1 10 136 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches Identifier An unambiguous reference to the resource within a given context speeches Description An account of the resource <h4>This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time. </h4> Dickens made more than a hundred speeches between 1837 and 1870 at events ranging from charitable dinners and award ceremonies to banquets in his honour or brief words of thanks before a public reading. In these speeches, the author touched on topics including his own life and professional development as well as other subjects such as politics, education, literature, public health and the development of the railway. Efforts to collect Dickens’s speeches prior to 1960 were incomplete at best, and misleading and fragmentary at worst. John Camden Hotten’s collection of speeches, begun without the author’s consent (although he never responded to Hotten’s letters, Dickens did begin efforts to block their publication) and published together with a hastily-compiled biography shortly after the author’s death, remained the primary collected version of the speeches until the Nonesuch Dickens of 1938-39 (a limited print run). Finally, K. J. Fielding brought all known speeches together in 1960, correcting shoddy transcriptions by Hotten using contemporary newspaper accounts, and nearly doubling the total number of speeches attributed to Dickens (The Speeches of Charles Dickens [Oxford: Clarendon Press, 1960]): Hotten had only featured the text of 56 speeches, the Nonesuch edition of the speeches provided an additional nine, and Fielding presented more than a hundred. Since this monumental work, a handful have also appeared in The Dickensian;<a href="#fn1" id="ref1">1</a> there are certainly more to be found, as the volume of digitised newspapers and periodicals increases, and corrections to be made to existing transcriptions. No effort to collect the speeches has been made since Fielding; this collection thus represents the most complete body of Dickens's speeches ever assembled. Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884: <blockquote>[S]upposing the speech was to be delivered in the evening, his habit was to take a long walk in the morning, during which he would decide on the various heads to be dealt with. These being arranged in their proper order, he would in his 'mind's eye,' liken the whole subject to the tire of a cart wheel – he being the hub. From the hub to the tire he would run as many spokes as there were subjects to be treated, and during the progress of the speech he would deal with each spoke separately, elaborating them as he went round the wheel; and when all the spokes dropped out one by one, and nothing but the tire and space remained […] his speech was at an end. (Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America, pp. 273-74)</blockquote> However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like The Times. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say). Our Transcription field will only include words attributed directly to Dickens rather than third-person reports or paraphrases of his speeches. Where only such reports exist, we will provide the text in the 'Summary' field. Ngram search and other text analysis tools will be applied to what are given as Dickens's words only, to avoid skewing the results, but of course we are reliant on the quality of the reporting: we recommend analysing topics, themes, quotations and concepts rather than granular detail such as prepositions, punctuation, capitalisation and the intricacies of grammar, as different newspaper accounts can vary on these points. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens. 1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', The Dickensian 73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', The Dickensian 73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', The Dickensian 85.418 (1989): pp. 66-80. <a href="#ref1" title="Jump back to footnote 1 in the text.">↩</a> Contributor An entity responsible for making contributions to the resource Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods Speech Location The location London Venue Where the speech was given Drury Lane Theatre Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18550627 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. I cannot, I am sure, better express my sense of the kind reception accorded to me by this great assembly, than by promising to compress what I shall address to it within the closest possible limits. It is more than eighteen hundred years ago, since there was a set of men who thought they should be heard for their much speaking’. As they have propagated exceedingly since that time, and as I observe that they flourish just now to a surprising extent about Westminster, I will do my best to avoid adding to the numbers of that prolific race. The noble lord at the head of the Government, when he wondered in Parliament about a week ago, that my friend, Mr. Layard, did not blush for having stated in this place what the whole country knows perfectly well to be true, and what no men in it can by possibility better know to be true than those disinterested supporters of that noble lord, who had the advantage of hearing him and cheering him night after night, when he first became Premier – I mean that he did officially and habitually joke at a time when this country was plunged in deep disgrace and distress – I say, that noble lord, when he wondered so much that a man of this age, who has, by his earnest and adventurous spirit, done the most to distinguish himself and it, did not blush for the tremendous audacity of having come so between the wind and his nobility, turned an airy period with reference to the private theatricals at Drury Lane Theatre. I have some slight acquaintance with theatricals, private and public, and I will accept that figure of the noble lord. I will not say that if I wanted to form a company of Her Majesty’s servants, I think I should know where to put my hand on ‘the comic old gentleman’; nor, that if I wanted to get up a pantomime, I fancy I should know what establishment to go to for the tricks and changes; also, for a very considerable host of supernumeraries, to trip one another up in that scene of contention with which many of us are familiar, both on these and on other boards, in which the principal objects thrown about, are loaves and fishes. But I will try to give the noble lord the reason of these private theatricals, and the reason why, however ardently he may desire to ring the curtain down upon them, there is not the faintest present hope of their coming to a conclusion. It is this:—The public theatricals which the noble lord is so condescending as to manage, are so intolerably bad, the machinery is so cumbrous, the parts so ill distributed, the company so full of ‘walking gentlemen’, the managers have such large families, and are so bent upon putting those families into what is theatrically called ‘first business’ – not because of their aptitude for it, but because they are their families, that we find ourselves obliged to organize an opposition. We have seen the Comedy of Errors played so dismally like a tragedy that we cannot bear it. We are, therefore, making bold to get up the School of Reform, and we hope, before the play is out, to improve that noble lord by our performance very considerably. If he object that we have no right to improve him without his license, we venture to claim that right in virtue of his orchestra, consisting of a very powerful piper, whom we always pay. Sir, as this is the first political meeting I have ever attended, and as my trade and calling is not politics, perhaps it may be useful for me to show how I come to be here, since reasons similar to those which have influenced me, may still be fluttering, unbalanced, in the minds of others. I want at all times, in plain sincerity, to do my duty by my countrymen. If I feel an attachment toward them, there is nothing disinterested or meritorious in that, for I can never too affectionately remember the confidence and friendship that they have long reposed in me. Within my sphere of action – which I shall never change; I shall never overstep, further or for a longer period than I do tonight, the circle of my own pursuits, as one who lives by Literature, who is content to do his public service through Literature, and who is conscious that he cannot serve two masters – within my sphere of action I have, for some years, tried to understand the heavier social grievances and to help to set them right. When the Times newspaper proved its then almost incredible case, in reference to the ghastly absurdity of that vast labyrinth of misplaced men and misdirected things, which had made England unable to find on the face of the earth, an enemy one-twentieth part so potent for the misery and ruin of her noble defenders as she has been herself, I believe that the gloomy silence into which the country fell, was by far the darkest aspect in which a great people had been exhibited for very many years. With shame and indignation lowering among all classes of society, and this new element of discord piled on the heaving basis of ignorance, poverty and crime, which is always below us – with little adequate expression of the general mind, or apparent understanding of the general mind, in Parliament – with the machinery of Government and the legislature going round and round, and the people fallen from it and standing aloof, as if they left it to its last remaining function of destroying itself, when it had achieved the destruction of so much that was dear to them – I did believe, and I do believe, that the only wholesome turn affairs so menacing could take, was, the awaking of the people, the outspeaking of the people, the uniting of the people in all patriotism and loyalty to effect a great peaceful constitutional change in the administration of their own affairs. At such a crisis this Association arose, and at such a crisis I joined it: considering its further case to be – if further case could possibly be needed – that what is everybody’s business is nobody’s business, that men must be gregarious in their good citizenship as in most other things, and that it is a law in nature that there must be a centre of attraction for particles to fly to, before any serviceable body with recognised functions can come into existence. Well! This Association has arisen, and we belong to it. What are the objections to it? I have heard in the main but three, which I will briefly glance at, in the order in which I have heard them. One. It is proposed to exercise an influence, through the constituencies, on the House of Commons. I have not the least hesitation in saying that I have the smallest amount of faith in the House of Commons at present existing, and that I consider the exercise of such influence highly necessary to the welfare and honour of this country. Reading no later than yesterday, a favourite boo of mine, I find Mr. Pepys, two hundred years ago, writing of the House of Commons in his time and its political contentions, thus: My cousin Roger Pepys tells me that it is matter of the greatest grief to him in the world that he should be put upon this trust for being a Parliament man; because he says nothing is done, that he can see, out of any truth and sincerity, but mere envy and design. Now, how it comes to pass that after two hundred years, and many years after a Reform Bill, the House of Commons is so little changed, I will not stop to inquire. I will not ask how it happens that bills which cramp and worry the people, and restrict their scant enjoyments, are so easily smuggled through that place, and how it happens that measures for their real service are so very difficult to pass. I will not analyse the confined air of the lobby, or reduce to their primitive gases, its deadening influences on the memory of that Honourable Member who was once a candidate for the honour of your – and my – independent vote and interest. I will not ask what Sectarian figure that is, full of blandishments, standing on the threshold, with its finger on its lips. I will not ask how it comes to pass that personal altercations, involving all the removes and definitions of Shakespeare’s Touchstone – the retort courteous – the reply churlish – the reproof valiant – the countercheck quarrelsome – the lie circumstantial and the lie direct – are of immeasurably greater interest in the House of Commons than the health, the taxation, the education, of a whole people. I will not penetrate the mysteries of that secret chamber in which the Bluebeard, Party, keeps his strangled public questions, straitly charging his last bride, the new comer, on no account to open the door. I will merely put it to the humble practical experience, recent and remote, of everybody here, whether the House of Commons is not occasionally a little hard of hearing, not a little dim of sight, not a little slow of understanding: whether, in short, it is not in a sufficiently invalided state to require close watching, and the occasional application of sharp stimulants; and whether it is not capable of considerable improvement? I believe that, in order to preserve it in a state of real usefulness and independence, the people must be very watchful and very jealous of it; and it must have its memory jogged; it must be kept awake; when it happens to have taken too much Ministerial narcotic, it must be trotted about, and must be bustled and pinched in a friendly way, as is the usage in such cases. And I hold that no power can have so just a right to administer our functions as a body comprising electors from all parts of the country, who are associated together because their country is dearer to them than drowsy twaddle, unmeaning routine, orthe absurdest worn out conventionalities. This brings me to objection number two. It is stated that this Association sets class against class. Is this so? No, it finds class set against class, and seeks to reconcile them. I wish to avoid placing in opposition here, the two words Aristocracy and People. I am one who can believe in the virtues and uses of both, and, I would elevate or depress neither, at the cost of a single just right belonging to either. I will use, instead of these words, the terms, the governors and the governed. These two bodies the Association finds with a gulf between them, in which lie, newly buried, thousands on thousands of the bravest and most devoted men that, even England ever bred. It is to prevent the recurrence of innumerable smaller evils, of which, unchecked, that great calamity was the crowning height and the necessary consummation, and to bring together those two fronts looking now so strangely at each other, that this Association seeks to help to bridge over that abyss, with a structure founded on common justice and supported by common sense. Setting class against class! The old unmeaning parrot cry than which we remember nothing earlier in our lives! Try its justice in this case, by an illustration:– A respectable old gentleman with a large and costly establishment of servants, finds his household in complete disorder, and that he can get nothing done. When he asks his servants to give his children bread, they give them stones; when they are told to give those children fish, they give them serpents. When they are ordered to send to the East they send to the West; when they ought to be serving dinner in the North, they were consulting obsolete and exploded cookery books in the South; they break, lose, forget, waste, destroy; only tumble over one another when required to do anything; and make the respectable gentleman’s house a scene of scandalous ruin. At last the respectable gentleman calls to him his house steward, and says, even then more in sorrow than in anger, This is a terrible business, no fortune can stand it – no mortal equanimity can bear it! I must change my system of appointing my servants; I must obtain servants who now and will do their duty’. The house steward throws up his eyes in pious horror, ejaculates ‘Good God, here is my master setting class against class!’ rushes off into the servants’ hall, and delivers a long and melting oration on that wicked theme. And so we come to the third objection, which I have observed to obtain among that class of young gentlemen of good family, who are not particularly fit for anything but spending money which they have not got. It is usually comprised in the observation, ‘How very extraordinary it is that these Administrative Reform fellows can’t mind their own business’. I think it will occur to most of us who are here, in final disposal of this alarming objection, that it is rather because we do mind our own business, and because we must have our business minded, and because those who undertake to mind it do not mind it properly, that we are an Association at all. I observe from the Parliamentary debates – which have of late, by-the-by, frequently suggested to me that there is this difference between the bull of Spain the bull of Nineveh, that, whereas, in the Spanish case, the bull rushes at the scarlet, in the Ninevite case, the scarlet rushes at the bull – I have observed in the Parliamentary debates that, by a curious fatality, there has been a great deal of the reproof valiant and the counter check quarrelsome, in reference to every case, showing the necessity of Administrative Reform, by whomsoever produced, whensoever, and wheresoever. I dare say I should have no difficulty in adding two or three cases to the list, which I know to be true, and which I have no doubt would be contradicted, but I consider it a work of supererogation; for, if the people at large be not already convinced that a sufficient general case has been made out for Administrative Reform, I think they never can be, and they never will be. There is, however, an old indisputable, very well known story, which has so pointed a moral at the end of it that I will substitute it for a new case: by doing of which I may avoid, I hope, the sacred wrath of St. Stephen. Ages ago a savage mode of keeping accounts on notched sticks was introduced into the Court of Exchequer; and the accounts were kept, much as Robinson Crusoe kept his calendar on the desert island. In the course of considerable revolutions of time, the celebrated Mr. Cocker was born, and died. Mr. Walkinghame, of The Tutor’s Assistant, and a terrible hand at figures, was born, and died; a multitude of accountants, book-keepers, actuaries, and mathematicians, were born, and died; and still official routine clung to these notched sticks, as if they were pillars of the constitution, and still the Exchequer accounts continued to be kept on certain splints of elm wood called ‘tallies’. Late in the the reign of George III, some restless and revolutionary spirit originated the suggestion, whether, in a land where there were pens, ink, and paper, slates and pencils, and systems of accounts, this rigid adherence to a barbarous usage might not possibly border on the ridiculous? All the red tape in the public offices turned redder at the bare mention of this bold and original conception, and it took till 1826 to get these sticks abolished. In 1843 it was found that there was a considerable accumulation of them; and the question then arose, what was to be done with such worn-out, worm-eaten rotten old bits of wood? I dare say there was a vast amount of minuting, memoranduming, and dispatch-boxing, on this mighty subject. The sticks were housed at Westminster, and it would naturally occur to any of us unofficial personages that nothing would have been easier than to allow them to be carried away for firewood, by some of the many miserable creatures in that neighbourhood. However, they never had been useful, and official routine could not endure that they ever should be useful, and so the order went forth that they were to be privately and confidentially burnt. It came to pass that they were burnt in a stove in the House of Lords. The stove, overgorged with these preposterous sticks, set fire to the panelling; the panelling set fire to the House of Lords; the House of Lords set fire to the House of Commons; the two houses were reduced to ashes; architects were called in to build two more; we are now in the second million of the cost thereof; the national pig is not nearly over the stile yet; and the little old woman, Britannia, hasn’t got home tonight. I think we may reasonably observe, in conclusion, that all-obstinate adherence to rubbish which time has long outlived, is certain to have in the soul of it more or less that is pernicious and destructive; more or less that will some day set fire to something or other; which, freely given to the winds would have been harmless, which, persistently retained, is ruinous. I repeat, with submission, that I think it is as unnecessary to set the Administrative Reform case up, as it is idle to hope to put it down, on this or that particular instance. The great, broad, and true case that our public progress is far behind our private progress, and that we are not more remarkable for our private wisdom and success in matters of business than we are for our public folly and failure, I take to be as clearly established as the existence of the sun, moon, and stars. To set this right, and to clear the way in the country’s cause for merit everywhere: accepting it equally whether it be aristocratic or democratic, and only asking whether it be honest or true: I take to be the object of this Association. This object it seeks to promote by uniting together large numbers of the people, I hope, of all conditions, to the end that they may better comprehend, bear in mind, understand themselves, and impress upon others, the common public duty. Also, of which there is great need, that by keeping a vigilant eye on the skirmishers of Party, as they are thrown out from time to time by their Generals, they may see that feints and manoeuvres do not oppress the small defaulters and release the great, and that they do not gull the public with a mere field-day Review of Administrative Reform, instead of an earnest hard-fought Battle. I speak as an individual, wholly unconnected with the management of this Association, and having had no consultation with any one upon the subject, when I particularly wish that the directors may devise some means of enabling intelligent working men to join this body, on easier terms than subscribers who have larger resources. I could wish to see great numbers of them belong to it, because I sincerely believe that it would be good for the common weal. Said the noble Lord at the head of the Government, when Mr. Layard asked him for a day for his motion. Let the hon. gentleman find a day for himself. Now, in the names of all the gods at once, Upon what meat doth this our Caesar feed That he is grown so great? If our Caesar will excuse me, I would take the liberty of reversing that cool and lofty sentiment, and I would say, ‘First Lord, your duty it is to see that no man is left to find a day for himself. See you, who take the responsibility of government, who aspire to it, live for it, intrigue for it, scramble for it, who hold to it tooth-and-nail when you can get it, see you that no man is left to find a day for himself. In this old country, with its seething hard-worked millions, its heavy taxes, its swarms of ignorant, its crowds of poor, its crowds of wicked, woe the day which the dangerous man shall find for himself, because the head of the Queen’s Government failed in his duty of anticipating it by a brighter and better one! Name you the day, First Lord; make a day; work for a day beyond your little time, Lord Palmerston, and History in return may then – not otherwise – find a day for you; a day equally associated with the contentment of the loyal, patient, willing-hearted English people, and with the happiness of your Royal Mistress and her fair line of children. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Administrative Reform Association Meeting Description An account of the resource Speech at an Administrative Reform Association Meeting (27 June 1855). Creator An entity primarily responsible for making the resource Dickens, Charles Date A point or period of time associated with an event in the lifecycle of the resource 1855-06-27 Identifier An unambiguous reference to the resource within a given context 1855-06-27_Speech_Administrative-Reform-Association-Meeting Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Speech at an Administrative Reform Association Meeting' (27 June 1855). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1855-06-27_Speech_Administrative-Reform-Association-Meeting">https://dickenssearch.com/speeches/1855-06-27_Speech_Administrative-Reform-Association-Meeting</a>. Scripto Transcription A written representation of a document. I cannot, I am sure, better express my sense of the kind reception accorded to me by this great assembly, than by promising to compress what I shall address to it within the closest possible limits. It is more than eighteen hundred years ago, since there was a set of men who thought they should be heard for their much speaking’. As they have propagated exceedingly since that time, and as I observe that they flourish just now to a surprising extent about Westminster, I will do my best to avoid adding to the numbers of that prolific race. The noble lord at the head of the Government, when he wondered in Parliament about a week ago, that my friend, Mr. Layard, did not blush for having stated in this place what the whole country knows perfectly well to be true, and what no men in it can by possibility better know to be true than those disinterested supporters of that noble lord, who had the advantage of hearing him and cheering him night after night, when he first became Premier – I mean that he did officially and habitually joke at a time when this country was plunged in deep disgrace and distress – I say, that noble lord, when he wondered so much that a man of this age, who has, by his earnest and adventurous spirit, done the most to distinguish himself and it, did not blush for the tremendous audacity of having come so between the wind and his nobility, turned an airy period with reference to the private theatricals at Drury Lane Theatre. I have some slight acquaintance with theatricals, private and public, and I will accept that figure of the noble lord. I will not say that if I wanted to form a company of Her Majesty’s servants, I think I should know where to put my hand on ‘the comic old gentleman’; nor, that if I wanted to get up a pantomime, I fancy I should know what establishment to go to for the tricks and changes; also, for a very considerable host of supernumeraries, to trip one another up in that scene of contention with which many of us are familiar, both on these and on other boards, in which the principal objects thrown about, are loaves and fishes. But I will try to give the noble lord the reason of these private theatricals, and the reason why, however ardently he may desire to ring the curtain down upon them, there is not the faintest present hope of their coming to a conclusion. It is this:—The public theatricals which the noble lord is so condescending as to manage, are so intolerably bad, the machinery is so cumbrous, the parts so ill distributed, the company so full of ‘walking gentlemen’, the managers have such large families, and are so bent upon putting those families into what is theatrically called ‘first business’ – not because of their aptitude for it, but because they are their families, that we find ourselves obliged to organize an opposition. We have seen the Comedy of Errors played so dismally like a tragedy that we cannot bear it. We are, therefore, making bold to get up the School of Reform, and we hope, before the play is out, to improve that noble lord by our performance very considerably. If he object that we have no right to improve him without his license, we venture to claim that right in virtue of his orchestra, consisting of a very powerful piper, whom we always pay. Sir, as this is the first political meeting I have ever attended, and as my trade and calling is not politics, perhaps it may be useful for me to show how I come to be here, since reasons similar to those which have influenced me, may still be fluttering, unbalanced, in the minds of others. I want at all times, in plain sincerity, to do my duty by my countrymen. If I feel an attachment toward them, there is nothing disinterested or meritorious in that, for I can never too affectionately remember the confidence and friendship that they have long reposed in me. Within my sphere of action – which I shall never change; I shall never overstep, further or for a longer period than I do tonight, the circle of my own pursuits, as one who lives by Literature, who is content to do his public service through Literature, and who is conscious that he cannot serve two masters – within my sphere of action I have, for some years, tried to understand the heavier social grievances and to help to set them right. When the Times newspaper proved its then almost incredible case, in reference to the ghastly absurdity of that vast labyrinth of misplaced men and misdirected things, which had made England unable to find on the face of the earth, an enemy one-twentieth part so potent for the misery and ruin of her noble defenders as she has been herself, I believe that the gloomy silence into which the country fell, was by far the darkest aspect in which a great people had been exhibited for very many years. With shame and indignation lowering among all classes of society, and this new element of discord piled on the heaving basis of ignorance, poverty and crime, which is always below us – with little adequate expression of the general mind, or apparent understanding of the general mind, in Parliament – with the machinery of Government and the legislature going round and round, and the people fallen from it and standing aloof, as if they left it to its last remaining function of destroying itself, when it had achieved the destruction of so much that was dear to them – I did believe, and I do believe, that the only wholesome turn affairs so menacing could take, was, the awaking of the people, the outspeaking of the people, the uniting of the people in all patriotism and loyalty to effect a great peaceful constitutional change in the administration of their own affairs. At such a crisis this Association arose, and at such a crisis I joined it: considering its further case to be – if further case could possibly be needed – that what is everybody’s business is nobody’s business, that men must be gregarious in their good citizenship as in most other things, and that it is a law in nature that there must be a centre of attraction for particles to fly to, before any serviceable body with recognised functions can come into existence. Well! This Association has arisen, and we belong to it. What are the objections to it? I have heard in the main but three, which I will briefly glance at, in the order in which I have heard them. One. It is proposed to exercise an influence, through the constituencies, on the House of Commons. I have not the least hesitation in saying that I have the smallest amount of faith in the House of Commons at present existing, and that I consider the exercise of such influence highly necessary to the welfare and honour of this country. Reading no later than yesterday, a favourite boo of mine, I find Mr. Pepys, two hundred years ago, writing of the House of Commons in his time and its political contentions, thus: My cousin Roger Pepys tells me that it is matter of the greatest grief to him in the world that he should be put upon this trust for being a Parliament man; because he says nothing is done, that he can see, out of any truth and sincerity, but mere envy and design. Now, how it comes to pass that after two hundred years, and many years after a Reform Bill, the House of Commons is so little changed, I will not stop to inquire. I will not ask how it happens that bills which cramp and worry the people, and restrict their scant enjoyments, are so easily smuggled through that place, and how it happens that measures for their real service are so very difficult to pass. I will not analyse the confined air of the lobby, or reduce to their primitive gases, its deadening influences on the memory of that Honourable Member who was once a candidate for the honour of your – and my – independent vote and interest. I will not ask what Sectarian figure that is, full of blandishments, standing on the threshold, with its finger on its lips. I will not ask how it comes to pass that personal altercations, involving all the removes and definitions of Shakespeare’s Touchstone – the retort courteous – the reply churlish – the reproof valiant – the countercheck quarrelsome – the lie circumstantial and the lie direct – are of immeasurably greater interest in the House of Commons than the health, the taxation, the education, of a whole people. I will not penetrate the mysteries of that secret chamber in which the Bluebeard, Party, keeps his strangled public questions, straitly charging his last bride, the new comer, on no account to open the door. I will merely put it to the humble practical experience, recent and remote, of everybody here, whether the House of Commons is not occasionally a little hard of hearing, not a little dim of sight, not a little slow of understanding: whether, in short, it is not in a sufficiently invalided state to require close watching, and the occasional application of sharp stimulants; and whether it is not capable of considerable improvement? I believe that, in order to preserve it in a state of real usefulness and independence, the people must be very watchful and very jealous of it; and it must have its memory jogged; it must be kept awake; when it happens to have taken too much Ministerial narcotic, it must be trotted about, and must be bustled and pinched in a friendly way, as is the usage in such cases. And I hold that no power can have so just a right to administer our functions as a body comprising electors from all parts of the country, who are associated together because their country is dearer to them than drowsy twaddle, unmeaning routine, orthe absurdest worn out conventionalities. This brings me to objection number two. It is stated that this Association sets class against class. Is this so? No, it finds class set against class, and seeks to reconcile them. I wish to avoid placing in opposition here, the two words Aristocracy and People. I am one who can believe in the virtues and uses of both, and, I would elevate or depress neither, at the cost of a single just right belonging to either. I will use, instead of these words, the terms, the governors and the governed. These two bodies the Association finds with a gulf between them, in which lie, newly buried, thousands on thousands of the bravest and most devoted men that, even England ever bred. It is to prevent the recurrence of innumerable smaller evils, of which, unchecked, that great calamity was the crowning height and the necessary consummation, and to bring together those two fronts looking now so strangely at each other, that this Association seeks to help to bridge over that abyss, with a structure founded on common justice and supported by common sense. Setting class against class! The old unmeaning parrot cry than which we remember nothing earlier in our lives! Try its justice in this case, by an illustration:– A respectable old gentleman with a large and costly establishment of servants, finds his household in complete disorder, and that he can get nothing done. When he asks his servants to give his children bread, they give them stones; when they are told to give those children fish, they give them serpents. When they are ordered to send to the East they send to the West; when they ought to be serving dinner in the North, they were consulting obsolete and exploded cookery books in the South; they break, lose, forget, waste, destroy; only tumble over one another when required to do anything; and make the respectable gentleman’s house a scene of scandalous ruin. At last the respectable gentleman calls to him his house steward, and says, even then more in sorrow than in anger, This is a terrible business, no fortune can stand it – no mortal equanimity can bear it! I must change my system of appointing my servants; I must obtain servants who now and will do their duty’. The house steward throws up his eyes in pious horror, ejaculates ‘Good God, here is my master setting class against class!’ rushes off into the servants’ hall, and delivers a long and melting oration on that wicked theme. And so we come to the third objection, which I have observed to obtain among that class of young gentlemen of good family, who are not particularly fit for anything but spending money which they have not got. It is usually comprised in the observation, ‘How very extraordinary it is that these Administrative Reform fellows can’t mind their own business’. I think it will occur to most of us who are here, in final disposal of this alarming objection, that it is rather because we do mind our own business, and because we must have our business minded, and because those who undertake to mind it do not mind it properly, that we are an Association at all. I observe from the Parliamentary debates – which have of late, by-the-by, frequently suggested to me that there is this difference between the bull of Spain the bull of Nineveh, that, whereas, in the Spanish case, the bull rushes at the scarlet, in the Ninevite case, the scarlet rushes at the bull – I have observed in the Parliamentary debates that, by a curious fatality, there has been a great deal of the reproof valiant and the counter check quarrelsome, in reference to every case, showing the necessity of Administrative Reform, by whomsoever produced, whensoever, and wheresoever. I dare say I should have no difficulty in adding two or three cases to the list, which I know to be true, and which I have no doubt would be contradicted, but I consider it a work of supererogation; for, if the people at large be not already convinced that a sufficient general case has been made out for Administrative Reform, I think they never can be, and they never will be. There is, however, an old indisputable, very well known story, which has so pointed a moral at the end of it that I will substitute it for a new case: by doing of which I may avoid, I hope, the sacred wrath of St. Stephen. Ages ago a savage mode of keeping accounts on notched sticks was introduced into the Court of Exchequer; and the accounts were kept, much as Robinson Crusoe kept his calendar on the desert island. In the course of considerable revolutions of time, the celebrated Mr. Cocker was born, and died. Mr. Walkinghame, of The Tutor’s Assistant, and a terrible hand at figures, was born, and died; a multitude of accountants, book-keepers, actuaries, and mathematicians, were born, and died; and still official routine clung to these notched sticks, as if they were pillars of the constitution, and still the Exchequer accounts continued to be kept on certain splints of elm wood called ‘tallies’. Late in the the reign of George III, some restless and revolutionary spirit originated the suggestion, whether, in a land where there were pens, ink, and paper, slates and pencils, and systems of accounts, this rigid adherence to a barbarous usage might not possibly border on the ridiculous? All the red tape in the public offices turned redder at the bare mention of this bold and original conception, and it took till 1826 to get these sticks abolished. In 1843 it was found that there was a considerable accumulation of them; and the question then arose, what was to be done with such worn-out, worm-eaten rotten old bits of wood? I dare say there was a vast amount of minuting, memoranduming, and dispatch-boxing, on this mighty subject. The sticks were housed at Westminster, and it would naturally occur to any of us unofficial personages that nothing would have been easier than to allow them to be carried away for firewood, by some of the many miserable creatures in that neighbourhood. However, they never had been useful, and official routine could not endure that they ever should be useful, and so the order went forth that they were to be privately and confidentially burnt. It came to pass that they were burnt in a stove in the House of Lords. The stove, overgorged with these preposterous sticks, set fire to the panelling; the panelling set fire to the House of Lords; the House of Lords set fire to the House of Commons; the two houses were reduced to ashes; architects were called in to build two more; we are now in the second million of the cost thereof; the national pig is not nearly over the stile yet; and the little old woman, Britannia, hasn’t got home tonight. I think we may reasonably observe, in conclusion, that all-obstinate adherence to rubbish which time has long outlived, is certain to have in the soul of it more or less that is pernicious and destructive; more or less that will some day set fire to something or other; which, freely given to the winds would have been harmless, which, persistently retained, is ruinous. I repeat, with submission, that I think it is as unnecessary to set the Administrative Reform case up, as it is idle to hope to put it down, on this or that particular instance. The great, broad, and true case that our public progress is far behind our private progress, and that we are not more remarkable for our private wisdom and success in matters of business than we are for our public folly and failure, I take to be as clearly established as the existence of the sun, moon, and stars. To set this right, and to clear the way in the country’s cause for merit everywhere: accepting it equally whether it be aristocratic or democratic, and only asking whether it be honest or true: I take to be the object of this Association. This object it seeks to promote by uniting together large numbers of the people, I hope, of all conditions, to the end that they may better comprehend, bear in mind, understand themselves, and impress upon others, the common public duty. Also, of which there is great need, that by keeping a vigilant eye on the skirmishers of Party, as they are thrown out from time to time by their Generals, they may see that feints and manoeuvres do not oppress the small defaulters and release the great, and that they do not gull the public with a mere field-day Review of Administrative Reform, instead of an earnest hard-fought Battle. I speak as an individual, wholly unconnected with the management of this Association, and having had no consultation with any one upon the subject, when I particularly wish that the directors may devise some means of enabling intelligent working men to join this body, on easier terms than subscribers who have larger resources. I could wish to see great numbers of them belong to it, because I sincerely believe that it would be good for the common weal. Said the noble Lord at the head of the Government, when Mr. Layard asked him for a day for his motion. Let the hon. gentleman find a day for himself. Now, in the names of all the gods at once, Upon what meat doth this our Caesar feed That he is grown so great? If our Caesar will excuse me, I would take the liberty of reversing that cool and lofty sentiment, and I would say, ‘First Lord, your duty it is to see that no man is left to find a day for himself. See you, who take the responsibility of government, who aspire to it, live for it, intrigue for it, scramble for it, who hold to it tooth-and-nail when you can get it, see you that no man is left to find a day for himself. In this old country, with its seething hard-worked millions, its heavy taxes, its swarms of ignorant, its crowds of poor, its crowds of wicked, woe the day which the dangerous man shall find for himself, because the head of the Queen’s Government failed in his duty of anticipating it by a brighter and better one! Name you the day, First Lord; make a day; work for a day beyond your little time, Lord Palmerston, and History in return may then – not otherwise – find a day for you; a day equally associated with the contentment of the loyal, patient, willing-hearted English people, and with the happiness of your Royal Mistress and her fair line of children. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches Identifier An unambiguous reference to the resource within a given context speeches Description An account of the resource <h4>This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time. </h4> Dickens made more than a hundred speeches between 1837 and 1870 at events ranging from charitable dinners and award ceremonies to banquets in his honour or brief words of thanks before a public reading. In these speeches, the author touched on topics including his own life and professional development as well as other subjects such as politics, education, literature, public health and the development of the railway. Efforts to collect Dickens’s speeches prior to 1960 were incomplete at best, and misleading and fragmentary at worst. John Camden Hotten’s collection of speeches, begun without the author’s consent (although he never responded to Hotten’s letters, Dickens did begin efforts to block their publication) and published together with a hastily-compiled biography shortly after the author’s death, remained the primary collected version of the speeches until the Nonesuch Dickens of 1938-39 (a limited print run). Finally, K. J. Fielding brought all known speeches together in 1960, correcting shoddy transcriptions by Hotten using contemporary newspaper accounts, and nearly doubling the total number of speeches attributed to Dickens (The Speeches of Charles Dickens [Oxford: Clarendon Press, 1960]): Hotten had only featured the text of 56 speeches, the Nonesuch edition of the speeches provided an additional nine, and Fielding presented more than a hundred. Since this monumental work, a handful have also appeared in The Dickensian;<a href="#fn1" id="ref1">1</a> there are certainly more to be found, as the volume of digitised newspapers and periodicals increases, and corrections to be made to existing transcriptions. No effort to collect the speeches has been made since Fielding; this collection thus represents the most complete body of Dickens's speeches ever assembled. Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884: <blockquote>[S]upposing the speech was to be delivered in the evening, his habit was to take a long walk in the morning, during which he would decide on the various heads to be dealt with. These being arranged in their proper order, he would in his 'mind's eye,' liken the whole subject to the tire of a cart wheel – he being the hub. From the hub to the tire he would run as many spokes as there were subjects to be treated, and during the progress of the speech he would deal with each spoke separately, elaborating them as he went round the wheel; and when all the spokes dropped out one by one, and nothing but the tire and space remained […] his speech was at an end. (Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America, pp. 273-74)</blockquote> However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like The Times. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say). Our Transcription field will only include words attributed directly to Dickens rather than third-person reports or paraphrases of his speeches. Where only such reports exist, we will provide the text in the 'Summary' field. Ngram search and other text analysis tools will be applied to what are given as Dickens's words only, to avoid skewing the results, but of course we are reliant on the quality of the reporting: we recommend analysing topics, themes, quotations and concepts rather than granular detail such as prepositions, punctuation, capitalisation and the intricacies of grammar, as different newspaper accounts can vary on these points. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens. 1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', The Dickensian 73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', The Dickensian 73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', The Dickensian 85.418 (1989): pp. 66-80. <a href="#ref1" title="Jump back to footnote 1 in the text.">↩</a> Contributor An entity responsible for making contributions to the resource Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods Speech Location The location Manchester Venue Where the speech was given Free Trade Hall Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18570824 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. Ladies and Gentlemen, Will you allow me to say that on these three occasions you have added three very bright flowers to the garland of our happy and grateful recollections of this most hospitable and generous city? Permit me, in the name in remembrance of which we have been banded together, and on behalf of my companions in the company, and of the author, and of myself, to tender you a most affectionate farewell. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource After a Performance of The Frozen Deep, Manchester Description An account of the resource Speech after a Performance of The Frozen Deep, Manchester (24 August 1857). Creator An entity primarily responsible for making the resource Dickens, Charles Date A point or period of time associated with an event in the lifecycle of the resource 1857-08-24 Identifier An unambiguous reference to the resource within a given context 1857-08-24_Speech_After-a-Performance-of-The-Frozen-Deep-Manchester Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Speech after a Performance of The Frozen Deep, Manchester' (24 August 1857). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1857-08-24_Speech_After-a-Performance-of-The-Frozen-Deep-Manchester">https://dickenssearch.com/speeches/1857-08-24_Speech_After-a-Performance-of-The-Frozen-Deep-Manchester</a>. Scripto Transcription A written representation of a document. Ladies and Gentlemen, Will you allow me to say that on these three occasions you have added three very bright flowers to the garland of our happy and grateful recollections of this most hospitable and generous city? Permit me, in the name in remembrance of which we have been banded together, and on behalf of my companions in the company, and of the author, and of myself, to tender you a most affectionate farewell. manchester https://dickenssearch.com/files/original/6/After_a_Reading_at_Steinway_Hall/1867-12-31_Speech_After_a_Reading_at_Steinway_Hall.pdf 2b31bde2ea775adbbcc43a8ac92f5d7c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches Identifier An unambiguous reference to the resource within a given context speeches Description An account of the resource <h4>This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time. </h4> Dickens made more than a hundred speeches between 1837 and 1870 at events ranging from charitable dinners and award ceremonies to banquets in his honour or brief words of thanks before a public reading. In these speeches, the author touched on topics including his own life and professional development as well as other subjects such as politics, education, literature, public health and the development of the railway. Efforts to collect Dickens’s speeches prior to 1960 were incomplete at best, and misleading and fragmentary at worst. John Camden Hotten’s collection of speeches, begun without the author’s consent (although he never responded to Hotten’s letters, Dickens did begin efforts to block their publication) and published together with a hastily-compiled biography shortly after the author’s death, remained the primary collected version of the speeches until the Nonesuch Dickens of 1938-39 (a limited print run). Finally, K. J. Fielding brought all known speeches together in 1960, correcting shoddy transcriptions by Hotten using contemporary newspaper accounts, and nearly doubling the total number of speeches attributed to Dickens (The Speeches of Charles Dickens [Oxford: Clarendon Press, 1960]): Hotten had only featured the text of 56 speeches, the Nonesuch edition of the speeches provided an additional nine, and Fielding presented more than a hundred. Since this monumental work, a handful have also appeared in The Dickensian;<a href="#fn1" id="ref1">1</a> there are certainly more to be found, as the volume of digitised newspapers and periodicals increases, and corrections to be made to existing transcriptions. No effort to collect the speeches has been made since Fielding; this collection thus represents the most complete body of Dickens's speeches ever assembled. Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884: <blockquote>[S]upposing the speech was to be delivered in the evening, his habit was to take a long walk in the morning, during which he would decide on the various heads to be dealt with. These being arranged in their proper order, he would in his 'mind's eye,' liken the whole subject to the tire of a cart wheel – he being the hub. From the hub to the tire he would run as many spokes as there were subjects to be treated, and during the progress of the speech he would deal with each spoke separately, elaborating them as he went round the wheel; and when all the spokes dropped out one by one, and nothing but the tire and space remained […] his speech was at an end. (Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America, pp. 273-74)</blockquote> However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like The Times. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say). Our Transcription field will only include words attributed directly to Dickens rather than third-person reports or paraphrases of his speeches. Where only such reports exist, we will provide the text in the 'Summary' field. Ngram search and other text analysis tools will be applied to what are given as Dickens's words only, to avoid skewing the results, but of course we are reliant on the quality of the reporting: we recommend analysing topics, themes, quotations and concepts rather than granular detail such as prepositions, punctuation, capitalisation and the intricacies of grammar, as different newspaper accounts can vary on these points. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens. 1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', The Dickensian 73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', The Dickensian 73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', The Dickensian 85.418 (1989): pp. 66-80. <a href="#ref1" title="Jump back to footnote 1 in the text.">↩</a> Contributor An entity responsible for making contributions to the resource Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods Speech Location The location New York Venue Where the speech was given Steinway Hall Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) New York Tribune TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1867-12-31_Speech_After_a_Reading_at_Steinway_Hall.xml" target="_blank" rel="noopener">After a Reading at Steinway Hall (31 December 1867).</a> Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18671231 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. Ladies and gentlemen: I wish you, from my heart of hearts, a happy, happy New Year. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource After a Reading at Steinway Hall Description An account of the resource Speech given after a reading of David Copperfield and 'Mr. Bob Sawyer’s Party' (31 December 1867). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived 'Mr. Dickens.' New York Tribune (1 January 1868): p. 4. Chronicling America, <a href="https://www.loc.gov/item/sn83030214/1868-01-01/ed-1/" target="_blank" rel="noopener">https://www.loc.gov/item/sn83030214/1868-01-01/ed-1/</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1867-12-31 Type The nature or genre of the resource Speech Identifier An unambiguous reference to the resource within a given context 1867-12-31_Speech_After_a_Reading_at_Steinway_Hall Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'After a Reading at Steinway Hall' (31 December 1867). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1867-12-31_Speech_After_a_Reading_at_Steinway_Hall">https://dickenssearch.com/speeches/1867-12-31_Speech_After_a_Reading_at_Steinway_Hall</a><a href="https://dickenssearch.com/speeches/1859-10-22_Speech_Reading_in_Peterborough"></a>. Scripto Transcription A written representation of a document. Ladies and gentlemen: I wish you, from my heart of hearts, a happy, happy New Year. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches Identifier An unambiguous reference to the resource within a given context speeches Description An account of the resource <h4>This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time. </h4> Dickens made more than a hundred speeches between 1837 and 1870 at events ranging from charitable dinners and award ceremonies to banquets in his honour or brief words of thanks before a public reading. In these speeches, the author touched on topics including his own life and professional development as well as other subjects such as politics, education, literature, public health and the development of the railway. Efforts to collect Dickens’s speeches prior to 1960 were incomplete at best, and misleading and fragmentary at worst. John Camden Hotten’s collection of speeches, begun without the author’s consent (although he never responded to Hotten’s letters, Dickens did begin efforts to block their publication) and published together with a hastily-compiled biography shortly after the author’s death, remained the primary collected version of the speeches until the Nonesuch Dickens of 1938-39 (a limited print run). Finally, K. J. Fielding brought all known speeches together in 1960, correcting shoddy transcriptions by Hotten using contemporary newspaper accounts, and nearly doubling the total number of speeches attributed to Dickens (The Speeches of Charles Dickens [Oxford: Clarendon Press, 1960]): Hotten had only featured the text of 56 speeches, the Nonesuch edition of the speeches provided an additional nine, and Fielding presented more than a hundred. Since this monumental work, a handful have also appeared in The Dickensian;<a href="#fn1" id="ref1">1</a> there are certainly more to be found, as the volume of digitised newspapers and periodicals increases, and corrections to be made to existing transcriptions. No effort to collect the speeches has been made since Fielding; this collection thus represents the most complete body of Dickens's speeches ever assembled. Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884: <blockquote>[S]upposing the speech was to be delivered in the evening, his habit was to take a long walk in the morning, during which he would decide on the various heads to be dealt with. These being arranged in their proper order, he would in his 'mind's eye,' liken the whole subject to the tire of a cart wheel – he being the hub. From the hub to the tire he would run as many spokes as there were subjects to be treated, and during the progress of the speech he would deal with each spoke separately, elaborating them as he went round the wheel; and when all the spokes dropped out one by one, and nothing but the tire and space remained […] his speech was at an end. (Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America, pp. 273-74)</blockquote> However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like The Times. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say). Our Transcription field will only include words attributed directly to Dickens rather than third-person reports or paraphrases of his speeches. Where only such reports exist, we will provide the text in the 'Summary' field. Ngram search and other text analysis tools will be applied to what are given as Dickens's words only, to avoid skewing the results, but of course we are reliant on the quality of the reporting: we recommend analysing topics, themes, quotations and concepts rather than granular detail such as prepositions, punctuation, capitalisation and the intricacies of grammar, as different newspaper accounts can vary on these points. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens. 1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', The Dickensian 73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', The Dickensian 73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', The Dickensian 85.418 (1989): pp. 66-80. <a href="#ref1" title="Jump back to footnote 1 in the text.">↩</a> Contributor An entity responsible for making contributions to the resource Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods Speech Location The location Manchester Venue Where the speech was given Free Trade Hall Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18570731 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. Ladies and Gentlemen, Between the two parts of my reading tonight, I have had the honour of receiving a visit from some of the gentlemen distinguished in England as being the leading men in this city, who have had the kindness to request that I would endeavour to bring my amateur company here, in order that we might give a repetition in Manchester, for the same purpose as we have met tonight, of Mr. Wilkie Collins’s Frozen Deep. I replied to those gentlemen, that we have no intention of going to any other place out of London, our object now drawing to a close; but that we have too lively a remembrance of the old generosity and encouragement of Manchester in similar cases, and too affectionate a memory of the happy nights we have passed here, to admit of our doubting for a moment as to what we should do. I will make it my duty to go into the necessary calculations and details; and if I find that with any reasonable prospect of benefit to the object we have in view, we can come here, we shall most certainly do it. Cheered by the prospect, and I may say the hope, of seeing you again before very long, allow me to thank you most heartily for your cordial reception and kind welcome this evening. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource After a Reading in Manchester July 1857 Description An account of the resource After a Reading in Manchester (31 July 1857). Creator An entity primarily responsible for making the resource Dickens, Charles Date A point or period of time associated with an event in the lifecycle of the resource 1857-03-31 Identifier An unambiguous reference to the resource within a given context 1857-07-31_Speech_After-a-Reading-in-Manchester Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'After a Reading in Manchester' (31 July 1857). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1857-07-31_Speech_After-a-Reading-in-Manchester">https://dickenssearch.com/speeches/1857-07-31_Speech_After-a-Reading-in-Manchester</a>. Scripto Transcription A written representation of a document. Ladies and Gentlemen, Between the two parts of my reading tonight, I have had the honour of receiving a visit from some of the gentlemen distinguished in England as being the leading men in this city, who have had the kindness to request that I would endeavour to bring my amateur company here, in order that we might give a repetition in Manchester, for the same purpose as we have met tonight, of Mr. Wilkie Collins’s Frozen Deep. I replied to those gentlemen, that we have no intention of going to any other place out of London, our object now drawing to a close; but that we have too lively a remembrance of the old generosity and encouragement of Manchester in similar cases, and too affectionate a memory of the happy nights we have passed here, to admit of our doubting for a moment as to what we should do. I will make it my duty to go into the necessary calculations and details; and if I find that with any reasonable prospect of benefit to the object we have in view, we can come here, we shall most certainly do it. Cheered by the prospect, and I may say the hope, of seeing you again before very long, allow me to thank you most heartily for your cordial reception and kind welcome this evening. manchester Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches Identifier An unambiguous reference to the resource within a given context speeches Description An account of the resource <h4>This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time. </h4> Dickens made more than a hundred speeches between 1837 and 1870 at events ranging from charitable dinners and award ceremonies to banquets in his honour or brief words of thanks before a public reading. In these speeches, the author touched on topics including his own life and professional development as well as other subjects such as politics, education, literature, public health and the development of the railway. Efforts to collect Dickens’s speeches prior to 1960 were incomplete at best, and misleading and fragmentary at worst. John Camden Hotten’s collection of speeches, begun without the author’s consent (although he never responded to Hotten’s letters, Dickens did begin efforts to block their publication) and published together with a hastily-compiled biography shortly after the author’s death, remained the primary collected version of the speeches until the Nonesuch Dickens of 1938-39 (a limited print run). Finally, K. J. Fielding brought all known speeches together in 1960, correcting shoddy transcriptions by Hotten using contemporary newspaper accounts, and nearly doubling the total number of speeches attributed to Dickens (The Speeches of Charles Dickens [Oxford: Clarendon Press, 1960]): Hotten had only featured the text of 56 speeches, the Nonesuch edition of the speeches provided an additional nine, and Fielding presented more than a hundred. Since this monumental work, a handful have also appeared in The Dickensian;<a href="#fn1" id="ref1">1</a> there are certainly more to be found, as the volume of digitised newspapers and periodicals increases, and corrections to be made to existing transcriptions. No effort to collect the speeches has been made since Fielding; this collection thus represents the most complete body of Dickens's speeches ever assembled. Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884: <blockquote>[S]upposing the speech was to be delivered in the evening, his habit was to take a long walk in the morning, during which he would decide on the various heads to be dealt with. These being arranged in their proper order, he would in his 'mind's eye,' liken the whole subject to the tire of a cart wheel – he being the hub. From the hub to the tire he would run as many spokes as there were subjects to be treated, and during the progress of the speech he would deal with each spoke separately, elaborating them as he went round the wheel; and when all the spokes dropped out one by one, and nothing but the tire and space remained […] his speech was at an end. (Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America, pp. 273-74)</blockquote> However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like The Times. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say). Our Transcription field will only include words attributed directly to Dickens rather than third-person reports or paraphrases of his speeches. Where only such reports exist, we will provide the text in the 'Summary' field. Ngram search and other text analysis tools will be applied to what are given as Dickens's words only, to avoid skewing the results, but of course we are reliant on the quality of the reporting: we recommend analysing topics, themes, quotations and concepts rather than granular detail such as prepositions, punctuation, capitalisation and the intricacies of grammar, as different newspaper accounts can vary on these points. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens. 1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', The Dickensian 73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', The Dickensian 73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', The Dickensian 85.418 (1989): pp. 66-80. <a href="#ref1" title="Jump back to footnote 1 in the text.">↩</a> Contributor An entity responsible for making contributions to the resource Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods Speech Location The location Washington, D. C. Venue Where the speech was given Carroll Hall Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18680207 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. Ladies and Gentlemen, In all probability I shall never see your faces again, but I can assure you that yours have yielded me as much pleasure as I have given you. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource After a Reading in Washington Description An account of the resource Speech after a Reading in Washington (7 February 1868). Creator An entity primarily responsible for making the resource Dickens, Charles Date A point or period of time associated with an event in the lifecycle of the resource 1868-02-07 Identifier An unambiguous reference to the resource within a given context 1868-02-07_Speech_After-a-Reading-in-Washington Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Speech after a Reading in Washington' (7 February 1868). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1868-02-07_Speech_After-a-Reading-in-Washington">https://dickenssearch.com/speeches/1868-02-07_Speech_After-a-Reading-in-Washington</a>. Scripto Transcription A written representation of a document. Ladies and Gentlemen, In all probability I shall never see your faces again, but I can assure you that yours have yielded me as much pleasure as I have given you. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches Identifier An unambiguous reference to the resource within a given context speeches Description An account of the resource <h4>This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time. </h4> Dickens made more than a hundred speeches between 1837 and 1870 at events ranging from charitable dinners and award ceremonies to banquets in his honour or brief words of thanks before a public reading. In these speeches, the author touched on topics including his own life and professional development as well as other subjects such as politics, education, literature, public health and the development of the railway. Efforts to collect Dickens’s speeches prior to 1960 were incomplete at best, and misleading and fragmentary at worst. John Camden Hotten’s collection of speeches, begun without the author’s consent (although he never responded to Hotten’s letters, Dickens did begin efforts to block their publication) and published together with a hastily-compiled biography shortly after the author’s death, remained the primary collected version of the speeches until the Nonesuch Dickens of 1938-39 (a limited print run). Finally, K. J. Fielding brought all known speeches together in 1960, correcting shoddy transcriptions by Hotten using contemporary newspaper accounts, and nearly doubling the total number of speeches attributed to Dickens (The Speeches of Charles Dickens [Oxford: Clarendon Press, 1960]): Hotten had only featured the text of 56 speeches, the Nonesuch edition of the speeches provided an additional nine, and Fielding presented more than a hundred. Since this monumental work, a handful have also appeared in The Dickensian;<a href="#fn1" id="ref1">1</a> there are certainly more to be found, as the volume of digitised newspapers and periodicals increases, and corrections to be made to existing transcriptions. No effort to collect the speeches has been made since Fielding; this collection thus represents the most complete body of Dickens's speeches ever assembled. Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884: <blockquote>[S]upposing the speech was to be delivered in the evening, his habit was to take a long walk in the morning, during which he would decide on the various heads to be dealt with. These being arranged in their proper order, he would in his 'mind's eye,' liken the whole subject to the tire of a cart wheel – he being the hub. From the hub to the tire he would run as many spokes as there were subjects to be treated, and during the progress of the speech he would deal with each spoke separately, elaborating them as he went round the wheel; and when all the spokes dropped out one by one, and nothing but the tire and space remained […] his speech was at an end. (Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America, pp. 273-74)</blockquote> However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like The Times. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say). Our Transcription field will only include words attributed directly to Dickens rather than third-person reports or paraphrases of his speeches. Where only such reports exist, we will provide the text in the 'Summary' field. Ngram search and other text analysis tools will be applied to what are given as Dickens's words only, to avoid skewing the results, but of course we are reliant on the quality of the reporting: we recommend analysing topics, themes, quotations and concepts rather than granular detail such as prepositions, punctuation, capitalisation and the intricacies of grammar, as different newspaper accounts can vary on these points. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens. 1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', The Dickensian 73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', The Dickensian 73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', The Dickensian 85.418 (1989): pp. 66-80. <a href="#ref1" title="Jump back to footnote 1 in the text.">↩</a> Contributor An entity responsible for making contributions to the resource Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods Speech Location The location London Venue Where the speech was given St James's Hall Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18700315 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. Ladies and gentlemen, It would be worse than idle – for it would be hypocritical and unfeeling – if I were to disguise that I close this episode in my life with feelings of very considerable pain. For some fifteen years, in this hall and in many kindred places, I have had the honour of presenting my own cherished ideas before you for your recognition; and, in closely observing your reception of them, have enjoyed an amount of artistic delight and instruction which, perhaps, is given to few men to know. In this task, and in every other which I have ever undertaken, as a faithful servant of the public, always imbued with a sense of duty to them, and always striving to do his best, I have been uniformly cheered by the readiest response, the most generous sympathy, and the most stimulating support. Nevertheless, I have thought it well, at the full flood-tide of your favour, to retire upon those older associations between us, which date from much further back than these, and henceforth to devote myself exclusively to that art which first brought us together. Ladies and gentlemen, in but two short weeks from this time I hope that you may enter, in your own homes, on a new series of readings, at which my assistance will be indispensable; but from these garish lights I vanish now for evermore, with a heartfelt, grateful, respectful, and affectionate farewell. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource After Final Reading Description An account of the resource Short speech after Dickens's final reading at St. James's Hall (15 March 1870). Creator An entity primarily responsible for making the resource Dickens, Charles Date A point or period of time associated with an event in the lifecycle of the resource 1870-03-15 Identifier An unambiguous reference to the resource within a given context 1870-03-15_Speech_Final-Reading Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Final Reading' (15 March 1870). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1870-03-15_Speech_Final-Reading">https://dickenssearch.com/speeches/1870-03-15_Speech_Final-Reading</a>. Scripto Transcription A written representation of a document. Ladies and gentlemen, It would be worse than idle – for it would be hypocritical and unfeeling – if I were to disguise that I close this episode in my life with feelings of very considerable pain. For some fifteen years, in this hall and in many kindred places, I have had the honour of presenting my own cherished ideas before you for your recognition; and, in closely observing your reception of them, have enjoyed an amount of artistic delight and instruction which, perhaps, is given to few men to know. In this task, and in every other which I have ever undertaken, as a faithful servant of the public, always imbued with a sense of duty to them, and always striving to do his best, I have been uniformly cheered by the readiest response, the most generous sympathy, and the most stimulating support. Nevertheless, I have thought it well, at the full flood-tide of your favour, to retire upon those older associations between us, which date from much further back than these, and henceforth to devote myself exclusively to that art which first brought us together. Ladies and gentlemen, in but two short weeks from this time I hope that you may enter, in your own homes, on a new series of readings, at which my assistance will be indispensable; but from these garish lights I vanish now for evermore, with a heartfelt, grateful, respectful, and affectionate farewell. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches Identifier An unambiguous reference to the resource within a given context speeches Description An account of the resource <h4>This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time. </h4> Dickens made more than a hundred speeches between 1837 and 1870 at events ranging from charitable dinners and award ceremonies to banquets in his honour or brief words of thanks before a public reading. In these speeches, the author touched on topics including his own life and professional development as well as other subjects such as politics, education, literature, public health and the development of the railway. Efforts to collect Dickens’s speeches prior to 1960 were incomplete at best, and misleading and fragmentary at worst. John Camden Hotten’s collection of speeches, begun without the author’s consent (although he never responded to Hotten’s letters, Dickens did begin efforts to block their publication) and published together with a hastily-compiled biography shortly after the author’s death, remained the primary collected version of the speeches until the Nonesuch Dickens of 1938-39 (a limited print run). Finally, K. J. Fielding brought all known speeches together in 1960, correcting shoddy transcriptions by Hotten using contemporary newspaper accounts, and nearly doubling the total number of speeches attributed to Dickens (The Speeches of Charles Dickens [Oxford: Clarendon Press, 1960]): Hotten had only featured the text of 56 speeches, the Nonesuch edition of the speeches provided an additional nine, and Fielding presented more than a hundred. Since this monumental work, a handful have also appeared in The Dickensian;<a href="#fn1" id="ref1">1</a> there are certainly more to be found, as the volume of digitised newspapers and periodicals increases, and corrections to be made to existing transcriptions. No effort to collect the speeches has been made since Fielding; this collection thus represents the most complete body of Dickens's speeches ever assembled. Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884: <blockquote>[S]upposing the speech was to be delivered in the evening, his habit was to take a long walk in the morning, during which he would decide on the various heads to be dealt with. These being arranged in their proper order, he would in his 'mind's eye,' liken the whole subject to the tire of a cart wheel – he being the hub. From the hub to the tire he would run as many spokes as there were subjects to be treated, and during the progress of the speech he would deal with each spoke separately, elaborating them as he went round the wheel; and when all the spokes dropped out one by one, and nothing but the tire and space remained […] his speech was at an end. (Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America, pp. 273-74)</blockquote> However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like The Times. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say). Our Transcription field will only include words attributed directly to Dickens rather than third-person reports or paraphrases of his speeches. Where only such reports exist, we will provide the text in the 'Summary' field. Ngram search and other text analysis tools will be applied to what are given as Dickens's words only, to avoid skewing the results, but of course we are reliant on the quality of the reporting: we recommend analysing topics, themes, quotations and concepts rather than granular detail such as prepositions, punctuation, capitalisation and the intricacies of grammar, as different newspaper accounts can vary on these points. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens. 1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', The Dickensian 73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', The Dickensian 73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', The Dickensian 85.418 (1989): pp. 66-80. <a href="#ref1" title="Jump back to footnote 1 in the text.">↩</a> Contributor An entity responsible for making contributions to the resource Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods Speech Location The location Sheffield Venue Where the speech was given Mechanics' Hall Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. Mr. Mayor, I beg to assure you, and those gentlemen who are associated with you in this kind gift, that I accept with heartfelt delight and cordial gratitude such beautiful specimens of the work of your famous town. The kind expressions with which you have accompanied this presentation, and the response which they have received from the assembly, will never be obliterated from my memory. You have heard my voice so much tonight that out of pure forbearance I will not say more than to assure you that these things shall be heirlooms in my family. They will be prized by those who love me as testifying not only to the work of Sheffield hands, but to the warmth and generosity of Sheffield hearts. Believe me, ladies and gentlemen, that to the earnestness of my aim and desire to do right by my readers, and to leave our imaginative and popular literature more closely associated than I found it at once with the private homes and public rights of the English people, I shall ever be faithful – to my death – in the principles which have won your approval. Allow me to take a reluctant leave, wishing you, one and all, many many merry Christmases, and many, many happy new years. Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18551222 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource After Reading in Sheffield Description An account of the resource After a reading of A Christmas Carol in Sheffield (22 December 1855) Creator An entity primarily responsible for making the resource Dickens, Charles Date A point or period of time associated with an event in the lifecycle of the resource 1855-12-22 Identifier An unambiguous reference to the resource within a given context 1855-12-22_Speech_After-Reading-in-Sheffield Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'After Reading in Sheffield' (22 December 1855). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1855-12-22_Speech_After-Reading-in-Sheffield">https://dickenssearch.com/speeches/1855-12-22_Speech_After-Reading-in-Sheffield</a>. Scripto Transcription A written representation of a document. Mr. Mayor, I beg to assure you, and those gentlemen who are associated with you in this kind gift, that I accept with heartfelt delight and cordial gratitude such beautiful specimens of the work of your famous town. The kind expressions with which you have accompanied this presentation, and the response which they have received from the assembly, will never be obliterated from my memory. You have heard my voice so much tonight that out of pure forbearance I will not say more than to assure you that these things shall be heirlooms in my family. They will be prized by those who love me as testifying not only to the work of Sheffield hands, but to the warmth and generosity of Sheffield hearts. Believe me, ladies and gentlemen, that to the earnestness of my aim and desire to do right by my readers, and to leave our imaginative and popular literature more closely associated than I found it at once with the private homes and public rights of the English people, I shall ever be faithful – to my death – in the principles which have won your approval. Allow me to take a reluctant leave, wishing you, one and all, many many merry Christmases, and many, many happy new years. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches Identifier An unambiguous reference to the resource within a given context speeches Description An account of the resource <h4>This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time. </h4> Dickens made more than a hundred speeches between 1837 and 1870 at events ranging from charitable dinners and award ceremonies to banquets in his honour or brief words of thanks before a public reading. In these speeches, the author touched on topics including his own life and professional development as well as other subjects such as politics, education, literature, public health and the development of the railway. Efforts to collect Dickens’s speeches prior to 1960 were incomplete at best, and misleading and fragmentary at worst. John Camden Hotten’s collection of speeches, begun without the author’s consent (although he never responded to Hotten’s letters, Dickens did begin efforts to block their publication) and published together with a hastily-compiled biography shortly after the author’s death, remained the primary collected version of the speeches until the Nonesuch Dickens of 1938-39 (a limited print run). Finally, K. J. Fielding brought all known speeches together in 1960, correcting shoddy transcriptions by Hotten using contemporary newspaper accounts, and nearly doubling the total number of speeches attributed to Dickens (The Speeches of Charles Dickens [Oxford: Clarendon Press, 1960]): Hotten had only featured the text of 56 speeches, the Nonesuch edition of the speeches provided an additional nine, and Fielding presented more than a hundred. Since this monumental work, a handful have also appeared in The Dickensian;<a href="#fn1" id="ref1">1</a> there are certainly more to be found, as the volume of digitised newspapers and periodicals increases, and corrections to be made to existing transcriptions. No effort to collect the speeches has been made since Fielding; this collection thus represents the most complete body of Dickens's speeches ever assembled. Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884: <blockquote>[S]upposing the speech was to be delivered in the evening, his habit was to take a long walk in the morning, during which he would decide on the various heads to be dealt with. These being arranged in their proper order, he would in his 'mind's eye,' liken the whole subject to the tire of a cart wheel – he being the hub. From the hub to the tire he would run as many spokes as there were subjects to be treated, and during the progress of the speech he would deal with each spoke separately, elaborating them as he went round the wheel; and when all the spokes dropped out one by one, and nothing but the tire and space remained […] his speech was at an end. (Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America, pp. 273-74)</blockquote> However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like The Times. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say). Our Transcription field will only include words attributed directly to Dickens rather than third-person reports or paraphrases of his speeches. Where only such reports exist, we will provide the text in the 'Summary' field. Ngram search and other text analysis tools will be applied to what are given as Dickens's words only, to avoid skewing the results, but of course we are reliant on the quality of the reporting: we recommend analysing topics, themes, quotations and concepts rather than granular detail such as prepositions, punctuation, capitalisation and the intricacies of grammar, as different newspaper accounts can vary on these points. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens. 1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', The Dickensian 73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', The Dickensian 73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', The Dickensian 85.418 (1989): pp. 66-80. <a href="#ref1" title="Jump back to footnote 1 in the text.">↩</a> Contributor An entity responsible for making contributions to the resource Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods Speech Location The location Stevenage Venue Where the speech was given Knebworth Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18650729 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. Ladies and Gentlemen, It was said by a very sagacious person, whose authority I am quite sure my friend of many years will not impugn, notwithstanding he was named Augustus Tomlinson, and was the guide, philosopher, and friend of Paul Clifford – it was said by that remarkable man. ‘Life is short, and why should speeches be long?’ An aphorism so sensible under all circumstances, and particularly in these circumstances, with this delicious weather and such charming gardens near at hand, and the rather because my friend’s remarks have been, as his speeches always are, quite exhaustive of the subject in hand, and not the least exhaustive of his audience. In thanking him for the toast which he has done me the honour – an honour I very much prize – of associating my name, allow me to correct an omission which my friend has fallen into, and to assure you that these houses in question would never have been built, or could never have been built, but by his zealous and invaluable co-operation, and also that the pleasant labour out of which they arose would certainly have lost one of its greatest charms and one of its strongest impulses, if it had lost his ever ready sympathy with that class in which he has risen to the foremost rank, and of which he is the brightest ornament. Having said this much as simply due to my friend, I can only say on behalf of my associates, that the ladies and gentlemen whom we shall invite to occupy these houses, will never be placed in them as being under any social disadvantage. They will be invited to accept them as artists receiving a mark of respect, and assurance of high consideration, from some of their fellow workers. They will be invited to occupy them as artists who, we hope, will often exercise their calling within those walls for the general advantage; and they will also claim, on equal terms, the hospitality of their generous neighbour. Having thanked you on behalf of my brothers and sisters – for ladies became members of the Guild – and myself, I am sure I may take the liberty of giving utterance to your feelings not less than to my own in proposing the health, long life, and prosperity of our distinguished host. You all know very well that when the health, life, and beauty now overflowing this hall shall have fled out of it, and out of existence, crowds of people not yet born will come here to see where he lived and wrote. Setting aside the orator and statesman – for happily we have no party here but this agreeable party – setting aside all this, you know very well that this is the home of a very great man whose connexion with Hertfordshire every other county in England will envy for many long years to come. You know very well that when this house is at its darkest and emptiest, you can make it when you please brightest and fullest by peopling it with the creatures of his brilliant fancy. Let us all wish together that there may be many more of them – the more there are the better we shall be, and, as he always excels himself, the better they will be. Now ladies and gentlemen, pray listen to their praises and not mine, and let them, and not we, propose his health. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource After the Opening of the Guild of Literature and Art Houses Description An account of the resource Speech after the Opening of the Guild of Literature and Art Houses (29 July 1865). Creator An entity primarily responsible for making the resource Dickens, Charles Date A point or period of time associated with an event in the lifecycle of the resource 1865-07-29 Identifier An unambiguous reference to the resource within a given context 1865-07-29_Speech_After-the-Opening-of-the-Guild-of-Literature-and-Art-Houses Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Speech after the Opening of the Guild of Literature and Art Houses' (29 July 1865). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1865-07-29_Speech_After-the-Opening-of-the-Guild-of-Literature-and-Art-Houses">https://dickenssearch.com/speeches/1865-07-29_Speech_After-the-Opening-of-the-Guild-of-Literature-and-Art-Houses</a>. Scripto Transcription A written representation of a document. Ladies and Gentlemen, It was said by a very sagacious person, whose authority I am quite sure my friend of many years will not impugn, notwithstanding he was named Augustus Tomlinson, and was the guide, philosopher, and friend of Paul Clifford – it was said by that remarkable man. ‘Life is short, and why should speeches be long?’ An aphorism so sensible under all circumstances, and particularly in these circumstances, with this delicious weather and such charming gardens near at hand, and the rather because my friend’s remarks have been, as his speeches always are, quite exhaustive of the subject in hand, and not the least exhaustive of his audience. In thanking him for the toast which he has done me the honour – an honour I very much prize – of associating my name, allow me to correct an omission which my friend has fallen into, and to assure you that these houses in question would never have been built, or could never have been built, but by his zealous and invaluable co-operation, and also that the pleasant labour out of which they arose would certainly have lost one of its greatest charms and one of its strongest impulses, if it had lost his ever ready sympathy with that class in which he has risen to the foremost rank, and of which he is the brightest ornament. Having said this much as simply due to my friend, I can only say on behalf of my associates, that the ladies and gentlemen whom we shall invite to occupy these houses, will never be placed in them as being under any social disadvantage. They will be invited to accept them as artists receiving a mark of respect, and assurance of high consideration, from some of their fellow workers. They will be invited to occupy them as artists who, we hope, will often exercise their calling within those walls for the general advantage; and they will also claim, on equal terms, the hospitality of their generous neighbour. Having thanked you on behalf of my brothers and sisters – for ladies became members of the Guild – and myself, I am sure I may take the liberty of giving utterance to your feelings not less than to my own in proposing the health, long life, and prosperity of our distinguished host. You all know very well that when the health, life, and beauty now overflowing this hall shall have fled out of it, and out of existence, crowds of people not yet born will come here to see where he lived and wrote. Setting aside the orator and statesman – for happily we have no party here but this agreeable party – setting aside all this, you know very well that this is the home of a very great man whose connexion with Hertfordshire every other county in England will envy for many long years to come. You know very well that when this house is at its darkest and emptiest, you can make it when you please brightest and fullest by peopling it with the creatures of his brilliant fancy. Let us all wish together that there may be many more of them – the more there are the better we shall be, and, as he always excels himself, the better they will be. Now ladies and gentlemen, pray listen to their praises and not mine, and let them, and not we, propose his health. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches Identifier An unambiguous reference to the resource within a given context speeches Description An account of the resource <h4>This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time. </h4> Dickens made more than a hundred speeches between 1837 and 1870 at events ranging from charitable dinners and award ceremonies to banquets in his honour or brief words of thanks before a public reading. In these speeches, the author touched on topics including his own life and professional development as well as other subjects such as politics, education, literature, public health and the development of the railway. Efforts to collect Dickens’s speeches prior to 1960 were incomplete at best, and misleading and fragmentary at worst. John Camden Hotten’s collection of speeches, begun without the author’s consent (although he never responded to Hotten’s letters, Dickens did begin efforts to block their publication) and published together with a hastily-compiled biography shortly after the author’s death, remained the primary collected version of the speeches until the Nonesuch Dickens of 1938-39 (a limited print run). Finally, K. J. Fielding brought all known speeches together in 1960, correcting shoddy transcriptions by Hotten using contemporary newspaper accounts, and nearly doubling the total number of speeches attributed to Dickens (The Speeches of Charles Dickens [Oxford: Clarendon Press, 1960]): Hotten had only featured the text of 56 speeches, the Nonesuch edition of the speeches provided an additional nine, and Fielding presented more than a hundred. Since this monumental work, a handful have also appeared in The Dickensian;<a href="#fn1" id="ref1">1</a> there are certainly more to be found, as the volume of digitised newspapers and periodicals increases, and corrections to be made to existing transcriptions. No effort to collect the speeches has been made since Fielding; this collection thus represents the most complete body of Dickens's speeches ever assembled. Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884: <blockquote>[S]upposing the speech was to be delivered in the evening, his habit was to take a long walk in the morning, during which he would decide on the various heads to be dealt with. These being arranged in their proper order, he would in his 'mind's eye,' liken the whole subject to the tire of a cart wheel – he being the hub. From the hub to the tire he would run as many spokes as there were subjects to be treated, and during the progress of the speech he would deal with each spoke separately, elaborating them as he went round the wheel; and when all the spokes dropped out one by one, and nothing but the tire and space remained […] his speech was at an end. (Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America, pp. 273-74)</blockquote> However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like The Times. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say). Our Transcription field will only include words attributed directly to Dickens rather than third-person reports or paraphrases of his speeches. Where only such reports exist, we will provide the text in the 'Summary' field. Ngram search and other text analysis tools will be applied to what are given as Dickens's words only, to avoid skewing the results, but of course we are reliant on the quality of the reporting: we recommend analysing topics, themes, quotations and concepts rather than granular detail such as prepositions, punctuation, capitalisation and the intricacies of grammar, as different newspaper accounts can vary on these points. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens. 1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', The Dickensian 73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', The Dickensian 73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', The Dickensian 85.418 (1989): pp. 66-80. <a href="#ref1" title="Jump back to footnote 1 in the text.">↩</a> Contributor An entity responsible for making contributions to the resource Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods Speech Summary Occasionally speeches are summarised in sources in third person. Include that here, so that everything in the text transcription is only Dickens's words. During the course of the evening, after the usual proceedings, one of the toasts proposed was ‘The health of the Royal Academicians’, which was acknowledged by their president, Sir Martin Archer Shee. ‘A Similar compliment to the Stewards was acknowledged by Mr. Dickens, whose presence we may add, gave no slight additional éclat to the affair, and whose name was received as a donor to the fund with such a burst of enthusiasm, again and again renewed, as we have never heard equalled in a meeting of this sort.’ Location The location London Venue Where the speech was given Freemasons' Tavern Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Examiner Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18380512 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artists' Benevolent Fund Anniversary Festival 1838 Description An account of the resource Short response to a toast at the Artists' Benevolent Fund Anniversary Festival (12 May 1838). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The Examiner Date A point or period of time associated with an event in the lifecycle of the resource 1838-05-12 Identifier An unambiguous reference to the resource within a given context 1838-05-12_Speech_Artists-Benevolent-Fund-Anniversary-Festival Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Artists' Benevolent Fund Anniversary Festival' (12 May 1838). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1838-05-12_Speech_Artists-Benevolent-Fund-Anniversary-Festival">https://dickenssearch.com/speeches/1838-05-12_Speech_Artists-Benevolent-Fund-Anniversary-Festival</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches Identifier An unambiguous reference to the resource within a given context speeches Description An account of the resource <h4>This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time. </h4> Dickens made more than a hundred speeches between 1837 and 1870 at events ranging from charitable dinners and award ceremonies to banquets in his honour or brief words of thanks before a public reading. In these speeches, the author touched on topics including his own life and professional development as well as other subjects such as politics, education, literature, public health and the development of the railway. Efforts to collect Dickens’s speeches prior to 1960 were incomplete at best, and misleading and fragmentary at worst. John Camden Hotten’s collection of speeches, begun without the author’s consent (although he never responded to Hotten’s letters, Dickens did begin efforts to block their publication) and published together with a hastily-compiled biography shortly after the author’s death, remained the primary collected version of the speeches until the Nonesuch Dickens of 1938-39 (a limited print run). Finally, K. J. Fielding brought all known speeches together in 1960, correcting shoddy transcriptions by Hotten using contemporary newspaper accounts, and nearly doubling the total number of speeches attributed to Dickens (The Speeches of Charles Dickens [Oxford: Clarendon Press, 1960]): Hotten had only featured the text of 56 speeches, the Nonesuch edition of the speeches provided an additional nine, and Fielding presented more than a hundred. Since this monumental work, a handful have also appeared in The Dickensian;<a href="#fn1" id="ref1">1</a> there are certainly more to be found, as the volume of digitised newspapers and periodicals increases, and corrections to be made to existing transcriptions. No effort to collect the speeches has been made since Fielding; this collection thus represents the most complete body of Dickens's speeches ever assembled. Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884: <blockquote>[S]upposing the speech was to be delivered in the evening, his habit was to take a long walk in the morning, during which he would decide on the various heads to be dealt with. These being arranged in their proper order, he would in his 'mind's eye,' liken the whole subject to the tire of a cart wheel – he being the hub. From the hub to the tire he would run as many spokes as there were subjects to be treated, and during the progress of the speech he would deal with each spoke separately, elaborating them as he went round the wheel; and when all the spokes dropped out one by one, and nothing but the tire and space remained […] his speech was at an end. (Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America, pp. 273-74)</blockquote> However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like The Times. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say). Our Transcription field will only include words attributed directly to Dickens rather than third-person reports or paraphrases of his speeches. Where only such reports exist, we will provide the text in the 'Summary' field. Ngram search and other text analysis tools will be applied to what are given as Dickens's words only, to avoid skewing the results, but of course we are reliant on the quality of the reporting: we recommend analysing topics, themes, quotations and concepts rather than granular detail such as prepositions, punctuation, capitalisation and the intricacies of grammar, as different newspaper accounts can vary on these points. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens. 1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', The Dickensian 73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', The Dickensian 73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', The Dickensian 85.418 (1989): pp. 66-80. <a href="#ref1" title="Jump back to footnote 1 in the text.">↩</a> Contributor An entity responsible for making contributions to the resource Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods Speech Summary Occasionally speeches are summarised in sources in third person. Include that here, so that everything in the text transcription is only Dickens's words. He alluded to her Majesty's magnificent donation of 100 guineas. This fact in itself was no slight proof of the Queen’s interest in the association. The art of the artist, coupled with the art of the Chancellor of the Exchequer, had rendered the Queen’s head familiar to them at every hour of their daily lives. And on that head they were now anxious, as loyal and devoted subjects, to invoke a blessing. He alluded eloquently to their services. Although he was not one of those who feared or had the least apprehension of an invasion, or that the National Gallery in Trafalgar Square would be carried off – seeing, for instance, that it was a building that would not be worth the transport, yet at the same time it was well to be prepared for any emergency; and he was sure that should such arise, the services to which he had the honour to allude would be found – as ever –  ready and willing to serve for the honour of their country. Location The location London Venue Where the speech was given Freemasons' Tavern Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18580508 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. Ladies and Gentlemen, There is an absurd theatrical story which was once told to me by a dear and valued friend, who has now passed from this sublunary stage, and which is not without its moral as applied to myself, in my present presidential position. In a certain theatrical company was included a man, who on occasions of emergency was capable of taking part in the whole round of British drama, provided he was allowed to use his own language in getting through the dialogue. It happened one night that Reginald, in The Castle Spectre, was taken ill, and this hardy veteran of a hundred characters was, of course, called up for the vacant part. He responded with his usual promptitude, although knowing nothing whatever of the character; but while they were getting him into the dress, he expressed a not unreasonable wish to know in some vague way what the part was about. He was not particular as to details, but in order that he might properly portray his sufferings, he thought he should have some slight inkling as to what really had happened to him; as, for example, what murders he had committed, whose father he was, of what misfortunes he was the victim, – in short, in a general way to know why he was in the place at all. They said to him, ‘Here you are, chained in a dungeon, an unhappy father; you have been here for seventeen years, during which time you have never seen your daughter; you have lived upon bread and water, and, in consequence, are extremely weak, and suffer from occasional lowness of spirits’. ‘All right’, said the actor of universal capabilities, ‘Ring up.’ When he was discovered to the audience, he presented an extremely miserable appearance, was very favourably received, and gave every sign of going on well until, through some mental confusion as to his instructions, he opened the business of the act by stating in pathetic terms, that he had been confined in that dungeon seventeen years during which time he had not tasted a morsel of food, to which circumstance he was inclined to attribute the fact of his being at that moment very much out of condition. The audience, thinking this statement exceedingly improbable, declined to receive it, and the weight of that speech hung round him until the end of his performance. Now I, too, have received instructions for the part I have the honour of performing before you, and it behoves both you and me to profit by the terrible warning I have detailed, while I endeavour to make the part I have undertaken as plain and intelligible as I possibly can. As I am going to propose to you that we should now begin to connect the business with the pleasure of the evening, by drinking prosperity to the Artists’ Benevolent Fund, it becomes important that we should know what that fund is. It is an association supported by the voluntary gifts of those who entertain a critical and admiring estimation of art, and has for its objects the granting of annuities to the widows and children of deceased artists – of artists who have been unable in their lives to make any provision for those dear objects of their love surviving themselves. Now it is extremely important to observe that this institution of an Artists’ Benevolent Fund, which I now call on you to pledge, has connected with it, and has arisen out of another artists’ association, which does not ask you for help, which never did and never will ask you for help, which is self-supporting, and which is entirely maintained by the prudence and providence of its three hundred artist members. That fund, which is called the Artists’ Annuity Fund is, so to speak, a joint and mutual Assurance Company against infirmity, sickness, and old age. To the benefits it affords every one of its members has an absolute right, a right be it remembered produced by timely thrift and self denial, and not assisted by appeals to the charity or compassion of any human being. On that fund there are, if I remember aright, some seventeen annuitants who are in the receipt of eleven hundred a year, the proceeds of their own self-supporting institution. In recommending to you this benevolent fund, which is not self-supporting, they address you, in effect, in these words: ‘We ask you to help these widows and orphans, because we show you we have first helped ourselves. These widows and orphans may be ours or they may not be ours; but in any case we will prove to you to a certainty that we are not so many wagoners calling upon Hercules to do our work, because we do our own work, each has his shoulder to the wheel; each, from year to year, has had his shoulder set to the wheel; and the prayer we make to Hercules and all the gods at once is simply this – that this fact may be remembered when the wagon has stopped for ever, and the spent and worn-out wagoner lies lifeless by the roadside. Ladies and gentlemen, I most particularly wish to impress on you the strength of this appeal. I am a painter, a sculptor, or an engraver, of average success. I study hard, and work hard, with no immense return for my labour. Whilst I live in health, my hand and eye are mine. I prudently belong to the Annuity Fund, whose help whether in sickness or old age, I may or may not want, yet still 1 help to provide for some of my brethren who inevitably will want. I thus do my duty to them and to myself by putting them and myself beyond the need of charity whilst life remains. But when life is gone from me; when this hand, once so skilful with the brush, the chisel, or the burin, has for ever lost its cunning; when this poor form, which for so many years bent patiently over the easel or the desk, is laid low, and the grass grows green above my grave, how consoling to my survivors that I had at least made some attempts at provision for them. This is the case with the Artists’ Benevolent Fund, and in stating this I am only the mouthpiece of three hundred of the trade, who in truth stand as independent before you as if they were three hundred Cockers all regulated by the Gospel according to themselves. There is in existence a third Artists’ fund, wholly unconnected with the two to which I have alluded – which must not be mentioned but with honour and respect.! It gives away sums of money in eleemosynary relief. I have the honour of being one of the honorary officers thereof. I know it to be a generous fund and a good fund. But it addresses its appeal to you on behalf of those amongst the unfortunate or less provident men who have made no provision for themselves, or for those dependent on the contingencies of sickness or age. I address you on behalf of those professors of the fine arts who have made provision during life, and in submitting to you their claims I am only advocating principles which I myself have always maintained. When I add that this Benevolent Fund makes no pretensions to gentility, squanders no treasure in keeping up appearances, that it considers that the money given for the widow and orphan, should really be held for the widow and orphan, I think I have exhausted the case, which I desire most strenuously to commend to you. Perhaps you will allow me to say one last word. I will not consent to present to you the professors of Art as a set of helpless babies, who are to be held up by the chin; I present them as an energetic and persevering class of men, whose income depends on their own faculties and personal exertions; and I also make so bold as to present them as men who in their vocation render good service to the community. I am strongly disposed to believe there are very few debates in Parliament so important to the public welfare as a really good picture. I have also a notion that any number of bundles of the driest legal chaff that was ever chopped would be cheaply exchanged for one really accessible, really humanizing, really meritorious engraving. At a highly interesting annual festival at which I have the honour to assist, 1 and which takes place behind two fountains, I sometimes observe that great ministers of state and other such exalted characters have a strange delight in rather ostentatiously declaring that they have no knowledge whatever of art, and particularly of impressing on the company that they have passed their lives in severe studies. It strikes me when I hear these things as if these great men looked upon the arts as a sort of dancing dogs, or Punch’s show, to be turned to for amusement when one has nothing else to do. Now I always take the opportunity on these occasions of entertaining my humble opinion that all this is complete ‘bosh’; and of asserting to myself my strong belief that the neighbourhoods of Trafalgar Square, or Suffolk Street, rightly understood, are quite as important to the welfare of the empire as those of Downing Street or Westminster Hall. Ladies and gentlemen, on these grounds – upon grounds not one inch lower – and backed by the recommendation of three hundred artists in favour of the Benevolent Fund, I beg propose its prosperity as a toast for your adoption. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artists' Benevolent Fund Anniversary Festival 1858 Description An account of the resource Speech at the Artists' Benevolent Fund Anniversary Festival (8 May 1858). Creator An entity primarily responsible for making the resource Dickens, Charles Date A point or period of time associated with an event in the lifecycle of the resource 1858-05-08 Identifier An unambiguous reference to the resource within a given context 1858-05-08_Speech_Artists-Benevolent-Fund-Anniversary-Festival Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Speech at the Artists' Benevolent Fund Anniversary Festival' (8 May 1858). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1858-05-08_Speech_Artists-Benevolent-Fund-Anniversary-Festival">https://dickenssearch.com/speeches/1858-05-08_Speech_Artists-Benevolent-Fund-Anniversary-Festival</a>. Scripto Transcription A written representation of a document. Ladies and Gentlemen, There is an absurd theatrical story which was once told to me by a dear and valued friend, who has now passed from this sublunary stage, and which is not without its moral as applied to myself, in my present presidential position. In a certain theatrical company was included a man, who on occasions of emergency was capable of taking part in the whole round of British drama, provided he was allowed to use his own language in getting through the dialogue. It happened one night that Reginald, in The Castle Spectre, was taken ill, and this hardy veteran of a hundred characters was, of course, called up for the vacant part. He responded with his usual promptitude, although knowing nothing whatever of the character; but while they were getting him into the dress, he expressed a not unreasonable wish to know in some vague way what the part was about. He was not particular as to details, but in order that he might properly portray his sufferings, he thought he should have some slight inkling as to what really had happened to him; as, for example, what murders he had committed, whose father he was, of what misfortunes he was the victim, – in short, in a general way to know why he was in the place at all. They said to him, ‘Here you are, chained in a dungeon, an unhappy father; you have been here for seventeen years, during which time you have never seen your daughter; you have lived upon bread and water, and, in consequence, are extremely weak, and suffer from occasional lowness of spirits’. ‘All right’, said the actor of universal capabilities, ‘Ring up.’ When he was discovered to the audience, he presented an extremely miserable appearance, was very favourably received, and gave every sign of going on well until, through some mental confusion as to his instructions, he opened the business of the act by stating in pathetic terms, that he had been confined in that dungeon seventeen years during which time he had not tasted a morsel of food, to which circumstance he was inclined to attribute the fact of his being at that moment very much out of condition. The audience, thinking this statement exceedingly improbable, declined to receive it, and the weight of that speech hung round him until the end of his performance. Now I, too, have received instructions for the part I have the honour of performing before you, and it behoves both you and me to profit by the terrible warning I have detailed, while I endeavour to make the part I have undertaken as plain and intelligible as I possibly can. As I am going to propose to you that we should now begin to connect the business with the pleasure of the evening, by drinking prosperity to the Artists’ Benevolent Fund, it becomes important that we should know what that fund is. It is an association supported by the voluntary gifts of those who entertain a critical and admiring estimation of art, and has for its objects the granting of annuities to the widows and children of deceased artists – of artists who have been unable in their lives to make any provision for those dear objects of their love surviving themselves. Now it is extremely important to observe that this institution of an Artists’ Benevolent Fund, which I now call on you to pledge, has connected with it, and has arisen out of another artists' association, which does not ask you for help, which never did and never will ask you for help, which is self-supporting, and which is entirely maintained by the prudence and providence of its three hundred artist members. That fund, which is called the Artists’ Annuity Fund is, so to speak, a joint and mutual Assurance Company against infirmity, sickness, and old age. To the benefits it affords every one of its members has an absolute right, a right be it remembered produced by timely thrift and self denial, and not assisted by appeals to the charity or compassion of any human being. On that fund there are, if I remember aright, some seventeen annuitants who are in the receipt of eleven hundred a year, the proceeds of their own self-supporting institution. In recommending to you this benevolent fund, which is not self-supporting, they address you, in effect, in these words: ‘We ask you to help these widows and orphans, because we show you we have first helped ourselves. These widows and orphans may be ours or they may not be ours; but in any case we will prove to you to a certainty that we are not so many wagoners calling upon Hercules to do our work, because we do our  own work, each has his shoulder to the wheel; each, from year to year, has had his shoulder set to the wheel; and the prayer we make to Hercules and all the gods at once is simply this – that this fact may be remembered when the wagon has stopped for ever, and the spent and worn-out wagoner lies lifeless by the roadside. Ladies and gentlemen, I most particularly wish to impress on you the strength of this appeal. I am a painter, a sculptor, or an engraver, of average success. I study hard, and work hard, with no immense return for my labour. Whilst I live in health, my hand and eye are mine. I prudently belong to the Annuity Fund, whose help whether in sickness or old age, I may or may not want, yet still 1 help to provide for some of my brethren who inevitably will want. I thus do my duty to them and to myself by putting them and myself beyond the need of charity whilst life remains. But when life is gone from me; when this hand, once so skilful with the brush, the chisel, or the burin, has for ever lost its cunning; when this poor form, which for so many years bent patiently over the easel or the desk, is laid low, and the grass grows green above my grave, how consoling to my survivors that I had at least made some attempts at provision for them. This is the case with the Artists’ Benevolent Fund, and in stating this I am only the mouthpiece of three hundred of the trade, who in truth stand as independent before you as if they were three hundred Cockers all regulated by the Gospel according to themselves. There is in existence a third Artists' fund, wholly unconnected with the two to which I have alluded – which must not be mentioned but with honour and respect.! It gives away sums of money in eleemosynary relief. I have the honour of being one of the honorary officers thereof. I know it to be a generous fund and a good fund. But it addresses its appeal to you on behalf of those amongst the unfortunate or less provident men who have made no provision for themselves, or for those dependent on the contingencies of sickness or age. I address you on behalf of those professors of the fine arts who have made provision during life, and in submitting to you their claims I am only advocating principles which I myself have always maintained. When I add that this Benevolent Fund makes no pretensions to gentility, squanders no treasure in keeping up appearances, that it considers that the money given for the widow and orphan, should really be held for the widow and orphan, I think I have exhausted the case, which I desire most strenuously to commend to you. Perhaps you will allow me to say one last word. I will not consent to present to you the professors of Art as a set of helpless babies, who are to be held up by the chin; I present them as an energetic and persevering class of men, whose income depends on their own faculties and personal exertions; and I also make so bold as to present them as men who in their vocation render good service to the community. I am strongly disposed to believe there are very few debates in Parliament so important to the public welfare as a really good picture. I have also a notion that any number of bundles of the driest legal chaff that was ever chopped would be cheaply exchanged for one really accessible, really humanizing, really meritorious engraving.  At a highly interesting annual festival at which I have the honour to assist, 1 and which takes place behind two fountains, I sometimes observe that great ministers of state and other such exalted characters have a strange delight in rather ostentatiously declaring that they have no knowledge whatever of art, and particularly of impressing on the company that they have passed their lives in severe studies. It strikes me when I hear these things as if these great men looked upon the arts as a sort of dancing dogs, or Punch’s show, to be turned to for amusement when one has nothing else to do. Now I always take the opportunity on these occasions of entertaining my humble opinion that all this is complete ‘bosh’; and of asserting to myself my strong belief that the neighbourhoods of Trafalgar Square, or Suffolk Street, rightly understood, are quite as important to the welfare of the empire as those of Downing Street or Westminster Hall. Ladies and gentlemen, on these grounds – upon grounds not one inch lower – and backed by the recommendation of three hundred artists in favour of the Benevolent Fund, I beg propose its prosperity as a toast for your adoption.