear in both of them at the same time. He is, at this present moment, making himself up for his favourite character – Treasurer to the General Theatrical Fund, in which arduous impersonation he has, through several successive seasons at this establishment, been sustained by your applause. He therefore finds himself unable, for the moment, to appear in that other character of Chairman, for which he would have delivered that well-known and spirit-stirring address, which would have so much affected you. In this dilemma, relying on that consideration which was never appealed to in vain – I allude to the consideration of a British audience – perhaps you will permit me to walk through Mr. Buckstone’s part.’ Therefore, ladies and gentlemen, I have to say to you in this way, that perhaps you will allow me to state to you what Mr. Buckstone would have said. Ladies and gentlemen, on receiving from Mr. Toole the key note, ‘Pray, silence – chair!’ Mr. Buckstone Would have risen to have proposed the toast of the evening, and in doing so he would have commenced by congratulating the members of the Theatrical Fund on the numerous and respectable assembly before him, testifying as it does to their sense of the merits of the institution itself, and to the fact that in the midst of wars and tumults the humanizing arts are not forgotten. Least of all, as is natural, that art, that through the means of 1 little play, has made the battles of Poitiers and Agincourt more renowned all the chroniclers and historians put together, and which – No disrespect to those ‘thoughts that breathe and words that burn’, referred to by our chairman – has done more to stir the bold English blood in a just cause, than all the parliamentary speeches that were ever delivered, than all the debates which ever made the night hideous. Surely you are not inappropriately asked to remember this object in a time of war, when it can present to you tangibly under its glowing pictures the joys of military triumph, the sorrows of defeat, the constancy of noble minds, the misfortunes and unspeakable calamities of war, and the inappreciable blessings of peace. You are besought most worthily to remember this object of maintaining and encouraging a society which comprehends every grade of actors without limitation, which is fettered by no hard restrictions or impossible conditions, which embraces all theatrical professors, high and low, equally training them to be provident before they are independent, and which succours all who are responsive to its appeal. The resources of the society become their right, so that the proudest spirit need not blush to accept its aid. Lastly, gentlemen, and in a word you are asked to help those who under trouble and difficulty have helped themselves. You want to do this in tender remembrance of those efforts which have lightened our cares and have placed us for the time in a wider and less selfish world in lieu of that which is so much with us early and late. This is the sum and substance of Mr. Buckstone’s case if he had been able to appear in that principle character for which he is put down in the bill. At the right moment you would have heard all that fervid eloquence which belongs to the part, and would have seen all the humour connected with it thoroughly performed. As I now have the pleasure of observing Mr. Buckstone at the wing, evidently well up in the part of Treasurer, with his property documents all ready, eager to come on, I will, with your permission, leave the stage to him, merely observing that I detect mischief in his treasury eye, and I would recommend to you the caution once regularly administered at the opening of the pit doors, ‘Take care of your pockets!’ I am now to propose to you ‘Prosperity to the General Theatrical Fund!’	18550402	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a>
316	https://dickenssearch.com/items/show/316	Royal General Theatrical Fund Anniversary Festival 1856		Speech at the Royal General Theatrical Fund Anniversary Festival (17 March 1856).	Dickens, Charles			<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=40&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1856-03-17">1856-03-17</a>							1856-03-17_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival																										Dickens, Charles. 'Speech at the Royal General Theatrical Fund Anniversary Festival' (17 March 1856). <em>Dickens Search</em><span>. Eds. Emily Bell and Lydia Craig. Accessed [date].&nbsp;</span><a href="https://dickenssearch.com/speeches/1856-03-17_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival">https://dickenssearch.com/speeches/1856-03-17_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival</a><span>.</span>																	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=97&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London+Tavern">London Tavern</a>					<p><span data-contrast="auto">He would not follow, he said, the horrible example of his friend Mr. Taylor, who began by addressing the ladies, informing them that none of the other speakers had paid any regard to them, and having thus taken advantage of their unsuspecting nature to gain their willing ear, forthwith abandoned them, addressed himself to the gentlemen, and never after alluded to the ladies throughout his speech. The ladies and gentlemen present, or a large portion of them, would know that in order to make a performance go smoothly it was necessary to arrange a number of little points beforehand. Now, a little point had been arranged between Lord Tenterden and himself, which he would give the public the benefit of. Lord Tenterden had arranged for himself a speech which he had enjoined him (Mr. Dickens) not to entrench upon. It was enjoined to leave the chairman a little fat, and he was cautioned to keep to his toast. He would do so.</span></p> <p><span data-contrast="auto">He was sure they were under deep obligations to the professional ladies and gentlemen who had contributed so much towards their enjoyment that evening, and he felt it a great honour to be allowed to propose their healths.</span></p>							Well remember that when the opera of Gustavus was first produced at Covent Garden, the audience found something dangerously comic in that person referring to that which was the most momentous portion of his existence – whether he should or should not go to the ball where he received his death-wound – to the walking gentleman, Mr. Baker, who had never before opened his lips, or given any sign of his existence: I forget what Mr. Baker&#039;s opinion was, but the audience had no faith in him. And when Mr. Baker, who was dressed in a Court dress as the Court physician, replied to his royal master, the audience certainly were not so serious as they might have been. Now the Trustees are the Court Physicians and walking gentlemen in this place, inasmuch as we have nothing to do but to accept your thanks every year, and to acknowledge the same. My interest in this society dates from the establishment of the Fund itself. I found it, at the beginning, a plain unpretending reality, designed by actors for the benefit of actors of all degrees, gratuitously administered by actors for actors, and supported by their small earnings from year to year and from month to month. From that time to the present I find it the same, exactly what it claims and professes to be, with no kind of false pretence about it; and I do thoroughly believe it is one of the most deserving institutions in this country. I had, a few days ago, a communication from my friend and fellow Trustee, Mr. Macready, on the subject of this Fund. It arose out of that great change which has made Covent Garden a heap of ruins. That event occasioned us to remember afresh that the English drama has no home or hope of a home in that waste spot. That occasioned us to look afresh into the future, – whether there might be any claimants left on the Covent Garden Theatrical Fund; for, while it will be impossible that any new members can be made, I do indulge a hope, amounting almost to a conviction, that the accumulated wealth of that institution must ultimately flow into the coffers of this society. If it were possible, in the nature of things, that those distinguished professors of the dramatic art who are now most justly enjoying their annuities out of that fund as the result of their contributions to it, – even if it were possible to double, treble, and quadruple what they are now entitled to, we should all be delighted; but we cannot imagine, when all the purposes for which that fund was established are impossible of realization, what can become of its great capital, unless it finds its way to an institution founded for. and made accessible to. the whole dramatic profession throughout this kingdom. Having now thanked you on behalf of the Trustees for your favourable reception of their names, I will no longer stand in the way of the next toast, but thank you most gratefully for the hand-some, kind, and ready manner in which you were pleased to receive my name.	18560317	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a>
320	https://dickenssearch.com/items/show/320	Royal General Theatrical Fund Anniversary Festival 1857		Speech at the Royal General Theatrical Fund Anniversary Festival (6 April 1857).	Dickens, Charles			<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=40&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1857-04-06">1857-04-06</a>							1857-04-06_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival																										Dickens, Charles. 'Speech at the Royal General Theatrical Fund Anniversary Festival' (6 April 1857). <em>Dickens Search</em><span>. Eds. Emily Bell and Lydia Craig. Accessed [date].&nbsp;</span><a href="https://dickenssearch.com/speeches/1857-04-06_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival">https://dickenssearch.com/speeches/1857-04-06_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival</a><span>.</span>																	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=97&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Freemasons%27+Tavern">Freemasons&#039; Tavern</a>												Gentlemen, I have to acknowledge the toast which has been associated by our chairman with such flattering encomiums, and by you with so kind a welcome. Before I do so, I wish to offer a word of explanation in reference to the very startling remark which has fallen from my Right hon. friend the member for the Haymarket. Gentlemen, God forbid that I should have any electioneering designs upon any constituency whatever. My way of life, my delight in life, my means of usefulness in life, such as they are, have long been chosen, and I assure you that I have no intention of canvassing any ‘sex’ whatever, except that sex whose presence I feel behind me, of whose presence I have always a deep perception, appropriately seated in the clouds above me, and that other sex whose presence I see before me. Gentlemen, with this word of explanation, allow me, as one of your Trustees, to express the gratification that we feel, in which I have no doubt you participate, in the very prosperous budget which has been presented to us tonight by my Right Hon. friend, and allow me also to express our great satisfaction in finding him, notwithstanding the very frequent appeals he makes to his constituents, still holding the post of Chancellor of the Exchequer. If he should ever, in another phase of that office, as I have heard it whispered he has some deep prospective intention of doing – if he should ever relieve me of any portion of that income tax which he nightly levies on the public, I hope, as I am sure you do, that in this and in all his enterprises he may be triumphantly successful. Gentlemen, as I have the honour in this institution to hold an official position, you will readily perceive that I should make a most interesting lengthy speech, but for the unfortunate circumstance that I am held in the bonds of official reserve, to which unhappy restraint, as the custom is in such cases, I the more gratefully submit, because I have no statement whatever to make, and nothing whatever to say. I shall, therefore, content myself with thanking you on my own part, and on that of my fellow Trustees, for the toast you have just drunk, and with announcing that I shall beg the chairman&#039;s permission to propose another toast when the Toastmaster shall have called upon you, in due form, to charge your glasses. Gentlemen, While I agreed with every part of the excellent address which was made by the chairman in proposing the Fund, I particularly sympathized with that portion of it in which he preferred a claim on the part of the stage to be regarded as a powerful and useful means towards the education of the people. If there were ever a time when the Theatre could be considered to have a strong claim to consideration in that respect, it surely is the present. Gentlemen, we have schoolmasters going about like those horrible old women of whom we read in the public reports, perpetually flaying Whittington&#039;s cat alive; we have schoolmasters constantly demonstrating on blackboards to infant minds the utter impossibility of Puss in Boots; we have all the giants utterly dead and gone, with half the Jacks passing examinations every day in mental arithmetic; and with Tom Thumb really only known in these times as the gallant general seeking kisses of the ladies at 6d. a head in the American market; I say really, gentlemen, in these times, when we have torn so many leaves out of our dear old nursery books, I hold it to be more than ever essential to the character of a great people, that the imagination, with all its innumerable graces and charities, should be tenderly nourished; and foremost among the means of training it, I agree with the chairman, must always stand the stage, with its wonderful pictures of passion, with its magnificent illusions, and with its glorious literature. But, gentlemen, there is another aspect, to which the chairman could not with equal modesty advert, in which a thoroughly well-conducted theatre is of vast importance: that is, not only with reference to the public, who so greatly need it, but as a means of sustaining the honour and credit of the dramatic profession itself; as a means of presenting their usefulness to the public in its most striking colours; and as a means of always sustaining them against the reproaches which ignorance and malignity have showered upon them with the only liberality of which such qualities are capable. Gentlemen, an ill-conducted theatre does a world of harm, no doubt. I will not go so far as to say, for that would be going very far indeed, that it does as much harm as a thoroughly ill-conducted school, or a thoroughly ill-conducted chapel; but it does harm enough, and a great deal more. A thoroughly well-conducted theatre, on the contrary, blots out the sins of a thousand bad ones, and will surely attract to itself the goodwill and respect of great numbers of well-meaning and virtuous people, previously objectors, and will conciliate them to understand that what they dreaded in the dramatic art arose not from its use, but from its abuse – not from its exertion, but from its perversion. Now, gentlemen, I perfectly well know that you will all agree with me that if ever a theatre attained these ends, it is the theatre Sadlers’ Wells. Gentlemen, that theatre, rescued from the wretchedest condition, from a condition so disgraceful that if  on any night in the week the New River Company had poured in through its boxes, pit, and gallery the Humane Society could have hardly done a worse thing at one time than have interfered. With a very bad audience – I beg in reference to that gentleman&#039;s observation who says ‘No,’ to state that I have as accurate a knowledge of that theatre as any man in the kingdom, and I say, that with one of the most vagabond audiences that ever went into a theatre – utterly displaced from it, and with one of the most intelligent and attentive audiences ever seen, attracted to it and retained in it – I believe I am not very wrong in my rough calculation when I say, that that theatre has been opened under Mr. Phelps’s management 3,000 nights, and that during 2,000 of those nights the author represented has been Shakespeare. Gentlemen, add for the other thousand nights sterling old plays, tragedies and comedies, many new plays of great merit, accepted with a real sense of managerial responsibility, and paid for, as I have reason to know in the case of a friend, with a spirit and liberality that would have done honour to the old days of the two great theatres – add to that, that all these plays have been produced with the same beauty, with the same delicacy and taste, with the same sensible subservience of the scene-painter and the mechanist to the real meaning of the play, and with the same indebtedness to the creator of the whole for his admirable impersonation of a great variety of most opposite and diversified characters, and surely we must all agree, to say the very least, that the public is under a great debt to the profession, is under a great debt of obligation to Mr. Phelps, and that it has a strong legitimate interest in the continued success of his undertaking. Gentlemen, for the public I can only say that so far as I know it, I have never mixed with any grade or class of it by whom those exertions have failed to be held in the highest respect, or from whom they have failed to elicit the highest approval; and it may be worthy of remark, that I have found this feeling to exist quite as strongly among the intelligent artist classes of Paris as here in London. Gentlemen, on the other hand, for the profession, Mr. Phelps’s position here tonight, and our recognition of him in it, are an ample and sufficient answer. He is here before you in a double capacity: firstly, as the mind of the theatre in which the English drama has found a home, and in which graceful homage is rendered to the noblest of all dramatists – that he has there a body of students behind the curtain, and a body of students before the curtain,  striving together to appreciate and extol him; Mr. Phelps is also here in the other capacity of one whose life and labour are a constant credit and a constant honour to, and a constant sustainer of, the dignity and credit of his art. Gentlemen, in this double capacity I am perfectly sure you are ready, for the second time, to give Mr. Phelps a double welcome. I am perfectly sure you will receive the toast, which is his health, with a double acclamation, and that you will unite in a double expression of your best wishes for his success, health, happiness, and prosperity.	18570406	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a>
324	https://dickenssearch.com/items/show/324	Royal General Theatrical Fund Anniversary Festival 1858		Speech at the Royal General Theatrical Fund Anniversary Festival (29 March 1858).	Dickens, Charles			<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=40&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1858-03-29">1858-03-29</a>							1858-03-29_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival																										Dickens, Charles. 'Speech at the Royal General Theatrical Fund Anniversary Festival' (29 March 1858). <em>Dickens Search</em><span>. Eds. Emily Bell and Lydia Craig. Accessed [date].&nbsp;</span><a href="https://dickenssearch.com/speeches/1858-03-29_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival">https://dickenssearch.com/speeches/1858-03-29_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival</a><span>.</span>																	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=97&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Freemasons%27+Tavern">Freemasons&#039; Tavern</a>												Gentlemen, In our theatrical experience as playgoers, we are all, I have no doubt, pretty equally accustomed to predict from certain little signs and tokens on the stage, what is going to happen there. For example, when the young lady, the admiral’s daughter, is left alone to relieve her feelings with certain general observations not particularly connected with the subject, and when a certain smart, spiritual rapping is heard to proceed from the depths of the earth immediately before her feet, we foretell that a song is intended. When two gentlemen enter for whom, by a happy coincidence, exactly two chairs, and neither fewer nor more, are waiting, we augur that a conversation will probably ensue, and that it is far from impossible that that conversation will assume a retrospectively biographical character. In like manner when two other gentlemen, particularly if they belong to the sea-faring, the marauding, or smuggling professions, are observed to have armed themselves since their last appearance with a very short sword with a very large hilt, we predict with some confidence that this cautious preparation will end in a combat. Now similarly, gentlemen, carrying out of the theatre those associations of ideas which we so often carry into it, it may possibly have occurred to you that when I just now asked permission of my old friend in the Chair to propose a toast, I had my old friend himself in my eye, and that I have him now on my lips. Gentlemen, the duties of a Trustee of the General Theatrical Fund, which office I have the honour to hold, are not so numerous as are his privileges. He is, in short, a mere walking gentleman, with the melancholy difference that he has no one to love. If his part could be a little revised in that particular, I could answer that his character would be a much more agreeable one to stage, and his forlorn condition would be very considerably ameliorated. The duties of this strange character consist in a half-yearly call at the bank, when he signs his name in an extremely large and extremely inconvenient volume, when he receives two documents of which he knows nothing, which he immediately delivers up to the property man, and makes his exit. His privileges, however, are great. He has the privilege of observing the steady growth and progress of the institution in which, from its infancy, he has been interested; he has the privilege of being invested with a kind of right on all proper occasions to bear his testimony to the providence, the goodness, the self-denial, and the self-respect of a class of people whom ignorance has a great deal too much depreciated, and to whom those virtues have long been denied out of the depths of a most mean, and ignorant, and stupid superstition. And lastly, he has the privilege of being sometimes called upon to propose the health of the chairman at the annual dinner; and when that chairman is a man for whose genius he has a warm admiration and the most earnest respect, when that chairman is a gentleman who is an honour to literature, and in whom literature is honoured [cheers], when that is the case he feels that last privilege to be a great and high one. Gentlemen, from the earliest days of the institution I have ventured to impress upon its managers my individual opinion that they would best consult its credit and success by choosing its chairman as often as possible within the circle of literature and the arts. I will venture to say that no similar establishment in existence can show itself to have been presided over by so many remarkable and distinguished men. I am sure that it never has had, and that it never will have, simply because it never can have, a gentleman in that position shedding a greater lustre upon it than the noble English writer who fills this Chair tonight. Gentlemen, it is not for me at this time and place to take upon myself to flutter before you the well-thumbed pages of Mr. Thackeray’s books, and to take upon myself to call upon you to observe how full of wit they are, how full of wisdom they are, how full of outspoken meaning – and yet, though out-speaking, how devoid of fear, and how devoid of favour. But I may take leave to remark, in paying my little due of homage and respect to them, that I think it is a most appropriate and fit thing to have such a writer as my friend, and such an art as the dramatic brought face to face, as we see them here tonight. Every good actor plays direct to every good author, and every writer of fiction, though he may not adopt the dramatic form, writes in effect for the stage. He may write novels always, and plays never, but the truth and wisdom that are in him must permeate the art of which truth and passion are the life, and must be more or less reflected in that great mirror which he holds up to nature. Now, gentlemen, actors and managers and authors are all represented in this present company. We may, without any great effort of imagination, suppose that all of them have studied the mighty deep secrets of the human heart in many theatres of many kinds, great and small, but I am sure that none of them can have studied those mysterious workings in any theatre from the stage wagon of Thespis downwards, to greater advantage, to greater profit, and to greater contentment than in the airy booths of Vanity Fair. To this skilful showman, who has so much delighted us, and whose words have so charmed us tonight, we are now to express our gratitude and to convey our welcome; and in wishing him God speed through the many years and the many fairs which we earnestly hope are in store for him in which to exercise his potent art, we will now, if you please, join in drinking a bumper toast to the chairman’s health, and God bless him!	18580329	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a>
332	https://dickenssearch.com/items/show/332	Royal General Theatrical Fund Anniversary Festival 1863		Speech at the Royal General Theatrical Fund Anniversary Festival (4 April 1863).	Dickens, Charles			<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=40&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1863-04-04">1863-04-04</a>							1863-04-04_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival																										Dickens, Charles. 'Speech at the Royal General Theatrical Fund Anniversary Festival' (4 April 1863). <em>Dickens Search</em><span>. Eds. Emily Bell and Lydia Craig. Accessed [date].&nbsp;</span><a href="https://dickenssearch.com/speeches/1863-04-04_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival">https://dickenssearch.com/speeches/1863-04-04_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival</a><span>.</span>																	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=97&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Freemasons%27+Tavern">Freemasons&#039; Tavern</a>												Ladies and Gentlemen, I am aware that nothing I may say can add to the enthusiasm with which the toast will be received, but in proposing to you to drink the loyal toast, ‘The Queen’, I have the gratification of informing you that Her Majesty has again repeated her munificent annual donation of one hundred pounds in aid of the Royal General Theatrical Fund. Ladies and Gentlemen, It is not the least notable circumstance in the young lives of the two exalted persons who have lately engrossed so much general attention, that as each is the deserving object of the other’s free choice, so the future career of both must henceforth for ever be inseparable from that of a free people deserving to be free. Surely no old poet, or painter, or sculptor ever conceived a more graceful or beautiful marriage procession than that of the other day, where all ages, all classes, all conditions of the fruition of hope or the disappointment of hope joined together in one great equal, generous enthusiasm in behalf of those two young people in the flush of life and fortune, and governed themselves and governed their tempers in honour of the interesting scene. I am sure you will agree with me in saying: never may that young Prince and Princess, and the great true-hearted English people, be less worthy of one another, or less at peace with one another, than they were that day. I beg to propose to you to drink, ‘Their Royal Highnesses the Prince and Princess of Wales, and the rest of the Royal Family.’ Ladies and Gentlemen, It is equally the characteristic of the Army and of the Navy that the members of those two brave services very seldom talk about their duty, and always do it. I cannot better testify my respect for that noble model than by adopting it. I therefore beg to propose to you, ‘The Army and Navy and the Volunteers’, with which toast I will connect the name of Captain Ward of the Army who sits upon my right. Ladies and Gentlemen, With my present responsibilities impending over me, I happened the other night, as I sat alone, to be reading a paper in The Tatler referring to the time when Mr. Powell’s company of performing puppets was in high vogue with persons of quality. In that number of The Tatler the brilliant essayist gives a humorous description of a contest then raging between two ladies at Bath – Prudentia and Florimel – as to which of them should set the fashion to the greatest number of imitators. In the course of this noble struggle Florimel bespoke Alexander the Great to be acted by the players, and Prudentia bespoke The Creation of the World, to be acted by the puppets: at the same time darkly putting it about, for the confusion and ridicule of her rival, that the puppet Eve, whom I suppose to have been but indifferently modelled, would be found in figure ‘the most like Florimel that ever was seen’. Now what were the missing charms, what were the defective points in this wooden lady’s anatomy does not appear, otherwise I should have the honour of delicately stating them to this company; but it does appear that his Worship the Mayor inclined to the wooden side of the question, and that on high moral grounds he greatly preferred those innocent creatures, the puppets, to those wicked players.  Now, ladies and gentlemen, as I have a profound veneration for Mayors and such like, this sentiment caused me to close the book and to consider how much we should gain if there were no manager now but Mr. Powell, and if there were no actors now but puppets. In the first place – and on the immense advantage to be reaped here, I have no doubt we shall be all agreed – there would be no Fund, no dinner, no chairman, and no speech. Then on Saturdays there would be no treasury, although I am told that that great point has occasionally been gained even under the existing system; there would never be any throwing up of parts, there would never be any colds, there would never be any little jealousies or dissensions; the two leading ladies might dress for any length of time in the same room without the remotest danger of ever coming to words, and the loftiest tragedian that ever was or ever will be, might be doubled up with his legs round his neck, and put away in the same box with the reddest-nosed and most flowered waistcoated of comic countrymen. Now these, I considered to myself, were the points to be gained. On the other hand there would be human interest to be lost – there would be the human face to be lost – which after all does stand for a little – and last, not least, there would be that immense amount of comfort and satisfaction to be lost by a large number of well-meaning persons, which they constitutionally derive from slightly disparaging those who entertain them. This last high moral gratification, this cheap, this complacent self-assertion I felt could not possibly be parted with; and, therefore, I quickly came to the conclusion that we must have those wicked players after all. Ladies and gentlemen, it is an astonishing thing to me, but within my limited range of observation and experience it is nevertheless true, that there should be, and that there is, in a part of what we call the world – which certainly is in the main a kind, good-natured, always-steadily-improving world – this curious propensity to run up a little score against, and as it were to be even with, those who amuse and beguile them. ‘That man in the farce last night, made me laugh so much’, says Portman Square, Esq., at breakfast, ‘that I hope there may be nothing absolutely wrong about him, but I begin to think this morning there must be.’ ‘My Dear’, says Mr. Balham Hill to Mrs. Balham Hill, ‘I was so profoundly affected at the theatre last night, and I felt it so very difficult to repress my sobs when the poor mad King listened in vain for the breathing of his dead daughter, that I really felt it due to myself to patronize that gentleman this morning. I felt a kind of compensation to myself to regard him as an extraordinary man, having no recognized business that can be found in the Post Office Directory. I feel it necessary to put up with him, as it were, as a kind of unaccountable creature who has no counting-house any-where; in short, to bear with him as a sort of marvellous child in a Shakespearian go-cart.’ Ladies and gentlemen, this is quite true in a greater or less degree, I think, of all artists; but it is particularly true of the Dramatic artist, and it is so strange to me. Surely it cannot be because he dresses himself up. for his part, for, as you all know very well, there is an enormous amount of dressing and making-up going on in high stations all around us. I never saw a worse make-up in the poorest country theatre than I can see in the House of Commons any night when there is a message from the Lords; and I assure you, on my personal veracity, that I have known a Lord High Chancellor at twenty-five shillings a week who, in his wigs and robes, looked the part infinitely better than the real article at fifteen thousand a year. Ladies and gentlemen, I think the secret cannot lie here; I think the truth is that this little harmless disposition occupies a little quiet, out-of-the-way corner of our nature, and as I think it a little ungracious, and a little ungenerous, and certainly more so than it is meant to be, I always, whether in public or in private, on principle steadily oppose myself to it for this reason which I have endeavoured to explain to you. Although I am now going to urge upon you the case of, and am going to entreat your active sympathy with, this General Theatrical Fund on this eighteenth anniversary, you will hear from me nothing conventional about the Poor player Who struts and frets his hour upon the stage, which shall in any way separate him otherwise than favourably from the great community of us poor players, who all strut and fret our little hours upon this stage of life. His work, if he be worth anything to himself or to any other man, is at least as real and as hard to him as the banker’s is to him, or the broker’s is to him, or the professional man’s to him, or the merchant’s to him. His Fund is a business Fund, and is conducted on sound, business, honourable, independent principles. It is a Fund, as many here already know, for granting annuities to such members as may be disqualified by age, sickness or infirmity from pursuing the Theatrical Profession, and also for extending aid to the sick, I think in some cases even when they are not members, and to the bereaved survivors of the dead. It is a Fund to which the members contribute periodically according to certain carefully calculated scales, very often out of very imperfect and very uncertain earnings. It is a Fund which knows no distinction whatever of Theatre, and knows no grade whatever of actors. I have had the honour of being one of its Trustees from the hour of its first establishment, and I bear testimony with admiration to the extraordinary patience, steadiness, and perseverance with which those payments are made. Therefore, ladies and gentlemen, you will see that I occupy here the vantage ground of entreating you to help those who do really and truly help themselves, who do not come here tonight for a mere field-night and theatrical display, but who as it were rise to the surface once in every twelve months to assure you of their constancy and good faith and then burrow down to work again, many of them surrounded by innumerable obstacles, many of them working under great difficulties, and, believe me, with little cheer and encouragement throughout the whole toiling year, and in obscurity enough. Now, ladies and gentlemen, in defiance of all these heavy blows and great discouragement in the Actor’s life, I fearlessly add these words – If there be any creature here knowing a theatre well who knows any kind of place, no matter what, cathedral, church, chapel, tabernacle, high cross, market, change, where there is a more sacred bond of charitable brotherhood, where there is a more certain reliance to be placed on sympathy with affliction, where there is a  greater generosity in ready giving, where there is a higher and more sacred respect for family ties, where there is habitually a more cheerful, voluntary bearing of burthens on already heavily burthened backs, then let him take his money to that place, to me unknown, and not produce it here. But if he altogether fails in such knowledge, then let him communicate with Mr. Cullenford, now sitting expectant at a card table, and let him communicate to Mr. Cullenford something to this Fund’s advantage, as he respects all the true saints in the calendar, and as he defies and despises all the sham saints out of it. Now gentlemen, as I have taken upon myself to say what a good corporation the Players are among themselves, and how cheerily and readily they invariably help one another, I may not unreasonably be asked by an outsider why he should help them. If it were the claims of an individual that I was advocating here in these days, I should be met, and very properly met, by the question, ‘What is his case? What has he done?’ Moreover, as to that agglomeration of individuals, the Theatrical Profession, we are most of us constantly met with by a reference to the times when there were better actors, and when there was a better stage literature, and with a mournful shrugging of shoulders over the present state of things. Now, accepting the theatrical times exactly as they stand, and seeking to make them no better than they are, but always protesting against anybody’s seeking to make them worse, the difficulty with me standing before you is not to say what the Actor has done, but to say what he has not done, and is not doing every night. I am very fond of the play, and herein lies one of the charms of the play to me; for example, when I am in front – and when I discharge for the moment all my personal likings and friendships for those behind – when I am in front any night, and when I see, say, my friend Mr. Buckstone’s eye roll into the middle of the pit with that fine expression in it of a comically suspended opinion which I like so much, how do I know on whom it alights, or what good it does that man? Here is some surly morose creature come into the theatre bent upon the morrow on executing some uncharitable intention, and the eye of Mr. Buckstone dives into his right-hand trousers pocket where his angry hand is clenched, and opens his hand and mellows it, and shakes it in quite a philanthropic manner. I hear a laugh there from my left. How do I know how many a lout has been quickened into activity by Mr. T. P. Cooke’s hornpipe? How do I know on how many a stale face and heart Long Tom Coffin, and Nelson’s coxwain, and Black-Eyed Susan’s William, have come healthily dashing like the spray of the sea? Over and over again it is my delight to take my place in the theatre next to some grim person who comes in a mere figure of snow, but who gradually softens and mellows until I am also led to bless the face that creases with satisfaction until it realizes Falstaff’s wonderful simile of being ‘like a wet cloak ill laid up’. It is a joke in my home that generosity on the stage always unmans me, and that I invariably begin to cry whenever anybody on the stage forgives an enemy or gives away a pocket book. This is only another and droller way of experiencing and saying that it is good to be generous, and good to be open-handed, and that it is a right good thing for society, through its various gradations of stalls, boxes, pit, and gallery, when they come together with but one great, beating, responsive heart among them, to learn such a truth together. Depend upon it the very best among us are often bad company for ourselves (I know I am very often); and in bringing us out of that, and in keeping us company. and in showing us ourselves and our kind in a thousand changing forms of humour and fancy, the actor – all the solemn humbugs on the earth to the contrary notwithstanding – renders a high and inestimable service to the community every night of his life. I dare say the feeling peculiar to a theatre is as well known to everybody here as it is to me, of having for an hour or two quite forgotten the real world, and of coming out into the street with a kind of wonder that it should be so wet, and dark, and cold, and full of jostling people and irreconcilable cabs. By the remembrance of that delightful dream and waking; by all your remembrance. of it from your childhood until now; and by your remembrance of that long glorious row of wonderful lamps; and by the remembrance of that great mysterious curtain behind it; and by the remembrance of those enchanted people behind that, who are disenchanted every night and go out into the wet and worry; by all these things I entreat you not to go out into Great Queen Street by-and-by, without saying that you have done something for this fleeting fairyland which has done so much for us. Ladies and gentlemen, I beg to propose to you, ‘The General Theatrical Fund’. Ladies and gentlemen, It now becomes me, like a well graced actor, to retire from the scene, and make place for a better graced actor. I have next to propose to you ‘The Drama’. Looking round the table upon my left to see whom I should call upon to return thanks for that toast, my eye lightened upon the face of a valued and esteemed friend of mine whom I last heard of at a considerable distance, in Nice, and whom I am surprised and gratified to find has graced this board tonight. Allow me to propose ‘The Drama’, and to connect with that toast the respected name of Mr. Alfred Wigan. Ladies and gentlemen, I will only assure you on behalf of myself that I am deeply indebted to you, as I always am, for your kind reception, and that I am also deeply indebted to my friend on my right for the kind and feeling terms in which he proposed my health, during which impressive speech my excellent friend Buckstone whispered in my ear that he had often nursed that young man on his knee, which I don’t believe. As I am on my legs, as the Parliamentary phrase is, I will not be off my legs without proposing to you another toast. ‘Coming events cast their shadows before’, and coming events cast their lights before also, and as we have among us tonight a gentleman highly esteemed in the City, and by all who know him, who will shortly become Lord Mayor and who has passed through the important preliminary office of Sherriff, – as to which, we were once assured by a Sheriff at this Dinner that he knew of no actor who had ever been hanged, in reply to which I had the pleasure of informing him, on the part of the Dramatic Profession, that I knew of no Sheriff who had ever been hanged – I say, that as we have among us a gentleman whom we are disposed to make so welcome, I will, if you please, propose his health in connexion with the City. Allow me to propose ‘The City of London and Alderman Phillips’. You know what the last toast always is; it is ‘The Ladies’, and upon this subject I have a very considerable crow to pick with my friend Mr. Buckstone, who has taken great credit to himself tonight for a certainly new-mooted idea in abeyance here as to whether ladies shall dine at this table. I did enunciate against this Fund the terrific threat ten years ago, that if the ladies did not dine here I never would come here again. Unless next Ash Wednesday’s experience satisfies Mr. Buckstone that the ladies ought to dine here, I shall invite the ladies to a General Theatrical Fund Supper-Dinner at the Freemasons’ Tavern, on which occasion, if they will do me the honour to allow me to receive them as their chairman, they will hear something to Mr. Buckstone’s disadvantage, which he would much rather not hear himself. We are always delighted to see the ladies anywhere, but particularly here. I have been delighted myself to see them under all manner of circumstances, and I have felt the want of them particularly. Upon a certain occasion some years ago, I was acting in Canada with some of our officers, when no ladies were to be found, and it was absolutely necessary that young and newly caught officers should supply their places; upon which occasion, in order that they might acquire something of the feminine walk it was found absolutely necessary to tie their legs. Upon another occasion I witnessed the representation of Black Eyed Susan at a country theatre, when I was delighted to find the court-martial composed of, I think, eight young ladies, with very perceptible back-hair, and very perceptible combs, who had put on the conventional notaries’ gowns and sat down at a table and represented themselves to the public as midshipmen. Still it was charming to see them, and I never was so delighted in my life to see a real midshipman as I was to see those false midshipmen. Now I have one other crow to pick with Mr. Buckstone. I particularly object to the arrangement of these tables, and I particularly object to it for two reasons. In the first place, when I preside at, or when I attend one of these dinners, I am always in the most tantalizing position possible, inasmuch as I always want to look this way, and I am obliged to look this. Also I never have so painful a sense that my hair is a little going behind. So that on this occasion – if you will take my word for it– I assure you I have overheard tonight one or two very distressing expressions upon the subject. Nay more, ladies and gentlemen, although I am always delighted to see the ladies, I really would rather see them in front of me; but here, or there, or anywhere, or everywhere, we are always delighted to see them and let us drink their health.	18630404	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a>
294	https://dickenssearch.com/items/show/294	General Theatrical Fund Anniversary Festival 1866		Speech at the General Theatrical Fund Anniversary Festival (28 March 1866).	Dickens, Charles			<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=40&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1866-03-28">1866-03-28</a>							1866-03-28_Speech_General-Theatrical-Fund-Anniversary-Festival																										Dickens, Charles. 'Speech at the General Theatrical Fund Anniversary Festival' (28 March 1866). <em>Dickens Search</em><span>. Eds. Emily Bell and Lydia Craig. Accessed [date].&nbsp;</span><a href="https://dickenssearch.com/speeches/1866-03-28_Speech_General-Theatrical-Fund-Anniversary-Festival">https://dickenssearch.com/speeches/1866-03-28_Speech_General-Theatrical-Fund-Anniversary-Festival</a><span>.</span>																	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=97&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Freemasons%27+Tavern">Freemasons&#039; Tavern</a>												Gentlemen, in my childish days I remember to have had a vague but profound admiration for a certain legendary person called the Lord Mayor’s Fool. I had the highest opinion of the intellectual capacity of that suppositious retainer of the Mansion House, and I really regarded him with feelings approaching to absolute veneration, because my nurse informed me on every gastronomic occasion that the Lord Mayor’s Fool liked everything that was good. You will agree with me, I have no doubt, that if this discriminating jester had existed at the present time he could not fail to have liked his master very much, seeing that so good a Lord Mayor is very rarely to be found, and that a better Lord Mayor could not possibly be. You have already divined, gentlemen, that I am about to propose to you to drink the health of the right honourable gentleman in the Chair. As one of the Trustees of the General Theatrical Fund, I beg officially to tender him my best thanks for lending the very powerful aid of his presence, his influence, and his personal character to this very deserving institution. As his private friends we ventured to urge upon him to do us this gracious act, and I beg to assure you that the perfect simplicity, modesty, cordiality, and frankness with which he assented, enhanced the gift one thousandfold. I think it must be very agreeable to a company like this to know that the President of the night is not ceremoniously pretending, ‘positively for this night only’, to have an interest in the drama, but that he has an unusual and thorough acquaintance with it, and that he has a living and discerning knowledge of the merits of the great old actors. It is very pleasant to me to remember that the Lord Mayor and I once beguiled the tedium of a journey by exchanging our experiences upon this subject. I rather prided myself on being something of an old stager, but I found the Lord Mayor so thoroughly up in all the stock pieces, and so knowing and yet so fresh about the merits of those who are most and best identified with them, that I readily recognized in him what would be called in fistic language, a very ugly customer – one, I assure you, by no means to be settled by any novice not in thorough good theatrical training. Gentlemen, we have all known from our earliest infancy that when the giants in Guildhall hear the clock strike one, they come down to dinner. Similarly, when the City of London shall hear but one single word in just disparagement of its present Lord Mayor, whether as its enlightened chief magistrate, or as one of its merchants, or as one of its true gentlemen, he will then descend from the high personal place which he holds in the general honour and esteem. Until then he will remain upon his pedestal, and my private opinion, between ourselves, is that the giants will come down long before him. Gentlemen, in conclusion, I would remark that when the Lord Mayor made his truly remarkable, and truly manly, and unaffected speech, I could not but be struck by the odd reversal of the usual circumstances at the Mansion House, which he presented to our view; for whereas it is a very common thing for persons to be brought tremblingly before the Lord Mayor, the Lord Mayor presented himself as being brought tremblingly before us. I hope that the result may hold still further; for whereas it is a common thing for the Lord Mayor to say to a repentant criminal who does not seem to have much harm in him, ‘Let me never see you here again’, so I would propose that we all with one accord say to the Lord Mayor, ‘Let us by all means see you here again on the first opportunity.’ Gentlemen, I beg to propose to you to drink, with all the honours, ‘The health of the Right Honourable the Lord Mayor’.	18660328	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a>