23 10 361 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches Identifier An unambiguous reference to the resource within a given context speeches Description An account of the resource <h4>This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time. </h4> Dickens made more than a hundred speeches between 1837 and 1870 at events ranging from charitable dinners and award ceremonies to banquets in his honour or brief words of thanks before a public reading. In these speeches, the author touched on topics including his own life and professional development as well as other subjects such as politics, education, literature, public health and the development of the railway. Efforts to collect Dickens’s speeches prior to 1960 were incomplete at best, and misleading and fragmentary at worst. John Camden Hotten’s collection of speeches, begun without the author’s consent (although he never responded to Hotten’s letters, Dickens did begin efforts to block their publication) and published together with a hastily-compiled biography shortly after the author’s death, remained the primary collected version of the speeches until the Nonesuch Dickens of 1938-39 (a limited print run). Finally, K. J. Fielding brought all known speeches together in 1960, correcting shoddy transcriptions by Hotten using contemporary newspaper accounts, and nearly doubling the total number of speeches attributed to Dickens (The Speeches of Charles Dickens [Oxford: Clarendon Press, 1960]): Hotten had only featured the text of 56 speeches, the Nonesuch edition of the speeches provided an additional nine, and Fielding presented more than a hundred. Since this monumental work, a handful have also appeared in The Dickensian;<a href="#fn1" id="ref1">1</a> there are certainly more to be found, as the volume of digitised newspapers and periodicals increases, and corrections to be made to existing transcriptions. No effort to collect the speeches has been made since Fielding; this collection thus represents the most complete body of Dickens's speeches ever assembled. Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884: <blockquote>[S]upposing the speech was to be delivered in the evening, his habit was to take a long walk in the morning, during which he would decide on the various heads to be dealt with. These being arranged in their proper order, he would in his 'mind's eye,' liken the whole subject to the tire of a cart wheel – he being the hub. From the hub to the tire he would run as many spokes as there were subjects to be treated, and during the progress of the speech he would deal with each spoke separately, elaborating them as he went round the wheel; and when all the spokes dropped out one by one, and nothing but the tire and space remained […] his speech was at an end. (Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America, pp. 273-74)</blockquote> However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like The Times. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say). Our Transcription field will only include words attributed directly to Dickens rather than third-person reports or paraphrases of his speeches. Where only such reports exist, we will provide the text in the 'Summary' field. Ngram search and other text analysis tools will be applied to what are given as Dickens's words only, to avoid skewing the results, but of course we are reliant on the quality of the reporting: we recommend analysing topics, themes, quotations and concepts rather than granular detail such as prepositions, punctuation, capitalisation and the intricacies of grammar, as different newspaper accounts can vary on these points. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens. 1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', The Dickensian 73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', The Dickensian 73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', The Dickensian 85.418 (1989): pp. 66-80. <a href="#ref1" title="Jump back to footnote 1 in the text.">↩</a> Contributor An entity responsible for making contributions to the resource Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods Speech Summary Occasionally speeches are summarised in sources in third person. Include that here, so that everything in the text transcription is only Dickens's words. On a recent occasion, he said, they were informed that a respectable and active police officer had insinuated himself into the midst of an incorruptible election. This very intellectual person had reason to believe, from information he had received, that if he proceeded in a certain direction he would encounter a sage, between whom and himself a most mysterious and magnetic influence would arise if he laid his hand upon his nose. He obeyed these instructions, and in reply to the gesture alluded to, the sage observed, ‘It is all right, but there is something more’; whereupon the police officer repeated the necessarily cabalistic sign, which secured his admission into the mysterious region, and he took the chief magician into custody. If he might adapt this incident, of a not very agreeable or creditable nature, to the present very agreeable and creditable occasion, he would suggest it was all right, but there was something more. Without having applied their hands to their noses, they might be said to have placed them in grateful homage on their hearts, and also to their ears in listening to those sweet sounds produced by the musicians, and which gave delight, not only in themselves, but from the generous spirit in which they were uttered. They had used their hands in making those sounds very agreeable to the management of the fund, and in acknowledging the very admirable exposition of its claims they had heard from the Chair. In reference to the Chair, he would simply say that he hoped the ‘devil’s bird-catchers’ might always be able to lime so good a bird. He was too old a bird to be caught by chaff, whether of a celestial or infernal description. The chairman had laid the fund, under a very great obligation, and the cabalistic sign which he was advised as the next in order was, that every gentleman presented empty a wine glass in his honour. They were so fortunate in having for their president a gentleman who was the representative of a large mercantile community, and his presence afforded a graceful expression of that union of sympathy which should exist between the busy pursuits of life and its wholesome recreations. They also had in their chairman of the night one who was personally and pleasantly acquainted with the objects of their assembly. He, therefore, called up upon them to drink his health, and when they had done that, he hoped they would recollect that they were still ‘something more’. Location The location London Venue Where the speech was given London Tavern Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18530322 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 Royal General Theatrical Fund Anniversary Festival 1853 Description An account of the resource Speech at the Royal General Theatrical Fund Anniversary Festival (22 March 1853). Creator An entity primarily responsible for making the resource Dickens, Charles Date A point or period of time associated with an event in the lifecycle of the resource 1853-03-22 Identifier An unambiguous reference to the resource within a given context 1853-03-22_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival-1853 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Speech at the Royal General Theatrical Fund Anniversary Festival' (22 March 1853). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1853-03-22_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival-1853">https://dickenssearch.com/speeches/1853-03-22_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival-1853</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches Identifier An unambiguous reference to the resource within a given context speeches Description An account of the resource <h4>This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time. </h4> Dickens made more than a hundred speeches between 1837 and 1870 at events ranging from charitable dinners and award ceremonies to banquets in his honour or brief words of thanks before a public reading. In these speeches, the author touched on topics including his own life and professional development as well as other subjects such as politics, education, literature, public health and the development of the railway. Efforts to collect Dickens’s speeches prior to 1960 were incomplete at best, and misleading and fragmentary at worst. John Camden Hotten’s collection of speeches, begun without the author’s consent (although he never responded to Hotten’s letters, Dickens did begin efforts to block their publication) and published together with a hastily-compiled biography shortly after the author’s death, remained the primary collected version of the speeches until the Nonesuch Dickens of 1938-39 (a limited print run). Finally, K. J. Fielding brought all known speeches together in 1960, correcting shoddy transcriptions by Hotten using contemporary newspaper accounts, and nearly doubling the total number of speeches attributed to Dickens (The Speeches of Charles Dickens [Oxford: Clarendon Press, 1960]): Hotten had only featured the text of 56 speeches, the Nonesuch edition of the speeches provided an additional nine, and Fielding presented more than a hundred. Since this monumental work, a handful have also appeared in The Dickensian;<a href="#fn1" id="ref1">1</a> there are certainly more to be found, as the volume of digitised newspapers and periodicals increases, and corrections to be made to existing transcriptions. No effort to collect the speeches has been made since Fielding; this collection thus represents the most complete body of Dickens's speeches ever assembled. Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884: <blockquote>[S]upposing the speech was to be delivered in the evening, his habit was to take a long walk in the morning, during which he would decide on the various heads to be dealt with. These being arranged in their proper order, he would in his 'mind's eye,' liken the whole subject to the tire of a cart wheel – he being the hub. From the hub to the tire he would run as many spokes as there were subjects to be treated, and during the progress of the speech he would deal with each spoke separately, elaborating them as he went round the wheel; and when all the spokes dropped out one by one, and nothing but the tire and space remained […] his speech was at an end. (Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America, pp. 273-74)</blockquote> However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like The Times. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say). Our Transcription field will only include words attributed directly to Dickens rather than third-person reports or paraphrases of his speeches. Where only such reports exist, we will provide the text in the 'Summary' field. Ngram search and other text analysis tools will be applied to what are given as Dickens's words only, to avoid skewing the results, but of course we are reliant on the quality of the reporting: we recommend analysing topics, themes, quotations and concepts rather than granular detail such as prepositions, punctuation, capitalisation and the intricacies of grammar, as different newspaper accounts can vary on these points. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens. 1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', The Dickensian 73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', The Dickensian 73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', The Dickensian 85.418 (1989): pp. 66-80. <a href="#ref1" title="Jump back to footnote 1 in the text.">↩</a> Contributor An entity responsible for making contributions to the resource Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods Speech Summary Occasionally speeches are summarised in sources in third person. Include that here, so that everything in the text transcription is only Dickens's words. After tendering his acknowledgement of the toast, and the honour done him in associating his name with it, Dickens said that those acknowledgements were not the less heartfelt because he was unable to recognize in this toast the President’s usual disinterestedness; since English literature could hardly be remembered in any place, and certainly not in a school of art, without a very distinct remembrance of his own tasteful writings, to say nothing of that other and better part of himself which, unfortunately was not visible upon these occasions. If, like the noble lord, the Commander-in-Chief, he might venture to illustrate his brief thanks with one word of reference to the noble picture painted by a very dear friend of his, which was a little eclipsed that evening by the radiant and rubicund chair which the President now so happily toned down, he would beg leave to say that, as literature could nowhere be more appropriately honoured than in that place, so he thought she could nowhere feel a higher gratification in the ties that bound her to the sister arts. He ever felt in that place that literature found, through their instrumentality, always a new expression, and in a universal language. Location The location London Venue Where the speech was given Royal Academy 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. 18530430 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 Royal Academy Banquet 1853 Description An account of the resource Speech at the Royal Academy Banquet (30 April 1853). Creator An entity primarily responsible for making the resource Dickens, Charles Date A point or period of time associated with an event in the lifecycle of the resource 1853-04-30 Identifier An unambiguous reference to the resource within a given context 1853-04-30_Speech_Royal-Academy-Banquet Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Speech at the Royal Academy Banquet' (30 April 1853). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1853-04-30_Speech_Royal-Academy-Banquet">https://dickenssearch.com/speeches/1853-04-30_Speech_Royal-Academy-Banquet</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches Identifier An unambiguous reference to the resource within a given context speeches Description An account of the resource <h4>This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time. </h4> Dickens made more than a hundred speeches between 1837 and 1870 at events ranging from charitable dinners and award ceremonies to banquets in his honour or brief words of thanks before a public reading. In these speeches, the author touched on topics including his own life and professional development as well as other subjects such as politics, education, literature, public health and the development of the railway. Efforts to collect Dickens’s speeches prior to 1960 were incomplete at best, and misleading and fragmentary at worst. John Camden Hotten’s collection of speeches, begun without the author’s consent (although he never responded to Hotten’s letters, Dickens did begin efforts to block their publication) and published together with a hastily-compiled biography shortly after the author’s death, remained the primary collected version of the speeches until the Nonesuch Dickens of 1938-39 (a limited print run). Finally, K. J. Fielding brought all known speeches together in 1960, correcting shoddy transcriptions by Hotten using contemporary newspaper accounts, and nearly doubling the total number of speeches attributed to Dickens (The Speeches of Charles Dickens [Oxford: Clarendon Press, 1960]): Hotten had only featured the text of 56 speeches, the Nonesuch edition of the speeches provided an additional nine, and Fielding presented more than a hundred. Since this monumental work, a handful have also appeared in The Dickensian;<a href="#fn1" id="ref1">1</a> there are certainly more to be found, as the volume of digitised newspapers and periodicals increases, and corrections to be made to existing transcriptions. No effort to collect the speeches has been made since Fielding; this collection thus represents the most complete body of Dickens's speeches ever assembled. Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884: <blockquote>[S]upposing the speech was to be delivered in the evening, his habit was to take a long walk in the morning, during which he would decide on the various heads to be dealt with. These being arranged in their proper order, he would in his 'mind's eye,' liken the whole subject to the tire of a cart wheel – he being the hub. From the hub to the tire he would run as many spokes as there were subjects to be treated, and during the progress of the speech he would deal with each spoke separately, elaborating them as he went round the wheel; and when all the spokes dropped out one by one, and nothing but the tire and space remained […] his speech was at an end. (Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America, pp. 273-74)</blockquote> However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like The Times. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say). Our Transcription field will only include words attributed directly to Dickens rather than third-person reports or paraphrases of his speeches. Where only such reports exist, we will provide the text in the 'Summary' field. Ngram search and other text analysis tools will be applied to what are given as Dickens's words only, to avoid skewing the results, but of course we are reliant on the quality of the reporting: we recommend analysing topics, themes, quotations and concepts rather than granular detail such as prepositions, punctuation, capitalisation and the intricacies of grammar, as different newspaper accounts can vary on these points. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens. 1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', The Dickensian 73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', The Dickensian 73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', The Dickensian 85.418 (1989): pp. 66-80. <a href="#ref1" title="Jump back to footnote 1 in the text.">↩</a> Contributor An entity responsible for making contributions to the resource Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods Speech Summary Occasionally speeches are summarised in sources in third person. Include that here, so that everything in the text transcription is only Dickens's words. Referring to Mrs. Beecher Stowe, he said that in returning thanks he could not forget he was in the presence of a stranger who was the author of a noble book with a noble purpose. But he had no right to call her a stranger, for she would find a welcome in every English home. He begged to say that he was delighted to hear from Vice-Chancellor Wood that the Court of Chancery would not in the future be what it had been in the past. He had reason to hope that a suit which had been going on for some years past, and in which he was interested, might, by the learned judge's intervention, be brought to a satisfactory termination. Location The location London Venue Where the speech was given Mansion House 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. 18530502 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 Banquet at the Mansion House 1853 Description An account of the resource Speech at the Banquet at the Mansion House (2 May 1853). Creator An entity primarily responsible for making the resource Dickens, Charles Date A point or period of time associated with an event in the lifecycle of the resource 1853-05-02 Identifier An unambiguous reference to the resource within a given context 1853-05-02_Speech_Banquet-at-the-Mansion-House Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Speech at the Banquet at the Mansion House' (2 May 1853). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1853-05-02_Speech_Banquet-at-the-Mansion-House">https://dickenssearch.com/speeches/1853-05-02_Speech_Banquet-at-the-Mansion-House</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches Identifier An unambiguous reference to the resource within a given context speeches Description An account of the resource <h4>This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time. </h4> Dickens made more than a hundred speeches between 1837 and 1870 at events ranging from charitable dinners and award ceremonies to banquets in his honour or brief words of thanks before a public reading. In these speeches, the author touched on topics including his own life and professional development as well as other subjects such as politics, education, literature, public health and the development of the railway. Efforts to collect Dickens’s speeches prior to 1960 were incomplete at best, and misleading and fragmentary at worst. John Camden Hotten’s collection of speeches, begun without the author’s consent (although he never responded to Hotten’s letters, Dickens did begin efforts to block their publication) and published together with a hastily-compiled biography shortly after the author’s death, remained the primary collected version of the speeches until the Nonesuch Dickens of 1938-39 (a limited print run). Finally, K. J. Fielding brought all known speeches together in 1960, correcting shoddy transcriptions by Hotten using contemporary newspaper accounts, and nearly doubling the total number of speeches attributed to Dickens (The Speeches of Charles Dickens [Oxford: Clarendon Press, 1960]): Hotten had only featured the text of 56 speeches, the Nonesuch edition of the speeches provided an additional nine, and Fielding presented more than a hundred. Since this monumental work, a handful have also appeared in The Dickensian;<a href="#fn1" id="ref1">1</a> there are certainly more to be found, as the volume of digitised newspapers and periodicals increases, and corrections to be made to existing transcriptions. No effort to collect the speeches has been made since Fielding; this collection thus represents the most complete body of Dickens's speeches ever assembled. Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884: <blockquote>[S]upposing the speech was to be delivered in the evening, his habit was to take a long walk in the morning, during which he would decide on the various heads to be dealt with. These being arranged in their proper order, he would in his 'mind's eye,' liken the whole subject to the tire of a cart wheel – he being the hub. From the hub to the tire he would run as many spokes as there were subjects to be treated, and during the progress of the speech he would deal with each spoke separately, elaborating them as he went round the wheel; and when all the spokes dropped out one by one, and nothing but the tire and space remained […] his speech was at an end. (Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America, pp. 273-74)</blockquote> However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like The Times. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say). Our Transcription field will only include words attributed directly to Dickens rather than third-person reports or paraphrases of his speeches. Where only such reports exist, we will provide the text in the 'Summary' field. Ngram search and other text analysis tools will be applied to what are given as Dickens's words only, to avoid skewing the results, but of course we are reliant on the quality of the reporting: we recommend analysing topics, themes, quotations and concepts rather than granular detail such as prepositions, punctuation, capitalisation and the intricacies of grammar, as different newspaper accounts can vary on these points. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens. 1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', The Dickensian 73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', The Dickensian 73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', The Dickensian 85.418 (1989): pp. 66-80. <a href="#ref1" title="Jump back to footnote 1 in the text.">↩</a> Contributor An entity responsible for making contributions to the resource Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods Speech Location The location Birmingham Venue Where the speech was given Town Hall Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18531230 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. My Good Friends, When I first imparted to the Committee of the projected Institute my particular wish that on one of the evenings of my readings here the main body of my audience should be composed of working men and their families, I was animated by two desires; first, by the wish to have the great pleasure of meeting you face to face at this Christmas time, and accompany you myself through one of my little Christmas books; and secondly, by the wish to have an opportunity of stating publicly in your presence, and in the presence of the Committee, my earnest hope that the Institute will, from the beginning, recognize one great principle – strong in reason and justice – which I believe to be essential to the very life of such an Institution. It is, that the working man shall, from the first unto the last, have a share in the management of the institution which is designed for his benefit, and which calls itself by his name. I have no fear of being misunderstood – of being supposed to mean too much in this. If there ever was a time when any one class could of itself do much for its own good, and for the welfare of society – which I greatly doubt – that time is unquestionably past. It is in the fusion of different classes, without confusion; in the bringing together of employers and employed; in the creating of a better common understanding among those whose interests are identical, who depend upon each other, and who never can be in unnatural antagonism without deplorable results, that one of the chief principles of a Mechanics’ Institution should consist. In this world a great deal of the bitterness among us arises from an imperfect understanding of one another. Erect in Birmingham a great Educational Institution, properly educational; educational of the feelings as well as of the reason; to which all orders of Birmingham men contribute; in which all orders of Birmingham can men meet; wherein all orders of Birmingham men are faithfully represented; and you will erect a Temple of Concord here which will be a model edifice to the whole of England. Contemplating as I do the existence of an Artisans’ Committee, which not long ago considered the establishment of the Institute so sensibly, and supported it so heartily, I earnestly entreat the gentlemen – earnest I know in the good work, and who are now among us – by all means to avoid the great shortcoming of similar institutions; and in asking the working man for his confidence, to set him the great example and give him theirs in return. You will judge for yourselves if I promise too much for the working man, when I say that he will stand by such an enterprise with the utmost of his patience, his perseverance, sense, and support; that I am sure he will need no charitable aid or condescending patronage; but will readily and cheerfully pay for the advantages which it confers; that he will prepare himself in individual cases where he feels it necessary; in a word, that he will feel his responsibility like an honest man, and will most honestly and manfully discharge it. I now proceed to the pleasant task to which I assure you I have looked forward for a long time. You have heard so much of my voice since we met tonight, that I will only say, in acknowledgment of this affecting mark of your regard, that I am truly and sincerely interested in you; that any little service to you I have freely rendered from my heart; that I hope to become an honorary member of your great Institution, and will meet you often there when it becomes practically useful; that I thank you most affectionately for this new mark of your sympathy and approval; and that I wish you many happy returns of this great birthday time, and many prosperous years. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource At a Reading in Birmingham Description An account of the resource Speeches at a Reading in Birmingham of A Christmas Carol (30 December 1853). Creator An entity primarily responsible for making the resource Dickens, Charles Identifier An unambiguous reference to the resource within a given context 1853-12-30_Speech_At-a-Reading-in-Birmingham 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. 'At a Reading in Birmingham' (30 December 1853). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1853-12-30_Speech_At-a-Reading-in-Birmingham">https://dickenssearch.com/speeches/1853-12-30_Speech_At-a-Reading-in-Birmingham</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1853-12-30 Scripto Transcription A written representation of a document. My Good Friends, When I first imparted to the Committee of the projected Institute my particular wish that on one of the evenings of my readings here the main body of my audience should be composed of working men and their families, I was animated by two desires; first, by the wish to have the great pleasure of meeting you face to face at this Christmas time, and accompany you myself through one of my little Christmas books; and secondly, by the wish to have an opportunity of stating publicly in your presence, and in the presence of the Committee, my earnest hope that the Institute will, from the beginning, recognize one great principle – strong in reason and justice – which I believe to be essential to the very life of such an Institution. It is, that the working man shall, from the first unto the last, have a share in the management of the institution which is designed for his benefit, and which calls itself by his name. I have no fear of being misunderstood – of being supposed to mean too much in this. If there ever was a time when any one class could of itself do much for its own good, and for the welfare of society – which I greatly doubt – that time is unquestionably past. It is in the fusion of different classes, without confusion; in the bringing together of employers and employed; in the creating of a better common understanding among those whose interests are identical, who depend upon each other, and who never can be in unnatural antagonism without deplorable results, that one of the chief principles of a Mechanics’ Institution should consist. In this world a great deal of the bitterness among us arises from an imperfect understanding of one another. Erect in Birmingham a great Educational Institution, properly educational; educational of the feelings as well as of the reason; to which all orders of Birmingham men contribute; in which all orders of Birmingham can men meet; wherein all orders of Birmingham men are faithfully represented; and you will erect a Temple of Concord here which will be a model edifice to the whole of England. Contemplating as I do the existence of an Artisans’ Committee, which not long ago considered the establishment of the Institute so sensibly, and supported it so heartily, I earnestly entreat the gentlemen – earnest I know in the good work, and who are now among us – by all means to avoid the great shortcoming of similar institutions; and in asking the working man for his confidence, to set him the great example and give him theirs in return. You will judge for yourselves if I promise too much for the working man, when I say that he will stand by such an enterprise with the utmost of his patience, his perseverance, sense, and support; that I am sure he will need no charitable aid or condescending patronage; but will readily and cheerfully pay for the advantages which it confers; that he will prepare himself in individual cases where he feels it necessary; in a word, that he will feel his responsibility like an honest man, and will most honestly and manfully discharge it. I now proceed to the pleasant task to which I assure you I have looked forward for a long time. You have heard so much of my voice since we met tonight, that I will only say, in acknowledgment of this affecting mark of your regard, that I am truly and sincerely interested in you; that any little service to you I have freely rendered from my heart; that I hope to become an honorary member of your great Institution, and will meet you often there when it becomes practically useful; that I thank you most affectionately for this new mark of your sympathy and approval; and that I wish you many happy returns of this great birthday time, and many prosperous years. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Verse Description An account of the resource <h4>This collection brings together the most complete set of Dickens's verse to date, supplementing the work of existing editions with previously uncollected poems Dickens contributed to albums, or wrote anonymously.</h4> Though such productions receive scant attention from scholars interested in his fiction and journalism, Dickens composed a surprising amount of verse. It was a genre in which he evidently felt much less at home (and financially rewarded) than when writing in prose. However, several poems gained popular favour during his lifetime; that so many were <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Song">written to be set to music</a> indicates the permeable boundary between metered verse functioning as poem or song in the nineteenth century, and may explain why some of Dickens’s poems were more enduringly popular than others. Notably, <a href="https://dickenssearch.com/verse/1836-05_Pickwick_Papers_The_Ivy_Green">'The Ivy Green'</a> from Pickwick Papers (1837), a story of time’s inexorable passing, was frequently republished in newspapers. Several poems written to young ladies of Dickens’s acquaintance are released on Dickens Search as part of the author’s poetic output for the first time, testifying to the author’s ability to write impromptu poetry and gallantly turn a phrase. Since keeping <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Autograph+Album&collection=&type=&tags=&date_search_term=&submit_search=Search+For+Items">autograph albums</a> was a popular pastime for women in the Victorian era, it is possible that further examples of such activity remain to be discovered in various archives and private collections. When writing <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Letter&collection=3&type=&tags=&date_search_term=&submit_search=Search+For+Items">letters</a> to friends, Dickens occasionally included comedic poems for the recipient. Several of these are included. Considering the enormity of Dickens’s correspondence, likely more instances of this sort of poetic humour will result over time. <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Epitaph">Epitaphs</a> Dickens wrote for friends and family, whether used or not, are included with Dickens's other verse for the first time. Users can also browse <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Play">verse from Dickens's plays</a>, including songs removed from The Strange Gentleman and Is She His Wife? Or, Something Singular! before performance. Care is necessary when verifying the accuracy of these poems, as some are misattributed to Dickens. Widespread reprintings of 'Dickens poems' in nineteenth-century newspapers are insufficient evidence for authorial attribution, owing to the mistakes intentionally or inadvertently made in ascribing authorship. An unusual example of a poem that is and is not by Dickens, the lines of 'Little Nell’s Funeral' are taken, with minimal alterations, from Chapter 72 of The Old Curiosity Shop. An instance of the strikingly lyrical quality of Dickens’s sentimental prose, they were divided into metered, unrhymed verse by M.A.H. for the 1849 collection Echoes of Infant Voices. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of Dickens Search. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens didn't write.</a> Occasionally, Dickens will quote a poem by another author, as in his burlesque Is She his Wife? Or, Something Singular! (1836). The character Mr Felix Tapkins launches into a short hunting song beginning 'The wife around her husband throws/Her arms to make him stay'. As William Chappell noted in 1840, this is a well-known variant of 'A Hunting We Will Go' (1777), by Thomas Arne, though he misattributes its composition to Henry Fielding. Previous notable collections of some of Dickens's poetry include The Plays and Poems of Charles Dickens (1882) edited by Richard Herne Shepherd and The Poems and Verses of Charles Dickens (1903) edited by Frederic G. Kitton. In 2025, we published <a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> (Edinburgh University Press), which includes an introduction and editorial apparatus for this verse.  Caution has been taken when ascertaining that each poem is indeed by Dickens. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or other poems written by Dickens. 1. The Verse of Charles Dickens. Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' The Dickensian 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' Dickens Quarterly 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. Dickens Studies Annual 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Publication Type E.g. newspaper/serial Letter TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1854_Letter_To_W_H_Wills_The_Response.xml" target="_blank" rel="noopener">'The Response' (1854).</a> Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18540101 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. Air: “Isabel” At the Hou-ou-sehold Words at ha-alf past fo-our I’ll be found, I’ll be found, I’ll be found When if it don’t blow it will certainly pou-ur I’ll be bound, I’ll be bound, I’ll be bound! But whom you expect besi-i-des Lemming I dont know, I dont know, I dont know But I’ll write to old Stanny R. and Lemming I’ll do so, I’ll do so, I’ll do so. You haven’t got time I sup-po-o-o-ose To walk out to that Blades If you do not produce your old no-o-o-ose I’ll send him a line with all spee-e-e-e-e-e-e-e-eed. 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 'The Response' Description An account of the resource From a letter to W. H. Wills (1854). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived 'To W. H. Wills.' The Letters of Charles Dickens. The Pilgrim Edition. Edited by Graham Storey, Kathleen Tillotson and Angus Easson. Volume 7 (1853-1855), p. 493. Oxford University Press, 1993. Date A point or period of time associated with an event in the lifecycle of the resource 1854 Type The nature or genre of the resource Song Identifier An unambiguous reference to the resource within a given context 1854_Letter_To_W_H_Wills_The_Response 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. 'The Response' (1854). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/verse/1854_Letter_To_W_H_Wills_The_Response" target="_blank" rel="noopener">https://dickenssearch.com/verse/1854_Letter_To_W_H_Wills_The_Response</a>. Scripto Transcription A written representation of a document. Air: “Isabel” At the Hou-ou-sehold Words at ha-alf past fo-our I’ll be found, I’ll be found, I’ll be found When if it don’t blow it will certainly pou-ur I’ll be bound, I’ll be bound, I’ll be bound! But whom you expect besi-i-des Lemming I dont know, I dont know, I dont know But I’ll write to old Stanny R. & Lemming I’ll do so, I’ll do so, I’ll do so. You haven’t got time I sup-po-o-o-ose To walk out to that Blades If you do not produce your old no-o-o-ose I’ll send him a line with all spee-e-e-e-e-e-e-e-eed. https://www.dickenssearch.com/files/original/3/Song_of_the_Ghost_of_Gaffer_Thumb/1854_Song_of_the_Ghost_of_Gaffer_Thumb_The_Plays_and_Poems_of_Charles_Dickens.pdf 9e88640514cf1d40679b994939bba1da 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 Verse Description An account of the resource <h4>This collection brings together the most complete set of Dickens's verse to date, supplementing the work of existing editions with previously uncollected poems Dickens contributed to albums, or wrote anonymously.</h4> Though such productions receive scant attention from scholars interested in his fiction and journalism, Dickens composed a surprising amount of verse. It was a genre in which he evidently felt much less at home (and financially rewarded) than when writing in prose. However, several poems gained popular favour during his lifetime; that so many were <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Song">written to be set to music</a> indicates the permeable boundary between metered verse functioning as poem or song in the nineteenth century, and may explain why some of Dickens’s poems were more enduringly popular than others. Notably, <a href="https://dickenssearch.com/verse/1836-05_Pickwick_Papers_The_Ivy_Green">'The Ivy Green'</a> from Pickwick Papers (1837), a story of time’s inexorable passing, was frequently republished in newspapers. Several poems written to young ladies of Dickens’s acquaintance are released on Dickens Search as part of the author’s poetic output for the first time, testifying to the author’s ability to write impromptu poetry and gallantly turn a phrase. Since keeping <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Autograph+Album&collection=&type=&tags=&date_search_term=&submit_search=Search+For+Items">autograph albums</a> was a popular pastime for women in the Victorian era, it is possible that further examples of such activity remain to be discovered in various archives and private collections. When writing <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Letter&collection=3&type=&tags=&date_search_term=&submit_search=Search+For+Items">letters</a> to friends, Dickens occasionally included comedic poems for the recipient. Several of these are included. Considering the enormity of Dickens’s correspondence, likely more instances of this sort of poetic humour will result over time. <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Epitaph">Epitaphs</a> Dickens wrote for friends and family, whether used or not, are included with Dickens's other verse for the first time. Users can also browse <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Play">verse from Dickens's plays</a>, including songs removed from The Strange Gentleman and Is She His Wife? Or, Something Singular! before performance. Care is necessary when verifying the accuracy of these poems, as some are misattributed to Dickens. Widespread reprintings of 'Dickens poems' in nineteenth-century newspapers are insufficient evidence for authorial attribution, owing to the mistakes intentionally or inadvertently made in ascribing authorship. An unusual example of a poem that is and is not by Dickens, the lines of 'Little Nell’s Funeral' are taken, with minimal alterations, from Chapter 72 of The Old Curiosity Shop. An instance of the strikingly lyrical quality of Dickens’s sentimental prose, they were divided into metered, unrhymed verse by M.A.H. for the 1849 collection Echoes of Infant Voices. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of Dickens Search. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens didn't write.</a> Occasionally, Dickens will quote a poem by another author, as in his burlesque Is She his Wife? Or, Something Singular! (1836). The character Mr Felix Tapkins launches into a short hunting song beginning 'The wife around her husband throws/Her arms to make him stay'. As William Chappell noted in 1840, this is a well-known variant of 'A Hunting We Will Go' (1777), by Thomas Arne, though he misattributes its composition to Henry Fielding. Previous notable collections of some of Dickens's poetry include The Plays and Poems of Charles Dickens (1882) edited by Richard Herne Shepherd and The Poems and Verses of Charles Dickens (1903) edited by Frederic G. Kitton. In 2025, we published <a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> (Edinburgh University Press), which includes an introduction and editorial apparatus for this verse.  Caution has been taken when ascertaining that each poem is indeed by Dickens. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or other poems written by Dickens. 1. The Verse of Charles Dickens. Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' The Dickensian 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' Dickens Quarterly 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. Dickens Studies Annual 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Publication Type E.g. newspaper/serial Play Publication The title of the newspaper/serial (if applicable) Tom Thumb TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1854-01_Tom_Thumb_Song_of_the_Ghost_of_Gaffer_Thumb.xml" target="_blank" rel="noopener">'Song of the Ghost of Gaffer Thumb.' Tom Thumb (January 1854).</a> Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18540101 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. I've got up from my churchyard bed, And assumed the perpendicular, Having something to say in my head, Which isn't so very particular! I do not appear in sport, But in earnest, all danger scorning - I'm in your service, in short, And I hereby give you warning - [Cock crows.] Who's dat crowing at the door? Dere's some one in the house with Dinah! I'm call'd (so can't say any more) By a voice from Cochin China! 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 'Song of the Ghost of Gaffer Thumb' Description An account of the resource From Tom Thumb (Twelfth Night celebrations at Tavistock House, January 1854). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The Plays and Poems of Charles Dickens. Edited by Richard Herne Shepherd. Volume 1 (1882), p. 85. W. H. Allen & Company.  <a href="https://www.google.com/books/edition/The_Plays_and_Poems_of_Charles_Dickens/XbZJAQAAMAAJ" target="_blank" rel="noopener">https://www.google.com/books/edition/The_Plays_and_Poems_of_Charles_Dickens/XbZJAQAAMAAJ</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1854-01 Rights Information about rights held in and over the resource Google Books, Fair Use. Relation A related resource Inserted into an amateur performance of Kane O'Hara's Tom Thumb n.d (early 19th century) <a href="https://www.loc.gov/item/2010667656/" target="_blank" rel="noopener">https://www.loc.gov/item/2010667656/</a>. Dickens's poem was written to replace O'Hara's 'AIR. - GHOST' (Scene IV, p 221). O'Hara's play was adapted from Henry Fielding's The Tragedy of Tragedies; or, The Life and Death of Tom Thumb the Great (1731), which was in turn expanded from Fielding's original Tom Thumb. A Tragedy (1730). Type The nature or genre of the resource Song Identifier An unambiguous reference to the resource within a given context 1854-01_Tom_Thumb_Song_of_the_Ghost_of_Gaffer_Thumb 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. 'Song of the Ghost of Gaffer Thumb.' Tom Thumb (1854). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/verse/1854-01_Tom_Thumb_Song_of_the_Ghost_of_Gaffer_Thumb">https://dickenssearch.com/verse/1854-01_Tom_Thumb_Song_of_the_Ghost_of_Gaffer_Thumb</a>. Scripto Transcription A written representation of a document. I've got up from my churchyard bed, And assumed the perpendicular, Having something to say in my head, Which isn't so very particular!  I do not appear in sport, But in earnest, all danger scorning -  I'm in your service, in short, And I hereby give you warning - [Cock crows.] Who's dat crowing at the door? Dere's some one in the house with Dinah!  I'm call'd (so can't say any more) By a voice from Cochin China! https://www.dickenssearch.com/files/original/3/To_Mary_Boyle/1854-01-16_Letter_To_Mary_Boyle_Poem.pdf acf3a3185565689c85f1b06e0b554dd5 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 Verse Description An account of the resource <h4>This collection brings together the most complete set of Dickens's verse to date, supplementing the work of existing editions with previously uncollected poems Dickens contributed to albums, or wrote anonymously.</h4> Though such productions receive scant attention from scholars interested in his fiction and journalism, Dickens composed a surprising amount of verse. It was a genre in which he evidently felt much less at home (and financially rewarded) than when writing in prose. However, several poems gained popular favour during his lifetime; that so many were <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Song">written to be set to music</a> indicates the permeable boundary between metered verse functioning as poem or song in the nineteenth century, and may explain why some of Dickens’s poems were more enduringly popular than others. Notably, <a href="https://dickenssearch.com/verse/1836-05_Pickwick_Papers_The_Ivy_Green">'The Ivy Green'</a> from Pickwick Papers (1837), a story of time’s inexorable passing, was frequently republished in newspapers. Several poems written to young ladies of Dickens’s acquaintance are released on Dickens Search as part of the author’s poetic output for the first time, testifying to the author’s ability to write impromptu poetry and gallantly turn a phrase. Since keeping <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Autograph+Album&collection=&type=&tags=&date_search_term=&submit_search=Search+For+Items">autograph albums</a> was a popular pastime for women in the Victorian era, it is possible that further examples of such activity remain to be discovered in various archives and private collections. When writing <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Letter&collection=3&type=&tags=&date_search_term=&submit_search=Search+For+Items">letters</a> to friends, Dickens occasionally included comedic poems for the recipient. Several of these are included. Considering the enormity of Dickens’s correspondence, likely more instances of this sort of poetic humour will result over time. <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Epitaph">Epitaphs</a> Dickens wrote for friends and family, whether used or not, are included with Dickens's other verse for the first time. Users can also browse <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Play">verse from Dickens's plays</a>, including songs removed from The Strange Gentleman and Is She His Wife? Or, Something Singular! before performance. Care is necessary when verifying the accuracy of these poems, as some are misattributed to Dickens. Widespread reprintings of 'Dickens poems' in nineteenth-century newspapers are insufficient evidence for authorial attribution, owing to the mistakes intentionally or inadvertently made in ascribing authorship. An unusual example of a poem that is and is not by Dickens, the lines of 'Little Nell’s Funeral' are taken, with minimal alterations, from Chapter 72 of The Old Curiosity Shop. An instance of the strikingly lyrical quality of Dickens’s sentimental prose, they were divided into metered, unrhymed verse by M.A.H. for the 1849 collection Echoes of Infant Voices. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of Dickens Search. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens didn't write.</a> Occasionally, Dickens will quote a poem by another author, as in his burlesque Is She his Wife? Or, Something Singular! (1836). The character Mr Felix Tapkins launches into a short hunting song beginning 'The wife around her husband throws/Her arms to make him stay'. As William Chappell noted in 1840, this is a well-known variant of 'A Hunting We Will Go' (1777), by Thomas Arne, though he misattributes its composition to Henry Fielding. Previous notable collections of some of Dickens's poetry include The Plays and Poems of Charles Dickens (1882) edited by Richard Herne Shepherd and The Poems and Verses of Charles Dickens (1903) edited by Frederic G. Kitton. In 2025, we published <a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> (Edinburgh University Press), which includes an introduction and editorial apparatus for this verse.  Caution has been taken when ascertaining that each poem is indeed by Dickens. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or other poems written by Dickens. 1. The Verse of Charles Dickens. Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' The Dickensian 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' Dickens Quarterly 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. Dickens Studies Annual 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Publication Type E.g. newspaper/serial Letter TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1854-01-16_Letter_To_Mary_Boyle_Poem.xml" target="_blank" rel="noopener">'To Mary Boyle' (16 January 1854).</a> Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18540116 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. When the praise thou meetest To thine ear is sweetest O then REMEMBER JOE! 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 'To Mary Boyle' Description An account of the resource From a letter to Mary Boyle (16 January 1854). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived 'Miss Mary Boyle.' The Letters of Charles Dickens. Edited by his Sister-in-Law and his Eldest Daughter. Volume 1 (1833-1856), p. 346. Chapman and Hall, 1880. Internet Archive, <a href="https://archive.org/details/letterscharlesd09dickgoog/page/n363/mode/2up" target="_blank" rel="noopener">https://archive.org/details/letterscharlesd09dickgoog/page/n363/mode/2up</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1854-01-16 Type The nature or genre of the resource Poem Identifier An unambiguous reference to the resource within a given context 1854-01-16_Letter_To_Mary_Boyle_Poem 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. 'To Mary Boyle' (16 January 1854). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/verse/1854-01-16_Letter_To_Mary_Boyle_Poem" target="_blank" rel="noopener">https://dickenssearch.com/verse/1854-01-16_Letter_To_Mary_Boyle_Poem</a>. Rights Information about rights held in and over the resource Internet Archive: Access to the Archive’s Collections is provided at no cost and is granted for scholarship and research purposes only (<a href="https://archive.org/about/terms.php" target="_blank" rel="noopener">https://archive.org/about/terms.php</a>). Scripto Transcription A written representation of a document. When the praise thou meetest To thine ear is sweetest O then REMEMBER JOE! https://www.dickenssearch.com/files/original/3/Bob_Tarter_s_Parody/1854-2-18-Bob_Tarters_Parody.pdf b0b374dea544b575a01479689d5e843f 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 Verse Description An account of the resource <h4>This collection brings together the most complete set of Dickens's verse to date, supplementing the work of existing editions with previously uncollected poems Dickens contributed to albums, or wrote anonymously.</h4> Though such productions receive scant attention from scholars interested in his fiction and journalism, Dickens composed a surprising amount of verse. It was a genre in which he evidently felt much less at home (and financially rewarded) than when writing in prose. However, several poems gained popular favour during his lifetime; that so many were <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Song">written to be set to music</a> indicates the permeable boundary between metered verse functioning as poem or song in the nineteenth century, and may explain why some of Dickens’s poems were more enduringly popular than others. Notably, <a href="https://dickenssearch.com/verse/1836-05_Pickwick_Papers_The_Ivy_Green">'The Ivy Green'</a> from Pickwick Papers (1837), a story of time’s inexorable passing, was frequently republished in newspapers. Several poems written to young ladies of Dickens’s acquaintance are released on Dickens Search as part of the author’s poetic output for the first time, testifying to the author’s ability to write impromptu poetry and gallantly turn a phrase. Since keeping <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Autograph+Album&collection=&type=&tags=&date_search_term=&submit_search=Search+For+Items">autograph albums</a> was a popular pastime for women in the Victorian era, it is possible that further examples of such activity remain to be discovered in various archives and private collections. When writing <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Letter&collection=3&type=&tags=&date_search_term=&submit_search=Search+For+Items">letters</a> to friends, Dickens occasionally included comedic poems for the recipient. Several of these are included. Considering the enormity of Dickens’s correspondence, likely more instances of this sort of poetic humour will result over time. <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Epitaph">Epitaphs</a> Dickens wrote for friends and family, whether used or not, are included with Dickens's other verse for the first time. Users can also browse <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Play">verse from Dickens's plays</a>, including songs removed from The Strange Gentleman and Is She His Wife? Or, Something Singular! before performance. Care is necessary when verifying the accuracy of these poems, as some are misattributed to Dickens. Widespread reprintings of 'Dickens poems' in nineteenth-century newspapers are insufficient evidence for authorial attribution, owing to the mistakes intentionally or inadvertently made in ascribing authorship. An unusual example of a poem that is and is not by Dickens, the lines of 'Little Nell’s Funeral' are taken, with minimal alterations, from Chapter 72 of The Old Curiosity Shop. An instance of the strikingly lyrical quality of Dickens’s sentimental prose, they were divided into metered, unrhymed verse by M.A.H. for the 1849 collection Echoes of Infant Voices. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of Dickens Search. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens didn't write.</a> Occasionally, Dickens will quote a poem by another author, as in his burlesque Is She his Wife? Or, Something Singular! (1836). The character Mr Felix Tapkins launches into a short hunting song beginning 'The wife around her husband throws/Her arms to make him stay'. As William Chappell noted in 1840, this is a well-known variant of 'A Hunting We Will Go' (1777), by Thomas Arne, though he misattributes its composition to Henry Fielding. Previous notable collections of some of Dickens's poetry include The Plays and Poems of Charles Dickens (1882) edited by Richard Herne Shepherd and The Poems and Verses of Charles Dickens (1903) edited by Frederic G. Kitton. In 2025, we published <a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> (Edinburgh University Press), which includes an introduction and editorial apparatus for this verse.  Caution has been taken when ascertaining that each poem is indeed by Dickens. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or other poems written by Dickens. 1. The Verse of Charles Dickens. Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' The Dickensian 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' Dickens Quarterly 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. Dickens Studies Annual 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Publication Type E.g. newspaper/serial Periodical Publication The title of the newspaper/serial (if applicable) Household Words 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. 18540218 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. Who made believe to be so meek That we could hardly hear him speak, Yet turned out an Informing Sneak? Old Cheeseman. 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 'Bob Tarter's Parody' Description An account of the resource Published in 'The Schoolboy's Story,' Household Words, Vol. VIII, no. 196, New Year Number, 18 February 1854, pp. 409-13. Source A related resource from which the described resource is derived Dickens Journals Online, <a href="https://www.djo.org.uk/household-words/volume-viii/page-610.html">https://www.djo.org.uk/household-words/volume-viii/page-610.html</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1854-02-18 Type The nature or genre of the resource Poem Identifier An unambiguous reference to the resource within a given context 1854-02-18-Bob-Tarters-Parody 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. 'Bob Tarter's Parody' (18 February 1854). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/verse/1854-02-18-Bob-Tarters-Parody">https://www.dickenssearch.com/verse/1854-02-18-Bob-Tarters-Parody</a>. Creator An entity primarily responsible for making the resource Dickens, Charles Rights Information about rights held in and over the resource Scanned material from Dickens Journals Online, <a href="http://www.djo.org.uk" id="LPNoLPOWALinkPreview" contenteditable="false" title="http://www.djo.org.uk">www.djo.org.uk</a>. Available under CC BY licence. Scripto Transcription A written representation of a document. Who made believe to be so meek That we could hardly hear him speak, Yet turned out an Informing Sneak? Old Cheeseman. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches Identifier An unambiguous reference to the resource within a given context speeches Description An account of the resource <h4>This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time. </h4> Dickens made more than a hundred speeches between 1837 and 1870 at events ranging from charitable dinners and award ceremonies to banquets in his honour or brief words of thanks before a public reading. In these speeches, the author touched on topics including his own life and professional development as well as other subjects such as politics, education, literature, public health and the development of the railway. Efforts to collect Dickens’s speeches prior to 1960 were incomplete at best, and misleading and fragmentary at worst. John Camden Hotten’s collection of speeches, begun without the author’s consent (although he never responded to Hotten’s letters, Dickens did begin efforts to block their publication) and published together with a hastily-compiled biography shortly after the author’s death, remained the primary collected version of the speeches until the Nonesuch Dickens of 1938-39 (a limited print run). Finally, K. J. Fielding brought all known speeches together in 1960, correcting shoddy transcriptions by Hotten using contemporary newspaper accounts, and nearly doubling the total number of speeches attributed to Dickens (The Speeches of Charles Dickens [Oxford: Clarendon Press, 1960]): Hotten had only featured the text of 56 speeches, the Nonesuch edition of the speeches provided an additional nine, and Fielding presented more than a hundred. Since this monumental work, a handful have also appeared in The Dickensian;<a href="#fn1" id="ref1">1</a> there are certainly more to be found, as the volume of digitised newspapers and periodicals increases, and corrections to be made to existing transcriptions. No effort to collect the speeches has been made since Fielding; this collection thus represents the most complete body of Dickens's speeches ever assembled. Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884: <blockquote>[S]upposing the speech was to be delivered in the evening, his habit was to take a long walk in the morning, during which he would decide on the various heads to be dealt with. These being arranged in their proper order, he would in his 'mind's eye,' liken the whole subject to the tire of a cart wheel – he being the hub. From the hub to the tire he would run as many spokes as there were subjects to be treated, and during the progress of the speech he would deal with each spoke separately, elaborating them as he went round the wheel; and when all the spokes dropped out one by one, and nothing but the tire and space remained […] his speech was at an end. (Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America, pp. 273-74)</blockquote> However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like The Times. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say). Our Transcription field will only include words attributed directly to Dickens rather than third-person reports or paraphrases of his speeches. Where only such reports exist, we will provide the text in the 'Summary' field. Ngram search and other text analysis tools will be applied to what are given as Dickens's words only, to avoid skewing the results, but of course we are reliant on the quality of the reporting: we recommend analysing topics, themes, quotations and concepts rather than granular detail such as prepositions, punctuation, capitalisation and the intricacies of grammar, as different newspaper accounts can vary on these points. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens. 1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', The Dickensian 73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', The Dickensian 73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', The Dickensian 85.418 (1989): pp. 66-80. <a href="#ref1" title="Jump back to footnote 1 in the text.">↩</a> Contributor An entity responsible for making contributions to the resource Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods Speech Summary Occasionally speeches are summarised in sources in third person. Include that here, so that everything in the text transcription is only Dickens's words. 'He began by saying that we were met to celebrate an event, a great event. Not, as some thought, merely the birthday of a dramatist and an actor. We met on that day to celebrate a great deal more. We met on that day to celebrate the birthday of a vast army of living men and women, who would live for ever with an actuality greater than that of the men and women whose external forms we saw around us, and whom we knew ourselves – types of humanity, the inner working of whose souls was open to us, as were the faces of ordinary men. To-day was born a Prince of Denmark, who would live for ever as the type of man whose mind was "sicklied o'er with the pale cast of thought," and whose life-story was fore-shadowed by his appearance from the moment he came before us as "a broken glass of fashion, a mould of form," pale and worn with weeping for his father's death, and remotely suspicious of its cause, and not with "his hair crisply curled short as if he were going to an everlasting dancing-master's party at the Danish court," as "most Hamlets since the great Kemble have been bound to do." A Prince of Denmark who will live for ever, even though he be remembered by no more than the words that ask, [quotes from "Whether 'tis nobler to "a consummation Devoutly to be wished"]. On this day was born not only this lasting embodiment of deep insight into life and its problems, but also "Laughter holding both his sides." On this day was born Falstaff, who, like one who takes the chair on such an occasion as this, has to be the cause of speaking in others. And on this day the famous Justice Shallow, who, though you may not admire his qualities, will live in the memory of all who laugh at him, and all who try to personate him on the stage. "'Tis the heart, Master Page, 'tis here, 'tis here. I have seen the time, with my long sword I would have made you four tall fellows skip like rats." But on this day, that saw the birth of Justice Shallow, as well as of the "merry knight," that "mountain of flesh," of whom Prince Hal said (as we all would now say had Falstaff not been born): "I could have better spared a better man," there was also born Queen Mab: [quotes from "She is the fairies' midwife to "as they lie asleep"]. And on this day was born that weaver who felt as out of place among fairies as "a lion among ladies": [quotes from "God shield us! A lion among ladies" to "a man as other men are"]. On this day, too, was born Macbeth, the type of all who show how the first fall into evil leads even men capable of noble thoughts down, eventually, into the lowest depths; Macbeth, who said: [quotes from "If it were done" to "jump the life to come"]. To-day was born a certain Signior Benedick of Padua –that is, not the Benedick of this or that theatrical company, but the constant occasion of merriment among the persons represented in Much Ado about Nothing: "all mirth," as Don Pedro has it, "from the crown of his head to the sole of his foot"; and who may well inspire mirth in all. This day was born a Duke who, exiled from the "painted pomp" of his "envious court", could utter words teaching what I hold to be a vital truth, "above all, that nothing is high because it is in a high place, and that nothing is low because it is in a low one." This is the lesson taught us in the great book of Nature and the lesson uppermost in the mind of that inspired man who tells us that there are – Tongues in trees, books in the running brooks, Sermons in stones, and good in everything. Today was born a villain, for whose birth we may yet be glad, because he was not the ordinary villain of the stage. For Iago can be portrayed without "frowning, sneering diabolically, grinning, and elaborately doing everything else that would induce Othello to run him through the body very early in the play" Shakespeare's Iago is a man who could and did make friends, who could dissect his master's soul without flourishing his scalpel as if it were a walking-stick; who could overpower Emilia by other arts than a sign-of-the-Saracen's-Head grimness; who could be a boon companion without, ipso facto, warning all beholders off by the portentous phenomenon; who could sing a song and clink a can naturally enough, and stab men really in the dark – not in a transparent notification of himself as going about seeking whom to stab. On this day was born the ideal embodiment of woman's passionate love, to whom her lover in his passion idealised as the sun at the dawn rising to – [quotes from "Kill the envious moon" to "And none but fools do wear it"]. And on this day was born a fool, not dressed in vestal livery, but dressed in motley, who "laid him down and basked him in the sun, and as quoted by the melancholy Jacques (whose words are in-woven in this tablecloth before me: "All the world's a stage") described, for all time, the qualities, the privileges and the duties of the satirist of him who, like this fool, "should be so deep contemplative" as to make the sage "ambitions for a motley suit." "Invest me in my motley: give me leave to speak my mind, and I will, through and through, cleanse the foul body of whole infected world, if they will but patiently receive my medicine." In like manner Dickens dealt with many more of Shakespeare's characters, each time acting and speaking the lines with consummate art and skill. Dickens went on to say that this was also the birthday of the English novel. "Every writer of fiction, although he may not adopt the dramatic form, writes, in effect, for the stage. He many never write plays, but the truth and passions which are in him must be more or less reflected in the great mirror which he holds up to Nature." Furthermore, he reminded us that it was the birthday of some of those present –of Compton, of Vanderhoff, of Wallack. For their art and fame would not have been but for the birth of whim whose birthday they were celebrating. He would go further, and say that it was the birthday of that club. For if there had never been a Shakespeare there never would have been a Garrick, and if there had never been a Garrick there would never have been a Garrick club.' Location The location London Venue Where the speech was given Garrick Club Publication Type E.g. newspaper/serial Periodical Publication The title of the newspaper/serial (if applicable) Pall Mall Magazine 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. 18540422 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 Shakespeare's Birthday at the Garrick Club Description An account of the resource Speech given at the Garrick Club (22 April 1854). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived O'Dowd, James. 'A Shakespeare Birthday: A Reminiscence of Charles Dickens.' Pall Mall Magazine (April 1906): 423-28. Date A point or period of time associated with an event in the lifecycle of the resource 1854-04-22 Type The nature or genre of the resource Speech Identifier An unambiguous reference to the resource within a given context 1854-04-22_Speech_Shakespeares_Birthday_at_the_Garrick_Club 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. 'Garrick Club' (22 April 1854). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1854-04-22_Speech_Shakespeares_Birthday_at_the_Garrick_Club">https://dickenssearch.com/speeches/1854-04-22_Speech_Shakespeares_Birthday_at_the_Garrick_Club</a>. https://www.dickenssearch.com/files/original/3/Hidden_Light/1854-08-26_Household_Words_Hidden_Light.pdf 1a0f60a2720d3fff1d6a14d1c872ad09 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 Verse Description An account of the resource <h4>This collection brings together the most complete set of Dickens's verse to date, supplementing the work of existing editions with previously uncollected poems Dickens contributed to albums, or wrote anonymously.</h4> Though such productions receive scant attention from scholars interested in his fiction and journalism, Dickens composed a surprising amount of verse. It was a genre in which he evidently felt much less at home (and financially rewarded) than when writing in prose. However, several poems gained popular favour during his lifetime; that so many were <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Song">written to be set to music</a> indicates the permeable boundary between metered verse functioning as poem or song in the nineteenth century, and may explain why some of Dickens’s poems were more enduringly popular than others. Notably, <a href="https://dickenssearch.com/verse/1836-05_Pickwick_Papers_The_Ivy_Green">'The Ivy Green'</a> from Pickwick Papers (1837), a story of time’s inexorable passing, was frequently republished in newspapers. Several poems written to young ladies of Dickens’s acquaintance are released on Dickens Search as part of the author’s poetic output for the first time, testifying to the author’s ability to write impromptu poetry and gallantly turn a phrase. Since keeping <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Autograph+Album&collection=&type=&tags=&date_search_term=&submit_search=Search+For+Items">autograph albums</a> was a popular pastime for women in the Victorian era, it is possible that further examples of such activity remain to be discovered in various archives and private collections. When writing <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Letter&collection=3&type=&tags=&date_search_term=&submit_search=Search+For+Items">letters</a> to friends, Dickens occasionally included comedic poems for the recipient. Several of these are included. Considering the enormity of Dickens’s correspondence, likely more instances of this sort of poetic humour will result over time. <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Epitaph">Epitaphs</a> Dickens wrote for friends and family, whether used or not, are included with Dickens's other verse for the first time. Users can also browse <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Play">verse from Dickens's plays</a>, including songs removed from The Strange Gentleman and Is She His Wife? Or, Something Singular! before performance. Care is necessary when verifying the accuracy of these poems, as some are misattributed to Dickens. Widespread reprintings of 'Dickens poems' in nineteenth-century newspapers are insufficient evidence for authorial attribution, owing to the mistakes intentionally or inadvertently made in ascribing authorship. An unusual example of a poem that is and is not by Dickens, the lines of 'Little Nell’s Funeral' are taken, with minimal alterations, from Chapter 72 of The Old Curiosity Shop. An instance of the strikingly lyrical quality of Dickens’s sentimental prose, they were divided into metered, unrhymed verse by M.A.H. for the 1849 collection Echoes of Infant Voices. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of Dickens Search. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens didn't write.</a> Occasionally, Dickens will quote a poem by another author, as in his burlesque Is She his Wife? Or, Something Singular! (1836). The character Mr Felix Tapkins launches into a short hunting song beginning 'The wife around her husband throws/Her arms to make him stay'. As William Chappell noted in 1840, this is a well-known variant of 'A Hunting We Will Go' (1777), by Thomas Arne, though he misattributes its composition to Henry Fielding. Previous notable collections of some of Dickens's poetry include The Plays and Poems of Charles Dickens (1882) edited by Richard Herne Shepherd and The Poems and Verses of Charles Dickens (1903) edited by Frederic G. Kitton. In 2025, we published <a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> (Edinburgh University Press), which includes an introduction and editorial apparatus for this verse.  Caution has been taken when ascertaining that each poem is indeed by Dickens. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or other poems written by Dickens. 1. The Verse of Charles Dickens. Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' The Dickensian 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' Dickens Quarterly 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. Dickens Studies Annual 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Publication Type E.g. newspaper/serial Periodical Publication The title of the newspaper/serial (if applicable) Household Words TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1854-08-26_Household_Words_Hidden_Light.xml" target="_blank" rel="noopener">'Hidden Light.' Household Words vol. X (26 August 1854): p. 37.</a> Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18540826 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. I MUCH mistrust the voice That says all hearts are cold: That mere self-interest reigns, And all is bought and bold. I much mistrust the man Who will not strive to find Some latent virtue in The soul of all mankind. Yes! If you say the fount Is seal'd and dry, I know It needs a wiser hand To make the waters flow. If you will still appeal To Evil rife in all, I know a demon band Will answer to your call. But when the Lord was gone, The Lord who came to save, Two Angels fair and bright Sat watching by the grave. And from that blessed hour, With an immortal mien, In every tomb of Good Some Angel sits unseen. The spell to bring it forth? With lowly gentle mind, With patient love and trust, Go seek – and ye shall find! 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 'Hidden Light' Description An account of the resource Published in Household Words vol. X (26 August 1854), co-author Adelaide Anne Procter. Creator An entity primarily responsible for making the resource Dickens, Charles Procter, Adelaide Anne Source A related resource from which the described resource is derived <div class="element-text">Household Words Volume X (26 August 1854): p. 37.</div> Dickens Journals Online, <a href="https://www.djo.org.uk/indexes/articles/hidden-light.html" target="_blank" rel="noopener">https://www.djo.org.uk/indexes/articles/hidden-light.html</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1854-08-26 Type The nature or genre of the resource Poem Identifier An unambiguous reference to the resource within a given context 1854-08-26-Household_Words_Hidden_Light 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 and Adelaide Anne Procter. 'Hidden Light.' Household Words, Volume X, p. 37. Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/verse/1854-08-26_Household_Words_Hidden_Light">https://dickenssearch.com/verse/1854-08-26_Household_Words_Hidden_Light</a>. Rights Information about rights held in and over the resource Scanned material from Dickens Journals Online, <a href="http://www.djo.org.uk" id="LPNoLPOWALinkPreview" contenteditable="false" title="http://www.djo.org.uk">www.djo.org.uk</a>. Available under CC BY licence. Scripto Transcription A written representation of a document. I MUCH mistrust the voice That says all hearts are cold: That mere self-interest reigns, And all is bought and bold. I much mistrust the man Who will not strive to find Some latent virtue in The soul of all mankind. Yes! If you say the fount Is seal'd and dry, I know It needs a wiser hand To make the waters flow. If you will still appeal To Evil rife in all, I know a demon band Will answer to your call. But when the Lord was gone, The Lord who came to save, Two Angels fair and bright Sat watching by the grave. And from that blessed hour, With an immortal mien, In every tomb of Good Some Angel sits unseen. The spell to bring it forth? With lowly gentle mind, With patient love and trust, Go seek – and ye shall find!