4 10 85 https://www.dickenssearch.com/files/original/5/Sketches_of_London_No._XVII_The_Streets_-_Morning/1835-07-21_The_Evening_Chronicle_Sketches_of_London,_No._XVII_The_Streets_Morning.pdf 49963c3258f11f0765b911874fe1b7f1 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 Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Evening Chronicle Pseudonym The name under which the item was published BOZ 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. 18350721 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. The appearance presented by the streets of London an hour before sun-rise on a summer’s morning, is most striking even to the few whose unfortunate pursuits of pleasure, or scarcely less unfortunate pursuits of business, make them well acquainted with the scene. There is an air of cold, solitary desolation about the noiseless streets we are accustomed to see thronged at other times by a busy, eager crowd, and the quiet closely shut buildings which throughout the day are swarming with life and bustle, that is very impressive. The last drunken man who shall find his way home before sunlight has just staggered heavily along, occasionally roaring out the burden of the drinking song of the previous night: the last houseless vagrant whom penury and police have left in the streets, has coiled up his chilly limbs in some paved corner, to dream of food and warmth: the drunken, the dissipated, and the wretched have disappeared: the more sober and orderly part of the population have not yet awakened to the labours of the day; and the stillness of death is over the streets; its very hue seems to be imparted to them, cold and lifeless as they look in the grey, sombre light of daybreak. The coach-stands in the larger thoroughfares are deserted; the night houses are closed; the chosen promenades of profligate misery are empty. An occasional policeman may be seen at the street corners, listlessly gazing on the deserted prospect before him; and now and then a rakish-looking cat runs stealthily across the road, and descends his own area with as much caution and slyness—bounding first on the water-butt, then on the dust-hole, and then alighting on the flag-stones —as if he were conscious that his character depended on his gallantries of the preceding night escaping public observation. A partially opened bedroom-window here and there bespeaks the heat of the weather and the uneasy slumbers of its occupant; and the dim scanty flicker of the rush-light through the window-blind denotes the chamber of watching or sickness. With these few exceptions, the streets present no signs of life, nor the houses of habitation. An hour wears away; the spires of the churches and roofs of the principal buildings are faintly tinged with the light of the rising sun, and the streets, by almost imperceptible degrees, begin to resume their bustle and animation. Market carts roll slowly along, the sleepy waggoner impatiently urging on his tired horses, or vainly endeavouring to awaken the boy, who, luxuriously stretched on the top of the fruit baskets, forgets in happy oblivion his long-cherished curiosity to behold the wonders of London. Rough, sleepy-looking animals of strange appearance, something between ostlers and hackney coachmen, begin to take down the shutters of early public-houses, and little deal tables, with the ordinary preparations for a street breakfast, make their appearance at the customary stations. Numbers of men and women (principally the latter) carrying upon their heads heavy baskets of fruit, toil down the park side of Piccadilly, on their way to Covent-garden; and following each other in rapid succession, form a long straggling line from thence to the turn of the road at Knightsbridge. Here and there a bricklayer’s labourer, with the day’s dinner tied up in a handkerchief, walks briskly to his work, and occasionally a little knot of three or four school-boys on a stolen bathing expedition, rattle merrily over the pavement; their boisterous mirth contrasting forcibly with the demeanour of the little sweep, who, having knocked and rung till his arm aches, and being interdicted by a merciful Legislature from endangering his lungs by calling out, sits patiently down on the door-step until the house maid may happen to awake. Covent-garden Market, and the avenues leading to it, are thronged with carts of all sorts, sizes, and descriptions, from the heavy lumbering waggon with its four stout horses, to the jingling costermonger’s cart with its consumptive donkey. The pavement is already strewed with decayed cabbage leaves, broken haybands, and all the indescribable litter of a vegetable market and the numerous noises are almost as multifarious. Men shouting, carts backing, horses neighing, boys fighting, basket-women talking, piemen expatiating on the excellence of their pastry, donkeys braying, and a hundred other sounds form a compound discordant enough to a Londoner’s ears, and remarkably disagreeable to those of country gentlemen, who are sleeping at the Hummums for the first time. Another hour passes away, and the day begins in good earnest. The servant of all work, who, under the plea of sleeping very soundly, has utterly disregarded "Missises ringing" for half an hour previously, is warned by master (whom Missis has sent up in his drapery to the landing-place for that purpose) that it’s half-past six, whereupon she awakes all of a sudden with well feigned astonishment, and goes down stairs very sulkily, wishing, while she strikes a light, that the principle of spontaneous combustion would extend itself to coals and kitchen ranges; when the fire is lit she opens the street-door to take in the milk when, by the most singular coincidence in the world, she discovers that the servant next door has just taken in her milk too, and that Mr. Todd’s young man over the way is by an equally extraordinary chance taking down his master’s shutters. The inevitable consequence is, that she just steps milk-jug in hand as far as next door just to say "good morning" to Betsy Clark, and that Mr. Todd’s young man just steps over the way just to say "good morning" to both of ’em; and as the aforesaid Mr. Todd’s young man is almost as good-looking and fascinating as the baker himself, the conversation quickly becomes very interesting, and probably would become more so, if Betsy Clark’s missis, who always will be a followin’ her about, didn’t give an angry tap at her bed-room window, on which Mr. Todd’s young man tries to whistle coolly, as he goes back to his shop much faster than he came from it; and the two girls run back to their respective places, and shut their street-doors with surprising softness, each of them poking their heads out of the front parlour-window a minute afterwards, however, ostensibly with the view of looking at the mail which just then passes by, but really for the purpose of catching another glimpse of Mr. Todd’s young man, who, being fond of mails, but more fond of females, takes a short look at the coach and a long look at the girls, much to the satisfaction of all parties concerned. The mail itself goes on to the coach-office in due course, and the passengers who are going out by the early coach stare with astonishment at the passengers who are coming in by the early coach, who look blue and dismal, and are evidently under the influence of that odd feeling produced by travelling, which makes the events of yesterday morning seem as if they had happened at least six months ago, and induces people to wonder with considerable gravity whether the friends and relations they took leave of a fortnight before, have altered much since they have left them. The coach-office is all alive, and the coaches which are just going out are surrounded by the usual crowd of Jews and nondescripts, who seem to consider, God knows why, that it's quite impossible any man can mount a coach without requiring at least sixpenn'orth of oranges, a pen-knife, a pocket-book, a last year’s annual, a pencil-case, a piece of sponge, and a small series of caricatures. Half-an-hour more, and the sun darts his bright rays cheerfully down the still half-empty streets, and shines with sufficient force to rouse the diurnal laziness of the apprentice, who pauses every other minute from his task of sweeping out the shop and watering the pavement in front of it, to tell another apprentice similarly employed how hot it will be to-day, or to stand with his right hand shading his eyes and his left resting on the broom, gazing at the Wonder, or the Tally-Ho, or the Nimrod, or some other fast coach, till it's out of sight, when he re-enters the shop envying the passengers on the outside of the fast coach, and thinking of the old red brick house "down in the country," where he went to school: the miseries of thin milk and water and thick bread and scrapings fading into nothing before the pleasant recollection of the green field the boys used to play in, and the green pond he was caned for presuming to fall into, and other school-boy associations. Cabs, with trunks and band-boxes between the drivers’ legs and outside the apron, rattle briskly up and down the streets on their way to the coach-offices, or steam-packet wharfs; and the cab-drivers and hackney-coachmen who are on the stand. polish up the ornamental part of their dingy vehicles—the former wondering how people can prefer "them wild-beast cariwans of omnibuses to a riglar cab with a fast trotter," and the latter admiring how people can trust their necks into one of "them crazy cabs, when they can have a ’spectable ackney cotche with a pair of orses as von’t run away with no vun;"—a consolation unquestionably founded in fact, seeing that a hackney-coach horse never was known to run at all, "except," as the smart cabman in front of the rank observes, "except one, and he run back’ards!" The shops are now completely opened, and apprentices and shopmen are busily engaged in cleaning and decking the windows for the day. The bakers’ shops in town are filled with servants and children waiting for the drawing of the first batch of rolls—an operation which was performed a full hour ago in the suburbs; for the early clerk population of Somers and Camdon Towns, Islington and Pentonville, are fast pouring into the City, or directing their steps towards Chancery-lane and the inns of court. Middle-aged men, whose salaries have by no means increased in the same proportion as their families, plod steadily along, apparently with no object in view but the counting-house, knowing by sight almost everybody they meet or overtake, for they have seen them every morning (Sunday excepted) during the last twenty years; but speaking to no one. If they do happen to overtake a personal acquaintance, they just exchange a hurried salutation, and keep walking on, either by his side or in front of him, as his rate of walking may chance to be. As to stopping to shake hands, or to take the friend’s arm, they seem to think that it is not included in their salary, and they have no right to do it. Small office lads in large hats, who are made men before they are boys, hurry along in pairs with their first coat carefully brushed, and the white trowsers of last Sunday plentifully besmeared with dust and ink. It evidently requires a considerable mental struggle to avoid investing part of the day’s dinner-money in the purchase of the stale tarts so temptingly exposed in dusty tins at the pastry-cooks’ doors; but a consciousness of their own importance, and the receipt of seven shillings a week, with the prospect of an early rise to eight comes to their aid, and they accordingly put their hats a little more on one side, and look under the bonnets of all the milliners’ and stay-makers’ apprentices they meet. Poor girls! The hardest worked, the worst paid; and too often the worst used, class of the community. Eleven o’clock, and a new set of people fill the streets. The goods in the shop-windows are invitingly arranged: the shopmen in their white neck-kerchiefs and spruce coats, look as if they couldn’t clean a window if their lives depended on it: the carts have disappeared from Covent Garden: the waggoners have returned and the costermongers repaired to their ordinary "beats" in the suburbs: clerks are at their offices, and gigs, cabs, omnibuses, and saddle-horses are conveying their masters to the same destination. The streets are thronged with a vast concourse of people - gay and shabby, rich and poor, idle and industrious; and we come to the heat, bustle, and activity of noon. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-07-21_The_Evening_Chronicle_Sketches_of_London_NoXVII_The_Streets_Morning.xml" target="_blank" rel="noopener">'Sketches of London, No. XVII, The Streets - Morning.' The Evening Chronicle (21 July 1835).</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 'Sketches of London, No. XVII, The Streets - Morning' Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/BL/0001315/18350721/013/0001" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/BL/0001315/18350721/013/0001</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-07-21 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-07-21_The_Evening_Chronicle_Sketches_of_London_NoXVII_The_Streets_Morning 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. 'Sketches of London, No. XVII, The Streets - Morning' (21 July 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/short-stories/1835-07-21_The_Evening_Chronicle_Sketches_of_London_NoXVII_The_Streets_Morning">https://dickenssearch.com/short-stories/1835-07-21_The_Evening_Chronicle_Sketches_of_London_NoXVII_The_Streets_Morning</a>. Description An account of the resource Published in The Evening Chronicle (21 July 1835). Scripto Transcription A written representation of a document. The appearance presented by the streets of London an hour before sun-rise on a summer’s morning, is most striking even to the few whose unfortunate pursuits of pleasure, or scarcely less unfortunate pursuits of business, make them well acquainted with the scene.  There is an air of cold, solitary desolation about the noiseless streets we are accustomed to see thronged at other times by a busy, eager crowd, and the quiet closely shut buildings which throughout the day are swarming with life and bustle, that is very impressive. The last drunken man who shall find his way home before sunlight has just staggered heavily along, occasionally roaring out the burden of the drinking song of the previous night: the last houseless vagrant whom penury and police have left in the streets, has coiled up his chilly limbs in some paved corner, to dream of food and warmth: the drunken, the dissipated, and the wretched have disappeared: the more sober and orderly part of the population have not yet awakened to the labours of the day; and the stillness of death is over the streets; its very hue seems to be imparted to them, cold and lifeless as they look in the grey, sombre light of daybreak. The coach-stands in the larger thoroughfares are deserted; the night houses are closed; the chosen promenades of profligate misery are empty. An occasional policeman may be seen at the street corners, listlessly gazing on the deserted prospect before him; and now and then a rakish-looking cat runs stealthily across the road, and descends his own area with as much caution and slyness—bounding first on the water-butt, then on the dust-hole, and then alighting on the flag-stones —as if he were conscious that his character depended on his gallantries of the preceding night escaping public observation. A partially opened bedroom-window here and there bespeaks the heat of the weather and the uneasy slumbers of its occupant; and the dim scanty flicker of the rush-light through the window-blind denotes the chamber of watching or sickness. With these few exceptions, the streets present no signs of life, nor the houses of habitation. An hour wears away; the spires of the churches and roofs of the principal buildings are faintly tinged with the light of the rising sun, and the streets, by almost imperceptible degrees, begin to resume their bustle and animation. Market carts roll slowly along, the sleepy waggoner impatiently urging on his tired horses, or vainly endeavouring to awaken the boy, who, luxuriously stretched on the top of the fruit baskets, forgets in happy oblivion his long-cherished curiosity to behold the wonders of London. Rough, sleepy-looking animals of strange appearance, something between ostlers and hackney coachmen, begin to take down the shutters of early public-houses, and little deal tables, with the ordinary preparations for a street breakfast, make their appearance at the customary stations.  Numbers of men and women (principally the latter) carrying upon their heads heavy baskets of fruit, toil down the park side of Piccadilly, on their way to Covent-garden; and following each other in rapid succession, form a long straggling line from thence to the turn of the road at Knightsbridge. Here and there a bricklayer’s labourer, with the day’s dinner tied up in a handkerchief, walks briskly to his work, and occasionally a little knot of three or four school-boys on a stolen bathing expedition, rattle merrily over the pavement; their boisterous mirth contrasting forcibly with the demeanour of the little sweep, who, having knocked and rung till his arm aches, and being interdicted by a merciful Legislature from endangering his lungs by calling out, sits patiently down on the door-step until the house maid may happen to awake. Covent-garden Market, and the avenues leading to it, are thronged with carts of all sorts, sizes, and descriptions, from the heavy lumbering waggon with its four stout horses, to the jingling costermonger’s cart with its consumptive donkey. The pavement is already strewed with decayed cabbage leaves, broken haybands, and all the indescribable litter of a vegetable market and the numerous noises are almost as multifarious. Men shouting, carts backing, horses neighing, boys fighting, basket-women talking, piemen expatiating on the excellence of their pastry, donkeys braying, and a hundred other sounds form a compound discordant enough to a Londoner’s ears, and remarkably disagreeable to those of country gentlemen, who are sleeping at the Hummums for the first time. Another hour passes away, and the day begins in good earnest. The servant of all work, who, under the plea of sleeping very soundly, has utterly disregarded "Missises ringing" for half an hour previously, is warned by master (whom Missis has sent up in his drapery to the landing-place for that purpose) that it’s half-past six, whereupon she awakes all of a sudden with well feigned astonishment, and goes down stairs very sulkily, wishing, while she strikes a light, that the principle of spontaneous combustion would extend itself to coals and kitchen ranges; when the fire is lit she opens the street-door to take in the milk when, by the most singular coincidence in the world, she discovers that the servant next door has just taken in her milk too, and that Mr. Todd’s young man over the way is by an equally extraordinary chance taking down his master’s shutters. The inevitable consequence is, that she just steps milk-jug in hand as far as next door just to say "good morning" to Betsy Clark, and that Mr. Todd’s young man just steps over the way just to say "good morning" to both of ’em; and as the aforesaid Mr. Todd’s young man is almost as good-looking and fascinating as the baker himself, the conversation quickly becomes very interesting, and probably would become more so, if Betsy Clark’s missis, who always will be a followin’ her about, didn’t give an angry tap at her bed-room window, on which Mr. Todd’s young man tries to whistle coolly, as he goes back to his shop much faster than he came from it; and the two girls run back to their respective places, and shut their street-doors with surprising softness, each of them poking their heads out of the front parlour-window a minute afterwards, however, ostensibly with the view of looking at the mail which just then passes by, but really for the purpose of catching another glimpse of Mr. Todd’s young man, who, being fond of mails, but more fond of females, takes a short look at the coach and a long look at the girls, much to the satisfaction of all parties concerned. The mail itself goes on to the coach-office in due course, and the passengers who are going out by the early coach stare with astonishment at the passengers who are coming in by the early coach, who look blue and dismal, and are evidently under the influence of that odd feeling produced by travelling, which makes the events of yesterday morning seem as if they had happened at least six months ago, and induces people to wonder with considerable gravity whether the friends and relations they took leave of a fortnight before, have altered much since they have left them. The coach-office is all alive, and the coaches which are just going out are surrounded by the usual crowd of Jews and nondescripts, who seem to consider, God knows why, that it's quite impossible any man can mount a coach without requiring at least sixpenn'orth of oranges, a pen-knife, a pocket-book, a last year’s annual, a pencil-case, a piece of sponge, and a small series of caricatures. Half-an-hour more, and the sun darts his bright rays cheerfully down the still half-empty streets, and shines with sufficient force to rouse the diurnal laziness of the apprentice, who pauses every other minute from his task of sweeping out the shop and watering the pavement in front of it, to tell another apprentice similarly employed how hot it will be to-day, or to stand with his right hand shading his eyes and his left resting on the broom, gazing at the Wonder, or the Tally-Ho, or the Nimrod, or some other fast coach, till it's out of sight, when he re-enters the shop envying the passengers on the outside of the fast coach, and thinking of the old red brick house "down in the country," where he went to school: the miseries of thin milk and water and thick bread and scrapings fading into nothing before the pleasant recollection of the green field the boys used to play in, and the green pond he was caned for presuming to fall into, and other school-boy associations. Cabs, with trunks and band-boxes between the drivers’ legs and outside the apron, rattle briskly up and down the streets on their way to the coach-offices, or steam-packet wharfs; and the cab-drivers and hackney-coachmen who are on the stand. polish up the ornamental part of their dingy vehicles—the former wondering how people can prefer "them wild-beast cariwans of omnibuses to a riglar cab with a fast trotter," and the latter admiring how people can trust their necks into one of "them crazy cabs, when they can have a ’spectable ackney cotche with a pair of orses as von’t run away with no vun;"—a consolation unquestionably founded in fact, seeing that a hackney-coach horse never was known to run at all, "except," as the smart cabman in front of the rank observes, "except one, and he run back’ards!" The shops are now completely opened, and apprentices and shopmen are busily engaged in cleaning and decking the windows for the day. The bakers’ shops in town are filled with servants and children waiting for the drawing of the first batch of rolls—an operation which was performed a full hour ago in the suburbs; for the early clerk population of Somers and Camdon Towns, Islington and Pentonville, are fast pouring into the City, or directing their steps towards Chancery-lane and the inns of court. Middle-aged men, whose salaries have by no means increased in the same proportion as their families, plod steadily along, apparently with no object in view but the counting-house, knowing by sight almost everybody they meet or overtake, for they have seen them every morning (Sunday excepted) during the last twenty years; but speaking to no one. If they do happen to overtake a personal acquaintance, they just exchange a hurried salutation, and keep walking on, either by his side or in front of him, as his rate of walking may chance to be. As to stopping to shake hands, or to take the friend’s arm, they seem to think that it is not included in their salary, and they have no right to do it. Small office lads in large hats, who are made men before they are boys, hurry along in pairs with their first coat carefully brushed, and the white trowsers of last Sunday plentifully besmeared with dust and ink. It evidently requires a considerable mental struggle to avoid investing part of the day’s dinner-money in the purchase of the stale tarts so temptingly exposed in dusty tins at the pastry-cooks’ doors; but a consciousness of their own importance, and the receipt of seven shillings a week, with the prospect of an early rise to eight comes to their aid, and they accordingly put their hats a little more on one side, and look under the bonnets of all the milliners’ and stay-makers’ apprentices they meet. Poor girls! The hardest worked, the worst paid; and too often the worst used, class of the community. Eleven o’clock, and a new set of people fill the streets. The goods in the shop-windows are invitingly arranged: the shopmen in their white neck-kerchiefs and spruce coats, look as if they couldn’t clean a window if their lives depended on it: the carts have disappeared from Covent Garden: the waggoners have returned and the costermongers repaired to their ordinary "beats" in the suburbs: clerks are at their offices, and gigs, cabs, omnibuses, and saddle-horses are conveying their masters to the same destination. The streets are thronged with a vast concourse of people - gay and shabby, rich and poor, idle and industrious; and we come to the heat, bustle, and activity of noon. https://www.dickenssearch.com/files/original/5/Sketches_of_London_No._XVIII_Our_Parish_[IV]/1835-07-28_The_Evening_Chronicle_Sketches_of_London_No._XVIII_Our_Parish_IV.pdf 6ff43e1f188d79ce4f2b830c10d7acc0 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 Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Evening Chronicle Pseudonym The name under which the item was published BOZ 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. 18350728 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. The excitement of the election for Beadle having subsided, and our parish being again restored to a state of comparative tranquility, we are enabled to continue our sketches of individual parishioners who take no share in our party contests, or in the turmoil and bustle of public life. And we feel sincere pleasure in acknowledging here, that in collecting materials for this task we have been greatly assisted by Mr. Bung himself, who has imposed on us a debt of obligation which we fear we can never repay. The life of this gentleman has been one of a very chequered description: he has undergone transitions—not from grave to gay, for he never was grave—not from lively to severe, for severity forms no part of his disposition; his fluctuations have been between poverty in the extreme & poverty modified, or, to use his own emphatic languages, between nothing to eat and just half enough. He is not as he forcibly remarks, "One of those fortunate men who if they were to dive under one side of a barge stark-naked, would come up on the other, with a new suit of clothes on, and a ticket for soup in the waistcoat pocket:" neither is he one of those, whose spirit has been broken beyond redemption by misfortune and want. He is just one of the careless, good-for-nothing, happy fellows, who float cork like on the surface, for the world to play at hockey with: knocked here and there and every where: now to the right, then to the left, again up in the air, and anon to the bottom, but always reappearing, and bounding with the stream, buoyantly and merrily along. Some few months before he was prevailed upon to stand a contested election for the office of beadle, necessity attached him to the service of a broker; and on the opportunities he here acquired of ascertaining the condition of most of the poorer inhabitants of the parish, his patron, the Captain, first grounded his claims to public support. Chance threw the man in our way a short time since. We were, in the first instance, attracted by his prepossessing impudence at the election; we were not surprised, on further acquaintance, to find him a shrewd knowing fellow, with no inconsiderable power of observation, and after conversing with him a little, were somewhat struck (as we dare say our readers have frequently been in other cases) with the power some men seem to have, not only of sympathizing with, but to all appearance of understanding feelings, to which they themselves are entire strangers. We had been expressing to the new functionary our surprise that he should ever have served in the capacity to which we have just adverted, when we gradually led him into one or two professional anecdotes. As are are induced to think on reflection that they will tell better, in nearly his own words, than with any attempted embellishments of our's, we will at once entitle them MR. BUNG'S NARRATIVE. "It's very true, as you say Sir," Mr. Bung commenced, "that a broker's man's is not a life to envied; and in course you know as well as I do, though you don't say it, that people hate and scout 'em, because they're the Ministers of wretchedness, like, to poor people. But what could I do Sir? The thing was no worse, because I did it instead of somebody else, and if putting me in possession of a house, would put me in possession of three and sixpence a day, and levying a distress on another man's goods would relieve my distress and that of my family, it can't be expected but what I'd take the job and go through with it. I never liked it, God knows; I always looked out for something else, and the moment I got other work to do I left it, and if there is any thing wrong in being the agent in such matters—not the principal mind you—I'm sure the business, to a beginning like I was, at all events carries its own punishment along with it. I wished again and again that the people would only blow me up, or pitch into me—that I wouldn't have minded: it's all in my way: but it's the being shut up by yourself in one room for three days, without so much as an old newspaper to look at, or any thing to see out o' the winder but the roofs and chimnies at the back of the house, or any thing to listen to but the ticking perhaps of an old Dutch clock, the sobbing of the missis now and then, the low talking of friends in the next room, who speak in whispers, lest "the man" should over-hear them, or perhaps the occasional opening of the door, as a child peeps in to look at you, and then runs half frightened away.—It's all this that makes you feel sneaking somehow, and ashamed of yourself; and then if it's winter time they just give you fire enough to make you think you'd like more, and bring in your grub as if they wish it u'd choke you—as I dare say they do, for the matter of that, most heartily. If they're very civil, they make you up a bed in the room at night; and if they don't, your master sends one in for you; but there you are, without being washed or shaved all the time, shunned by every body and spoken to by no one unless some one comes in at dinner time, and asks you whether you want any more, in a tone as much to say, "I hope you don't;" or, in the evening, to inquire whether you wouldn't rather have a candle, after you've been sitting in the dark half the night. When I was left in this way, I used to sit think, think, thinking, till I felt as lonesome as a kitten in a wash-house copper with the lid on; but I believe the old brokers' men, who are regularly trained to it, never think at all. I have heard some on 'em say, indeed, that they don't know how! "I put in a good many distresses in my time (continued Mr. Bung), and in course I wasn't long in finding that some people are not as much to be pitied as others are, and that people with good incomes, who get into difficulties, which they keep patching up day after day, and week after week, get so used to these sorts of things in time, that at last they come scarcely to feel them at all. I remember the very first place I was put in possession of was a gentleman's house in this parish here, that every body would suppose couldn't help having money if he tried. I went with old Fixem, my old master, 'bout half-arter eight in the morning, rang the area-bell, servant in livery opened the door; 'Governor at home?'—'Yes, he is,' says the man; 'but he's a breakfasting just now'—'Never mind,' says Fixem, 'just you tell him there's a gentleman here as wants to speak to him partickler." So the servant he opens his eyes, and stares about him all ways—looking for the gentleman, as it struck me; for I don't think anybody but a man as was stone-blind would mistake Fixem for one; and as for me, I was as seedy as a cheap cowcumber. Hows'ever he turns round and goes to the breakfast-parlour, which was a little snug sort of room at the end of the passage, and Fixem (as we always did in that profession) without waiting to be announced, walks in arter him; and before the servant could get out—'Please Sir, here's a man as wants to speak to you'—looks in at the door as familiar and pleasant as may be. 'Who the devil are you: and how dare you walk into a gentleman's house without leave?'—says the master, as fierce as a bull in fits—'My name,' says Fixem, winking at the master to send the servant away, and putting the warrant into his hands folded up like a note, 'My name's Smith,' says he,' and I called from Johnson's about that business of Thompson's.'—'Oh,' says the other, quite down upon him directly, 'How is Thompson?' says he.—'Pray sit down, Mr. Smith: John—leave the room.'— Out went the servant, and the gentleman and Fixem looked at one another till they couldn't look any longer, and then they varied the amusement by looking at me, who had been standing on the mat all this time.—'Hundred and fifty pounds, I see,' said the gentleman at last.—'Hundred and fifty pound,' said Fixem 'besides cost of levy, sheriff's poundage, and all other incidental expenses.' 'Um,' says the gentleman, 'I shan't be able to settle this before to-morrow afternoon.'—'Very sorry; but I shall be obliged to leave my man here till then,' replies Fixem, pretending to look very miserably over it. 'That's very unfortunate,' said the gentleman, 'for I've got a large party here to-night; and I'm ruined if those fellows of mine get an inkling of the matter.—Just step here, Mr. Smith,' says he, after a short pause; so Fixem walks with him up to the window, and after a good deal o' whispering, and a little chinking of suverins, and looking at me, he comes back and says 'Bung: you're a handy fellow, and very honest I know. This gentleman wants an assistant to clean the plate and wait at table today; and if you're not particularly engaged,' says old Fixem, grinning like mad, and shoving a couple of suverins into my hand, 'he'll be very glad to avail himself of your services.' Well, I laughed, and the gentleman laughed, and we all laughed; and I went home and cleaned myself, leaving Fixem there; and when I went back, Fixem went away, and I polished up the plate, and waited at table, and gammoned the servants, and nobody had the least idea I was in possession; though it very nearly came out after all: for one of the last gentlemen who remained, came down stairs into the hall where I was sitting pretty late at night, and putting half a crown in my hand says, 'Here, my man,' says he, 'run and get me a coach, will you?' I thought it was a do to get me out of the house, and was just going to say so, sulkily enough, when the gentleman (who was up to every thing) came running down stairs as if he was in great anxiety. 'Bung,' says he, pretending to be in a con-suming passion, 'Sir,' says I. 'Why the devil an't you looking after that plate?' says he. 'I was just going to send him or a coach for me,' says the other gentleman. 'And I was just a going to say,' says I,—'Any body else, my dear fellow,' interrupts the master of the house, pushing me down the passage to get me out of the way—'anybody else; but I have put this man in possession of all the plate and valuables, and I cannot allow him on any consideration whatever to leave the house. Bung, damn you, go and count those forks in the breakfast-parlour instantly.' You may be sure I went laughing pretty hearty when I found it was all right. The money was paid next day, with the addition of something else for myself, and that was the best job that I (and I suspect old Fixem too) ever got in that line." "But this is the bright side of the picture, sir, after all," resumed Mr. Bung, laying aside the knowing look and flash air with which he had repeated the previous anecdote—"and I'm sorry to say it's the side one sees very—very seldom in comparison with the dark one. The civility which money will purchase is rarely extended to those who have none; and there's a consolation even in being able to patch up one difficulty to make way for another, to which very poor people are strangers. I was once put into a house down George's-yard—that little dirty court at the back of the gas-works; and I never shall forget the misery of them people, dear me. It was a distress for half a year's rent—two pound ten I think. There were only two rooms in the house, as there was no passage, the lodgers up stairs always went through the room of the people of the house, as they passed in and out, and every time they did so—which on average was about four times every quarter of an hour—they blowed up quite frightful: for their things had been seized too, and included in the inventory. There was a little piece of inclosed dust in front of the house, with a cinder path leading up to the door, and an open rain-water butt on one side. A dirty striped curtain on a very slack strong hung in the window, and a little triangular bit of broken looking-glass rested on the sill inside. I suppose it was meant for the people's use, but their appearance was so wretched and so miserable, that I'm certain they never could have plucked up courage to look themselves in the face a second time, if they survived the fright of doing so once. There was two or three chairs, that might have been worth, in their best days, from eight-pence to a shilling a-piece; a small deal table; an old corner cupboard, with nothing in it, and one of those bedsteads which turn up half way, and leave the bottom legs sticking out for you to knock your head against, or hang your hat upon; no bed, no bedding. There was an old sack, by way of rug, before the fire-place, and four or five children were grovelling about among the sand on the floor. The execution was only put in to get 'em out of the house, for there was nothing to take to pay the expenses; and here I stopped for three days, though that was a mere form too: for in course I knew, and we all knew, they could never pay the money. In one of the chairs by the side of the place where the fire ought to have been, was an old 'ooman—the ugliest and dirtiest I ever see—who sat rocking herself backwards and forwards, backwards and forwards without once stopping, except for an instant, now and then, to clasp together the withered hands which, with these exceptions, she kept constantly rubbing upon her knees, just raising and depressing her fingers convulsively, in time to the rocking of the chair. On the other side sat the mother with an infant in her arms which cried 'till it cried itself to sleep, and when it woke, cried 'till it cried itself off again. The old 'ooman's voice I never heard; she seemed completely stupified; and as to the mother's, it would have been better if she had been so too; for misery changed her to a devil; if you had heard how she cursed the little naked children as was rolling on the floor, and seen how savagely she struck the infant when it cried with hunger, you'd have shuddered as much as I did. There they remained all the time: the children eat a morsel of bread once or twice, and I gave 'em best part of the dinners my missis brought me; but the women eat nothing: they never even laid down on the bedstead, nor was the room swept or cleaned all the time. The neighbours were all too poor themselves to take any notice of 'em; but what I could make out from the abuse of the woman up-stairs, it seemed the husband had been transported a few weeks before. When the time was up, the landlord and old Fixem too, got rather frightened about the family; and so they made a stir about it, and got 'em taken to the workhouse. They sent the sick couch for the old 'ooman; and Simmons took the children away at night. The old 'ooman went into the infirmary, and very soon died. The children are all in the house to this day, and very comfortable they are in comparison; as to the mother, there was no taming her at all. She had been a quiet, hard-working woman, I believe; but her misery had actually drove her wild; so after she had been sent to the House of Correction half a dozen times, for throwing inkstands at the overseers, blaspheming the churchwardens, and smashing every body as come near her, she burst a blood vessel one mornin', and died too—and a happy release it was, both for herself and the old paupers male and female, which she used to tip over in all directions, as if they were so many skittles, and she the ball. "Now this was bad enough," resumed Mr. Bung, taking a half-step towards the door, as if to intimate that he had nearly concluded. "This was bad enough, but there was a sort of quiet misery—if you understand what I mean by that, Sir—about a lady at one house I was put into, as touched me a good deal more. It doesn't matter where it was exactly; indeed, I'd rather not say; but it was the same sort o'job. I went with Fixem in the usual way—there was a year's rent in arrear; a very small servant-girl opened the door, and three or four fine looking little children was in the front parlour we was shown into, which was very clean, but very scantily furnished, much like the children themselves. 'Bung,' says Fixem to me in a low voice when we were left alone for a minute, 'I know something about this here family, and my opinion is, it's no go.' 'Do you think they can't settle?' says I, quite anxiously: for I liked the looks of them children. Fixem shook his head, and was just about to reply when the door opened, and in come a lady as white as ever I see any one in my days, except about the eyes, which were red with crying. She walked in as firm as I could have done: shut the door carefully after her, and sat herself down with a face as composed as if it was made of stone. 'What is the matter, gentlemen,' says she, in a surprisin' steady voice. 'Is this an execution?' 'It is, Mum,' says Fixem. The lady looked at him as steady as ever; she didn't seem to have understood him. 'It is, Mum,' says Fixem again, 'this is my warrant of distress, Mum' says he, handing it over as polite as if it was a newspaper which had been bespoke arter the next gentleman. The lady's lip trembled as she took the printed paper. She cast her eye over it, and old Fixem began to explain the form, but I saw she wasn't reading it, plain enough, poor thing. 'Oh, my God!' says she, suddenly a-bursting out crying, letting the warrant fall, and hiding her fact in her hands. 'Oh, my God! what will become of us?' The noise she made brought in a young lady of about nineteen or twenty, who, I suppose, had been a-listening at the door: she'd got a little boy in her arms; she sat him down in the lady's l ap, without speaking, and she hugged the poor little fellow to her bosom and cried over him, till even old Fixem put on his blue spectacles to hide the two tears that was a trickling down, one on each side of his dirty face. 'Now, dear Ma,' says the young lady, 'you know how much you have borne. For all our sakes: for Pa's sake,' says the lady, 'don't give way to this!' 'No, no, I won't!' says the lady, gathering herself up hastily and drying her eyes; 'I am very foolish, but I'm better now—much better.' And then she roused herself up; went with us into every room while we took the inventory; opened all the drawers of her own accord; sorted the children's little clothes to make the work easier; and, except doing everything in a strange sort of hurry, seemed as calm and composed as if nothing had happened. When we came down stairs again, she hesitated a minute or two, and at last says, 'Gentleman,' says she, 'I am afraid I have done wrong, and perhaps it may bring you into trouble. I secreted just now,' she says, 'the only trinket I have left in the world— here it is.' So she lays down on the table a little miniature mounted in gold. 'It's a miniature,' she says, 'of my poor dear father! I little thought, once that I should ever thank God for depriving me of the original; but I do, and have done for years back, most fervently. Take it away, sir,' she says, 'it's a face that never turned from me in sickness or distress, and I can hardly bear to turn from it now, when, God knows, I suffer both in no ordinary degree.'—I couldn't say nothing, but I raised my head from the inventory which I was filling up, and looked at Fixem; the old fellow nodded to me significantly; so I ran my pen through the 'Mini' - I had just written, and left the miniature on the table. "Well, sir, to make short of a long story, I was left in possession, and in possession I remained; and though I was an ignorant man, and the master of the house a clever one, I saw what he never did, but what he would give worlds now (if he had 'em) to have seen in time. I saw, sir, that his wife was wasting away beneath cares of which she never complained, and griefs she never told. I saw that she was dying before his eyes: I knew that an exertion from him might have saved her; but he never made it. I don't blame him: I don't think he could rouse himself. She had for so long anticipated all his wishes, and acted for him, that he was a lost man when left to himself. I used to think when I caught sight of her, in the clothes she used to wear, which looked shabby even upon her, and would have been scarcely decent on any one else, that if I was a gentleman it would wring my very heart to see the woman that was a smart and merry girl when I courted her, so altered through her love for me. Bitter cold and damp weather it was; yet though her dress was thin, and her shoes none of the best, during the whole three days, from morning to night, she was out of doors running about to try and raise the money. The money was raised, and the execution was paid out. The whole family crowded into the room where I was when the money arrived. The father was quiet happy as the inconvenience was removed—I dare say he didn't know how—the children looks merry and cheerful again; the eldest girl was bustling about making preparations for the first comfortable meal they had had since the distress was put in—and the mother looked pleased to see them all so; but if ever I saw death in a woman's face, I saw it in her's, that night. "I was right, sir," concluded Mr. Bung, hurriedly passing his coat-sleeve over his face. "The family grew more prosperous, and good fortune arrived. But it was too late. Those children are motherless now, and their father would give up all that he has since gained—house, home, goods, money; all that he has, or ever can have to restore the wife he has lost. (To be continued.) TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-07-28_The_Evening_Chronicle_Sketches_of_London_NoXVIII_Our_ParishIV.xml" target="_blank" rel="noopener">'Sketches of London, No. XVIII, Our Parish' (IV). The Evening Chronicle (28 July 1835).</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 'Sketches of London, No. XVIII, Our Parish' (IV) Description An account of the resource Published in The Evening Chronicle (28 July 1835). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/BL/0001315/18350728/018/0003" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/BL/0001315/18350728/018/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-07-28 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-07-28_The_Evening_Chronicle_Sketches_of_London_NoXVIII_Our_ParishIV 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. 'Sketches of London, No. XVIII, Our Parish' (IV) (28 July 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/short-stories/1835-07-28_The_Evening_Chronicle_Sketches_of_London_NoXVIII_Our_ParishIV">https://dickenssearch.com/short-stories/1835-07-28_The_Evening_Chronicle_Sketches_of_London_NoXVIII_Our_ParishIV</a>. Scripto Transcription A written representation of a document. The excitement of the election for Beadle having subsided, and our parish being again restored to a state of comparative tranquility, we are enabled to continue our sketches of individual parishioners who take no share in our party contests, or in the turmoil and bustle of public life. And we feel sincere pleasure in acknowledging here, that in collecting materials for this task we have been greatly assisted by Mr. Bung himself, who has imposed on us a debt of obligation which we fear we can never repay. The life of this gentleman has been one of a very chequered description: he has undergone transitions—not from grave to gay, for he never was grave—not from lively to severe, for severity forms no part of his disposition; his fluctuations have been between poverty in the extreme & poverty modified, or, to use his own emphatic languages, between nothing to eat and just half enough. He is not as he forcibly remarks, "One of those fortunate men who if they were to dive under one side of a barge stark-naked, would come up on the other, with a new suit of clothes on, and a ticket for soup in the waistcoat pocket:" neither is he one of those, whose spirit has been broken beyond redemption by misfortune and want. He is just one of the careless, good-for-nothing, happy fellows, who float cork like on the surface, for the world to play at hockey with: knocked here and there and every where: now to the right, then to the left, again up in the air, and anon to the bottom, but always reappearing, and bounding with the stream, buoyantly and merrily along. Some few months before he was prevailed upon to stand a contested election for the office of beadle, necessity attached him to the service of a broker; and on the opportunities he here acquired of ascertaining the condition of most of the poorer inhabitants of the parish, his patron, the Captain, first grounded his claims to public support. Chance threw the man in our way a short time since. We were, in the first instance, attracted by his prepossessing impudence at the election; we were not surprised, on further acquaintance, to find him a shrewd knowing fellow, with no inconsiderable power of observation, and after conversing with him a little, were somewhat struck (as we dare say our readers have frequently been in other cases) with the power some men seem to have, not only of sympathizing with, but to all appearance of understanding feelings, to which they themselves are entire strangers. We had been expressing to the new functionary our surprise that he should ever have served in the capacity to which we have just adverted, when we gradually led him into one or two professional anecdotes. As are are induced to think on reflection that they will tell better, in nearly his own words, than with any attempted embellishments of our's, we will at once entitle them <div style="text-align: left;">                     MR. BUNG'S NARRATIVE. "It's very true, as you say Sir," Mr. Bung commenced, "that a broker's man's is not a life to envied; and in course you know as well as I do, though you don't say it, that people hate and scout 'em, because they're the Ministers of wretchedness, like, to poor people. But what could I do Sir? The thing was no worse, because I did it instead of somebody else, and if putting me in possession of a house, would put me in possession of three and sixpence a day, and levying a distress on another man's goods would relieve my distress and that of my family, it can't be expected but what I'd take the job and go through with it. I never liked it, God knows; I always looked out for something else, and the moment I got other work to do I left it, and if there is any thing wrong in being the agent in such matters—not the principal mind you—I'm sure the business, to a beginning like I was, at all events carries its own punishment along with it. I wished again and again that the people would only blow me up, or pitch into me—that I wouldn't have minded: it's all in my way: but it's the being shut up by yourself in one room for three days, without so much as an old newspaper to look at, or any thing to see out o' the winder but the roofs and chimnies at the back of the house, or any thing to listen to but the ticking perhaps of an old Dutch clock, the sobbing of the missis now and then, the low talking of friends in the next room, who speak in whispers, lest "the man" should over-hear them, or perhaps the occasional opening of the door, as a child peeps in to look at you, and then runs half frightened away.—It's all this that makes you feel sneaking somehow, and ashamed of yourself; and then if it's winter time they just give you fire enough to make you think you'd like more, and bring in your grub as if they wish it u'd choke you—as I dare say they do, for the matter of that, most heartily. If they're very civil, they make you up a bed in the room at night; and if they don't, your master sends one in for you; but there you are, without being washed or shaved all the time, shunned by every body and spoken to by no one unless some one comes in at dinner time, and asks you whether you want any more, in a tone as much to say, "I hope you don't;" or, in the evening, to inquire whether you wouldn't rather have a candle, after you've been sitting in the dark half the night. When I was left in this way, I used to sit think, think, thinking, till I felt as lonesome as a kitten in a wash-house copper with the lid on; but I believe the old brokers' men, who are regularly trained to it, never think at all. I have heard some on 'em say, indeed, that they don't know how!  "I put in a good many distresses in my time (continued Mr. Bung), and in course I wasn't long in finding that some people are not as much to be pitied as others are, and that people with good incomes, who get into difficulties, which they keep patching up day after day, and week after week, get so used to these sorts of things in time, that at last they come scarcely to feel them at all. I remember the very first place I was put in possession of was a gentleman's house in this parish here, that every body would suppose couldn't help having money if he tried. I went with old Fixem, my old master, 'bout half-arter eight in the morning, rang the area-bell, servant in livery opened the door; 'Governor at home?'—'Yes, he is,' says the man; 'but he's a breakfasting just now'—'Never mind,' says Fixem, 'just you tell him there's a gentleman here as wants to speak to him partickler." So the servant he opens his eyes, and stares about him all ways—looking for the gentleman, as it struck me; for I don't think anybody but a man as was stone-blind would mistake Fixem for one; and as for me, I was as seedy as a cheap cowcumber. Hows'ever he turns round and goes to the breakfast-parlour, which was a little snug sort of room at the end of the passage, and Fixem (as we always did in that profession) without waiting to be announced, walks in arter him; and before the servant could get out—'Please Sir, here's a man as wants to speak to you'—looks in at the door as familiar and pleasant as may be. 'Who the devil are you: and how dare you walk into a gentleman's house without leave?'—says the master, as fierce as a bull in fits—'My name,' says Fixem, winking at the master to send the servant away, and putting the warrant into his hands folded up like a note, 'My name's Smith,' says he,' and I called from Johnson's about that business of Thompson's.'—'Oh,' says the other, quite down upon him directly, 'How is Thompson?' says he.—'Pray sit down, Mr. Smith: John—leave the room.'— Out went the servant, and the gentleman and Fixem looked at one another till they couldn't look any longer, and then they varied the amusement by looking at me, who had been standing on the mat all this time.—'Hundred and fifty pounds, I see,' said the gentleman at last.—'Hundred and fifty pound,' said Fixem 'besides cost of levy, sheriff's poundage, and all other incidental expenses.' 'Um,' says the gentleman, 'I shan't be able to settle this before to-morrow afternoon.'—'Very sorry; but I shall be obliged to leave my man here till then,' replies Fixem, pretending to look very miserably over it. 'That's very unfortunate,' said the gentleman, 'for I've got a large party here to-night; and I'm ruined if those fellows of mine get an inkling of the matter.—Just step here, Mr. Smith,' says he, after a short pause; so Fixem walks with him up to the window, and after a good deal o' whispering, and a little chinking of suverins, and looking at me, he comes back and says 'Bung: you're a handy fellow, and very honest I know. This gentleman wants an assistant to clean the plate and wait at table today; and if you're not particularly engaged,' says old Fixem, grinning like mad, and shoving a couple of suverins into my hand, 'he'll be very glad to avail himself of your services.' Well, I laughed, and the gentleman laughed, and we all laughed; and I went home and cleaned myself, leaving Fixem there; and when I went back, Fixem went away, and I polished up the plate, and waited at table, and gammoned the servants, and nobody had the least idea I was in possession; though it very nearly came out after all: for one of the last gentlemen who remained, came down stairs into the hall where I was sitting pretty late at night, and putting half a crown in my hand says, 'Here, my man,' says he, 'run and get me a coach, will you?' I thought it was a do to get me out of the house, and was just going to say so, sulkily enough, when the gentleman (who was up to every thing) came running down stairs as if he was in great anxiety. 'Bung,' says he, pretending to be in a con-suming passion, 'Sir,' says I. 'Why the devil an't you looking after that plate?' says he. 'I was just going to send him or a coach for me,' says the other gentleman. 'And I was just a going to say,' says I,—'Any body else, my dear fellow,' interrupts the master of the house, pushing me down the passage to get me out of the way—'anybody else; but I have put this man in possession of all the plate and valuables, and I cannot allow him on any consideration whatever to leave the house. Bung, damn you, go and count those forks in the breakfast-parlour instantly.' You may be sure I went laughing pretty hearty when I found it was all right. The money was paid next day, with the addition of something else for myself, and that was the best job that I (and I suspect old Fixem too) ever got in that line."  "But this is the bright side of the picture, sir, after all," resumed Mr. Bung, laying aside the knowing look and flash air with which he had repeated the previous anecdote—"and I'm sorry to say it's the side one sees very—very seldom in comparison with the dark one. The civility which money will purchase is rarely extended to those who have none; and there's a consolation even in being able to patch up one difficulty to make way for another, to which very poor people are strangers. I was once put into a house down George's-yard—that little dirty court at the back of the gas-works; and I never shall forget the misery of them people, dear me. It was a distress for half a year's rent—two pound ten I think. There were only two rooms in the house, as there was no passage, the lodgers up stairs always went through the room of the people of the house, as they passed in and out, and every time they did so—which on average was about four times every quarter of an hour—they blowed up quite frightful: for their things had been seized too, and included in the inventory. There was a little piece of inclosed dust in front of the house, with a cinder path leading up to the door, and an open rain-water butt on one side. A dirty striped curtain on a very slack strong hung in the window, and a little triangular bit of broken looking-glass rested on the sill inside. I suppose it was meant for the people's use, but their appearance was so wretched and so miserable, that I'm certain they never could have plucked up courage to look themselves in the face a second time, if they survived the fright of doing so once. There was two or three chairs, that might have been worth, in their best days, from eight-pence to a shilling a-piece; a small deal table; an old corner cupboard, with nothing in it, and one of those bedsteads which turn up half way, and leave the bottom legs sticking out for you to knock your head against, or hang your hat upon; no bed, no bedding. There was an old sack, by way of rug, before the fire-place, and four or five children were grovelling about among the sand on the floor. The execution was only put in to get 'em out of the house, for there was nothing to take to pay the expenses; and here I stopped for three days, though that was a mere form too: for in course I knew, and we all knew, they could never pay the money. In one of the chairs by the side of the place where the fire ought to have been, was an old 'ooman—the ugliest and dirtiest I ever see—who sat rocking herself backwards and forwards, backwards and forwards without once stopping, except for an instant, now and then, to clasp together the withered hands which, with these exceptions, she kept constantly rubbing upon her knees, just raising and depressing her fingers convulsively, in time to the rocking of the chair. On the other side sat the mother with an infant in her arms which cried 'till it cried itself to sleep, and when it woke, cried 'till it cried itself off again. The old 'ooman's voice I never heard; she seemed completely stupified; and as to the mother's, it would have been better if she had  been so too; for misery changed her to a devil; if you had heard how she cursed the little naked children as was rolling on the floor, and seen how savagely she struck the infant when it cried with hunger, you'd have shuddered as much as I did. There they remained all the time: the children eat a morsel of bread once or twice, and I gave 'em best part of the dinners my missis brought me; but the women eat nothing: they never even laid down on the bedstead, nor was the room swept or cleaned all the time. The neighbours were all too poor themselves to take any notice of 'em; but what I could make out from the abuse of the woman up-stairs, it seemed the husband had been transported a few weeks before. When the time was up, the landlord and old Fixem too, got rather frightened about the family; and so they made a stir about it, and got 'em taken to the workhouse. They sent the sick couch for the old 'ooman; and Simmons took the children away at night. The old 'ooman went into the infirmary, and very soon died. The children are all in the house to this day, and very comfortable they are in comparison; as to the mother, there was no taming her at all. She had been a quiet, hard-working woman, I believe; but her misery had actually drove her wild; so after she had been sent to the House of Correction half a dozen times, for throwing inkstands at the overseers, blaspheming the churchwardens, and smashing every body as come near her, she burst a blood vessel one mornin', and died too—and a happy release it was, both for herself and the old paupers male and female, which she used to tip over in all directions, as if they were so many skittles, and she the ball.  "Now this was bad enough," resumed Mr. Bung, taking a half-step towards the door, as if to intimate that he had nearly concluded. "This was bad enough, but there was a sort of quiet misery—if you understand what I mean by that, Sir—about a lady at one house I was put into, as touched me a good deal more. It doesn't matter where it was exactly; indeed, I'd rather not say; but it was the same sort o'job. I went with Fixem in the usual way—there was a year's rent in arrear; a very small servant-girl opened the door, and three or four fine looking little children was in the front parlour we was shown into, which was very clean, but very scantily furnished, much like the children themselves. 'Bung,' says Fixem to me in a low voice when we were left alone for a minute, 'I know something about this here family, and my opinion is, it's no go.' 'Do you think they can't settle?' says I, quite anxiously: for I liked the looks of them children. Fixem shook his head, and was just about to reply when the door opened, and in come a lady as white as ever I see any one in my days, except about the eyes, which were red with crying. She walked in as firm as I could have done: shut the door carefully after her, and sat herself down with a face as composed as if it was made of stone. 'What is the matter, gentlemen,' says she, in a surprisin' steady voice. 'Is this an execution?' 'It is, Mum,' says Fixem. The lady looked at him as steady as ever; she didn't seem to have understood him. 'It is, Mum,' says Fixem again, 'this is my warrant of distress, Mum' says he, handing it over as polite as if it was a newspaper which had been bespoke arter the next gentleman. The lady's lip trembled as she took the printed paper. She cast her eye over it, and old Fixem began to explain the form, but I saw she wasn't reading it, plain enough, poor thing. 'Oh, my God!' says she, suddenly a-bursting out crying, letting the warrant fall, and hiding her fact in her hands. 'Oh, my God! what will become of us?' The noise she made brought in a young lady of about nineteen or twenty, who, I suppose, had been a-listening at the door: she'd got a little boy in her arms; she sat him down in the lady's l ap, without speaking, and she hugged the poor little fellow to her bosom and cried over him, till even old Fixem put on his blue spectacles to hide the two tears that was a trickling down, one on each side of his dirty face. 'Now, dear Ma,' says the young lady, 'you know how much you have borne. For all our sakes: for Pa's sake,' says the lady, 'don't give way to this!' 'No, no, I won't!' says the lady, gathering herself up hastily and drying her eyes; 'I am very foolish, but I'm better now—much better.' And then she roused herself up; went with us into every room while we took the inventory; opened all the drawers of her own accord; sorted the children's little clothes to make the work easier; and, except doing everything in a strange sort of hurry, seemed as calm and composed as if nothing had happened. When we came down stairs again, she hesitated a minute or two, and at last says, 'Gentleman,' says she, 'I am afraid I have done wrong, and perhaps it may bring you into trouble. I secreted just now,' she says, 'the only trinket I have left in the world— here it is.' So she lays down on the table a little miniature mounted in gold. 'It's a miniature,' she says, 'of my poor dear father! I little thought, once that I should ever thank God for depriving me of the original; but I do, and have done for years back, most fervently. Take it away, sir,' she says, 'it's a face that never turned from me in sickness or distress, and I can hardly bear to turn from it now, when, God knows, I suffer both in no ordinary degree.'—I couldn't say nothing, but I raised my head from the inventory which I was filling up, and looked at Fixem; the old fellow nodded to me significantly; so I ran my pen through the 'Mini' - I had just written, and left the miniature on the table.  "Well, sir, to make short of a long story, I was left in possession, and in possession I remained; and though I was an ignorant man, and the master of the house a clever one, I saw what he never did, but what he would give worlds now (if he had 'em) to have seen in time. I saw, sir, that his wife was wasting away beneath cares of which she never complained, and griefs she never told. I saw that she was dying before his eyes: I knew that an exertion from him might have saved her; but he never made it. I don't blame him: I don't think he could rouse himself. She had for so long anticipated all his wishes, and acted for him, that he was a lost man when left to himself. I used to think when I caught sight of her, in the clothes she used to wear, which looked shabby even upon her, and would have been scarcely decent on any one else, that if I was a gentleman it would wring my very heart to see the woman that was a smart and merry girl when I courted her, so altered through her love for me. Bitter cold and damp weather it was; yet though her dress was thin, and her shoes none of the best, during the whole three days, from morning to night, she was out of doors running about to try and raise the money. The money was raised, and the execution was paid out. The whole family crowded into the room where I was when the money arrived. The father was quiet happy as the inconvenience was removed—I dare say he didn't know how—the children looks merry and cheerful again; the eldest girl was bustling about making preparations for the first comfortable meal they had had since the distress was put in—and the mother looked pleased to see them all so; but if ever I saw death in a woman's face, I saw it in her's, that night. "I was right, sir," concluded Mr. Bung, hurriedly passing his coat-sleeve over his face. "The family grew more prosperous, and good fortune arrived. But it was too late. Those children are motherless now, and their father would give up all that he has since gained—house, home, goods, money; all that he has, or ever can have to restore the wife he has lost. (To be continued.)</div> https://www.dickenssearch.com/files/original/5/Sketches_of_London_No._XIX_Private_Theatres/1835-08-11_The_Evening_Chronicle_Sketches_of_London_No._XIX_Private_Theatres.pdf 3e60bf5dffd9cedc6678b2df000a38b3 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 Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Evening Chronicle Pseudonym The name under which the item was published BOZ 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. 18350811 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. "RICHARD THE THIRD. DUKE OF GLO’STER 2l. EARL OF RICHMOND, 1l. DUKE OF BUCKINGHAM, 15s. CATESBY, 12s. TRESSEL, 10s. 6d. LORD STANLEY, 5s. LORD MAYOR OF LONDON, 2s. 6d." Such are the written placards wafered up in the gentlemen’s dressing-room or the green-room (where there is any) at a private theatre; and such are the sums extracted from the shop-till, or overcharged in the office expenditure, by the idiotic donkies who are prevailed upon to pay for permission to exhibit their lamentable ignorance and boobyism on the stage of a private theatre. This they do, in proportion to the scope afforded by the character for the display of their imbecility. For instance, the Duke of Glo’ster's well worth two pounds, because he has it all to himself, must wear a real sword, and what is better still, must draw it several times in the course of the piece. The soliloquies alone are well worth fifteen shillings; then ther's the stabbing King Henry—decidedly cheap at three and sixpence; that’s eighteen and sixpence; bullying the coffin-bearers—say eighteen pence, though it’s worth much more—that’s a pound. Then the love scene with Lady Anne, and the bustle of the fourth act can’t be dear at ten shillings more—that’s only one pound ten, including the "off with his head!"—which is sure to bring down the applause, and it is very easy to do—"Orf with is ed" (very quick and loud, then slow and sneeringly)—"So much for Bu-u-u-uckingham!;" lay the emphasis on the "uck;" get yourself gradually into a corner, and work with your right hand while your’e saying it, as if you were feeling your way; and its sure to do. The tent scene is confessedly worth half-a-sovereign, and so you have the fight in, gratis; and everybody knows what an effect may be produced by a good combat. One—two— three—four—over; then, one—two—three—four— under; then thrust; then dodge and slide about; then fall down on one knee; then get up again and stagger. You may keep on doing this, as long as it seems to take—say ten minutes—and then fall down (backwards, if you can manage it without hurting yourself), and die game. Nothing like it for producing an effect. They always do it at Astley’s and Sadler’s Wells, and if they don’t know how to do this sort of thing, who in the world does? A small child or a female in white increases the interest of a combat materially—indeed we don't think a regular legitimate terrific broad-sword combat could be done without; but it would be rather difficult, and somewhat unusual, to introduce this effect in the last scene of Richard the Third; so the only thing to be done is, just to make the best of a bad bargain, and be as long as possible fighting it out. The principal patrons of private theatres are dirty boys; low copying-clerks, in attornies’ offices; capacious headed youths from city counting-houses; Jews, whose business, as lenders of fancy dresses, is a sure passport to the amateur stage; shop-boys who now and then mistake their masters’ money for their own; and a choice miscellany of idle vagabonds. The proprietor of a private theatre may be an ex-scene painter, a low coffee-house keeper, a disappointed eighth-rate actor, a Chancery officer, a retired smuggler, or uncertificated bankrupt. The theatre itself may be in Catherine-street, Strand, the purlieus of the city, the neighbourhood of Gray’s-inn-lane, or the vicinity of Sadler’s-wells; or it may, perhaps, form the chief nuisance of some shabby street, on the Surrey side of Waterloo bridge. The lady performers pay nothing for their characters, and it is needless to add, are usually selected from one class of society; and the audiences are necessarily of much the same character as the performers, who receive in return for their contributions to the management tickets to the amount of the money they pay. All the minor theatres in London, especially the lowest, constitute the centre of a little stage-struck neighbourhood. Each of them has an audience exclusively its own, and at any you will see dropping into the pit at half-price, or swaggering into the back of a box, if the price of admission be a reduced one, divers boys of from 15 to 21 years of age, who throw back their coats, and turn up their wristbands, after the portraits of Count D’Orsay, hum tunes and whistle when the curtain is down, by way of persuading the people near them that they are not at all anxious to have it up again, and speak familiarly of the inferior performers as Bill Such-a-one, and Ned So-and-so, or tell each other how a new piece called The Unknown Bandit of the Invisible Cavern is in rehearsal; how Mister Palmer is to play The Unknown Bandit; how Charley Scarton is to take the part of an English sailor, and fight a broad-sword combat with six unknown bandits at one and the same time (one theatrical sailor is always equal to half a dozen men at least); how Mister Palmer and Charley Scarton are to go through a double hornpipe in fetters in the second act; how the interior of the invisible cavern is to occupy the whole extent of the stage, and other town—surprising theatrical announcements. These are your amateurs—these are the Richards, Shylocks, Beverleys, and Othellos—the Young Dorntons, Rovers, Captain Absolutes, and Charles Surfaces—of a private theatre. See them at the neighbouring public-house or the theatrical coffee-shop! Why, they're the kings of the place, supposing no real performers to be present; and roll-about, hats on one side, and arms a-kimbo, as if they had actually come into possession of eighteen shillings a week, and a share of a ticket night. If one of them does but know an Astley’s supernumerary he is a happy fellow. Look at that youth. You must have remarked the mingled air of envy and admiration with which his companions will regard him as he converses familiarly with the mouldy-looking man in a fancy neck-kerchief, whose partially corked eyebrows, and half rouged face, testify to the fact of his having just left the stage or the circle. Observe the indignation with which the man of mouldy appearance points to a newspaper of the day, and the perplexed air with which, after upsetting his half pint of coffee over that dirty scrap of paper, and then wiping it with his still dirtier pocket-handkerchief, his amateur friend attempts to scrawl a note, apparently to the editor. Poor creature! his visions of orthography are of the wildest; and he tortures pot-hooks into forms as distorted and unnatural as those into which his mouldy companion's unfortunate frame was twisted, when he first took lessons in the art of tumbling! With the double view of guarding against the discovery of friends or employers, and enhancing the interest of an assumed character, by attaching a high-sounding name to its representative, these geniuses assume fictitious cognomens, which are not the least amusing part of the play-bill of a private theatre. Belville, Melville, Treville, Berkeley, Randolph, Byron, St. Clair, and so forth, are among the humblest; and the less-imposing titles of Jenkins, Walker, Thompson, Huggins, Barker, Solomons, &c., are completely laid aside. There is something imposing in this, and it's an excellent apology for shabbiness into the bargain. A shrunken, faded coat, a decayed hat, a patched and soiled pair of trowsers—nay even a very dirty shirt (and none of these appearances are very uncommon among the members of the corps dramatique), may be worn for the purpose of disguise, and to prevent the remotest chance of recognition. Then it prevents any troublesome inquiries or explanations about employment and pursuits: everybody is a gentleman at large for the occasion, and there are none of those unpleasant and unnecessary distinctions to which even genius must occasionally succumb elsewhere. As to the ladies (God bless 'em) they're quite above any formal absurdities, the mere circumstance of your being behind the scenes is a sufficient introduction to their society—for of course they know that none but strictly respectable persons would be admitted into that close fellowship with them, which acting engenders. They place implicit reliance on the manager, no doubt; and, as to the manager, he is all affability when he knows you well,—or, in other words, when he has pocketed your money once, and entertains confident hopes of doing so again. A quarter before eight—There'll be a full house to-night—six parties in the boxes already; four little boys and a woman in the pit; and two fiddles and a flute in the orchestra, who have got through five overtures since seven o’clock (the hour fixed for the commencement of the performances) and have just begun the sixth. There'll be plenty of it though when it does begin, for there is enough in the bill to last six hours at least. That gentleman in the white hat and checked shirt, brown coat and brass buttons, lounging behind the stage-box on the O. P. side, is Mr. Horatio St. Julien, alias Jem Larkins. His line is genteel comedy—his father’s coal and tatur. He does Alfred Highflyer in the last piece, and very well he’ll do it—at the price. The party of gentlemen in the opposite box, to whom he has just nodded, are friends and supporters of Mr. Beverley (otherwise Loggins), the Macbeth of the night. You observe their attempts to appear easy and gentlemanly; each member of the party, with his feet cocked up on the cushion in front of the box? They let 'em do these things here upon the same humane principle which permits poor people’s children to knock double knocks at the door of an empty house—because they can’t do it anywhere else. The two stout men in the centre box, with an opera-glass ostentatiously placed before them, are friends of the proprietor's—opulent country managers, as he confidentially informs every individual among the crew behind the curtain— opulent country managers looking out for recruirts, a representation which Mr. Nathan the dresser, who is in the manager’s interest, and has just arrived with the costumes, offers to confirm upon oath if required—corroborative evidence, however, is quite unnecessary, for the gulls believe it at once. The stout Jewess who has just entered is the mother of the pale bony little girl with the necklace of blue glass beads, sitting by her. She is being brought up to "the profession." Patomime is to be her line, and she's coming out to-night, in a hornpipe after the tragedy. The short thin man beside Mr. St. Julien, whose white face is deeply seared with the small-pox, and whose dirty shirt front is inlaid with open work, and embossed with coral studs like Lady Bird's, is the low comedian and comic singer of the establishment. The remainder of the audience—a tolerably numerous one by this time—are a motley group of dupes and blackguards. The foot-lights have just made their appearance: the wicks of the six little oil lamps round the only tier of boxes are being turned up, and the additional light thus afforded serves to show the presence of dirt and absence of paint, which forms a prominent feasure in the audience part of the house. As these preparations, however, announce the speedy commencement of the play, let us take a peep "behind," previous to the ringing-up. The little narrow passages beneath the stage are neither especially clean, nor too brilliantly lighted; and the absence of any flooring, together with the damp, mildewy smell which pervades the places, does not conduce in any great degree to their comfortable appearance. Don’t fall over this plate basket—it’s one of the "properties"—the cauldron for the witches’ cave; and the three uncouth-looking figures with broken clothes-props in their hands, who are drinking gin and water out of a pint pot, are the weird sisters. This miserable room, lighted by candles in sconces placed at lengthened intervals round the wall, is the dressing-room common to the gentlemen performers, and the square hole in the ceiling is the trap door of the stage above. You will observe that the ceiling is ornamented with the beams that support the boards, and tastefully hung with cob-webs. The characters in the tragedy are all dressed, and their own clothes are scattered in hurried confusion over the wooden dresser which surrounds the room. That snuff-shop-looking figure in front of the glass is Banquo, and the young lady with the liberal display of legs, who is kindly painting his face with a hare’s foot, is dressed for Fleance. The large woman who is consulting the stage directions in Cumberland’s edition of Macbeth, is the Lady Macbeth of the night—she is always selected to play the part, because she's tall and stout, and looks a little like Mrs. Siddons—at a considerable distance. That stupid-looking milksop with light hair and bow legs—a kind of man whom you can warrant town-made—is fresh caught; he plays Malcolm to-night, just to accustom himself to an audience. He'll get on by degrees; he'll play Othello in a month, and in a month more will very probably be apprehended on a charge of embezzlement. The black-eyed female with whom he is talking so earnestly, is dressed for the "gentlewoman." It's her first appearance, too—in that character. The boy of fourteen, who is having his eyebrows smeared with soap and whitening, is Duncan, King of Scotland; and the two dirty men with the corked countenances, in very old green tunics and dirty drab boots, are the "army." "Look sharp below there, gents," exclaims the dresser, a red-headed and red-whiskered Jew, calling through the trap, "they’re a-going to ring up. The flute says he’ll be blowed if he plays any more, and they’re getting precious noisy in front." A general rush immediately takes place to the half dozen little steep steps leading to the stage, and the heterogeneous group are soon assembled at the side scenes in breathless anxiety and motley confusion. "Now," cries the manager, consulting the written list which hangs behind the first P. S, wing, "Scene 1, open country—lamps down—thunder and lightning—all ready, White?" [this is addressed to one of the army]. "All ready"—"Very well, scene 2 - front chamber; is the front chamber down?" "Yes." "Very well—Jones."—[To the other army who is up in the flies:] "Hallo! Wind up the open country when we ring up." "I’ll take care," growls the elevated army.—"Scene 3, back perspective with practical bridge. Bridge ready, White? Got the tressels there?" "All right," responds the functionary. "Very well. Clear the stage," adds the manager, hastily packing every member of the company into the little space there is between the wings and the wall, and one wing and another. "Places, places, now then witches—Duncan—Malcolm—bloody officer—where’s that bloody officer?"—"Here!" replies the officer, who has been rose-pinking for the character. "Get ready, then; now, White, ring the second music bell." The actors who are to be discovered are hastily arranged, and the actors who are not to be discovered place themselves, in their anxiety to peep at the house, just where the whole audience can see them. The bell rings, and the orchestra, in acknowledgment of the call, play three distinct chords. The bell rings again, the tragedy (!) opens, and our description closes. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-08-11_The_Evening_Chronicle_Sketches_of_London_NoXIX_Private_Theatres.xml" target="_blank" rel="noopener">'Sketches of London, No. XIX, Private Theatres.' The Evening Chronicle (11 August 1835).</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 'Sketches of London, No. XIX, Private Theatres' Description An account of the resource Published in The Evening Chronicle (11 August 1835). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350811/016/0003" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350811/016/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-08-11 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-08-11_The_Evening_Chronicle_Sketches_of_London_NoXIX_Private_Theatres 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. 'Sketches of London, No. XIX, Private Theatres' (11 August 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/short-stories/1835-08-11_The_Evening_Chronicle_Sketches_of_London_NoXIX_Private_Theatres">https://dickenssearch.com/short-stories/1835-08-11_The_Evening_Chronicle_Sketches_of_London_NoXIX_Private_Theatres</a>. Scripto Transcription A written representation of a document. "RICHARD THE THIRD. DUKE OF GLO’STER 2l. EARL OF RICHMOND, 1l. DUKE OF BUCKINGHAM, 15s. CATESBY, 12s. TRESSEL, 10s. 6d. LORD STANLEY, 5s. LORD MAYOR OF LONDON, 2s. 6d." Such are the written placards wafered up in the gentlemen’s dressing-room or the green-room (where there is any) at a private theatre; and such are the sums extracted from the shop-till, or overcharged in the office expenditure, by the idiotic donkies who are prevailed upon to pay for permission to exhibit their lamentable ignorance and boobyism on the stage of a private theatre. This they do, in proportion to the scope afforded by the character for the display of their imbecility. For instance, the Duke of Glo’ster's well worth two pounds, because he has it all to himself, must wear a real sword, and what is better still, must draw it several times in the course of the piece. The soliloquies alone are well worth fifteen shillings; then ther's the stabbing King Henry—decidedly cheap at three and sixpence; that’s eighteen and sixpence; bullying the coffin-bearers—say eighteen pence, though it’s worth much more—that’s a pound. Then the love scene with Lady Anne, and the bustle of the fourth act can’t be dear at ten shillings more—that’s only one pound ten, including the "off with his head!"—which is sure to bring down the applause, and it is very easy to do—"Orf with is ed" (very quick and loud, then slow and sneeringly)—"So much for Bu-u-u-uckingham!;" lay the emphasis on the "uck;" get yourself gradually into a corner, and work with your right hand while your’e saying it, as if you were feeling your way; and its sure to do. The tent scene is confessedly worth half-a-sovereign, and so you have the fight in, gratis; and everybody knows what an effect may be produced by a good combat. One—two— three—four—over; then, one—two—three—four— under; then thrust; then dodge and slide about; then fall down on one knee; then get up again and stagger.  You may keep on doing this, as long as it seems to take—say ten minutes—and then fall down (backwards, if you can manage it without hurting yourself), and die game. Nothing like it for producing an effect. They always do it at Astley’s and Sadler’s Wells, and if they don’t know how to do this sort of thing, who in the world does? A small child or a female in white increases the interest of a combat materially—indeed we don't think a regular legitimate terrific broad-sword combat could be done without; but it would be rather difficult, and somewhat unusual, to introduce this effect in the last scene of Richard the Third; so the only thing to be done is, just to make the best of a bad bargain, and be as long as possible fighting it out. The principal patrons of private theatres are dirty boys; low copying-clerks, in attornies’ offices; capacious headed youths from city counting-houses; Jews, whose business, as lenders of fancy dresses, is a sure passport to the amateur stage; shop-boys who now and then mistake their masters’ money for their own; and a choice miscellany of idle vagabonds. The proprietor of a private theatre may be an ex-scene painter, a low coffee-house keeper, a disappointed eighth-rate actor, a Chancery officer, a retired smuggler, or uncertificated bankrupt. The theatre itself may be in Catherine-street, Strand, the purlieus of the city, the neighbourhood of Gray’s-inn-lane, or the vicinity of Sadler’s-wells; or it may, perhaps, form the chief nuisance of some shabby street, on the Surrey side of Waterloo bridge. The lady performers pay nothing for their characters, and it is needless to add, are usually selected from one class of society; and the audiences are necessarily of much the same character as the performers, who receive in return for their contributions to the management tickets to the amount of the money they pay. All the minor theatres in London, especially the lowest, constitute the centre of a little stage-struck neighbourhood. Each of them has an audience exclusively its own, and at any you will see dropping into the pit at half-price, or swaggering into the back of a box, if the price of admission be a reduced one, divers boys of from 15 to 21 years of age, who throw back their coats, and turn up their wristbands, after the portraits of Count D’Orsay, hum tunes and whistle when the curtain is down, by way of persuading the people near them that they are not at all anxious to have it up again, and speak familiarly of the inferior performers as Bill Such-a-one, and Ned So-and-so, or tell each other how a new piece called The Unknown Bandit of the Invisible Cavern is in rehearsal; how Mister Palmer is to play The Unknown Bandit; how Charley Scarton is to take the part of an English sailor, and fight a broad-sword combat with six unknown bandits at one and the same time (one theatrical sailor is always equal to half a dozen men at least); how Mister Palmer and Charley Scarton are to go through a double hornpipe in fetters in the second act; how the interior of the invisible cavern is to occupy the whole extent of the stage, and other town—surprising theatrical announcements. These are your amateurs—these are the Richards, Shylocks, Beverleys, and Othellos—the Young Dorntons, Rovers, Captain Absolutes, and Charles Surfaces—of a private theatre. See them at the neighbouring public-house or the theatrical coffee-shop! Why, they're the kings of the place, supposing no real performers to be present; and roll-about, hats on one side, and arms a-kimbo, as if they had actually come into possession of eighteen shillings a week, and a share of a ticket night. If one of them does but know an Astley’s supernumerary he is a happy fellow. Look at that youth. You must have remarked the mingled air of envy and admiration with which his companions will regard him as he converses familiarly with the mouldy-looking man in a fancy neck-kerchief, whose partially corked eyebrows, and half rouged face, testify to the fact of his having just left the stage or the circle. Observe the indignation with which the man of mouldy appearance points to a newspaper of the day, and the perplexed air with which, after upsetting his half pint of coffee over that dirty scrap of paper, and then wiping it with his still dirtier pocket-handkerchief, his amateur friend attempts to scrawl a note, apparently to the editor. Poor creature! his visions of orthography are of the wildest; and he tortures pot-hooks into forms as distorted and unnatural as those into which his mouldy companion's unfortunate frame was twisted, when he first took lessons in the art of tumbling! With the double view of guarding against the discovery of friends or employers, and enhancing the interest of an assumed character, by attaching a high-sounding name to its representative, these geniuses assume fictitious cognomens, which are not the least amusing part of the play-bill of a private theatre. Belville, Melville, Treville, Berkeley, Randolph, Byron, St. Clair, and so forth, are among the humblest; and the less-imposing titles of Jenkins, Walker, Thompson, Huggins, Barker, Solomons, &c., are completely laid aside. There is something imposing in this, and it's an excellent apology for shabbiness into the bargain. A shrunken, faded coat, a decayed hat, a patched and soiled pair of trowsers—nay even a very dirty shirt (and none of these appearances are very uncommon among the members of the corps dramatique), may be worn for the purpose of disguise, and to prevent the remotest chance of recognition. Then it prevents any troublesome inquiries or explanations about employment and pursuits: everybody is a gentleman at large for the occasion, and there are none of those unpleasant and unnecessary distinctions to which even genius must occasionally succumb elsewhere. As to the ladies (God bless 'em) they're quite above any formal absurdities, the mere circumstance of your being behind the scenes is a sufficient introduction to their society—for of course they know that none but strictly respectable persons would be admitted into that close fellowship with them, which acting engenders. They place implicit reliance on the manager, no doubt; and, as to the manager, he is all affability when he knows you well,—or, in other words, when he has pocketed your money once, and entertains confident hopes of doing so again. A quarter before eight—There'll be a full house to-night—six parties in the boxes already; four little boys and a woman in the pit; and two fiddles and a flute in the orchestra, who have got through five overtures since seven o’clock (the hour fixed for the commencement of the performances) and have just begun the sixth. There'll be plenty of it though when it does begin, for there is enough in the bill to last six hours at least. That gentleman in the white hat and checked shirt, brown coat and brass buttons, lounging behind the stage-box on the O. P. side, is Mr. Horatio St. Julien, alias Jem Larkins. His line is genteel comedy—his father’s coal and tatur. He does Alfred Highflyer in the last piece, and very well he’ll do it—at the price. The party of gentlemen in the opposite box, to whom he has just nodded, are friends and supporters of Mr. Beverley (otherwise Loggins), the Macbeth of the night. You observe their attempts to appear easy and gentlemanly; each member of the party, with his feet cocked up on the cushion in front of the box? They let 'em do these things here upon the same humane principle which permits poor people’s children to knock double knocks at the door of an empty house—because they can’t do it anywhere else. The two stout men in the centre box, with an opera-glass ostentatiously placed before them, are friends of the proprietor's—opulent country managers, as he confidentially informs every individual among the crew behind the curtain— opulent country managers looking out for recruirts, a representation which Mr. Nathan the dresser, who is in the manager’s interest, and has just arrived with the costumes, offers to confirm upon oath if required—corroborative evidence, however, is quite unnecessary, for the gulls believe it at once. The stout Jewess who has just entered is the mother of the pale bony little girl with the necklace of blue glass beads, sitting by her. She is being brought up to "the profession."  Patomime is to be her line, and she's coming out to-night, in a hornpipe after the tragedy. The short thin man beside Mr. St. Julien, whose white face is deeply seared with the small-pox, and whose dirty shirt front is inlaid with open work, and embossed with coral studs like Lady Bird's, is the low comedian and comic singer of the establishment. The remainder of the audience—a tolerably numerous one by this time—are a motley group of dupes and blackguards. The foot-lights have just made their appearance: the wicks of the six little oil lamps round the only tier of boxes are being turned up, and the additional light thus afforded serves to show the presence of dirt and absence of paint, which forms a prominent feasure in the audience part of the house.  As these preparations, however, announce the speedy commencement of the play, let us take a peep "behind," previous to the ringing-up. The little narrow passages beneath the stage are neither especially clean, nor too brilliantly lighted; and the absence of any flooring, together with the damp, mildewy smell which pervades the places, does not conduce in any great degree to their comfortable appearance. Don’t fall over this plate basket—it’s one of the "properties"—the cauldron for the witches’ cave; and the three uncouth-looking figures with broken clothes-props in their hands, who are drinking gin and water out of a pint pot, are the weird sisters. This miserable room, lighted by candles in sconces placed at lengthened intervals round the wall, is the dressing-room common to the gentlemen performers, and the square hole in the ceiling is the trap door of the stage above. You will observe that the ceiling is ornamented with the beams that support the boards, and tastefully hung with cob-webs. The characters in the tragedy are all dressed, and their own clothes are scattered in hurried confusion over the wooden dresser which surrounds the room. That snuff-shop-looking figure in front of the glass is Banquo, and the young lady with the liberal display of legs, who is kindly painting his face with a hare’s foot, is dressed for Fleance. The large woman who is consulting the stage directions in Cumberland’s edition of Macbeth, is the Lady Macbeth of the night—she is always selected to play the part, because she's tall and stout, and looks a little like Mrs. Siddons—at a considerable distance. That stupid-looking milksop with light hair and bow legs—a kind of man whom you can warrant town-made—is fresh caught; he plays Malcolm to-night, just to accustom himself to an audience. He'll get on by degrees; he'll play Othello in a month, and in a month more will very probably be apprehended on a charge of embezzlement. The black-eyed female with whom he is talking so earnestly, is dressed for the "gentlewoman." It's her first appearance, too—in that character. The boy of fourteen, who is having his eyebrows smeared with soap and whitening, is Duncan, King of Scotland; and the two dirty men with the corked countenances, in very old green tunics and dirty drab boots, are the "army." "Look sharp below there, gents," exclaims the dresser, a red-headed and red-whiskered Jew, calling through the trap, "they’re a-going to ring up. The flute says he’ll be blowed if he plays any more, and they’re getting precious noisy in front." A general rush immediately takes place to the half dozen little steep steps leading to the stage, and the heterogeneous group are soon assembled at the side scenes in breathless anxiety and motley confusion. "Now," cries the manager, consulting the written list which hangs behind the first P. S, wing, "Scene 1, open country—lamps down—thunder and lightning—all ready, White?" [this is addressed to one of the army]. "All ready"—"Very well, scene 2 - front chamber; is the front chamber down?" "Yes." "Very well—Jones."—[To the other army who is up in the flies:] "Hallo! Wind up the open country when we ring up." "I’ll take care," growls the elevated army.—"Scene 3, back perspective with practical bridge. Bridge ready, White? Got the tressels there?" "All right," responds the functionary. "Very well. Clear the stage," adds the manager, hastily packing every member of the company into the little space there is between the wings and the wall, and one wing and another. "Places, places, now then witches—Duncan—Malcolm—bloody officer—where’s that bloody officer?"—"Here!" replies the officer, who has been rose-pinking for the character. "Get ready, then; now, White, ring the second music bell." The actors who are to be discovered are hastily arranged, and the actors who are not to be discovered place themselves, in their anxiety to peep at the house, just where the whole audience can see them. The bell rings, and the orchestra, in acknowledgment of the call, play three distinct chords. The bell rings again, the tragedy (!) opens, and our description closes. https://www.dickenssearch.com/files/original/5/Sketches_of_London_No._XX_Our_Parish_[V]/1835-08-20_The_Evening_Chronicle_Sketches_of_London_Our_Parish_No.XX.pdf 275e6d7585f55cd074531029d02acf5e 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 Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Evening Chronicle Pseudonym The name under which the item was published BOZ 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. 18350820 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. Our Parish is very prolific in ladies’ charitable societies. In winter, when wet feet are common and colds not scarce, we have the ladies’ soup distribution society, the ladies’ coal distribution society, and the ladies’ blanket distribution society; in summer, when stone fruits flourish and stomach-aches prevail, we have the ladies’ dispensary, and the ladies’ sick visitation committee; and all the year round we have the ladies’ child’s examination society, the ladies’ bible and prayer-book circulation society, and the ladies’ child-bed linen monthly loan society. The two latter are decidedly the most important; whether they are productive of more benefit than the rest is not for us to say, but we can take upon ourselves to affirm, with the utmost solemnity, that they create a greater stir and more bustle than all the others put together. We should be disposed to say, on the first blush of the matter, that the bible and prayer-book society is not so popular as the child-bed linen society; the bible and prayer-book society has, however, considerably increased in importance within the last year or two; having derived some adventitious aid from the factious opposition of the child’s examination society, which factious opposition originated in manner following:—When the young curate was popular, and all the unmarried ladies in the parish took a serious turn, the charity children all at once became objects of peculiar and especial interest. The three Miss Browns (enthusiastic admirers of the curate) taught, and exercised, and examined, and re-examined the unfortunate children, until the boys grew pale, and the girls consumptive with study and fatigue. The three Miss Browns stood it out very well, because they relieved each other; but the children, having no relief at all, exhibited decided symptoms of weariness and care. The unthinking part of the parishioners laughed at all this, but the more reflective portion of the inhabitants abstained from expressing any opinion on the subject until that of the curate had been clearly ascertained. The opportunity was not long wanting. The curate preached a charity sermon on behalf of the charity school; and in the charity sermon aforesaid, expatiated in glowing terms on the praiseworthy and indefatigable exertions of certain estimable individuals. Sobs were heard to issue from the three Miss Browns’ pew; the pew opener of the division was seen to hurry down the centre aisle to the vestry door, and to return immediately, bearing a glass of water in her hand; a low moaning ensued; two more pew openers rushed to the spot, and the three Miss Browns, each supported by a pew opener, were led out of the church, and led in again after a lapse of five minutes with white pocket handkerchiefs to their eyes, as if they had been attending a funeral in the churchyard adjoining. If any doubt had for a moment existed, as to whom the allusion was intended to apply, it was at once removed. The wish to enlighten the charity children became universal, and the three Miss Browns were unanimously besought to divide the school into classes, and to assign each class to the superintendence of two young ladies. A little learning is a dangerous thing, but a little patronage is more so: the three Miss Browns appointed all the old maids, and carefully excluded the young ones. Maiden aunts triumphed: mammas were reduced to the lowest depths of despair; & there is no telling in what act of violence the general indignation against the three Miss Browns might have vented itself, had not a perfectly providential occurrence changed the tide of public feeling. Mrs. Johnson Parker, the mother of seven extremely fine girls—all unmarried—hastily reported to several other mamma's of several other unmarried families, that five old men, six old women, and children innumerable, in the free seats near her pew, were in the habit of coming to church every Sunday without either bible or prayer-book. Was this to be borne in a civilized country? Could such things be tolerated in a christian land? Never! A Ladies’ Bible and Prayer-book Distribution Society was instantly formed: President, Mrs. Johnson Parker; treasurers, auditors, and secretary, the Misses Johnson Parker: subscriptions were entered into; books were bought, all the free seat people provided therewith; and when the first lesson was given out on the first Sunday succeeding these events, there was such a dropping of books, and rustling of leaves, that it was morally impossible to hear one word of the service for five minutes afterwards. The three Miss Browns and their party saw the approaching danger, and endeavoured to avert it by ridicule and sarcasm. Neither the old men nor the old women could read their books now they had got em, said the three Miss Browns. Never mind; they could learn, replied Mrs. Johnson Parker. The children couldn’t read either, suggested the three Miss Browns. No matter; they could be taught, retorted Mrs. Johnson Parker. A balance of parties took place. The Miss Browns publicly examined—popular feeling inclined to the child’s examination society. The Miss Johnson Parkers' publicly distributed—a re-action took place in favour of the prayer-book distribution. A feather would have turned the scale, and a feather did turn it. A missionary returned from the West Indies; he was to be presented to the Dissenters’ Distribution Society on his marriage with a wealthy widow. Overtures were made to the Dissenters by the Johnson Parkers. Their object was the same, and why not have a joint meeting of the two societies? The proposition was accepted. The meeting was duly heralded by public announcement, and the room was crowded to suffocation. The missionary appeared on the platform; he was hailed with enthusiasm. He repeated a dialogue he had heard between two negroes behind a hedge, on the subject of distribution societies; he approbation was tumultuous. He gave an imitation of the two negroes in broken English; the roof was rent with applause. From that period we date (with one trifling exception) a daily increase in the popularity of the Distribution Society—an increase of popularity which the feeble and impotent opposition of the examination party has only tended to augment. Now, the great points about the Child-bed Linen Monthly Loan Society are, that it is less dependent on the fluctuations of public opinion than either the distribution or the child’s examination, and that come what may, there is never any lack of objects on which to exercise its benevolence. Our parish is a very populous one, and if anything, contributes, we should be disposed to say, rather more than its due share to the aggregate amount of births in the metropolis and its environs. The consequence is, that the Monthly Loan Society flourishes, and invests its members with a most enviable amount of bustling patronage. The society (whose only notion of dividing time, would appear to be its allotment into months) holds monthly tea-drinkings, at which the monthly report is received, a secretary elected for the month ensuing, and such of the monthly boxes as may not happen to be out on loan for the month, carefully examined. We were never present at one of these meetings, from all of which it is scarcely necessary to say, gentlemen are carefully excluded; but Mr. Bung has been called before the Board once or twice; and we have his authority for stating that its proceedings are conducted with great order and regularity, not more than four members being allowed to speak at one time on any pretence whatever. The regular committee is composed exclusively of married ladies, but a vast number of young unmarried ladies of from 18 to 25 years of age, respectively, are admitted as honorary members; partly because they are very useful in replenishing the boxes, and visiting the confined; partly because it is highly desirable that they should be initiated, at an early period, into the more serious and matronly duties of after life; and partly because prudent mammas have not unfrequently been known to turn this circumstance to wonderfully good account in matrimonial speculations. In addition to the loan of the monthly boxes (which are always painted blue, with the name of the society in large white letters on the lid), the society dispense occasional grants of beef tea, and a composition of warm beer, spice, eggs, and sugar, commonly known by the name of "caudle," to its patients. And here again the services of the honorary members are called into requisition, and most cheerfully conceded. Deputations of twos or threes are sent out to visit the patients, and on these occasions there is such a tasting of caudle and beef tea, such a stirring about of little messes in tiny saucepans on the hob, such a dressing and undressing of infants, such a tying and folding, and pinning, such a nursing and warming of little legs and feet before the fire, such a delightful confusion of talking and cooking, bustle, importance, and officiousness, as never can be enjoyed in its full extent but on similar occasions. In rivalry of these two institutions, and as a last expiring effort to acquire parochial popularity, the child’s examination people determined, the other day on having a grand public examination of the pupils; and the large school-room of the national seminary was, by and with the consent of the parish authorities, devoted to the purpose. Invitation circulars were forwarded to all the principal parishioners, including, of course, the heads of the other two societies, for whose especial behoof and edification the display was intended; and a large audience was confidently anticipated on the occasion. The floor was carefully scrubbed the day before, under the immediate superintendence of the three Miss Browns; forms were placed across the room for the accommodation of the visitors; specimens in writing were carefully selected, and as carefully patched and touched up, until they astonished the children who had written them, rather more than the company who read them; sums in compound addition were re-hearsed and re-hearsed until all the children had the totals by heart; and the preparations altogether were on the most laborious and most comprehensive scale. The morning arrived, the children were yellow-soaped, and flannelled, and towelled, 'til their faces shone again; every pupil’s hair was carefully combed into his or her eyes, as the case might be; the girls were adorned with snow-white tippets, and caps bound round the head by a single purple ribbon: the necks of the elder boys were fixed into collars of startling dimensions. The doors were thrown open and the Miss Browns and Co. were discovered in plain white muslin dresses and caps of the same —the child’s examination uniform. The room filled; the greetings of the company were loud and cordial; the distributionists trembled, for their popularity was at stake. The eldest boy fell forward, and delivered a propitiatory address from behind his collar. It was from the pen of Mr. Henry Brown; the applause was universal, and the Johnson Parkers were aghast. The examination proceeded with success, and terminated in triumph. The Child’s Examination Society gained a momentary victory, and the Johnson Parkers retreated in despair. A secret council of the distributionists was held that night—Mrs. Johnson Parker in the Chair—to consider of the best means of recovering the ground they had lost in the favour of the parish. What could be done? Another meeting! alas! who was to attend it? The Missionary would not do twice; and the slaves were emancipated. A bold step must be taken; the parish must be astonished in some way or other; but no one was able to suggest what the step should be. At length a very old lady was heard to mumble in indistinct tones, "Exeter Hall." A sudden light broke in upon the meeting. It was unanimously resolved that a deputation of old ladies should wait upon Mr. Somebody O'Something, a celebrated Catholic renegade and Protestant bigot, imploring his assistance, and the favour of a speech; and that the deputation should also wait on two or three other imbecile old women, not resident in the parish, and entreat their attendance. The application was successful; the meeting was held; the Irishman came: he talked of green isles - other shores—vast Atlantic—bosom of the deep—Christian charity—blood and extermination—mercy in hearts—arms in hands—altars and homes—household gods—wiped his eyes, blew his nose, and quoted Latin. The effect was tremendous—the Latin was a decided hit. Nobody knew exactly what it was about, but everybody knew it must be affecting, because even the orator was overcome. The popularity of the Distribution Society among the ladies of our parish is unprecedented; and the Child’s Examination is fast going to decay. [To be continued]. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-08-20_The_Evening_Chronicle_Sketches_of_London_NoXX_Our_ParishV.xml" target="_blank" rel="noopener">'Sketches of London, No. XX, Our Parish' (V). The Evening Chronicle (20 August 1835).</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 'Sketches of London, No. XX, Our Parish' (V) Description An account of the resource Published in The Evening Chronicle (20 August 1835). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350820/022/0003" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350820/022/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-08-20 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-08-20_The_Evening_Chronicle_Sketches_of_London_NoXX_Our_ParishV 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. 'Sketches of London, No. XX, Our Parish' (V) (20 August 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/short-stories/1835-08-20_The_Evening_Chronicle_Sketches_of_London_NoXX_Our_ParishV">https://dickenssearch.com/short-stories/1835-08-20_The_Evening_Chronicle_Sketches_of_London_NoXX_Our_ParishV</a>. Scripto Transcription A written representation of a document. Our Parish is very prolific in ladies’ charitable societies. In winter, when wet feet are common and colds not scarce, we have the ladies’ soup distribution society, the ladies’ coal distribution society, and the ladies’ blanket distribution society; in summer, when stone fruits flourish and stomach-aches prevail, we have the ladies’ dispensary, and the ladies’ sick visitation committee; and all the year round we have the ladies’ child’s examination society, the ladies’ bible and prayer-book circulation society, and the ladies’ child-bed linen monthly loan society. The two latter are decidedly the most important; whether they are productive of more benefit than the rest is not for us to say, but we can take upon ourselves to affirm, with the utmost solemnity, that they create a greater stir and more bustle than all the others put together. We should be disposed to say, on the first blush of the matter, that the bible and prayer-book society is not so popular as the child-bed linen society; the bible and prayer-book society has, however, considerably increased in importance within the last year or two; having derived some adventitious aid from the factious opposition of the child’s examination society, which factious opposition originated in manner following:—When the young curate was popular, and all the unmarried ladies in the parish took a serious turn, the charity children all at once became objects of peculiar and especial interest. The three Miss Browns (enthusiastic admirers of the curate) taught, and exercised, and examined, and re-examined the unfortunate children, until the boys grew pale, and the girls consumptive with study and fatigue. The three Miss Browns stood it out very well, because they relieved each other; but the children, having no relief at all, exhibited decided symptoms of weariness and care. The unthinking part of the parishioners laughed at all this, but the more reflective portion of the inhabitants abstained from expressing any opinion on the subject until that of the curate had been clearly ascertained. The opportunity was not long wanting. The curate preached a charity sermon on behalf of the charity school; and in the charity sermon aforesaid, expatiated in glowing terms on the praiseworthy and indefatigable exertions of certain estimable individuals. Sobs were heard to issue from the three Miss Browns’ pew; the pew opener of the division was seen to hurry down the centre aisle to the vestry door, and to return immediately, bearing a glass of water in her hand; a low moaning ensued; two more pew openers rushed to the spot, and the three Miss Browns, each supported by a pew opener, were led out of the church, and led in again after a lapse of five minutes with white pocket handkerchiefs to their eyes, as if they had been attending a funeral in the churchyard adjoining. If any doubt had for a moment existed, as to whom the allusion was intended to apply, it was at once removed. The wish to enlighten the charity children became universal, and the three Miss Browns were unanimously besought to divide the school into classes, and to assign each class to the superintendence of two young ladies. A little learning is a dangerous thing, but a little patronage is more so: the three Miss Browns appointed all the old maids, and carefully excluded the young ones. Maiden aunts triumphed: mammas were reduced to the lowest depths of despair; & there is no telling in what act of violence the general indignation against the three Miss Browns might have vented itself, had not a perfectly providential occurrence changed the tide of public feeling. Mrs. Johnson Parker, the mother of seven extremely fine girls—all unmarried—hastily reported to several other mamma's of several other unmarried families, that five old men, six old women, and children innumerable, in the free seats near her pew, were in the habit of coming to church every Sunday without either bible or prayer-book. Was this to be borne in a civilized country? Could such things be tolerated in a christian land? Never! A Ladies’ Bible and Prayer-book Distribution Society was instantly formed: President, Mrs. Johnson Parker; treasurers, auditors, and secretary, the Misses Johnson Parker: subscriptions were entered into; books were bought, all the free seat people provided therewith; and when the first lesson was given out on the first Sunday succeeding these events, there was such a dropping of books, and rustling of leaves, that it was morally impossible to hear one word of the service for five minutes afterwards. The three Miss Browns and their party saw the approaching danger, and endeavoured to avert it by ridicule and sarcasm. Neither the old men nor the old women could read their books now they had got em, said the three Miss Browns. Never mind; they could learn, replied Mrs. Johnson Parker. The children couldn’t read either, suggested the three Miss Browns. No matter; they could be taught, retorted Mrs. Johnson Parker. A balance of parties took place. The Miss Browns publicly examined—popular feeling inclined to the child’s examination society. The Miss Johnson Parkers' publicly distributed—a re-action took place in favour of the prayer-book distribution. A feather would have turned the scale, and a feather did turn it. A missionary returned from the West Indies; he was to be presented to the Dissenters’ Distribution Society on his marriage with a wealthy widow. Overtures were made to the Dissenters by the Johnson Parkers. Their object was the same, and why not have a joint meeting of the two societies? The proposition was accepted. The meeting was duly heralded by public announcement, and the room was crowded to suffocation. The missionary appeared on the platform; he was hailed with enthusiasm. He repeated a dialogue he had heard between two negroes behind a hedge, on the subject of distribution societies; he approbation was tumultuous. He gave an imitation of the two negroes in broken English; the roof was rent with applause. From that period we date (with one trifling exception) a daily increase in the popularity of the Distribution Society—an increase of popularity which the feeble and impotent opposition of the examination party has only tended to augment. Now, the great points about the Child-bed Linen Monthly Loan Society are, that it is less dependent on the fluctuations of public opinion than either the distribution or the child’s examination, and that come what may, there is never any lack of objects on which to exercise its benevolence. Our parish is a very populous one, and if anything, contributes, we should be disposed to say, rather more than its due share to the aggregate amount of births in the metropolis and its environs. The consequence is, that the Monthly Loan Society flourishes, and invests its members with a most enviable amount of bustling patronage. The society (whose only notion of dividing time, would appear to be its allotment into months) holds monthly tea-drinkings, at which the monthly report is received, a secretary elected for the month ensuing, and such of the monthly boxes as may not happen to be out on loan for the month, carefully examined. We were never present at one of these meetings, from all of which it is scarcely necessary to say, gentlemen are carefully excluded; but Mr. Bung has been called before the Board once or twice; and we have his authority for stating that its proceedings are conducted with great order and regularity, not more than four members being allowed to speak at one time on any pretence whatever. The regular committee is composed exclusively of married ladies, but a vast number of young unmarried ladies of from 18 to 25 years of age, respectively, are admitted as honorary members; partly because they are very useful in replenishing the boxes, and visiting the confined; partly because it is highly desirable that they should be initiated, at an early period, into the more serious and matronly duties of after life; and partly because prudent mammas have not unfrequently been known to turn this circumstance to wonderfully good account in matrimonial speculations. In addition to the loan of the monthly boxes (which are always painted blue, with the name of the society in large white letters on the lid), the society dispense occasional grants of beef tea, and a composition of warm beer, spice, eggs, and sugar, commonly known by the name of "caudle," to its patients. And here again the services of the honorary members are called into requisition, and most cheerfully conceded. Deputations of twos or threes are sent out to visit the patients, and on these occasions there is such a tasting of caudle and beef tea, such a stirring about of little messes in tiny saucepans on the hob, such a dressing and undressing of infants, such a tying and folding, and pinning, such a nursing and warming of little legs and feet before the fire, such a delightful confusion of talking and cooking, bustle, importance, and officiousness, as never can be enjoyed in its full extent but on similar occasions. In rivalry of these two institutions, and as a last expiring effort to acquire parochial popularity, the child’s examination people determined, the other day on having a grand public examination of the pupils; and the large school-room of the national seminary was, by and with the consent of the parish authorities, devoted to the purpose. Invitation circulars were forwarded to all the principal parishioners, including, of course, the heads of the other two societies, for whose especial behoof and edification the display was intended; and a large audience was confidently anticipated on the occasion. The floor was carefully scrubbed the day before, under the immediate superintendence of the three Miss Browns; forms were placed across the room for the accommodation of the visitors; specimens in writing were carefully selected, and as carefully patched and touched up, until they astonished the children who had written them, rather more than the company who read them; sums in compound addition were re-hearsed and re-hearsed until all the children had the totals by heart; and the preparations altogether were on the most laborious and most comprehensive scale. The morning arrived, the children were yellow-soaped, and flannelled, and towelled, 'til their faces shone again; every pupil’s hair was carefully combed into his or her eyes, as the case might be; the girls were adorned with snow-white tippets, and caps bound round the head by a single purple ribbon: the necks of the elder boys were fixed into collars of startling dimensions. The doors were thrown open and the Miss Browns and Co. were discovered in plain white muslin dresses and caps of the same —the child’s examination uniform. The room filled; the greetings of the company were loud and cordial; the distributionists trembled, for their popularity was at stake. The eldest boy fell forward, and delivered a propitiatory address from behind his collar. It was from the pen of Mr. Henry Brown; the applause was universal, and the Johnson Parkers were aghast. The examination proceeded with success, and terminated in triumph. The Child’s Examination Society gained a momentary victory, and the Johnson Parkers retreated in despair. A secret council of the distributionists was held that night—Mrs. Johnson Parker in the Chair—to consider of the best means of recovering the ground they had lost in the favour of the parish. What could be done? Another meeting! alas! who was to attend it? The Missionary would not do twice; and the slaves were emancipated. A bold step must be taken; the parish must be astonished in some way or other; but no one was able to suggest what the step should be. At length a very old lady was heard to mumble in indistinct tones, "Exeter Hall." A sudden light broke in upon the meeting. It was unanimously resolved that a deputation of old ladies should wait upon Mr. Somebody O'Something, a celebrated Catholic renegade and Protestant bigot, imploring his assistance, and the favour of a speech; and that the deputation should also wait on two or three other imbecile old women, not resident in the parish, and entreat their attendance. The application was successful; the meeting was held; the Irishman came:  he talked of green isles - other shores—vast Atlantic—bosom of the deep—Christian charity—blood and extermination—mercy in hearts—arms in hands—altars and homes—household gods—wiped his eyes, blew his nose, and quoted Latin. The effect was tremendous—the Latin was a decided hit. Nobody knew exactly what it was about, but everybody knew it must be affecting, because even the orator was overcome. The popularity of the Distribution Society among the ladies of our parish is unprecedented; and the Child’s Examination is fast going to decay. [To be continued]. https://www.dickenssearch.com/files/original/5/Scenes_and_Characters_No._1_Seven_Dials/1835-09-27_Bells_Life_in_London_Scenes_and_Characters_No1__Seven_Dials.pdf 77eb62cd595cb7ff4293751b367f024a 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 Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) Bell's Life in London Pseudonym The name under which the item was published TIBBS 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. 18350927 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. SEVEN DIALS.—We have always been of opinion that if Tom King and the Frenchman had not immortalised Seven Dials, Seven Dials would have immortalised itself. Seven Dials! the region of song and poetry—first effusions, and last dying speeches: hallowed by the names of Catnac and of Pitts—names that will entwine themselves with costermongers, and barrel organs, when penny magazines shall have superseded penny yards of song, and capital punishment be unknown! Look at the construction of the place. The gordian knot was all very well in its way: so was the maze of Hampton Court: so is the maze at the Beulah Spa: so were the ties of stiff white neckcloths, when the difficulty of getting one on was only to be equalled by the apparent impossibility of ever getting it off again. But what involutions can compare with those of Seven Dials—where is there such another maze of streets, courts, lanes, and alleys—where such a pure mixture of Englishmen and Irishmen, as in this complicated part of London? We boldly aver that we doubt the veracity of the legend to which we have adverted. We can suppose a man rash enough to inquire at random—at a house with lodgers too—for a Mr. Thompson, with all but the certainty before his eyes, of finding at least two or three Thompsons in any house of moderate dimensions; but a Frenchman—a Frenchman—in Seven Dials! Pooh! He was an Irishman. Tom King's education had been neglected in his infancy, and as he couldn't understand half the man said, he took it for granted he was talking French. The stranger who finds himself in "The Dials" for the first time, and stands Belzoni-like, at the entrance of seven obscure passages, uncertain which to take, will see enough around him to keep his curiosity and attention awake for no inconsiderable time. From the irregular square into which he has emerged, streets and courts dart in all directions, until they are lost in the unwholesome vapour which hangs over the house-tops, and renders the dirty perspective uncertain and confined; and lounging at every corner, as if they came there to take a few gasps of such fresh air as has found its way so far, but is too much exhausted already to be enabled to force itself into the narrow alleys around, are groups of people, whose appearance and dwellings would fill any mind but a regular Londoner's with astonishment. On one side a little crowd has collected round a couple of ladies, who having imbibed the contents of various "three-outs" of gin and cloves in the course of the morning, have at length differed on some point of domestic arrangement, and are on the eve of settling the quarrel satisfactorily by an appeal to blows, greatly to the interest of other ladies who live in the same house, and tenements adjoining, and who are all partisans on one side or other. "Vy don't you pitch into her Sarah?" exclaims one half-dressed matron, by way of encouragement. "S'elp me God, if my 'usband had treated her vith a drain last night, unbeknown to me, I'd tear her precious eyes out—a wixen!" "What's the matter, ma'am?" inquires another old woman, who has just bustled up to the spot. "Matter!" replies the first speaker, talking at the obnoxious combatant, "matter! Here's poor dear Mrs. Sulliwin, as has five blessed children of her own, can't go out a charing for one arternoon, but what hussies must be a comin and ticing avay her oun 'usband, as she's been married to twelve year come next Easter Monday, for I see the certificate ven I was a drinkin a cup o' tea vith her only the wery last blessed Ven'sday as ever vos sent. I appen'd to say promiscuously 'Mrs Sulliwin,' says I—" "What do you mean by hussies?" interrupts a champion of the other party, who has evinced a strong inclination throughout to get up a branch fight on her own account ("Hoo-roar," ejaculates a pot-boy in a parenthesis, 'put the kye-bosh on her, Mary.") "What do you mean by hussies?" reiterates the champion. "Niver mind," replies the opposition expressively, "niver mind; you go home, and, ven you're quite sober, mend your stockings." This somewhat personal allusion, not only to the lady's habits of intemperance, but also to the state of her wardrobe, rouses her utmost ire, and she accordingly complies with the urgent request of the by-standers to "pitch in," with considerable alacrity. The scuffle became general, and terminates, in minor play-bill phraseology, with "arrival of the policemen—interior of the station-house, and impressive denouement." In addition to the numerous groups who are idling about the gin shops, and squabbling in the centre of the road, every post in the open space has its occupant, who leans against it for hours, with listless perseverance. It is odd enough that one class of men in London appear to have no enjoyment beyond leaning against posts. We never saw a regular bricklayer's labourer take any other recreation—fighting excepted. Pass through St. Giles's in the evening of a week day—there they are in their fustian dresses, spotted with brick-dust and whitewash—leaning against posts. Walk through Seven Dials on Sunday morning: there they are again—drab or light corduroy trousers, blucher boots, blue coats, and great yellow waistcoats—leaning against posts. The idea of a man dressing himself in his best clothes, to lean against a post all day! The peculiar character of these streets, and the close resemblance each one bears to its neighbour, by no means tends to decrease the bewilderment in which the unexperienced wayfarer through "the Dials" finds himself involved. He traverses streets of dirty, straggling houses, with here and there an unexpected court, composed of buildings as ill-proportioned and deformed as the half naked children that wallow in the kennels. Now and then, is a little dark chandler's shop, with a cracked bell hung up behind the door, to announce the entrance of a customer, or betray the presence of some young gentleman in whom a passion for shop tills has developed itself at an early age. Handsome, lofty buildings usurp the places of low dingy public-houses; long rows of broken and patched windows expose plants that may have flourished when "the Dials" were built, in vessels as dirty as "the Dials" themselves; and shops for the purchase of rags, bones, old iron, and kitchen stuff, vie in cleanliness with the bird-fanciers' and rabbit-dealers', which one might fancy so many arks, but for the irresistible conviction that no bird in its proper senses, who was permitted to leave one of them, would ever come back again. Brokers' shops, which would seem to have been established by humane individuals as refuges for destitute bugs, interspersed with announcements of day schools, penny theatres, petition-writers, mangles, and music for balls or routs, complete the "still life" of the subject; and dirty men, filthy women, squalid children, fluttering shuttlecocks, noisy battledores, reeking pipes, bad fruit, more than doubtful oysters, attenuated cats, depressed dogs, and anatomical fowls, are its cheerful accompaniments. If the external appearance of the houses, or a glance at their inhabitants, presents but few attractions, a closer acquaintance with either is little calculated to alter one's first impression. Every room has its separate tenant, and every tenant is—by the same mysterious dispensation which causes a country curate to "increase and multiply" most marvellously—generally the head of a numerous family. The man in the shop, perhaps, is in the baked "jemmy" line, or the fire-wood and hearth-stone line, or any other line which requires a floating capital of eighteen-pence or thereabouts; and he and his family live in the shop, and the small back parlour behind it. Then there is an Irish labourer and his family in the back kitchen; and a jobbing man—carpet-beater and so forth—with his family in the front one. In the front one-pair there's another man with another wife and family, and in the back one-pair, there's "a young ooman as takes in tambour-work, and dresses quite genteel," who talks a good deal about "my friend," and "can't abear anything low." The second floor front, and the rest of the lodgers, are just a second edition of the people below, except a shabby-genteel man in the back attic, who has his half-pint of coffee every morning from the coffee-shop next door but one, which boasts a little front den called a coffee-room, with a fire-place, over which is an inscription, politely requesting that, "to prevent mistakes," customers will "please to pay on delivery." The shabby-genteel man is an object of some mystery, but as he leads a life of seclusion, and never was known to buy anything beyond an occasional pen, except half-pints of coffee, penny loaves, and ha'porths of ink, his fellow-lodgers very naturally suppose him to be an author; and rumours are current in the Dials, that he writes poems—for Mr Warren. Now anybody who passed through the Dials on a hot summer's evening, and saw the different women in the house gossiping on the steps, would be apt to think that all was harmony among them, and that a more primitive set of people than the native Diallers could not be imagined. Alas! the man in the shop ill-treats his family; the carpet-beater extends his professional pursuits to his wife; the one-pair front has an undying feud with the two pair front, in consequence of the two-pair front persisting in dancing over his (the one-pair front's) head, when he and his family have retired for the night; the two-pair back will interfere with the front kitchen's children; the Irishman comes home drunk every other night, and attacks everybody; and the one-pair back screams at everything. Animosities spring up between floor and floor; the very cellar asserts his equality. Mrs A. smacks Mrs B.'s child for "making faces." Mrs B. forthwith throws cold water over Mrs A.'s child for "calling names." The husbands are embroiled—the quarrel becomes general—an assault is the consequence, and a police-office the result. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-09-27_Bells_Life_in_London_Scenes_and_Characters_No1_Seven_Dials.xml" target="_blank" rel="noopener">'Scenes and Characters, No. 1, Seven Dials.' Bell's Life in London (27 September 1835).</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 'Scenes and Characters, No. 1, Seven Dials' Description An account of the resource Published in Bell's Life in London (27 September 1835). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/bl/0000355/18350927/001/0001" class="waffle-rich-text-link" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/bl/0000355/18350927/001/0001</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-09-27 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-09-27_Bells_Life_in_London_Scenes_and_Characters_No1_Seven_Dials 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. 'Scenes and Characters, No. 1, Seven Dials' (27 September 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1835-09-27_Bells_Life_in_London_Scenes_and_Characters_No1_Seven_Dials">https://www.dickenssearch.com/short-stories/1835-09-27_Bells_Life_in_London_Scenes_and_Characters_No1_Seven_Dials</a>. Scripto Transcription A written representation of a document. SEVEN DIALS.—We have always been of opinion that if Tom King and the Frenchman had not immortalised Seven Dials, Seven Dials would have immortalised itself. Seven Dials! the region of song and poetry—first effusions, and last dying speeches: hallowed by the names of Catnac and of Pitts—names that will entwine themselves with costermongers, and barrel organs, when penny magazines shall have superseded penny yards of song, and capital punishment be unknown! Look at the construction of the place. The gordian knot was all very well in its way: so was the maze of Hampton Court: so is the maze at the Beulah Spa: so were the ties of stiff white neckcloths, when the difficulty of getting one on was only to be equalled by the apparent impossibility of ever getting it off again. But what involutions can compare with those of Seven Dials—where is there such another maze of streets, courts, lanes, and alleys—where such a pure mixture of Englishmen and Irishmen, as in this complicated part of London? We boldly aver that we doubt the veracity of the legend to which we have adverted. We can suppose a man rash enough to inquire at random—at a house with lodgers too—for a Mr. Thompson, with all but the certainty before his eyes, of finding at least two or three Thompsons in any house of moderate dimensions; but a Frenchman—a Frenchman—in Seven Dials! Pooh! He was an Irishman. Tom King's education had been neglected in his infancy, and as he couldn't understand half the man said, he took it for granted he was talking French. The stranger who finds himself in "The Dials" for the first time, and stands Belzoni-like, at the entrance of seven obscure passages, uncertain which to take, will see enough around him to keep his curiosity and attention awake for no inconsiderable time. From the irregular square into which he has emerged, streets and courts dart in all directions, until they are lost in the unwholesome vapour which hangs over the house-tops, and renders the dirty perspective uncertain and confined; and lounging at every corner, as if they came there to take a few gasps of such fresh air as has found its way so far, but is too much exhausted already to be enabled to force itself into the narrow alleys around, are groups of people, whose appearance and dwellings would fill any mind but a regular Londoner's with astonishment. On one side a little crowd has collected round a couple of ladies, who having imbibed the contents of various "three-outs" of gin and cloves in the course of the morning, have at length differed on some point of domestic arrangement, and are on the eve of settling the quarrel satisfactorily by an appeal to blows, greatly to the interest of other ladies who live in the same house, and tenements adjoining, and who are all partisans on one side or other. "Vy don't you pitch into her Sarah?" exclaims one half-dressed matron, by way of encouragement. "S'elp me God, if my 'usband had treated her vith a drain last night, unbeknown to me, I'd tear her precious eyes out—a wixen!" "What's the matter, ma'am?" inquires another old woman, who has just bustled up to the spot. "Matter!" replies the first speaker, talking at the obnoxious combatant, "matter! Here's poor dear Mrs. Sulliwin, as has five blessed children of her own, can't go out a charing for one arternoon, but what hussies must be a comin and ticing avay her oun 'usband, as she's been married to twelve year come next Easter Monday, for I see the certificate ven I was a drinkin a cup o' tea vith her only the wery last blessed Ven'sday as ever vos sent. I appen'd to say promiscuously 'Mrs Sulliwin,' says I—" "What do you mean by hussies?" interrupts a champion of the other party, who has evinced a strong inclination throughout to get up a branch fight on her own account ("Hoo-roar," ejaculates a pot-boy in a parenthesis, 'put the kye-bosh on her, Mary.") "What do you mean by hussies?" reiterates the champion. "Niver mind," replies the opposition expressively, "niver mind; you go home, and, ven you're quite sober, mend your stockings." This somewhat personal allusion, not only to the lady's habits of intemperance, but also to the state of her wardrobe, rouses her utmost ire, and she accordingly complies with the urgent request of the by-standers to "pitch in," with considerable alacrity. The scuffle became general, and terminates, in minor play-bill phraseology, with "arrival of the policemen—interior of the station-house, and impressive denouement." In addition to the numerous groups who are idling about the gin shops, and squabbling in the centre of the road, every post in the open space has its occupant, who leans against it for hours, with listless perseverance. It is odd enough that one class of men in London appear to have no enjoyment beyond leaning against posts. We never saw a regular bricklayer's labourer take any other recreation—fighting excepted. Pass through St. Giles's in the evening of a week day—there they are in their fustian dresses, spotted with brick-dust and whitewash—leaning against posts. Walk through Seven Dials on Sunday morning: there they are again—drab or light corduroy trousers, blucher boots, blue coats, and great yellow waistcoats—leaning against posts. The idea of a man dressing himself in his best clothes, to lean against a post all day! The peculiar character of these streets, and the close resemblance each one bears to its neighbour, by no means tends to decrease the bewilderment in which the unexperienced wayfarer through "the Dials" finds himself involved. He traverses streets of dirty, straggling houses, with here and there an unexpected court, composed of buildings as ill-proportioned and deformed as the half naked children that wallow in the kennels. Now and then, is a little dark chandler's shop, with a cracked bell hung up behind the door, to announce the entrance of a customer, or betray the presence of some young gentleman in whom a passion for shop tills has developed itself at an early age. Handsome, lofty buildings usurp the places of low dingy public-houses; long rows of broken and patched windows expose plants that may have flourished when "the Dials" were built, in vessels as dirty as "the Dials" themselves; and shops for the purchase of rags, bones, old iron, and kitchen stuff, vie in cleanliness with the bird-fanciers' and rabbit-dealers', which one might fancy so many arks, but for the irresistible conviction that no bird in its proper senses, who was permitted to leave one of them, would ever come back again. Brokers' shops, which would seem to have been established by humane individuals as refuges for destitute bugs, interspersed with announcements of day schools, penny theatres, petition-writers, mangles, and music for balls or routs, complete the "still life" of the subject; and dirty men, filthy women, squalid children, fluttering shuttlecocks, noisy battledores, reeking pipes, bad fruit, more than doubtful oysters, attenuated cats, depressed dogs, and anatomical fowls, are its cheerful accompaniments. If the external appearance of the houses, or a glance at their inhabitants, presents but few attractions, a closer acquaintance with either is little calculated to alter one's first impression. Every room has its separate tenant, and every tenant is—by the same mysterious dispensation which causes a country curate to "increase and multiply" most marvellously—generally the head of a numerous family. The man in the shop, perhaps, is in the baked "jemmy" line, or the fire-wood and hearth-stone line, or any other line which requires a floating capital of eighteen-pence or thereabouts; and he and his family live in the shop, and the small back parlour behind it. Then there is an Irish labourer and his family in the back kitchen; and a jobbing man—carpet-beater and so forth—with his family in the front one. In the front one-pair there's another man with another wife and family, and in the back one-pair, there's "a young ooman as takes in tambour-work, and dresses quite genteel," who talks a good deal about "my friend," and "can't abear anything low." The second floor front, and the rest of the lodgers, are just a second edition of the people below, except a shabby-genteel man in the back attic, who has his half-pint of coffee every morning from the coffee-shop next door but one, which boasts a little front den called a coffee-room, with a fire-place, over which is an inscription, politely requesting that, "to prevent mistakes," customers will "please to pay on delivery." The shabby-genteel man is an object of some mystery, but as he leads a life of seclusion, and never was known to buy anything beyond an occasional pen, except half-pints of coffee, penny loaves, and ha'porths of ink, his fellow-lodgers very naturally suppose him to be an author; and rumours are current in the Dials, that he writes poems—for Mr Warren. Now anybody who passed through the Dials on a hot summer's evening, and saw the different women in the house gossiping on the steps, would be apt to think that all was harmony among them, and that a more primitive set of people than the native Diallers could not be imagined. Alas! the man in the shop ill-treats his family; the carpet-beater extends his professional pursuits to his wife; the one-pair front has an undying feud with the two pair front, in consequence of the two-pair front persisting in dancing over his (the one-pair front's) head, when he and his family have retired for the night; the two-pair back will interfere with the front kitchen's children; the Irishman comes home drunk every other night, and attacks everybody; and the one-pair back screams at everything. Animosities spring up between floor and floor; the very cellar asserts his equality. Mrs A. smacks Mrs B.'s child for "making faces." Mrs B. forthwith throws cold water over Mrs A.'s child for "calling names." The husbands are embroiled—the quarrel becomes general—an assault is the consequence, and a police-office the result. https://www.dickenssearch.com/files/original/5/Scenes_and_Characters_No._2_Miss_Evans_and_The_Eagle/1835-10-04_Bells_Life_in_London_Scenes_and_Characters_No2_Miss_Evans_and_The_Eagle.pdf b65160778f3ee63699778e8808384450 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 Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) Bell's Life in London Pseudonym The name under which the item was published TIBBS 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. 18351004 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. Samuel Wilkins was a carpenter—a journeyman carpenter, of small dimensions; decidedly below the middle size—bordering perhaps upon the dwarfish. His face was round and shiny, & his hair carefully twisted into the outer corner of each eye, till it formed a variety of that description of semi-curls, usually known as "haggerawators." His earnings were all-sufficient for his wants—varying from eighteen shillings to one pound five, weekly; his manner undeniable—his sabbath waistcoats dazzling. No wonder that with these qualifications Samuel Wilkins found favour in the eyes of the other sex; many women have been captivated by far less substantial qualifications. But Samuel was proof against their blandishments, until at length his eyes rested on those of a being for whom from that time forth he felt fate had destined him. He came and conquered—proposed and was accepted —loved and was beloved. Mr. Wilkins "kept company" with Jemima Evans. Miss Evans (or Ivins, to adopt the pronunciation most in vogue with her circle of acquaintance) had adopted in early life the harmless pursuit of shoe-binding, to which she had afterwards superadded the occupation of a straw-bonnet maker. Herself, her maternal parent, and two sisters, formed an harmonious quartett in the most secluded portion of Camden-town; and here it was that Mr. Wilkins presented himself one Monday afternoon in his best attire, with his face more shiny and his waistcoat more bright than either had ever appeared before. The family were just going to tea, and were so glad to see him. It was quite a little feast; two ounces of seven and sixpenny green, and a quarter of a pound of the best fresh; and Mr. Wilkins had brought a pint of shrimps, neatly folded up in a clean belcher, to give a zest to the meal, and propitiate Mrs. Ivins. Jemima was "cleaning herself" up-stairs: so Mr. Samuel Wilkins sat down, and talked domestic economy with Mrs. Ivins, whilst the two youngest Miss Ivins's poked bits of lighted brown paper between the bars, under the kettle, to make the water boil for tea. "I vos thinkin'" said Mr. Samuel Wilkins, during a pause in the conversation, "I vos a thinkin' of takin' J’mima to the Eagle to-night." "O my!" exclaimed Mrs. Ivins. "Lor! how nice!" said the youngest Miss Ivins. "Well; I declare!" added the youngest Miss Ivins but one. "Tell J’mima to put on her white muslin, Tilly," screamed Mrs. Ivins, with motherly anxiety; and down came J’mima herself soon afterwards in a white muslin gown, carefully hook-and-eyed, and little red shawl plentifully pinned, and white straw bonnet trimmed with red ribbons, and a small necklace and large pair of bracelets, and Denmark satin shoes, and open-work stockings, white cotton gloves on her fingers, and a cambric pocket-handkerchief carefully folded up in her hand—all quite genteel and ladylike. And away went Miss Jemima Ivins, and Mr. Samuel Wilkins, and a dress cane, with a gilt knob at the top, to the admiration and envy of the street in general, and to the high gratification of Mrs. Ivins, and the two youngest Miss Ivinses in particular. They had no sooner turned into the Pancras-road, than who should Miss Jemima Ivins stumble upon by the most fortunate accident in the world, but a young lady as she knew, with her young man, and—it is so strange how things do turn out sometimes—they were actually going to the Eagle too. So Mr. Samuel Wilkins was introduced to Miss Jemima Ivins’s friend’s young man, and they all walked on together, talking, and laughing and joking away like anything; and when they got as far as Pentonville, Miss Ivins’s friend’s young man would have the ladies go into the Crown to taste some shrub, which, after a great blushing and giggling, and hiding of faces in elaborate pocket-handkerchiefs, they consented to do. Having tasted it once, they were easily prevailed upon to taste it again; and they sat out in the garden tasting shrub, and looking at the Busses alternately 'till it was just the proper time to go to the Eagle; and then they resumed their journey, and walked on very fast, for fear they should lose the beginning of the concert in the Rotunda. "How ev’nly!" said Miss J’mima Ivins and Miss J’mima Ivins’s friend both at once, when they had passed the gate, and were fairly inside the gardens. There were the walks beautifully gravelled and planted; and the refreshment boxes painted and ornamented like so many snuff-boxes, and the variegated lamps shedding their rich light upon the company’s heads, and the place for dancing ready chalked for the company’s feet, and a Moorish band playing at one end of the gardens, and an opposition military band playing away at the other. Then the waiters were rushing to and fro with glasses of negus, and glasses of brandy and water, and bottles of ale and bottles of stout; and ginger-beer was going off in one place, and practical jokes were going on in another; and people were crowding to the door of the rotunda, and in short the whole scene was, as Miss J’mima Ivins, inspired by the novelty, or the shrub, or both, observed— "one of dazzlin excitement." As to the concert room, never was anything half so splendid. There was an orchestra for the singers, all paint, gilding, and plate glass; and such an organ! Miss J’mima Ivins’s friend’s young man whispered it had cost "four hundred pound," which Mr. Samuel Wilkins said was "not dear neither"—an opinion in which the ladies perfectly coincided. The audience were seated on elevated benches round the room, and crowded into every part of it, and every body was eating and drinking as comfortably as possible. Just before the concert commenced, Mr. Samuel Wilkins ordered two glasses of rum-and-water "warm with," and two slices of lemon, for himself and the other young man, together with "a pint o’ sherry wine for the ladies, and some sweet carraway-seed biscuits;" and they would have been quite comfortable and happy, only one gentleman with large whiskers would stare at Miss J’mima Ivins, and another gentleman in a plaid waistcoat would wink at Miss J’mima Ivins’s friend; on which Miss Jemima Ivins’s friend’s young man exhibited symptoms of boiling over, and began to mutter about "people’s imperence" and "swells out o’ luck," and to intimate in oblique terms a vague intention of knocking somebody’s head off, which he was only prevented from announcing more emphatically by both Miss J’mima Ivins and her friend, threatening to faint away on the spot if he said another word. The concert commenced—overture on the organ. "How solemn!" exclaimed Miss J’mima Ivins, glancing, perhaps unconsciously, at the gentleman with the whiskers. Mr. Samuel Wilkins, who had been muttering apart for some time past, as if he were holding a confidential conversation with the gilt knob of the dress-cane, breathed very hard;—breathing vengeance perhaps, but said nothing. "The Soldier tired," Miss somebody, in white satin. "Ancore!" cried Miss J’mima Ivins’s friend. "Ancore!' shouted the gentleman in the plaid waistcoat immediately, hammering the table with a stout bottle. Miss J’mima Ivins’s friend’s young man eyed the man behind the waistcoat from head to foot, and cast a look of interrogative contempt towards Mr. Samuel Wilkins. Comic song, accompanied on the organ. Miss J’mima Ivins was convulsed with laughter—so was the man with the whiskers. Everything the ladies did, the plaid waistcoat and whiskers did, by way of expressing a unity of sentiment and congeniality of soul; and Miss J’mima Ivins, and Miss J’mima Ivins’s friend grew lively and talkative, as Mr. George Wilkins and Miss J’mima Ivins’s friend’s young man grew morose, and surly in inverse proportion. Now, if the matter had ended here, the little party might soon have recovered their former equanimity; but Mr. Samuel Wilkins and his friend began to throw looks of defiance upon the waistcoat and whiskers; and the waistcoat and whiskers, by way of intimating the slight degree in which they were affected by the looks aforesaid, bestowed glances of increased admiration on Miss J’mima Ivins and friend. The concert and vaudeville concluded—they promenaded the gardens. The waistcoat and whiskers did the same, and made divers remarks complimentary to the ancles of Miss J’mima Ivins and friend, in an audible tone. At length, not satisfied with these numerous atrocities, they actually came up, and asked Miss J’mima Ivins and Miss J’mima Ivins’s friend to dance, without taking no more notice of Mr. Samuel Wilkins and Miss J’mima Ivins’s friend’s young man, than if they was nobody! "What do you mean by that, scoundrel?" exclaimed Mr. Samuel Wilkins, grasping the gilt-knobbed dress cane firmly in his right hand. "What’s the devil's the matter with you, you little humbug?" replied the whiskers. "How dare you insult me and my friend?" inquired the friend’s young man. "You and your friend be damned," responded the waistcoat. "Take that!" exclaimed Mr. Samuel Wilkins. The ferrule of the gilt-knobbed dress cane was visible for an instant, and then the light of the variegated lamps shone brightly upon it, as it whirled into the air, cane and all. "Give it him," said the waistcoat. "Luller-li-e-te," shouted the whiskers. "Horficer!" screamed the ladies. It was too late. Miss J’mima Ivins’s beau and the friend’s young man, lay gasping on the gravel, and the waistcoat and whiskers were seen no more. Miss J’mima Ivins and friend, being conscious that the affray was in no slight degree attributable to themselves, of course went into hysterics forthwith; declared themselves the most injured of women; exclaimed, in incoherent ravings, that they had been suspected—wrongfully suspected—oh, that they should ever have lived to see the day, &c.; suffered a relapse every time they opened their eyes, and saw their unfortunate little admirers; and were carried to their respective abodes in a hackney-coach in a state of insensibility, compounded of shrub, sherry, and excitement. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-10-04_Bells_Life_in_London_Scenes_and_Characters_No2_Miss_Evans_and_The_Eagle.xml" target="_blank" rel="noopener">'Scenes and Characters, No. 2, Miss Evans and "The Eagle".' Bell's Life in London (4 October 1835).</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 'Scenes and Characters, No. 2, Miss Evans and "The Eagle"' Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/BL/0000355/18351004/009/0001?browse=true" class="waffle-rich-text-link" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/BL/0000355/18351004/009/0001.</a> Date A point or period of time associated with an event in the lifecycle of the resource 1835-10-04 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-10-04_Bells_Life_in_London_Scenes_and_Characters_No2_Miss_Evans_and_The_Eagle 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. 'Scenes and Characters, No. 2, Miss Evans and The Eagle (04 October 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1835-10-04_Bells_Life_in_London_Scenes_and_Characters_No2_Miss_Evans_and_The_Eagle">https://www.dickenssearch.com/short-stories/1835-10-04_Bells_Life_in_London_Scenes_and_Characters_No2_Miss_Evans_and_The_Eagle</a>. Description An account of the resource Published in Bell's Life in London (4 October 1835). Scripto Transcription A written representation of a document. Mr. Samuel Wilkins was a carpenter—a journeyman carpenter, of small dimensions; decidedly below the middle size—bordering perhaps upon the dwarfish. His face was round and shiny, & his hair carefully twisted into the outer corner of each eye, till it formed a variety of that description of semi-curls, usually known as "haggerawators." His earnings were all-sufficient for his wants—varying from eighteen shillings to one pound five, weekly; his manner undeniable—his sabbath waistcoats dazzling. No wonder that with these qualifications Samuel Wilkins found favour in the eyes of the other sex; many women have been captivated by far less substantial qualifications. But Samuel was proof against their blandishments, until at length his eyes rested on those of a being for whom from that time forth he felt fate had destined him. He came and conquered—proposed and was accepted —loved and was beloved. Mr. Wilkins "kept company" with Jemima Evans. Miss Evans (or Ivins, to adopt the pronunciation most in vogue with her circle of acquaintance) had adopted in early life the harmless pursuit of shoe-binding, to which she had afterwards superadded the occupation of a straw-bonnet maker. Herself, her maternal parent, and two sisters, formed an harmonious quartett in the most secluded portion of Camden-town; and here it was that Mr. Wilkins presented himself one Monday afternoon in his best attire, with his face more shiny and his waistcoat more bright than either had ever appeared before. The family were just going to tea, and were so glad to see him. It was quite a little feast; two ounces of seven and sixpenny green, and a quarter of a pound of the best fresh; and Mr. Wilkins had brought a pint of shrimps, neatly folded up in a clean belcher, to give a zest to the meal, and propitiate Mrs. Ivins. Jemima was "cleaning herself" up-stairs: so Mr. Samuel Wilkins sat down, and talked domestic economy with Mrs. Ivins, whilst the two youngest Miss Ivins's poked bits of lighted brown paper between the bars, under the kettle, to make the water boil for tea. "I vos thinkin'" said Mr. Samuel Wilkins, during a pause in the conversation, "I vos a thinkin' of takin' J’mima to the Eagle to-night." "O my!" exclaimed Mrs. Ivins. "Lor! how nice!" said the youngest Miss Ivins. "Well; I declare!" added the youngest Miss Ivins but one. "Tell J’mima to put on her white muslin, Tilly," screamed Mrs. Ivins, with motherly anxiety; and down came J’mima herself soon afterwards in a white muslin gown, carefully hook-and-eyed, and little red shawl plentifully pinned, and white straw bonnet trimmed with red ribbons, and a small necklace and large pair of bracelets, and Denmark satin shoes, and open-work stockings, white cotton gloves on her fingers, and a cambric pocket-handkerchief carefully folded up in her hand—all quite genteel and ladylike. And away went Miss Jemima Ivins, and Mr. Samuel Wilkins, and a dress cane, with a gilt knob at the top, to the admiration and envy of the street in general, and to the high gratification of Mrs. Ivins, and the two youngest Miss Ivinses in particular. They had no sooner turned into the Pancras-road, than who should Miss Jemima Ivins stumble upon by the most fortunate accident in the world, but a young lady as she knew, with her young man, and—it is so strange how things do turn out sometimes—they were actually going to the Eagle too. So Mr. Samuel Wilkins was introduced to Miss Jemima Ivins’s friend’s young man, and they all walked on together, talking, and laughing and joking away like anything; and when they got as far as Pentonville, Miss Ivins’s friend’s young man would have the ladies go into the Crown to taste some shrub, which, after a great blushing and giggling, and hiding of faces in elaborate pocket-handkerchiefs, they consented to do. Having tasted it once, they were easily prevailed upon to taste it again; and they sat out in the garden tasting shrub, and looking at the Busses alternately 'till it was just the proper time to go to the Eagle; and then they resumed their journey, and walked on very fast, for fear they should lose the beginning of the concert in the Rotunda. "How ev’nly!" said Miss J’mima Ivins and Miss J’mima Ivins’s friend both at once, when they had passed the gate, and were fairly inside the gardens. There were the walks beautifully gravelled and planted; and the refreshment boxes painted and ornamented like so many snuff-boxes, and the variegated lamps shedding their rich light upon the company’s heads, and the place for dancing ready chalked for the company’s feet, and a Moorish band playing at one end of the gardens, and an opposition military band playing away at the other. Then the waiters were rushing to and fro with glasses of negus, and glasses of brandy and water, and bottles of ale and bottles of stout; and ginger-beer was going off in one place, and practical jokes were going on in another; and people were crowding to the door of the rotunda, and in short the whole scene was, as Miss J’mima Ivins, inspired by the novelty, or the shrub, or both, observed— "one of dazzlin excitement." As to the concert room, never was anything half so splendid. There was an orchestra for the singers, all paint, gilding, and plate glass; and such an organ! Miss J’mima Ivins’s friend’s young man whispered it had cost "four hundred pound," which Mr. Samuel Wilkins said was "not dear neither"—an opinion in which the ladies perfectly coincided. The audience were seated on elevated benches round the room, and crowded into every part of it, and every body was eating and drinking as comfortably as possible. Just before the concert commenced, Mr. Samuel Wilkins ordered two glasses of rum-and-water "warm with," and two slices of lemon, for himself and the other young man, together with "a pint o’ sherry wine for the ladies, and some sweet carraway-seed biscuits;" and they would have been quite comfortable and happy, only one gentleman with large whiskers would stare at Miss J’mima Ivins, and another gentleman in a plaid waistcoat would wink at Miss J’mima Ivins’s friend; on which Miss Jemima Ivins’s friend’s young man exhibited symptoms of boiling over, and began to mutter about "people’s imperence" and "swells out o’ luck," and to intimate in oblique terms a vague intention of knocking somebody’s head off, which he was only prevented from announcing more emphatically by both Miss J’mima Ivins and her friend, threatening to faint away on the spot if he said another word. The concert commenced—overture on the organ. "How solemn!" exclaimed Miss J’mima Ivins, glancing, perhaps unconsciously, at the gentleman with the whiskers. Mr. Samuel Wilkins, who had been muttering apart for some time past, as if he were holding a confidential conversation with the gilt knob of the dress-cane, breathed very hard;—breathing vengeance perhaps, but said nothing. "The Soldier tired," Miss somebody, in white satin. "Ancore!" cried Miss J’mima Ivins’s friend. "Ancore!' shouted the gentleman in the plaid waistcoat immediately, hammering the table with a stout bottle. Miss J’mima Ivins’s friend’s young man eyed the man behind the waistcoat from head to foot, and cast a look of interrogative contempt towards Mr. Samuel Wilkins. Comic song, accompanied on the organ. Miss J’mima Ivins was convulsed with laughter—so was the man with the whiskers. Everything the ladies did, the plaid waistcoat and whiskers did, by way of expressing a unity of sentiment and congeniality of soul; and Miss J’mima Ivins, and Miss J’mima Ivins’s friend grew lively and talkative, as Mr. George Wilkins and Miss J’mima Ivins’s friend’s young man grew morose, and surly in inverse proportion. Now, if the matter had ended here, the little party might soon have recovered their former equanimity; but Mr. Samuel Wilkins and his friend began to throw looks of defiance upon the waistcoat and whiskers; and the waistcoat and whiskers, by way of intimating the slight degree in which they were affected by the looks aforesaid, bestowed glances of increased admiration on Miss J’mima Ivins and friend. The concert and vaudeville concluded—they promenaded the gardens. The waistcoat and whiskers did the same, and made divers remarks complimentary to the ancles of Miss J’mima Ivins and friend, in an audible tone. At length, not satisfied with these numerous atrocities, they actually came up, and asked Miss J’mima Ivins and Miss J’mima Ivins’s friend to dance, without taking no more notice of Mr. Samuel Wilkins and Miss J’mima Ivins’s friend’s young man, than if they was nobody! "What do you mean by that, scoundrel?" exclaimed Mr. Samuel Wilkins, grasping the gilt-knobbed dress cane firmly in his right hand. "What’s the devil's the matter with you, you little humbug?" replied the whiskers. "How dare you insult me and my friend?" inquired the friend’s young man. "You and your friend be damned," responded the waistcoat. "Take that!" exclaimed Mr. Samuel Wilkins. The ferrule of the gilt-knobbed dress cane was visible for an instant, and then the light of the variegated lamps shone brightly upon it, as it whirled into the air, cane and all. "Give it him," said the waistcoat. "Luller-li-e-te," shouted the whiskers. "Horficer!" screamed the ladies. It was too late. Miss J’mima Ivins’s beau and the friend’s young man, lay gasping on the gravel, and the waistcoat and whiskers were seen no more. Miss J’mima Ivins and friend, being conscious that the affray was in no slight degree attributable to themselves, of course went into hysterics forthwith; declared themselves the most injured of women; exclaimed, in incoherent ravings, that they had been suspected—wrongfully suspected—oh, that they should ever have lived to see the day, &c.; suffered a relapse every time they opened their eyes, and saw their unfortunate little admirers; and were carried to their respective abodes in a hackney-coach in a state of insensibility, compounded of shrub, sherry, and excitement. https://www.dickenssearch.com/files/original/5/Scenes_and_Characters_No._3_The_Dancing_Academy/1835-10-11_Bells_Life_in_London_Scenes_and_Characters_No3_The_Dancing_Academy.pdf 94dd07bad4bb054ea09c7e8055799f36 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 Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) Bell's Life in London Pseudonym The name under which the item was published TIBBS 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. 18351011 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. Of all the dancing academies that ever were established, there never was one more popular in its immediate vicinity than Signor Billsmethi’s, of the "King’s Theatre." It wasn't in Spring Gardens, or Newman-street, or Berner's-street, or Gower-street, or Charlotte-street, or Percy street, or any other of the numerous streets which have been devoted time out of mind to professional people, dispensaries, and boarding-houses; it was not in the West-end at all, it rather approximated to the eastern portion of London, being situated in the populous and improving neighbourhood of Gray’s-inn-lane. "It wasn't a dear dancing academy—four and sixpence a quarter is decidedly cheap upon the whole. It was very select, the number of pupils being strictly limited to seventy-five; and a quarter’s payment in advance being rigidly exacted. There was public tuition and private tuition—an assembly-room and a parlour. Signor Billsmethi’s family were always thrown in with the parlour, and included in parlour price; that is to say, a private pupil had Signor Billsmethi’s parlour to dance in, and Signor Billsmethi’s family to dance with; and when he had been sufficiently broken in, in the parlour, he began to run in couples in the Assembly-room. Such was the dancing academy of Signor Billsmethi when Mr. Augustus Cooper of Fetter-lane, first saw an unstamped advertisement, walking leisurely down Holborn-hill, announcing to the world that Signor Billsmethi of the King’s Theatre intended opening for the season with a Grand Ball. Now, Mr. Augustus Cooper was in the oil and colour line—just of age, with a little money, a little business, and a little mother, who having managed her husband and his business in his lifetime, took to managing her son and his business after his decease; and so somehow or other he had been cooped up in the little back parlour behind the shop on week days, and in a little deal box without a lid (called by courtesy a pew) at Bethel Chapel on Sundays; and had seen no more of the world than if he had been an infant all his days, whereas Young White, at the Gas Fitter’s over the way, three years younger than him, had been flaring away like winkin’—going to the theatre—supping at harmonic meetings—eating oysters by the barrel, drinking stout by the gallon—even stopping out all night, and coming home as cool in the morning as if nothing had happened. So Mr. Augustus Cooper made up his mind that he would not stand it any longer, and had that very morning expressed to his mother a firm determination to be blowed, in the event of his not being instantly provided with a street door key. And he was walking down Holborn-hill thinking about all these things, and wondering how he could manage to get introduced into genteel society for the first time, when his eyes rested on Signor Billsmethi’s announcement, which it immediately struck him was just the very thing he wanted; for he should not only be able to select a genteel circle of acquaintance at once, out of the five and seventy pupils, at four and sixpence a quarter, but should qualify himself at the same time to go through a hornpipe in private society, with perfect ease to himself, and great delight to his friends. So he stopped the unstamped advertisement—an animated sandwich, composed of a boy between two boards—and having procured a very small card, with the Signor’s address indented thereon, walked straight at once to the Signor’s house—and very fast he walked too, for fear the list should be filled up, and the five and seventy completed, before he got there. The Signor was at home, and what was still more gratifying, he was an Englishman! Such a nice man—so polite; really so much more than one has any right to expect from a perfect stranger! The list wasn't full, but it was a most extraordinary circumstance that there was only just one vacancy, and even that one would have been filled up that very morning, only Signor Billsmethi was dissatisfied with the reference, and being very much afraid that the lady wasn’t select, wouldn’t take her. "And very much delighted I am, Mr. Cooper," said Signor Billsmethi, "that I did not take her. I assure you, Mr. Cooper,—I don’t say it to flatter you, for I know you’re above it;—that I consider myself extremely fortunate in having a gentleman of your manners and appearance, Sir." "I am very glad of it too, Sir," said Augustus Cooper. "And I hope we shall be better acquainted, Sir," said Signor Billsmethi. "And I’m sure I hope we shall too, Sir," responded Augustus Cooper; and just then the door opened, and in came a young lady with her hair curled in a crop all over her head, and her shoes tied in sandals all over her legs. "Don’t run away my dear," said Signor Billsmethi;" for the young lady didn’t know Mr. Cooper was there when she ran in, and was going to run out again in her modesty, all in confusion-like. "Don’t run away, my dear," said Signor Billsmethi, "this is Mr. Cooper. Mr. Cooper, of Fetter-lane. Mr. Cooper, my daughter, Sir, Miss Billsmethi, Sir, who, I hope, will have the pleasure of dancing many a quadrille, reel, minuet, gavotte, country dance, fandango, double hornpipe, and farinagholkajingo with you, Sir. She dances them all, Sir; and so shall you, Sir, before you’re a quarter older," Sir & Signor Bellsmethi slapped Mr. Augustus Cooper on the back, as if he had known him a dozen years, so friendly; and Mr. Cooper bowed to the young lady, and the young lady curtseyed to him; and Signor Billsmethi said they were as handsome a pair as ever he’d wish to see, upon which the young lady exclaimed, "Lor, Pa!" and blushed as red as Mr. Cooper himself—you might have thought they were both standing under a red lamp at a chemist’s shop; and before Mr. Cooper went away it was settled that he should join the family circle that very night—taking 'em just as they were: no ceremony, nor nonsense of that kind—and learn his positions, in order that he might lose no time, and be able to come out at the forthcoming ball. Well, Mr. Augustus Cooper went away to one of the cheap shoemakers’ shops in Holborn, where gentlemen’s dress-pumps are seven and sixpence, and men’s strong walking just nothing at all, and bought a pair of the regular seven-and-sixpenny, long-quartered, town-mades, in which he astonished himself quite as much as his mother, and sallied forth to Signor Billsmethi’s. There were four other private pupils in the parlour, two ladies and two gentlemen. Such nice people! Not a bit of pride about 'em. One of: he ladies in particular, who was in training for a Columbine, was remarkably affable, and she and Miss Billsmethi took such an interest in Mr. Augustus Cooper, and joked, and smiled, and looked so bewitching, that he got quite at home, and learnt his steps in no time. After the practising was over Signor Billsmethi and Miss Billsmethi, and Master Billsmethi, and a young lady, and the two ladies and the two gentlemen, danced a quadrille—none of your slipping and sliding about, but regular warm work; flying into corners, and diving among chairs, and shooting out at the door, something like dancing. Signor Billsmethi in particular, notwithstanding his having a little fiddle to play all the time, was out on the landing every figure; and Master Billsmethi, when everybody else was breathless, danced a hornpipe with a cane in his hand, and a cheese-plate on his head, to the unqualified admiration of the whole company. Then Signor Billsmethi insisted, as they were so happy, that they should all stay to supper; and proposed sending Master Billsmethi for the beer and spirits, whereupon the two gentlemen swore, "strike ’em wulgar if they’d stand that;" and they were just going to quarrel who should pay for it, when Mr. Augustus Cooper said he would, if they’d have the kindness to allow him—and they had the kindness to allow him; and Master Billsmethi brought the beer in a can, and the rum in a quart pot; they had a regular night of it; and Miss Billsmethi squeezed Mr. Augustus Cooper’s hand under the table; and Mr. Augustus Cooper returned the squeeze, and returned home too, at something to six o’clock in the morning, when he was put to bed by main force by the apprentice, after repeatedly expressing an uncontroullable desire to pitch his revered parent out of the second-floor window, and to throttle the apprentice with his own neck-handkerchief. Weeks had worn on, and the seven-and-sixpenny town-mades had nearly worn out, when the night arrived for the grand dress-ball, at which the whole of the five-and-seventy pupils were to meet together for the first time that season, and to take out some portion of their respective four-and-sixpences in lamp-oil and fiddlers. Mr. Augustus Cooper had ordered a new coat for the occasion—a two-pound-tenner from Turnstile. It was his first appearance in public; and after a grand Sicilian shawl-dance by fourteen young ladies in character, he was to open the quadrille department with Miss Billsmethi herself, with whom he had become quite intimate since his first introduction. It was a night! Everything was admirably arranged. The Sandwich boy took the hats and bonnets at the street-door; there was a turn-up bedstead in the back parlour, on which Miss Billsmethi made tea and coffee for such of the gentlemen as chose to pay for it, and such of the ladies as the gentlemen treated; red port wine negus and lemonade were handed round at eighteen-pence a head; and in pursuance of a previous engagement with the public-house at the corner of the street, an extra pot-boy was laid on for the occasion. In short nothing could exceed the arrangements, except the company. Such ladies! Such pink silk stockings! Such artificial flowers! Such a number of cabs! No sooner had one cab set down a couple of ladies, than another cab drove up, and set down another couple of ladies, and they all knew, not only one another but the majority of the gentlemen into the bargain, which made it all as pleasant and lively as could be. Signor Billsmethi in black tights, with a large blue bow in his button-hole, introduced the ladies to such of the gentlemen as were strangers; and the ladies talked away - and laughed they did—it was delightful to see 'em. As to the shawl-dance, it was the most exciting thing that ever was beheld. Such a whisking, and rustling, and fanning, and getting ladies into a tangle with artificial flowers, & then disentangling 'em again; and as to Mr. Augustus Cooper’s share in the quadrille, he got through it admirably; he was missing from his partner now and then certainly, and discovered on such occasions to be either dancing with laudable perseverance in another set, or sliding about in perspective, apparently without any definite object; but, generally speaking, they managed to shove him through the figure, till he turned up in the right place. Be this as it may, when he had finished, a great many ladies and gentlemen came up and complimented him very much, and said they had never seen a beginner do anything like it before; and Mr. Augustus Cooper was perfectly satisfied with himself, and everybody else into the bargain, and "stood" considerable quantities of spirits and water, negus, and compounds, for the use and behoof of two or three dozen very particular friends, selected from the select circle of five-and-seventy pupils. Now, whether it was the strength of the compounds, or the beauty of the ladies, or what not, it did so happen that Mr. Augustus Cooper encouraged rather than repelled the very flattering attentions of a young lady in brown gauze over white calico, who had appeared particularly struck with him from the first; and when the encouragements had been prolonged for some time, Miss Billsmethi betrayed her spite and jealousy thereat, by calling the young lady in brown gauze a "creeter," which induced the young lady in brown gauze to retort, in certain sentences containing a taunt founded on the payment of four-and-sixpence a quarter, and some indistinct reference to a "fancy man," which reference Mr. Augustus Cooper, being then and there in a state of considerable bewilderment, expressed his entire concurrence in. Miss Billsmethi, thus renounced, forthwith began screaming in the loudest key of her voice, at the rate of fourteen screams a minute; and being unsuccessful, in an onslaught on the eyes and face, first of the lady in gauze, and then of Mr. Augustus Cooper, called distractedly on the other three-and-seventy pupils to furnish her with oxalic acid for her own private drinking, and, the call not being honoured, made another rush at Mr. Cooper, and then had her stay-lace cut, and was carried off to bed. Mr. Augustus Cooper, not being remarkable for quickness of apprehension, was at a loss to understand what all this meant, till Signor Billsmethi explained it in a most satisfactory manner, by stating to the pupils that Mr. Augustus Cooper had made and confirmed divers promises of marriage to his daughter on divers occasions, and had now basely deserted her, on which, the indignation of the pupils became universal; and as several chivalrous gentlemen inquired rather pressingly of Mr. Augustus Cooper, whether he required anything for his own use, or, in other words, whether he "wanted anything for himself," he deemed it prudent to make a precipitate retreat. And the upshot of the matter was, that a lawyer’s letter came next day, and an action was commenced next week; and that Mr. Augustus Cooper, after walking twice to the Serpentine for the purpose of drowning himself, and coming twice back without doing it, made a confidante of his mother, who compromised the matter with twenty pounds from the till, which made twenty pounds four shillings and sixpence paid to Signor Billsmethi, exclusive of treats and pumps: and Mr. Augustus Cooper went back and lived with his mother, and there he lives to this day; and as he has lost his ambition for society, and never goes into the world, he will never see this account of himself, and will never be any the wiser. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-10-11_Bells_Life_in_London_Scenes_and_Characters_No3_The_Dancing_Academy.xml" target="_blank" rel="noopener">'Scenes and Characters, No. 3, The Dancing Academy.' Bell's Life in London (11 October 1835).</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 'Scenes and Characters, No. 3, The Dancing Academy' Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/BL/0000355/18351011/001/0001" class="waffle-rich-text-link" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/BL/0000355/18351011/001/0001</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-10-11 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-10-11_Bells_Life_in_London_Scenes_and_Characters_No3_The_Dancing_Academy 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. 'Scenes and Characters, No. 3, The Dancing Academy' (11 October 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1835-10-04_Bells_Life_in_London_Scenes_and_Characters_No2_Miss_Evans_and_The_Eagle">https://www.dickenssearch.com/short-stories/1835-10-11_Bells_Life_in_London_Scenes_and_Characters_No3_The_Dancing_Academy</a>. Description An account of the resource Published in Bell's Life in London (11 October 1835). Scripto Transcription A written representation of a document. Of all the dancing academies that ever were established, there never was one more popular in its immediate vicinity than Signor Billsmethi’s, of the "King’s Theatre." It wasn't in Spring Gardens, or Newman-street, or Berner's-street, or Gower-street, or Charlotte-street, or Percy street, or any other of the numerous streets which have been devoted time out of mind to professional people, dispensaries, and boarding-houses; it was not in the West-end at all, it rather approximated to the eastern portion of London, being situated in the populous and improving neighbourhood of Gray’s-inn-lane. "It wasn't a dear dancing academy—four and sixpence a quarter is decidedly cheap upon the whole. It was very select, the number of pupils being strictly limited to seventy-five; and a quarter’s payment in advance being rigidly exacted. There was public tuition and private tuition—an assembly-room and a parlour. Signor Billsmethi’s family were always thrown in with the parlour, and included in parlour price; that is to say, a private pupil had Signor Billsmethi’s parlour to dance in, and Signor Billsmethi’s family to dance with; and when he had been sufficiently broken in, in the parlour, he began to run in couples in the Assembly-room. Such was the dancing academy of Signor Billsmethi when Mr. Augustus Cooper of Fetter-lane, first saw an unstamped advertisement, walking leisurely down Holborn-hill, announcing to the world that Signor Billsmethi of the King’s Theatre intended opening for the season with a Grand Ball. Now, Mr. Augustus Cooper was in the oil and colour line—just of age, with a little money, a little business, and a little mother, who having managed her husband and his business in his lifetime, took to managing her son and his business after his decease; and so somehow or other he had been cooped up in the little back parlour behind the shop on week days, and in a little deal box without a lid (called by courtesy a pew) at Bethel Chapel on Sundays; and had seen no more of the world than if he had been an infant all his days, whereas Young White, at the Gas Fitter’s over the way, three years younger than him, had been flaring away like winkin’—going to the theatre—supping at harmonic meetings—eating oysters by the barrel, drinking stout by the gallon—even stopping out all night, and coming home as cool in the morning as if nothing had happened. So Mr. Augustus Cooper made up his mind that he would not stand it any longer, and had that very morning expressed to his mother a firm determination to be blowed, in the event of his not being instantly provided with a street door key. And he was walking down Holborn-hill thinking about all these things, and wondering how he could manage to get introduced into genteel society for the first time, when his eyes rested on Signor Billsmethi’s announcement, which it immediately struck him was just the very thing he wanted; for he should not only be able to select a genteel circle of acquaintance at once, out of the five and seventy pupils, at four and sixpence a quarter, but should qualify himself at the same time to go through a hornpipe in private society, with perfect ease to himself, and great delight to his friends. So he stopped the unstamped advertisement—an animated sandwich, composed of a boy between two boards—and having procured a very small card, with the Signor’s address indented thereon, walked straight at once to the Signor’s house—and very fast he walked too, for fear the list should be filled up, and the five and seventy completed, before he got there. The Signor was at home, and what was still more gratifying, he was an Englishman! Such a nice man—so polite; really so much more than one has any right to expect from a perfect stranger! The list wasn't full, but it was a most extraordinary circumstance that there was only just one vacancy, and even that one would have been filled up that very morning, only Signor Billsmethi was dissatisfied with the reference, and being very much afraid that the lady wasn’t select, wouldn’t take her. "And very much delighted I am, Mr. Cooper," said Signor Billsmethi, "that I did not take her. I assure you, Mr. Cooper,—I don’t say it to flatter you, for I know you’re above it;—that I consider myself extremely fortunate in having a gentleman of your manners and appearance, Sir." "I am very glad of it too, Sir," said Augustus Cooper. "And I hope we shall be better acquainted, Sir," said Signor Billsmethi. "And I’m sure I hope we shall too, Sir," responded Augustus Cooper; and just then the door opened, and in came a young lady with her hair curled in a crop all over her head, and her shoes tied in sandals all over her legs. "Don’t run away my dear," said Signor Billsmethi;" for the young lady didn’t know Mr. Cooper was there when she ran in, and was going to run out again in her modesty, all in confusion-like. "Don’t run away, my dear," said Signor Billsmethi, "this is Mr. Cooper. Mr. Cooper, of Fetter-lane. Mr. Cooper, my daughter, Sir, Miss Billsmethi, Sir, who, I hope, will have the pleasure of dancing many a quadrille, reel, minuet, gavotte, country dance, fandango, double hornpipe, and farinagholkajingo with you, Sir. She dances them all, Sir; and so shall you, Sir, before you’re a quarter older," Sir & Signor Bellsmethi slapped Mr. Augustus Cooper on the back, as if he had known him a dozen years, so friendly; and Mr. Cooper bowed to the young lady, and the young lady curtseyed to him; and Signor Billsmethi said they were as handsome a pair as ever he’d wish to see, upon which the young lady exclaimed, "Lor, Pa!" and blushed as red as Mr. Cooper himself—you might have thought they were both standing under a red lamp at a chemist’s shop; and before Mr. Cooper went away it was settled that he should join the family circle that very night—taking 'em just as they were: no ceremony, nor nonsense of that kind—and learn his positions, in order that he might lose no time, and be able to come out at the forthcoming ball. Well, Mr. Augustus Cooper went away to one of the cheap shoemakers’ shops in Holborn, where gentlemen’s dress-pumps are seven and  sixpence, and men’s strong walking just nothing at all, and bought a pair of the regular seven-and-sixpenny, long-quartered, town-mades, in which he astonished himself quite as much as his mother, and sallied forth to Signor Billsmethi’s. There were four other private pupils in the parlour, two ladies and two gentlemen. Such nice people! Not a bit of pride about 'em. One of: he ladies in particular, who was in training for a Columbine, was remarkably affable, and she and Miss Billsmethi took such an interest in Mr. Augustus Cooper, and joked, and smiled, and looked so bewitching, that he got quite at home, and learnt his steps in no time. After the practising was over Signor Billsmethi and Miss Billsmethi, and Master Billsmethi, and a young lady, and the two ladies and the two gentlemen, danced a quadrille—none of your slipping and sliding about, but regular warm work; flying into corners, and diving among chairs, and shooting out at the door, something like dancing. Signor Billsmethi in particular, notwithstanding his having a little fiddle to play all the time, was out on the landing every figure; and Master Billsmethi, when everybody else was breathless, danced a hornpipe with a cane in his hand, and a cheese-plate on his head, to the unqualified admiration of the whole company. Then Signor Billsmethi insisted, as they were so happy, that they should all stay to supper; and proposed sending Master Billsmethi for the beer and spirits, whereupon the two gentlemen swore, "strike ’em wulgar if they’d stand that;" and they were just going to quarrel who should pay for it, when Mr. Augustus Cooper said he would, if they’d have the kindness to allow him—and they had the kindness to allow him; and Master Billsmethi brought the beer in a can, and the rum in a quart pot; they had a regular night of it; and Miss Billsmethi squeezed Mr. Augustus Cooper’s hand under the table; and Mr. Augustus Cooper returned the squeeze, and returned home too, at something to six o’clock in the morning, when he was put to bed by main force by the apprentice, after repeatedly expressing an uncontroullable desire to pitch his revered parent out of the second-floor window, and to throttle the apprentice with his own neck-handkerchief. Weeks had worn on, and the seven-and-sixpenny town-mades had nearly worn out, when the night arrived for the grand dress-ball, at which the whole of the five-and-seventy pupils were to meet together for the first time that season, and to take out some portion of their respective four-and-sixpences in lamp-oil and fiddlers. Mr. Augustus Cooper had ordered a new coat for the occasion—a two-pound-tenner from Turnstile. It was his first appearance in public; and after a grand Sicilian shawl-dance by fourteen young ladies in character, he was to open the quadrille department with Miss Billsmethi herself, with whom he had become quite intimate since his first introduction. It was a night! Everything was admirably arranged. The Sandwich boy took the hats and bonnets at the street-door; there was a turn-up bedstead in the back parlour, on which Miss Billsmethi made tea and coffee for such of the gentlemen as chose to pay for it, and such of the ladies as the gentlemen treated; red port wine negus and lemonade were handed round at eighteen-pence a head; and in pursuance of a previous engagement with the public-house at the corner of the street, an extra pot-boy was laid on for the occasion. In short nothing could exceed the arrangements, except the company. Such ladies! Such pink silk stockings! Such artificial flowers! Such a number of cabs! No sooner had one cab set down a couple of ladies, than another cab drove up, and set down another couple of ladies, and they all knew, not only one another but the majority of the gentlemen into the bargain, which made it all as pleasant and lively as could be. Signor Billsmethi in black tights, with a large blue bow in his button-hole, introduced the ladies to such of the gentlemen as were strangers; and the ladies talked away - and laughed they did—it was delightful to see 'em. As to the shawl-dance, it was the most exciting thing that ever was beheld. Such a whisking, and rustling, and fanning, and getting ladies into a tangle with artificial flowers, & then disentangling 'em again; and as to Mr. Augustus Cooper’s share in the quadrille, he got through it admirably; he was missing from his partner now and then certainly, and discovered on such occasions to be either dancing with laudable perseverance in another set, or sliding about in perspective, apparently without any definite object; but, generally speaking, they managed to shove him through the figure, till he turned up in the right place. Be this as it may, when he had finished, a great many ladies and gentlemen came up and complimented him very much, and said they had never seen a beginner do anything like it before; and Mr. Augustus Cooper was perfectly satisfied with himself, and everybody else into the bargain, and "stood" considerable quantities of spirits and water, negus, and compounds, for the use and behoof of two or three dozen very particular friends, selected from the select circle of five-and-seventy pupils. Now, whether it was the strength of the compounds, or the beauty of the ladies, or what not, it did so happen that Mr. Augustus Cooper encouraged rather than repelled the very flattering attentions of a young lady in brown gauze over white calico, who had appeared particularly struck with him from the first; and when the encouragements had been prolonged for some time, Miss Billsmethi betrayed her spite and jealousy thereat, by calling the young lady in brown gauze a "creeter," which induced the young lady in brown gauze to retort, in certain sentences containing a taunt founded on the payment of four-and-sixpence a quarter, and some indistinct reference to a "fancy man," which reference Mr. Augustus Cooper, being then and there in a state of considerable bewilderment, expressed his entire concurrence in. Miss Billsmethi, thus renounced, forthwith began screaming in the loudest key of her voice, at the rate of fourteen screams a minute; and being unsuccessful, in an onslaught on the eyes and face, first of the lady in gauze, and then of Mr. Augustus Cooper, called distractedly on the other three-and-seventy pupils to furnish her with oxalic acid for her own private drinking, and, the call not being honoured, made another rush at Mr. Cooper, and then had her stay-lace cut, and was carried off to bed. Mr. Augustus Cooper, not being remarkable for quickness of apprehension, was at a loss to understand what all this meant, till Signor Billsmethi explained it in a most satisfactory manner, by stating to the pupils that Mr. Augustus Cooper had made and confirmed divers promises of marriage to his daughter on divers occasions, and had now basely deserted her, on which, the indignation of the pupils became universal; and as several chivalrous gentlemen inquired rather pressingly of Mr. Augustus Cooper, whether he required anything for his own use, or, in other words, whether he "wanted anything for himself," he deemed it prudent to make a precipitate retreat. And the upshot of the matter was, that a lawyer’s letter came next day, and an action was commenced next week; and that Mr. Augustus Cooper, after walking twice to the Serpentine for the purpose of drowning himself, and coming twice back without doing it, made a confidante of his mother, who compromised the matter with twenty pounds from the till, which made twenty pounds four shillings and sixpence paid to Signor Billsmethi, exclusive of treats and pumps: and Mr. Augustus Cooper went back and lived with his mother, and there he lives to this day; and as he has lost his ambition for society, and never goes into the world, he will never see this account of himself, and will never be any the wiser. https://www.dickenssearch.com/files/original/5/Scenes_and_Characters_No._4_Making_a_Night_of_It/1835-10-18_Bells_Life_in_London_Scenes_and_Characters_No4_Making_a_Night_of_It.pdf 186b219bcb1a7feb7716fda3ce909819 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 Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) Bell's Life in London Pseudonym The name under which the item was published TIBBS 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. 18351018 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. Damon and Pythias were undoubtedly very good fellows in their way: the former for his extreme readiness to put in special bail for a friend, and the latter for a certain trump-like punctuality in turning up just in the very nick of time, scarcely less remarkable. Many points in their character have now obsolete. Damons are rather hard to find, in these days of imprisonment for debt (except for sham ones, and they cost half a crown); and, as to the Pythiases, the few that have existed in these degenerate times have had an unfortunate knack of making themselves scarce, at the very moment when their appearance would have been strictly classical. If the actions of these heroes, however, can find no parallel in modern times, their friendship can. We have Damon and Pythias on the one hand—Potter and Smithers on the other; and lest the two last-mentioned names should never have reached the ears of our unenlightened readers, we can do no better than make them acquainted with the owners thereof. Mr. Thomas Potter, then, was a clerk in the city, and Mr. Robert Smithers was a ditto in the same; their incomes were limited, but their friendship was unbounded. They lived in the same street, walked into town every morning at the same hour, dined at the same slap-bang every day, and revelled in each other’s company very night. They were knit together by the closest ties of intimacy and friendship; or, as Mr. Thomas Potter touchingly observed, they were "thick-and-thin pals, and nothing but it." There was a spice of romance in Mr. Smithers’s disposition—a ray of poetry—a gleam of misery;—a sort of consciousness of he didn’t exactly know what coming across him, he didn’t precisely know why—which stood out in fine relief against the off hand, dashing, "come up to the scratch" kind of manner, which distinguished Mr. Potter in an eminent degree. The peculiarity of their respective dispositions, extended itself to their individual costume. Mr. Smithers generally appeared in public in a surtout and shoes, with a narrow black neckerchief, and a brown hat, very much turned up at the sides—peculiarities which Mr. Potter wholly eschewed: for it was his ambition to do something in the celebrated "kiddy" or stage-coach way, and he had even gone so far as to invest capital in the purchase of a rough blue coat with wooden buttons, made upon the fireman’s principle, in which, with the addition of a low-crowned, flower-pot, saucer-shaped hat, he had created no inconsiderable sensation at the Albion, and divers other places of public resort. Mr. Potter and Mr. Smithers had mutually agreed that, on the receipt of their quarter’s salary, they would jointly and in company "spend the evening"—an evident misnomer—the spending applying, as everybody knows, not to the evening itself, but to all the money the individual may chance to be possessed of on the occasion to which reference is made; and they had likewise agreed that, on the evening aforesaid, they would "make a night of it"—an expressive term, implying the borrowing of several hours from to-morrow morning, adding them to the night before, and manufacturing a compound night of the whole. The quarter-day arrived at last—we say at last, because quarter-days are as eccentric as comets, moving wonderfully quick when you've a good deal to pay, and marvellously slow when you have a little to receive: and Mr. Thomas Potter and Mr. Robert Smithers met by appointment to begin the evening with a dinner, and a nice, snug, comfortable dinner they had, consisting of a little procession of four chops and four kidneys, following each other, supported on either side by a pot of the real draught stout, and attended by divers cushions of bread, and wedges of cheese. When the cloth was removed, Mr. Thomas Potter ordered the waiter to bring in two goes of his best Scotch whiskey, with warm water and sugar, and a couple of his very mildest Havannahs, which the waiter did. Mr. Thomas Potter mixed his grog, and lit his cigar; Mr. Robert Smithers did the same; and then Mr. Thomas Potter jocularly proposed as the first toast, "the abolition of all offices whatsomever" (not sinecures, but counting-houses), which was immediately drank by Mr. Robert Smithers, with enthusiastic applause; and then they went on talking politics, puffing cigars, and sipping whiskey and water, until the "goes"—most appropriately so called—were both gone, which Mr. Robert Smithers forthwith perceiving, immediately ordered in two more goes of the best Scotch whiskey, and two more of the very mildest Havannahs; and the goes kept coming in, and the mild Havannahs kept going out, until what with the drinking, and lighting, and puffing, and the stale ashes on the table, and the tallow-grease on the cigars, Mr. Robert Smithers began to doubt the mildness of the Havannahs, and to feel very much as if he had been sitting in a hackney-coach, with his back to the horses. As to Mr. Thomas Potter, he would keep laughing out loud, and volunteering inarticulate declarations that he was "all right," in proof of which he feebly bespoke the evening paper after the next gentleman, but finding it a matter of some difficulty to discover any news in its columns, or to ascertain distinctly whether it had any columns at all, he walked slowly out to look for the comet, and after coming back quite pale with looking up at the sky so long, and attempting to express mirth at Mr. Robert Smithers having fallen asleep, by various galvanic chuckles, he laid his head on his arm, and went to sleep also; and when he awoke again, Mr. Robert Smithers woke too, and they both very gravely agreed that it was extremely unwise to eat so many pickled walnuts with the chops, as it was a notorious fact that they always made people queer and sleepy; indeed, if it hadn't been for the whiskey and cigars, there was no knowing what harm they mightn’t have done ’em. So they took some coffee, and after paying the bill, twelve and two-pence the dinner, and the odd ten-pence for the waiter, thirteen shillings, started out on their expedition to manufacture a night. It was just half-past eight, so they thought they couldn’t do better than go half-price to the slips at the City Theatre, which they did, accordingly. Mr. Robert Smithers, who had become extremely poetical after the settlement of the bill, enlivening the walk by informing Mr. Thomas Potter, in confidence, that he felt an inward presentiment of approaching dissolution, and subsequently embellishing the theatre by falling asleep with his head and both arms gracefully drooping over the front of the boxes. Such was the quiet demeanour of the unassuming Smithers, and such were the happy effects of Scotch whiskey and Havannahs on that interesting person; but Mr. Thomas Potter, whose great aim it was to be considered as a "knowing card," a "fast-goer," and so forth, conducted himself in a very different manner, and commenced going very fast indeed—rather too fast at last for the patience of the audience to keep pace with. On his first entry he contented himself by earnestly calling upon the gentlemen in the gallery to "flare up," accompanying the demand with another request expressive of his wish that they would instantaneously "form a union," both which requisitions were responded to in the manner most in vogue on such occasions. "Give that dog a bone," cried one gentleman in his shirt sleeves. "Vere have you been having half a pint of intermediate?" cried a second. "Tailor!" screamed a third. "Barber’s clerk!" shouted a fourth. "Throw him o-ver," roared a fifth, while numerous voices concurred in desiring Mr. Thomas Potter to return to the arms of his maternal parent, or in common parlance to "go home to his mother." All these taunts Mr. Thomas Potter received with supreme contempt, cocking the low-crowned hat a little more on one side, whenever any reference was made to his personal appearance; and standing up with his arms a-kimbo, expressing defiance most melodramatically. The overture—to which these various sounds had been an ad libitum accompaniment—concluded: the second piece began, and Mr. Thomas Potter emboldened by impunity, proceeded to behave in a most unprecedented and outrageous manner. First of all he imitated the shake of the principal female singer; then, groaned at the blue fire, then affected to be frightened into convulsions of terror at the appearance of the ghost; and lastly, not only made a running commentary in an audible voice upon the dialogue on the stage, but actually woke Mr. Robert Smithers, who hearing his companion making a noise, and having a very indistinct notion of where he was, or what was required of him, immediately by way of imitating a good example, set up the most unearthly, unremitting, and appalling howling that ever audience heard. It was too much. "Turn 'em out," was the general cry. A noise as if shuffling of feet, and men being knocked up with violence against wainscoting, was heard: a hurried dialogue of "come out"—"I won’t"—"You shall"—"I shan’t"—"Give me your card Sir"—"Punch his head," and so forth succeeded; a round of applause betokened the approbation of the audience; and Mr. Robert Smithers and Mr. Thomas Potter found themselves shot with astonishing swiftness into the road without having had the trouble of once putting foot to ground during the whole progress of their rapid descent. Mr. Robert Smithers being constitutionally one of the slow-goers, and having had quite enough of fast going, in the course of his recent expulsion, to last 'til the quarter-day then next ensuing at the very least, had no sooner emerged with his companion from the precincts of Milton-street, than he proceeded to indulge in circuitous references to the beauties of sleep, mingled with distant allusions to the propriety of returning to Islington, and testing the influence of their patent Bramahs over the street door locks to which they respectively belonged. Mr. Thomas Potter, however, was valorous and peremptory. They had come out to make a night of it; and a night must be made. So Mr. Robert Smithers, who was three parts dull and the other dismal, despairingly assented: and they went into a wine-vaults to get materials for assisting them in making a night, where they found a good many young ladies, and various old gentlemen, & a plentiful sprinkling of hackney-coachmen & cab-drivers, all drinking & talking together; & Mr. Thomas Potter and Mr. Robert Smithers drank small glasses of brandy, and large glasses of soda, till they began to have a very confused idea either of things in general or anything in particular, and when they had done treating themselves they began to treat everybody else; and the rest of the entertainment was a confused mixture of heads and heels, black eyes and blue uniforms, mud and gas-lights, thick doors, and stone paving. Then, as standard novelists expressively inform us—"all was a blank," and in the morning the blank was filled up with the words "Station-house," and the station-house was filled up with Mr. Thomas Potter, Mr. Robert Smithers, and the major part of their wine-vault companions of the preceding night, with a comparatively small portion of clothing of any kind. And it was disclosed at the Police-office, to the indignation of the Bench, and the astonishment of the spectators, how one Robert Smithers, aided and abetted by one Thomas Potter, had knocked down and beaten, in divers streets at different times, five men, four boys, & three women; how the said Thomas Potter had feloniously obtained possession of five door-knockers, two bell-handles, and a bonnet; how Robert Smithers, his friend, had sworn, at least forty pounds’ worth of oaths at the rate of five shillings apiece, terrified whole streets-full of his Majesty’s liege subjects with awful shrieks, and alarms of fire, destroyed the uniforms of five policemen, and committed various other atrocities too numerous to recapitulate; and the Magistrates after an appropriate reprimand of considerable length, fined Mr. Thomas Potter and Mr. Thomas Smithers five shillings each for being, what the law vulgarly terms "drunk," with the trifling addition of thirty-four pounds for seventeen assaults, at forty shillings a-head, with leave to speak to the prosecutors. The prosecutors were spoken to; and Messrs. Potter and Smithers lived on credit for a quarter as best they could; and although the prosecutors expressed their readiness to be assaulted twice a week on the same terms, they have never since been detected "making a night of it." TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-10-18_Bells_Life_in_London_Scenes_and_Characters_No4_Making_a_Night_of_It.xml" target="_blank" rel="noopener">'Scenes and Characters, No. 4, Making a Night of It.' Published in Bell's Life in London (18 October 1835).</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 'Scenes and Characters, No. 4, Making a Night of It' Description An account of the resource Published in Bell's Life in London (18 October 1835). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/BL/0000355/18351018/001/0001" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/BL/0000355/18351018/001/0001</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-10-18 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-10-18_Bells_Life_in_London_Scenes_and_Characters_No4_Making_a_Night_of_It 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. 'Scenes and Characters, No. 4, Making a Night of It' (18 October 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1835-10-18_Bells_Life_in_London_Scenes_and_Characters_No4_Making_a_Night_of_It">https://www.dickenssearch.com/short-stories/1835-10-18_Bells_Life_in_London_Scenes_and_Characters_No4_Making_a_Night_of_It</a>. Scripto Transcription A written representation of a document. Damon and Pythias were undoubtedly very good fellows in their way: the former for his extreme readiness to put in special bail for a friend, and the latter for a certain trump-like punctuality in turning up just in the very nick of time, scarcely less remarkable. Many points in their character have now obsolete. Damons are rather hard to find, in these days of imprisonment for debt (except for sham ones, and they cost half a crown); and, as to the Pythiases, the few that have existed in these degenerate times have had an unfortunate knack of making themselves scarce, at the very moment when their appearance would have been strictly classical. If the actions of these heroes, however, can find no parallel in modern times, their friendship can. We have Damon and Pythias on the one hand—Potter and Smithers on the other; and lest the two last-mentioned names should never have reached the ears of our unenlightened readers, we can do no better than make them acquainted with the owners thereof. Mr. Thomas Potter, then, was a clerk in the city, and Mr. Robert Smithers was a ditto in the same; their incomes were limited, but their friendship was unbounded. They lived in the same street, walked into town every morning at the same hour, dined at the same slap-bang every day, and revelled in each other’s company very night. They were knit together by the closest ties of intimacy and friendship; or, as Mr. Thomas Potter touchingly observed, they were "thick-and-thin pals, and nothing but it." There was a spice of romance in Mr. Smithers’s disposition—a ray of poetry—a gleam of misery;—a sort of consciousness of he didn’t exactly know what coming across him, he didn’t precisely know why—which stood out in fine relief against the off hand, dashing, "come up to the scratch" kind of manner, which distinguished Mr. Potter in an eminent degree. The peculiarity of their respective dispositions, extended itself to their individual costume. Mr. Smithers generally appeared in public in a surtout and shoes, with a narrow black neckerchief, and a brown hat, very much turned up at the sides—peculiarities which Mr. Potter wholly eschewed: for it was his ambition to do something in the celebrated "kiddy" or stage-coach way, and he had even gone so far as to invest capital in the purchase of a rough blue coat with wooden buttons, made upon the fireman’s principle, in which, with the addition of a low-crowned, flower-pot, saucer-shaped hat, he had created no inconsiderable sensation at the Albion, and divers other places of public resort. Mr. Potter and Mr. Smithers had mutually agreed that, on the receipt of their quarter’s salary, they would jointly and in company "spend the evening"—an evident misnomer—the spending applying, as everybody knows, not to the evening itself, but to all the money the individual may chance to be possessed of on the occasion to which reference is made; and they had likewise agreed that, on the evening aforesaid, they would "make a night of it"—an expressive term, implying the borrowing of several hours from to-morrow morning, adding them to the night before, and manufacturing a compound night of the whole. The quarter-day arrived at last—we say at last, because quarter-days are as eccentric as comets, moving wonderfully quick when you've a good deal to pay, and marvellously slow when you have a little to receive: and Mr. Thomas Potter and Mr. Robert Smithers met by appointment to begin the evening with a dinner, and a nice, snug, comfortable dinner they had, consisting of a little procession of four chops and four kidneys, following each other, supported on either side by a pot of the real draught stout, and attended by divers cushions of bread, and wedges of cheese. When the cloth was removed, Mr. Thomas Potter ordered the waiter to bring in two goes of his best Scotch whiskey, with warm water and sugar, and a couple of his very mildest Havannahs, which the waiter did. Mr. Thomas Potter mixed his grog, and lit his cigar; Mr. Robert Smithers did the same; and then Mr. Thomas Potter jocularly proposed as the first toast, "the abolition of all offices whatsomever" (not sinecures, but counting-houses), which was immediately drank by Mr. Robert Smithers, with enthusiastic applause; and then they went on talking politics, puffing cigars, and sipping whiskey and water, until the "goes"—most appropriately so called—were both gone, which Mr. Robert Smithers forthwith perceiving, immediately ordered in two more goes of the best Scotch whiskey, and two more of the very mildest Havannahs; and the goes kept coming in, and the mild Havannahs kept going out, until what with the drinking, and lighting, and puffing, and the stale ashes on the table, and the tallow-grease on the cigars, Mr. Robert Smithers began to doubt the mildness of the Havannahs, and to feel very much as if he had been sitting in a hackney-coach, with his back to the horses. As to Mr. Thomas Potter, he would keep laughing out loud, and volunteering inarticulate declarations that he was "all right," in proof of which he feebly bespoke the evening paper after the next gentleman, but finding it a matter of some difficulty to discover any news in its columns, or to ascertain distinctly whether it had any columns at all, he walked slowly out to look for the comet, and after coming back quite pale with looking up at the sky so long, and attempting to express mirth at Mr. Robert Smithers having fallen asleep, by various galvanic chuckles, he laid his head on his arm, and went to sleep also; and when he awoke again, Mr. Robert Smithers woke too, and they both very gravely agreed that it was extremely unwise to eat so many pickled walnuts with the chops, as it was a notorious fact that they always made people queer and sleepy; indeed, if it hadn't been for the whiskey and cigars, there was no knowing what harm they mightn’t have done ’em. So they took some coffee, and after paying the bill, twelve and two-pence the dinner, and the odd ten-pence for the waiter, thirteen shillings, started out on their expedition to manufacture a night. It was just half-past eight, so they thought they couldn’t do better than go half-price to the slips at the City Theatre, which they did, accordingly. Mr. Robert Smithers, who had become extremely poetical after the settlement of the bill, enlivening the walk by informing Mr. Thomas Potter, in confidence, that he felt an inward presentiment of approaching dissolution, and subsequently embellishing the theatre by falling asleep with his head and both arms gracefully drooping over the front of the boxes. Such was the quiet demeanour of the unassuming Smithers, and such were the happy effects of Scotch whiskey and Havannahs on that interesting person; but Mr. Thomas Potter, whose great aim it was to be considered as a "knowing card," a "fast-goer," and so forth, conducted himself in a very different manner, and commenced going very fast indeed—rather too fast at last for the patience of the audience to keep pace with. On his first entry he contented himself by earnestly calling upon the gentlemen in the gallery to "flare up," accompanying the demand with another request expressive of his wish that they would instantaneously "form a union," both which requisitions were responded to in the manner most in vogue on such occasions. "Give that dog a bone," cried one gentleman in his shirt sleeves. "Vere have you been having half a pint of intermediate?" cried a second. "Tailor!" screamed a third. "Barber’s clerk!" shouted a fourth. "Throw him o-ver," roared a fifth, while numerous voices concurred in desiring Mr. Thomas Potter to return to the arms of his maternal parent, or in common parlance to "go home to his mother." All these taunts Mr. Thomas Potter received with supreme contempt, cocking the low-crowned hat a little more on one side, whenever any reference was made to his personal appearance; and standing up with his arms a-kimbo, expressing defiance most melodramatically. The overture—to which these various sounds had been an ad libitum accompaniment—concluded: the second piece began, and Mr. Thomas Potter emboldened by impunity, proceeded to behave in a most unprecedented and outrageous manner. First of all he imitated the shake of the principal female singer; then, groaned at the blue fire, then affected to be frightened into convulsions of terror at the appearance of the ghost; and lastly, not only made a running commentary in an audible voice upon the dialogue on the stage, but actually woke Mr. Robert Smithers, who hearing his companion making a noise, and having a very indistinct notion of where he was, or what was required of him, immediately by way of imitating a good example, set up the most unearthly, unremitting, and appalling howling that ever audience heard. It was too much. "Turn 'em out," was the general cry. A noise as if shuffling of feet, and men being knocked up with violence against wainscoting, was heard: a hurried dialogue of "come out"—"I won’t"—"You shall"—"I shan’t"—"Give me your card Sir"—"Punch his head," and so forth succeeded; a round of applause betokened the approbation of the audience; and Mr. Robert Smithers and Mr. Thomas Potter found themselves shot with astonishing swiftness into the road without having had the trouble of once putting foot to ground during the whole progress of their rapid descent. Mr. Robert Smithers being constitutionally one of the slow-goers, and having had quite enough of fast going, in the course of his recent expulsion, to last 'til the quarter-day then next ensuing at the very least, had no sooner emerged with his companion from the precincts of Milton-street, than he proceeded to indulge in circuitous references to the beauties of sleep, mingled with distant allusions to the propriety of returning to Islington, and testing the influence of their patent Bramahs over the street door locks to which they respectively belonged. Mr. Thomas Potter, however, was valorous and peremptory. They had come out to make a night of it; and a night must be made. So Mr. Robert Smithers, who was three parts dull and the other dismal, despairingly assented: and they went into a wine-vaults to get materials for assisting them in making a night, where they found a good many young ladies, and various old gentlemen, & a plentiful sprinkling of hackney-coachmen & cab-drivers, all drinking & talking together; & Mr. Thomas Potter and Mr. Robert Smithers drank small glasses of brandy, and large glasses of soda, till they began to have a very confused idea either of things in general or anything in particular, and when they had done treating themselves they began to treat everybody else; and the rest of the entertainment was a confused mixture of heads and heels, black eyes and blue uniforms, mud and gas-lights, thick doors, and stone paving. Then, as standard novelists expressively inform us—"all was a blank," and in the morning the blank was filled up with the words "Station-house," and the station-house was filled up with Mr. Thomas Potter, Mr. Robert Smithers, and the major part of their wine-vault companions of the preceding night, with a comparatively small portion of clothing of any kind. And it was disclosed at the Police-office, to the indignation of the Bench, and the astonishment of the spectators, how one Robert Smithers, aided and abetted by one Thomas Potter, had knocked down and beaten, in divers streets at different times, five men, four boys, & three women; how the said Thomas Potter had feloniously obtained possession of five door-knockers, two bell-handles, and a bonnet; how Robert Smithers, his friend, had sworn, at least forty pounds’ worth of oaths at the rate of five shillings apiece, terrified whole streets-full of his Majesty’s liege subjects with awful shrieks, and alarms of fire, destroyed the uniforms of five policemen, and committed various other atrocities too numerous to recapitulate; and the Magistrates after an appropriate reprimand of considerable length, fined Mr. Thomas Potter and Mr. Thomas Smithers five shillings each for being, what the law vulgarly terms "drunk," with the trifling addition of thirty-four pounds for seventeen assaults, at forty shillings a-head, with leave to speak to the prosecutors. The prosecutors were spoken to; and Messrs. Potter and Smithers lived on credit for a quarter as best they could; and although the prosecutors expressed their readiness to be assaulted twice a week on the same terms, they have never since been detected "making a night of it." https://www.dickenssearch.com/files/original/5/Scenes_and_Characters_No._5_Love_and_Oysters/1835-10-25_Bells_Life_in_London_Scenes_and_Characters_No5_Love_and_Oysters.pdf 38f850dc7a9e474d545f5c5586c4e410 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 Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) Bell's Life in London Pseudonym The name under which the item was published TIBBS 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. 18351025 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. If we had to make a classification of society, there are a particular kind of men whom we should immediately set down under the head of "Old Boys;" and a column of most extensive dimensions the old boys would require. To what precise causes the rapid advance of old boy population is to be traced, we are unable to determine; it would be an interesting and curious speculation, but, as we have not sufficient space to devote to it here, we simply state the fact that the numbers of the old boys have been gradually augmenting within the last few years, and are at this moment alarmingly on the increase. Upon a general review of the subject, and without considering it minutely in detail, we should be disposed to subdivide the old boys into two distinct classes—the gay old boys, and the steady old boys; the gay old boys, are punchy old men in the disguise of young ones, who frequent the Quadrant and Regent-street in the day-time, and the theatres (especially theatres under lady management) at night, assuming all the foppishness and levity of boys, without the excuse of youth or inexperience: the steady old boys are certain stout old gentlemen of clean appearance, who are always to be seen in the same taverns, at the same hours every evening, smoking and drinking in the same company. There was once a fine collection of old boys to be seen round the circular table at Offley’s every night, between the hours of half-past eight and half-past eleven. We have lost sight of them for some time, but there are still two splendid specimens in full blossom at the Rainbow, who always sit in the box nearest the fire-place, and smoke immense long cherry-stick pipes, which go under the table, with the bowls resting upon the floor. Grand old boys these are—fat, red-faced, white-headed old fellows, always there—one on one side the table, and the other opposite—puffing and drinking away like regular good ones, and never a bit the worse for it— everybody knows 'em, and it is supposed by some people that they're both immortal. Mr. John Dounce was an old boy of the latter class (we don’t mean immortal, but steady)—a retired glove and brace-maker, a widower, resident with three daughters—all grown up, and all unmarried—in Cursitor-street, Chancery-lane. He was a short, round, large-faced, tubbish sort of a man with a broad-brimmed hat, and a square coat; and had that grave, but confident, kind of roll peculiar to old boys in general. Regular as clock-work—breakfast at nine—dress & tittivate a little—down to the Sir Somebody’s Head—glass of ale and the paper—come back again and take the daughters out for a walk—dinner at three—glass of grog and a pipe—nap—tea—little walk—Sir Somebody’s Head again—capital house;—delightful evenings! There were Mr. Harris, the law-stationer, and Mr. Jennings, the robe-maker (two jolly young fellows like himself), and Jones, the barrister’s clerk—a rum fellow that Jones—capital company—full of anecdote; and there they sat every night till just ten minutes before twelve, drinking their brandy and water, and smoking their pipes, and telling stories, and enjoying themselves with a kind of solemn joviality, particularly edifying. Sometimes Jones would propose a half-price visit to Drury Lane or Covent Garden, to see two acts of a five-act play, & a new farce, perhaps, or a ballet, on which occasions the whole four of them went together: none of your hurrying and nonsense, but having their brandy and water first, comfortably, and ordering a steak and some oysters for their supper against they came back, and then walking coolly into the pit, when the "rush" had gone in, as all sensible people do, and did when Mr. Dounce was a young man, except when the celebrated Master Betty was at the height of his popularity, and then, Sir,—then, Mr. Dounce perfectly well remembered getting a holiday from business, and going to the pit doors at eleven o’clock in the forenoon, and waiting there till six in the afternoon, with some sandwiches in a pocket-handkerchief, and some wine in a phial, and fainting after all with the heat and fatigue before the play began, in which situation he was lifted out of the pit into one of the dress boxes, Sir, by five of the finest women of that day, Sir, who compassionated his situation and administered restoratives, and sent a black servant, six foot high, in blue and silver livery, next morning with their compliments, and to know how he found himself, Sir—by God! Between the acts Mr. Dounce, and Mr. Harris, and Mr. Jennings used to stand up, and look round the house, and Jones—knowing fellow that Jones—knew every body—pointed ou the fashionable and celebrated Lady So-and-So in the boxes, at the mention of whose name Mr. Dounce, after brushing up his hair, and adjusting his neck-handkerchief, would inspect the aforesaid Lady So-and-So through an immense glass, and remark, either, that she was a "fine woman—very fine woman, indeed," or that "there might be a little more of her —Eh, Jones? just as the case might happen to be. When the dancing began, John Dounce, and the other old boys, were particularly anxious to see what was going forward on the stage, and Jones—wicked dog that Jones—whispered little critical remarks into the ears of John Dounce, which John Dounce retailed to Mr. Harris and Mr. Harris to Mr. Jennings; and then they all three laughed, 'till the tears ran out of their eyes. When the curtain fell they walked back together, two and two, to the steaks and oysters, and when they came to the second glass of brandy and water, Jones— hoaxing scamp, that Jones—used to recount how he had observed a lady in white feathers in one of the pit boxes, gazing intently on Mr. Dounce all the evening, and how he had caught Mr. Dounce, whenever he thought no one was looking at him, bestowing ardent looks of intense devotion on the lady in return; on which Mr. Harris and Mr. Jennings used to laugh very heartily, and John Dounce more heartily than either of 'em, acknowledging, however, that the time had been when he might have done such things; upon which Mr. Jones used to poke him in the ribs, and tell him he had been a sad dog in his time, which John Dounce, with chuckles, confessed. And after Mr. Harris and Mr. Jennings had preferred their claims to the character of having been sad dogs too, they separated harmoniously, & trotted home. The decrees of Fate, and the means by which they are brought about, are mysterious and inscrutable. John Dounce had led this life for twenty years and upwards, without wish for change, or care for variety, when his whole social system was suddenly upset and turned completely topsy-turvy—not by an earthquake, or some other dreadful convulsion of nature, as the reader would be inclined to suppose, but by the simple agency of an oyster, and thus it happened. Mr. John Dounce was returning one night from the Sir Somebody’s Head, to his residence in Cursitor-street—not tipsy, but rather excited, for it was Mr. Jennings’s birth-day, and they had had a brace of partridges for supper, and a brace of extra glasses afterwards, and Jones had been more than ordinarily amusing—when his eyes rested on a newly-opened oyster shop on a magnificent scale, with natives laid one deep in circular marble basins in the windows, together with little round barrels of oysters directed to Lords and Baronets, and Colonels and Captains, in every part of the habitable globe. Behind the natives were the barrels, and behind the barrels was a young lady of about five-and-twenty, all in blue, and all alone—splendid creature, charming face, and lovely figure. It is difficult to say whether Mr. John Dounce’s red countenance, illuminated as it was by the flickering gas-light in the window before which he paused, excited the lady’s risibility, or whether a natural exuberance of animal spirits proved too much for that staidness of demeanour which the forms of society rather dictatorially prescribe; certain it is, that the lady smiled, then put her finger upon her lip, with a striking recollection of what was due to herself; and finally retired, in oyster-like bashfulness to the very back of the counter. The sad-dog sort of feeling came strongly upon John Dounce: he lingered —the lady in blue made no sign. He coughed—still she came not. He entered the shop—"Can you open me an oyster, my dear?" said Mr. John Dounce. "Dare say I can, Sir," replied the lady in blue, with enchanting playfulness. And Mr. John Dounce eat one oyster, and then looked at the young lady, and then eat another, and then squeezed the young lady’s hand as she was opening the third, and so forth, until he had devoured a dozen of those at eight-pence in less than no time. "Can you open me half a dozen more, my dear?" inquired Mr. John Dounce. "I’ll see what I can do for you, Sir," replied the young lady in blue, even more bewitchingly than before; and Mr. John Dounce eat half-a-dozen more of those at eight-pence and felt his gallantry increasing every minute. "You couldn’t manage to get me a glass of brandy and water, my dear, I suppose?" said Mr. John Dounce, when he had finished the oysters, in a tone which clearly implied his supposition that she could. "I’ll see, Sir," said the young lady; and away she ran out of the shop, and down the street, her long auburn ringlets shaking in the wind in the most enchanting manner; and back she came again, tripping over the coal-places like a whipping top, with a tumbler of brandy and water, which Mr. John Dounce insisted on her taking a share of, as it was regular ladies’ grog—hot, strong, sweet, and plenty of it. So the young lady sat down with Mr. John Dounce, in a little red box with a green curtain, and took a small sip of the brandy and water, and a small look at Mr. John Dounce, and then turned her head away, and went through various other serio-pantomimic fascinations, which forcibly reminded Mr. John Dounce of the first time he courted his first wife, and which, taken conjointly with the hot brandy and water and the oysters, made him feel more affectionate than ever; in pursuance of which affection, and actuated by which feeling, Mr. John Dounce sounded the young lady on her matrimonial engagements, when the young lady denied having formed any such engagements at all—she couldn’t abear the men, they were such deceivers; thereupon Mr. John Dounce inquired whether this sweeping condemnation was meant to include other than very young men; on which the young lady blushed deeply—at least she turned away her head, and said Mr. John Dounce had made her blush, so of course she did blush—and Mr. John Dounce was a long time drinking the brandy and water; and the young lady said "Ha' done, Sir," very often; and at last John Dounce went home to bed, and dreamt of his first wife, and his second wife, and the young lady, and partridges, and oysters, and brandy and water, and disinterested attachments. The next morning John Dounce was rather feverish with the extra brandy and water of the previous night; and, partly in the hope of cooling himself with an oyster, and partly with the view of ascertaining whether he owed the young lady anything, or not, went back to the oyster-shop. If the young lady had appeared beautiful by night, she was perfectly irresistible by day; and, from this time forward a change came over the spirit of John Dounce’s dream. He bought shirt-pins; wore a ring on his third finger; read poetry; bribed a cheap miniature-painter to perpetrate a faint resemblance to a youthful face, with a curtain over his head, six large books in the background, and an open country in the distance (this he called his portrait); "went on" altogether in such an uproarious manner, that the three Miss Dounces went off on small pensions, he having made the tenement in Cursitor-street too warm to contain them; and in short, comported and demeaned himself in every respect like an unmitigated old Saracen, as he was. As to his ancient friends, the other old boys, at the Sir Somebody’s Head, he dropped off from them by gradual degrees; for, even when he did go there, Jones—vulgar fellow that Jones—persisted in asking "when it was to be?" and "whether he was to have any gloves?" together with other inquiries of an equally offensive nature, at which not only Harris laughed, but Jennings too; so he cut the two altogether, and attached himself solely to the blue young lady at the smart oyster-shop. Now comes the moral of the story—for it has a moral after all. The last mentioned young lady, having derived sufficient profit and emolument from John Dounce’s attachment, not only refused, when matters came to a crisis, to take him for better for worse, but expressly declared, to use her own forcible words, that she wouldn’t have him at no price; and John Dounce, having lost his old friends, alienated his relations, and rendered himself ridiculous to every body, made offers successively to a schoolmistress, a landlady, a feminine tobacconist, and a housekeeper; and, being directly rejected by each and every of them, was accepted by his cook, with whom he lives now, a hen-pecked husband, a melancholy monument of antiquated misery, and a living warning to all uxorious old boys. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-10-25_Bells_Life_in_London_Scenes_and_Characters_No5_Love_and_Oysters.xml" target="_blank" rel="noopener">'Scenes and Characters, No. 5, Love and Oysters.' Bell's Life in London (25 October 1835).</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 'Scenes and Characters, No. 5, Love and Oysters' Description An account of the resource Published in Bell's Life in London (25 October 1835). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/BL/0000355/18351025/001/0001" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/BL/0000355/18351025/001/0001</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-10-25 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-10-25_Bells_Life_in_London_Scenes_and_Characters_No5_Love_and_Oysters 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. 'Scenes and Characters, No. 5, Love and Oysters' (25 October 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1835-10-25_Bells_Life_in_London_Scenes_and_Characters_No5_Love_and_Oysters">https://www.dickenssearch.com/short-stories/1835-10-25_Bells_Life_in_London_Scenes_and_Characters_No5_Love_and_Oysters</a>. Scripto Transcription A written representation of a document. If we had to make a classification of society, there are a particular kind of men whom we should immediately set down under the head of "Old Boys;" and a column of most extensive dimensions the old boys would require. To what precise causes the rapid advance of old boy population is to be traced, we are unable to determine; it would be an interesting and curious speculation, but, as we have not sufficient space to devote to it here, we simply state the fact that the numbers of the old boys have been gradually augmenting within the last few years, and are at this moment alarmingly on the increase. Upon a general review of the subject, and without considering it minutely in detail, we should be disposed to subdivide the old boys into two distinct classes—the gay old boys, and the steady old boys; the gay old boys, are punchy old men in the disguise of young ones, who frequent the Quadrant and Regent-street in the day-time, and the theatres (especially theatres under lady management) at night, assuming all the foppishness and levity of boys, without the excuse of youth or inexperience: the steady old boys are certain stout old gentlemen of clean appearance, who are always to be seen in the same taverns, at the same hours every evening, smoking and drinking in the same company. There was once a fine collection of old boys to be seen round the circular table at Offley’s every night, between the hours of half-past eight and half-past eleven. We have lost sight of them for some time, but there are still two splendid specimens in full blossom at the Rainbow, who always sit in the box nearest the fire-place, and smoke immense long cherry-stick pipes, which go under the table, with the bowls resting upon the floor. Grand old boys these are—fat, red-faced, white-headed old fellows, always there—one on one side the table, and the other opposite—puffing and drinking away like regular good ones, and never a bit the worse for it— everybody knows 'em, and it is supposed by some people that they're both immortal. Mr. John Dounce was an old boy of the latter class (we don’t mean immortal, but steady)—a retired glove and brace-maker, a widower, resident with three daughters—all grown up, and all unmarried—in Cursitor-street, Chancery-lane. He was a short, round, large-faced, tubbish sort of a man with a broad-brimmed hat, and a square coat; and had that grave, but confident, kind of roll peculiar to old boys in general. Regular as clock-work—breakfast at nine—dress & tittivate a little—down to the Sir Somebody’s Head—glass of ale and the paper—come back again and take the daughters out for a walk—dinner at three—glass of grog and a pipe—nap—tea—little walk—Sir Somebody’s Head again—capital house;—delightful evenings! There were Mr. Harris, the law-stationer, and Mr. Jennings, the robe-maker (two jolly young fellows like himself), and Jones, the barrister’s clerk—a rum fellow that Jones—capital company—full of anecdote; and there they sat every night till just ten minutes before twelve, drinking their brandy and water, and smoking their pipes, and telling stories, and enjoying themselves with a kind of solemn joviality, particularly edifying. Sometimes Jones would propose a half-price visit to Drury Lane or Covent Garden, to see two acts of a five-act play, & a new farce, perhaps, or a ballet, on which occasions the whole four of them went together: none of your hurrying and nonsense, but having their brandy and water first, comfortably, and ordering a steak and some oysters for their supper against they came back, and then walking coolly into the pit, when the "rush" had gone in, as all sensible people do, and did when Mr. Dounce was a young man, except when the celebrated Master Betty was at the height of his popularity, and then, Sir,—then, Mr. Dounce perfectly well remembered getting a holiday from business, and going to the pit doors at eleven o’clock in the forenoon, and waiting there till six in the afternoon, with some sandwiches in a pocket-handkerchief, and some wine in a phial, and fainting after all with the heat and fatigue before the play began, in which situation he was lifted out of the pit into one of the dress boxes, Sir, by five of the finest women of that day, Sir, who compassionated his situation and administered restoratives, and sent a black servant, six foot high, in blue and silver livery, next morning with their compliments, and to know how he found himself, Sir—by God! Between the acts Mr. Dounce, and Mr. Harris, and Mr. Jennings used to stand up, and look round the house, and Jones—knowing fellow that Jones—knew every body—pointed ou the fashionable and celebrated Lady So-and-So in the boxes, at the mention of whose name Mr. Dounce, after brushing up his hair, and adjusting his neck-handkerchief, would inspect the aforesaid Lady So-and-So through an immense glass, and remark, either, that she was a "fine woman—very fine woman, indeed," or that "there might be a little more of her —Eh, Jones? just as the case might happen to be. When the dancing began, John Dounce, and the other old boys, were particularly anxious to see what was going forward on the stage, and Jones—wicked dog that Jones—whispered little critical remarks into the ears of John Dounce, which John Dounce retailed to Mr. Harris and Mr. Harris to Mr. Jennings; and then they all three laughed, 'till the tears ran out of their eyes. When the curtain fell they walked back together, two and two, to the steaks and oysters, and when they came to the second glass of brandy and water, Jones— hoaxing scamp, that Jones—used to recount how he had observed a lady in white feathers in one of the pit boxes, gazing intently on Mr. Dounce all the evening, and how he had caught Mr. Dounce, whenever he thought no one was looking at him, bestowing ardent looks of intense devotion on the lady in return; on which Mr. Harris and Mr. Jennings used to laugh very heartily, and John Dounce more heartily than either of 'em, acknowledging, however, that the time had been when he might have done such things; upon which Mr. Jones used to poke him in the ribs, and tell him he had been a sad dog in his time, which John Dounce, with chuckles, confessed. And after Mr. Harris and Mr. Jennings had preferred their claims to the character of having been sad dogs too, they separated harmoniously, & trotted home. The decrees of Fate, and the means by which they are brought about, are mysterious and inscrutable. John Dounce had led this life for twenty years and upwards, without wish for change, or care for variety, when his whole social system was suddenly upset and turned completely topsy-turvy—not by an earthquake, or some other dreadful convulsion of nature, as the reader would be inclined to suppose, but by the simple agency of an oyster, and thus it happened. Mr. John Dounce was returning one night from the Sir Somebody’s Head, to his residence in Cursitor-street—not tipsy, but rather excited, for it was Mr. Jennings’s birth-day, and they had had a brace of partridges for supper, and a brace of extra glasses afterwards, and Jones had been more than ordinarily amusing—when his eyes rested on a newly-opened oyster shop on a magnificent scale, with natives laid one deep in circular marble basins in the windows, together with little round barrels of oysters directed to Lords and Baronets, and Colonels and Captains, in every part of the habitable globe. Behind the natives were the barrels, and behind the barrels was a young lady of about five-and-twenty, all in blue, and all alone—splendid creature, charming face, and lovely figure. It is difficult to say whether Mr. John Dounce’s red countenance, illuminated as it was by the flickering gas-light in the window before which he paused, excited the lady’s risibility, or whether a natural exuberance of animal spirits proved too much for that staidness of demeanour which the forms of society rather dictatorially prescribe; certain it is, that the lady smiled, then put her finger upon her lip, with a striking recollection of what was due to herself; and finally retired, in oyster-like bashfulness to the very back of the counter. The sad-dog sort of feeling came strongly upon John Dounce: he lingered —the lady in blue made no sign. He coughed—still she came not. He entered the shop—"Can you open me an oyster, my dear?" said Mr. John Dounce. "Dare say I can, Sir," replied the lady in blue, with enchanting playfulness. And Mr. John Dounce eat one oyster, and then looked at the young lady, and then eat another, and then squeezed the young lady’s hand as she was opening the third, and so forth, until he had devoured a dozen of those at eight-pence in less than no time. "Can you open me half a dozen more, my dear?" inquired Mr. John Dounce. "I’ll see what I can do for you, Sir," replied the young lady in blue, even more bewitchingly than before; and Mr. John Dounce eat half-a-dozen more of those at eight-pence and felt his gallantry increasing every minute. "You couldn’t manage to get me a glass of brandy and water, my dear, I suppose?" said Mr. John Dounce, when he had finished the oysters, in a tone which clearly implied his supposition that she could. "I’ll see, Sir," said the young lady; and away she ran out of the shop, and down the street, her long auburn ringlets shaking in the wind in the most enchanting manner; and back she came again, tripping over the coal-places like a whipping top, with a tumbler of brandy and water, which Mr. John Dounce insisted on her taking a share of, as it was regular ladies’ grog—hot, strong, sweet, and plenty of it. So the young lady sat down with Mr. John Dounce, in a little red box with a green curtain, and took a small sip of the brandy and water, and a small look at Mr. John Dounce, and then turned her head away, and went through various other serio-pantomimic fascinations, which forcibly reminded Mr. John Dounce of the first time he courted his first wife, and which, taken conjointly with the hot brandy and water and the oysters, made him feel more affectionate than ever; in pursuance of which affection, and actuated by which feeling, Mr. John Dounce sounded the young lady on her matrimonial engagements, when the young lady denied having formed any such engagements at all—she couldn’t abear the men, they were such deceivers; thereupon Mr. John Dounce inquired whether this sweeping condemnation was meant to include other than very young men; on which the young lady blushed deeply—at least she turned away her head, and said Mr. John Dounce had made her blush, so of course she did blush—and Mr. John Dounce was a long time drinking the brandy and water; and the young lady said "Ha' done, Sir," very often; and at last John Dounce went home to bed, and dreamt of his first wife, and his second wife, and the young lady, and partridges, and oysters, and brandy and water, and disinterested attachments. The next morning John Dounce was rather feverish with the extra brandy and water of the previous night; and, partly in the hope of cooling himself with an oyster, and partly with the view of ascertaining whether he owed the young lady anything, or not, went back to the oyster-shop. If the young lady had appeared beautiful by night, she was perfectly irresistible by day; and, from this time forward a change came over the spirit of John Dounce’s dream. He bought shirt-pins; wore a ring on his third finger; read poetry; bribed a cheap miniature-painter to perpetrate a faint resemblance to a youthful face, with a curtain over his head, six large books in the background, and an open country in the distance (this he called his portrait); "went on" altogether in such an uproarious manner, that the three Miss Dounces went off on small pensions, he having made the tenement in Cursitor-street too warm to contain them; and in short, comported and demeaned himself in every respect like an unmitigated old Saracen, as he was. As to his ancient friends, the other old boys, at the Sir Somebody’s Head, he dropped off from them by gradual degrees; for, even when he did go there, Jones—vulgar fellow that Jones—persisted in asking "when it was to be?" and "whether he was to have any gloves?" together with other inquiries of an equally offensive nature, at which not only Harris laughed, but Jennings too; so he cut the two altogether, and attached himself solely to the blue young lady at the smart oyster-shop. Now comes the moral of the story—for it has a moral after all. The last mentioned young lady, having derived sufficient profit and emolument from John Dounce’s attachment, not only refused, when matters came to a crisis, to take him for better for worse, but expressly declared, to use her own forcible words, that she wouldn’t have him at no price; and John Dounce, having lost his old friends, alienated his relations, and rendered himself ridiculous to every body, made offers successively to a schoolmistress, a landlady, a feminine tobacconist, and a housekeeper; and, being directly rejected by each and every of them, was accepted by his cook, with whom he lives now, a hen-pecked husband, a melancholy monument of antiquated misery, and a living warning to all uxorious old boys. https://www.dickenssearch.com/files/original/5/Scenes_and_Characters_No._6_Some_Account_of_an_Omnibus_Cad/1835-11-01_Bells_Life_in_London_Scenes_and_Characters_No6_Some_Account_of_an_Omnibus_Cad.pdf 34bdfd442a1dd8ac3e8f041ec181afec 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 Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) Bell's Life in London Pseudonym The name under which the item was published TIBBS 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. 18351101 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. William Barker was born;—but why need we recount where Mr. William Barker was born, or when? Why scrutinize the entries in personal ledgers, why penetrate into the Luxinian mysteries of lying-in in hospitals? Mr. William Barker was born, or he had never been. There was a father— there is a son. There was a cause—there is an effect. Surely this is sufficient information for the most Fatima-like curiosity; and, if it be not, we regret our inability to supply any further evidence on the point. Can there be a more satisfactory, or more strictly parliamentary course? Impossible. We at once avoid a similar inability to record at what precise period, or by what particular process, this gentleman's patronymic, of William Barker, became corrupted into "Bill Boorker." Mr. Barker has required a high standing, and no inconsiderable reputation among the members of that profession to which he has more peculiarly devoted his energies; and to them he is generally known, either by the familiar appellation of "Bill Boorker," or the flattering designation of "Aggerawatin Bill"—the latter being a playful and expressive sobriquet, illustrative of Mr. Barker's great talent in "aggerawatin" and rendering wild such subjects of her Majesty as are conveyed from place to place, through the instrumentality of omnibuses. Of the early life of Mr. Barker little is known, and even that little is involved in considerable doubt and obscurity. A want of application, a restlessness of purpose, a thirsting after porter, a love of all that is roving and cadger-like in nature, shared in common with many other great geniuses, appear to have been his leading characteristics. The busy hum of a parochial free-school, and the shady repose of a county gaol, were alike inefficacious in producing the slightest alteration in Mr. Barker's disposition - his feverish attachment to change and variety nothing could repress; his native daring no punishment could subdue. If Mr. Barker can be fairly said to have had any weakness in his earlier years, it was an amiable one—Love; Love in its most comprehensive form—a love of ladies, liquids, and pocket-handkerchiefs. It was no selfish feeling; it was not confined to his own possessions, which but too many men regard with exclusive complacency. No: it was a nobler love—a general principle; it extended itself with equal force to the property of other people. There is something very affecting in this: it is still more affecting to know, that such philanthropy is but imperfectly rewarded. Bow street, Newgate, and Millbank, are a poor return for general benevolence, evincing itself in an irrepressible love of all created objects. Mr. Barker felt it so—after a lengthened interview with the highest legal authorities, he quitted his ungrateful country with the consent, and at the expense, of its Government, proceeded to a distant shore, and there employed himself like another Cincinnatus in clearing and cultivating the soil—a peaceful pursuit, in which a term of seven years glided almost imperceptibly away. Whether, at the expiration of the period we have just mentioned, the British Government required Mr. Barker's presence here, or did not require his residence abroad, we have no distinct means of ascertaining. We should be inclined, however, to favour the latter position, inasmuch as we do not find that he was advanced to any other public post on his return, than the post at the corner of the Haymarket, where he officiated as assistant-waterman to the hackney-coach stand. Seated, in this capacity, on a couple of tubs near the kerb-stone, with a brass plate and number suspended round his neck by a massive chain, and his ancles curiously enveloped in haybands, he is supposed to have made those observations on human nature which exercised so material an influence over all his proceedings in later life, and the results of which we shall proceed very briefly to lay before our readers. Mr. Barker had not officiated for many months in this capacity, when the appearance of the first omnibus caused the public mind to go in a new direction, and prevented a great many hackney coaches from going in any direction at all. The genius of Mr. Barker at once perceived the whole extent of the injury that would be eventually inflicted on cab and coach stands, and, by consequence, on watermen also, by the progress of the system of which the first omnibus was a part. He saw, too, the necessity of adopting the persuits of some more profitable profession, and his active mind at once perceived how much might be done in the way of enticing the youthful and unwary, and shoving the old and helpless, into the wrong buss, and carrying them off, until, reduced to despair, they ransomed themselves by the payment of six-pence a head, or, to adopt his own figurative expression in all its native beauty, "till they was rig'larly done over, and forked out the stumpy." An opportunity for realising his fondest anticipations soon presented itself. Rumours were rife on the hackney-coach stands, that a buss was building to run from Lisson-grove to the Bank, down Oxford-street and Holborn, and the rapid increase of busses on the Paddington-road encouraged the idea. Mr. Barker secretly and cautiously inquired in the proper quarters. The report was correct—the "Royal William" was to make his first journey on the following Monday. It was a crack affair altogether. An enterprising young cabman, of established reputation as a dashing whip—for he had compromised with the parents of three scrunched children, and just "worked out" his fine for knocking down an old lady—was the driver; and the spirited proprietor, knowing Mr. Barker's qualifications, appointed him to the vacant office of cad on the very first application. The buss began to run, and Mr. Barker entered into a new suit of clothes, and on a new sphere of action. To recapitulate all the improvements introduced by this extraordinary man into the omnibus system - gradually, indeed, but surely—would occupy a far greater space than we are enabled to devote to this imperfect memoir. To him is universally assigned the original suggestion of the practice which afterwards became so general—of the driver of a second buss keeping constantly behind the first one, and driving the pole of his vehicle either into the door of the other, every time it was opened, or through the body of any lady or gentleman who might make an attempt to get into it—a humorous and pleasant invention, exhibiting all that originality of idea, and fine bold flow of spirits, so conspicuous in every action of this great man. He has opponents of course; for what man in public life has not? but even his worst enemies cannot deny that he has taken more old ladies and gentlemen to Paddington who wanted to go to the Bank, and more old ladies and gentlemen to the Bank who wanted to go to Paddington, than any three men on the road: and however much malevolent spirits may pretend to doubt the accuracy of the statement, they well know it to be an established fact, that he has forcibly conveyed a variety of ancient persons of either sex, to both places, who had not the slightest or most distant intention of going anywhere at all. Mr. Barker was the identical cad who nobly distinguished himself, sometime since by keeping a tradesman on the step—the omnibus going at full speed all the time—till he had thrashed him to his entire satisfaction, and finally throwing him away when he had quite done with him. Mr. Barker it ought to have been who honestly indignant at being ignominiously ejected from a house of public entertainment, kicked the landlord in the knee, and thereby caused his death. We say it ought to have been Mr. Barker, because the action was not a common one, and could have emanated from no ordinary mind. We regret being compelled to state that it was not he—would, for the family credit, that we could add it was his brother! It is in the exercise of the nicer details of his profession, that Mr. Barker's knowledge of human nature is beautifully displayed. He can tell at a glance where a passenger wants to go to, and shouts the name of the place accordingly, without the slightest reference to the real destination of the buss; he knows exactly the sort of old lady that will be too much flurried by the process of pushing in, and pulling out of the caravan, to discover where she has been set down until too late; has an intuitive perception of what is passing in a passenger's mind when he inwardly resolves to "pull that cad up to-morrow morning;" & never fails to make himself agreeable to female servants whom, if he can place next the door, he talks to all the way. Human judgment is never infallible, and it has occasionally happened that Mr. Barker has experimentalised with the timidity or forbearance of the wrong sort of person, in which case a summons to a Police-office, has been the consequence, and a committal the finish. It is not for trifles such as these, however, to subdue a spirit like that which swells beneath the waistcoat of this heroic man. You may confine the body between four stone walls, or between four brick walls and a stone coping, which is much the same in effect—he cares not—you may cramp his body by confinement, or to prevent his body's getting the cramp, you may exercise his legs upon the mill—he defies your tyranny: he appeals from your oppressive enactments to the Paddington committee: and flies back to his profession with an ardour which persecution and involuntary abstinence have in no wise diminished. Like many other great men, Mr. Barker is a rigid predestinarian, or to advert once again to his own pointed and eloquent form of speech, he resons thus:—"If I am to get into trouble for this here consarn, I may as vell get into trouble for somethink as for nothink."—and acting upon this logical mode of reasoning, he sacrifices at the altar of philosophy any little scruples he might otherwise entertain, and gets into trouble with great ease and coolness getting out of it as well as he can; and losing no opportunity of getting into it again. Such are a few traits in the character—such are a few incidents in the chequered life—of this remarkable man. Would that we could have conscientientiously entitled this hasty sketch a full account of his amiable existence up to the moment at which we are writing. We cannot do so. With "Some Account of an Omnibus Cad" we must be contented, and we hope our readers may be so too. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-11-01_Bells_Life_in_London_Scenes_and_Characters_No6_Some_Account_of_an_Omnibus_Cad.xml" target="_blank" rel="noopener">'Scenes and Characters, No. 6, Some Account of an Omnibus Cad.' Bell's Life in London (1 November 1835).</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 'Scenes and Characters, No. 6, Some Account of an Omnibus Cad' Description An account of the resource Published in Bell's Life in London (1 November 1835). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/BL/0000355/18351101/001/0001" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/BL/0000355/18351101/001/0001</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-11-01 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-11-01_Bells_Life_in_London_Scenes_and_Characters_No6_Some_Account_of_an_Omnibus_Cad 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. 'Scenes and Characters, No. 6, Some Account of an Omnibus Cad' (1 November 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1835-11-01_Bells_Life_in_London_Scenes_and_Characters_No6_Some_Account_of_an_Omnibus_Cad">https://www.dickenssearch.com/short-stories/1835-11-01_Bells_Life_in_London_Scenes_and_Characters_No6_Some_Account_of_an_Omnibus_Cad</a>. Scripto Transcription A written representation of a document. Mr. William Barker was born;—but why need we recount where Mr. William Barker was born, or when? Why scrutinize the entries in personal ledgers, why penetrate into the Luxinian mysteries of lying-in in hospitals? Mr. William Barker was born, or he had never been. There was a father— there is a son. There was a cause—there is an effect. Surely this is sufficient information for the most Fatima-like curiosity; and, if it be not, we regret our inability to supply any further evidence on the point. Can there be a more satisfactory, or more strictly parliamentary course? Impossible. We at once avoid a similar inability to record at what precise period, or by what particular process, this gentleman's patronymic, of William Barker, became corrupted into "Bill Boorker." Mr. Barker has required a high standing, and no inconsiderable reputation among the members of that profession to which he has more peculiarly devoted his energies; and to them he is generally known, either by the familiar appellation of "Bill Boorker," or the flattering designation of "Aggerawatin Bill"—the latter being a playful and expressive sobriquet, illustrative of Mr. Barker's great talent in "aggerawatin" and rendering wild such subjects of her Majesty as are conveyed from place to place, through the instrumentality of omnibuses. Of the early life of Mr. Barker little is known, and even that little is involved in considerable doubt and obscurity. A want of application, a restlessness of purpose, a thirsting after porter, a love of all that is roving and cadger-like in nature, shared in common with many other great geniuses, appear to have been his leading characteristics. The busy hum of a parochial free-school, and the shady repose of a county gaol, were alike inefficacious in producing the slightest alteration in Mr. Barker's disposition - his feverish attachment to change and variety nothing could repress; his native daring no punishment could subdue. If Mr. Barker can be fairly said to have had any weakness in his earlier years, it was an amiable one—Love; Love in its most comprehensive form—a love of ladies, liquids, and pocket-handkerchiefs. It was no selfish feeling; it was not confined to his own possessions, which but too many men regard with exclusive complacency. No: it was a nobler love—a general principle; it extended itself with equal force to the property of other people. There is something very affecting in this: it is still more affecting to know, that such philanthropy is but imperfectly rewarded. Bow street, Newgate, and Millbank, are a poor return for general benevolence, evincing itself in an irrepressible love of all created objects. Mr. Barker felt it so—after a lengthened interview with the highest legal authorities, he quitted his ungrateful country with the consent, and at the expense, of its Government, proceeded to a distant shore, and there employed himself like another Cincinnatus in clearing and cultivating the soil—a peaceful pursuit, in which a term of seven years glided almost imperceptibly away. Whether, at the expiration of the period we have just mentioned, the British Government required Mr. Barker's presence here, or did not require his residence abroad, we have no distinct means of ascertaining. We should be inclined, however, to favour the latter position, inasmuch as we do not find that he was advanced to any other public post on his return, than the post at the corner of the Haymarket, where he officiated as assistant-waterman to the hackney-coach stand. Seated, in this capacity, on a couple of tubs near the kerb-stone, with a brass plate and number suspended round his neck by a massive chain, and his ancles curiously enveloped in haybands, he is supposed to have made those observations on human nature which exercised so material an influence over all his proceedings in later life, and the results of which we shall proceed very briefly to lay before our readers. Mr. Barker had not officiated for many months in this capacity, when the appearance of the first omnibus caused the public mind to go in a new direction, and prevented a great many hackney coaches from going in any direction at all. The genius of Mr. Barker at once perceived the whole extent of the injury that would be eventually inflicted on cab and coach stands, and, by consequence, on watermen also, by the progress of the system of which the first omnibus was a part. He saw, too, the necessity of adopting the persuits of some more profitable profession, and his active mind at once perceived how much might be done in the way of enticing the youthful and unwary, and shoving the old and helpless, into the wrong buss, and carrying them off, until, reduced to despair, they ransomed themselves by the payment of six-pence a head, or, to adopt his own figurative expression in all its native beauty, "till they was rig'larly done over, and forked out the stumpy." An opportunity for realising his fondest anticipations soon presented itself. Rumours were rife on the hackney-coach stands, that a buss was building to run from Lisson-grove to the Bank, down Oxford-street and Holborn, and the rapid increase of busses on the Paddington-road encouraged the idea. Mr. Barker secretly and cautiously inquired in the proper quarters. The report was correct—the "Royal William" was to make his first journey on the following Monday. It was a crack affair altogether. An enterprising young cabman, of established reputation as a dashing whip—for he had compromised with the parents of three scrunched children, and just "worked out" his fine for knocking down an old lady—was the driver; and the spirited proprietor, knowing Mr. Barker's qualifications, appointed him to the vacant office of cad on the very first application. The buss began to run, and Mr. Barker entered into a new suit of clothes, and on a new sphere of action. To recapitulate all the improvements introduced by this extraordinary man into the omnibus system - gradually, indeed, but surely—would occupy a far greater space than we are enabled to devote to this imperfect memoir. To him is universally assigned the original suggestion of the practice which afterwards became so general—of the driver of a second buss keeping constantly behind the first one, and driving the pole of his vehicle either into the door of the other, every time it was opened, or through the body of any lady or gentleman who might make an attempt to get into it—a humorous and pleasant invention, exhibiting all that originality of idea, and fine bold flow of spirits, so conspicuous in every action of this great man. He has opponents of course; for what man in public life has not? but even his worst enemies cannot deny that he has taken more old ladies and gentlemen to Paddington who wanted to go to the Bank, and more old ladies and gentlemen to the Bank who wanted to go to Paddington, than any three men on the road: and however much malevolent spirits may pretend to doubt the accuracy of the statement, they well know it to be an established fact, that he has forcibly conveyed a variety of ancient persons of either sex, to both places, who had not the slightest or most distant intention of going anywhere at all. Mr. Barker was the identical cad who nobly distinguished himself, sometime since by keeping a tradesman on the step—the omnibus going at full speed all the time—till he had thrashed him to his entire satisfaction, and finally throwing him away when he had quite done with him. Mr. Barker it ought to have been who honestly indignant at being ignominiously ejected from a house of public entertainment, kicked the landlord in the knee, and thereby caused his death. We say it ought to have been Mr. Barker, because the action was not a common one, and could have emanated from no ordinary mind. We regret being compelled to state that it was not he—would, for the family credit, that we could add it was his brother! It is in the exercise of the nicer details of his profession, that Mr. Barker's knowledge of human nature is beautifully displayed. He can tell at a glance where a passenger wants to go to, and  shouts the name of the place accordingly, without the slightest reference to the real destination of the buss; he knows exactly the sort of old lady that will be too much flurried by the process of pushing in, and pulling out of the caravan, to discover where she has been set down until too late; has an intuitive perception of what is passing in a passenger's mind when he inwardly resolves to "pull that cad up to-morrow morning;" & never fails to make himself agreeable to female servants whom, if he can place next the door, he talks to all the way. Human judgment is never infallible, and it has occasionally happened that Mr. Barker has experimentalised with the timidity or forbearance of the wrong sort of person, in which case a summons to a Police-office, has been the consequence, and a committal the finish. It is not for trifles such as these, however, to subdue a spirit like that which swells beneath the waistcoat of this heroic man. You may confine the body between four stone walls, or between four brick walls and a stone coping, which is much the same in effect—he cares not—you may cramp his body by confinement, or to prevent his body's getting the cramp, you may exercise his legs upon the mill—he defies your tyranny: he appeals from your oppressive enactments to the Paddington committee: and flies back to his profession with an ardour which persecution and involuntary abstinence have in no wise diminished. Like many other great men, Mr. Barker is a rigid predestinarian, or to advert once again to his own pointed and eloquent form of speech, he resons thus:—"If I am to get into trouble for this here consarn, I may as vell get into trouble for somethink as for nothink."—and acting upon this logical mode of reasoning, he sacrifices at the altar of philosophy any little scruples he might otherwise entertain, and gets into trouble with great ease and coolness getting out of it as well as he can; and losing no opportunity of getting into it again.  Such are a few traits in the character—such are a few incidents in the chequered life—of this remarkable man. Would that we could have conscientientiously entitled this hasty sketch a full account of his amiable existence up to the moment at which we are writing. We cannot do so. With "Some Account of an Omnibus Cad" we must be contented, and we hope our readers may be so too.