<?xml version="1.0" encoding="UTF-8"?>
<itemContainer xmlns="http://omeka.org/schemas/omeka-xml/v5" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://omeka.org/schemas/omeka-xml/v5 http://omeka.org/schemas/omeka-xml/v5/omeka-xml-5-0.xsd" uri="https://www.dickenssearch.com/items/browse?output=omeka-xml&amp;page=24&amp;sort_field=Dublin+Core%2CTitle" accessDate="2026-09-17T04:44:24+00:00">
  <miscellaneousContainer>
    <pagination>
      <pageNumber>24</pageNumber>
      <perPage>10</perPage>
      <totalResults>361</totalResults>
    </pagination>
  </miscellaneousContainer>
  <item itemId="303" public="1" featured="0">
    <collection collectionId="6">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="418">
                  <text>Speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="600">
                  <text>speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1497">
                  <text>&lt;h4&gt;This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time.&amp;nbsp;&lt;/h4&gt;&#13;
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.&lt;br /&gt;&lt;br /&gt;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 (&lt;em&gt;The Speeches of Charles Dickens&lt;/em&gt; [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 &lt;em&gt;The Dickensian&lt;/em&gt;;&lt;sup&gt;&lt;a href="#fn1" id="ref1"&gt;1&lt;/a&gt;&lt;/sup&gt; 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.&lt;br /&gt;&lt;br /&gt;Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884:&lt;br /&gt;&#13;
&lt;blockquote&gt;[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 &lt;span&gt;–&lt;/span&gt; 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. (&lt;em&gt;Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America&lt;/em&gt;, pp. 273-74)&lt;/blockquote&gt;&#13;
However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like &lt;em&gt;The Times&lt;/em&gt;. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say).&lt;br /&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;br /&gt;Please &lt;a href="https://dickenssearch.com/contact"&gt;contact us&lt;/a&gt; with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens.&lt;br /&gt;&lt;br /&gt;&lt;sup id="fn1"&gt;1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', &lt;em&gt;The Dickensian&lt;/em&gt; 85.418 (1989): pp. 66-80. &lt;a href="#ref1" title="Jump back to footnote 1 in the text."&gt;↩&lt;/a&gt;&lt;/sup&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="3162">
                  <text>Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="19">
      <name>Speech</name>
      <description/>
      <elementContainer>
        <element elementId="4">
          <name>Location</name>
          <description>The location</description>
          <elementTextContainer>
            <elementText elementTextId="4420">
              <text>Glasgow</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="97">
          <name>Venue</name>
          <description>Where the speech was given</description>
          <elementTextContainer>
            <elementText elementTextId="4421">
              <text>City Hall</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="98">
          <name>Ngram Date</name>
          <description>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.</description>
          <elementTextContainer>
            <elementText elementTextId="4422">
              <text>18471228</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="99">
          <name>Ngram Text</name>
          <description>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 &amp;nbsp; (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML.</description>
          <elementTextContainer>
            <elementText elementTextId="4423">
              <text>Ladies and Gentlemen, Let me begin by endeavouring to convey to you the assurance that not even the warmth of your reception can exceed in simple earnestness and cordiality the feelings with which I come among you. This beautiful scene and your generous greeting would naturally awaken within me no common feelings, but when I connect them with the high purpose of this brilliant assembly; when I regard it as an educational example and encouragement to all Scotland; when I regard it no less as a recognition on the part of everybody here to the right indisputable and inalienable of all those who are actively engaged in the work and business of life to elevate and improve themselves so far as in them lies by all good means, I feel as if I stood here to swear brotherhood to all the young men in Glasgow, and to all the young women too,– being unfortunately in no position to take upon myself any tenderer vows in that respect. I feel, I say, as though we were pledged from this time forth to make common cause together in one of the most worthy and laudable of all human objects. Ladies and gentlemen, common cause must be made in such a design as brings us together tonight: without it nothing can be done, but with it everything. It is a common cause of right, God knows, for it is idle to suppose that the advantages of such an institution as the Glasgow Athenaeum stop within its walls or are confined to its own members. Through all the society of this great and important city, upwards to the highest and downwards to the lowest, its influence I know must be felt for good: downwards in a clearer perception of, and sympathy with, those social miseries that can be alleviated, and those wide open doors of vice and crime that can be shut and barred; and upward in the greater intelligence, increased efficiency, and higher character of all who partake of its benefits themselves, or who communicate, as all must do, in a greater or less degree, some portion of them to the circle of relatives and friends in which they move.  Nor, ladies and gentlemen, would I say of any man, however high his social position, or however great his attainments, that he might not find something to be learnt even by immediate contact with such an institution. If he only saw the goddess Knowledge coming out of her secluded palaces and high places to mingle with the throng, and to give them shining glimpses of the splendour of the treasures she once kept closely hoarded up, he might learn something. If he only saw the energy and courage with which those who earn their daily bread by the labour of their hands or heads, come night after night, as to a recreation, to that which was perhaps the sole absorbing business of his youth, there might still be something very wholesome for him to learn. But, when he could see in such places, as anybody who chooses can see, their genial and reviving influences, their substitution of the contemplation of the beauties of nature and art and the wisdom of great men, for mere sensual enjoyment, then he might know and learn this – that it is at once the duty and interest of all good members of society to encourage and protect these institutions. Ladies and gentlemen, I take occasion to say now, as I did at an Athenaeum meeting in Yorkshire a few weeks since – and I think it a point always to be borne in mind on occasions such as these –  that when such associations are objected to or decried on the ground that, in the views of the objectors, education among the people has not succeeded, the term education is used with not the least reference to its real meaning, and is wholly misunderstood. Mere reading and writing are not education. It would be quite as reasonable to call bricks and mortar, architecture; oils and colours, art; reeds and cat-gut, music; or a child's spelling-book the works of Shakespeare, Milton or Bacon, as to call the lowest rudiments of education, ‘education’, and to visit upon that much abused and slandered word their failure in any instance. To my thinking it is precisely because they are not education: because, generally speaking, the word has been misunderstood in that sense a great deal too long; because education for the business of life, and for the due cultivation of the domestic virtues, is at least as important from day to day to the grown person as to the child; because real education amidst the strife and contention for a livelihood, and the consequent necessity incumbent on a great number of young persons to go into the world when they are very young and having had no adequate opportunity for mental culture, is extremely difficult, –  it is because of these things that I look upon Mechanics' Institutions and Athenaeums as vitally important to the well-being of society; and it is because the rudiments of education may there be turned to good account in the acquisition of sound principles, and in the practice of the great virtues of Faith, Hope, and Charity, to which all our knowledge tends: it is because of that, I take it, that we are met here in Education's name tonight. It is a very great satisfaction to me to occupy the place with which I am honoured in this meeting on behalf of an infant Institution, – a remarkably fine child no doubt, of thriving aspect, of vigorous constitution, but an infant still. I esteem myself singularly fortunate in knowing it before its prime, in the hope that I may have the pleasure of remembering in its prime, and when it has attained to its lusty maturity, that I was a friend of its youth. It has already passed through some of the disorders to which childhood is liable. Succeeding to its elder brother, of a very meritorious character but of rather a weak constitution, who expired when only about twelve months old from, it is said, the exhausting effects of getting up too early in the morning, it has fought manfully through a sea of troubles. Its friends have often been much concerned for it; its pulse has been so exceedingly low that it was only beating 1250, when it should have been 10,000. Several relations and friends have even gone so far as to walk off once or twice in the melancholy belief that it was dead. But notwithstanding all this, assisted by the indomitable energy of one or two kind nurses, to whom it can never be sufficiently grateful, it has come through triumphantly; and now, of all the youthful members of its family I ever saw, it has the strongest attitude, the healthiest look, the brightest and most cheerful air. I find it with lectures in prospect and in progress, in a great variety of sound, useful, and well-selected subjects; I find that already evening classes are in operation for the modern languages, French, German, Spanish, and Italian, as well as for Logic, Grammar, Music and Mathematics, and that these are now attended by upwards of five hundred persons. But best and foremost of all in the history of the institution, and far more satisfactory to me than anything else, I find that all this has been mainly achieved by the young men of Glasgow themselves, with very little assistance. And, ladies and gentlemen, as the axiom that Heaven helps those who help themselves is truer in no case than in this, I look to the young men of Glasgow, from such a past and such a present, to a noble future. Everything that has been done in any other Athenaeum hitherto, I confidently expect to see done here; and when that shall be the case, and when there are great cheap schools connected with it, and when it has bound together for ever all its friends, and won over to itself all those who look distrustfully upon it now – then, but not till then, may the young men of Glasgow rest from their labours, and think their duty done. If the young men of Glasgow look for any stimulus or encouragement in this wise, they have one already beside them in the presence of their fair townswomen: an incentive which is irresistible. It is a most delightful circumstance to me, and one fraught with inestimable benefits to institutions of this kind, that at a meeting of this nature those who in all things are our strongest aid, our best examples, our encouragers and friends, are not excluded. In ancient times abstract ideas of excellence were associated with those arts which refined and elevated mankind, and it was even conceived that the Graces themselves came down to encourage their cultivation by their example, and adorn them by their presence. But, now, we have the Graces with us themselves for, I am happy to say, that in Glasgow there is a peculiar bond of union between its Athenaeum and the fairest part of creation. The present Library being a small one, and the necessary additions being difficult and expensive to make, I understand that the ladies generally have resolved to hold a fancy bazaar for the sale of the work of their own hands, and to devote the proceeds to the admirable purpose of its extension. And I learn, with no less pleasure, that Her Majesty the Queen, approving of this most excellent design, with a graceful and womanly feeling, has consented that the bazaar shall be held under her royal patronage. After this I can only say, gentlemen, that if you do not find something very agreeable in your books, you are much duller scholars than I take you to be. And you, ladies – the single ladies at least – however disinterested I know you are by sex and nature, will I hope reap advantages from your exertions to promote its interests, by never marrying any but members of the Athenaeum. It seems to me that it ought to be the pleasantest library in the world. Hazlitt, in speaking of some of the graceful fancies of the writers of fiction, says: How long since I first became acquainted with these characters; what old fashioned friends they seem; and yet I am not tired of them, like so many other friends, nor they of me. In this case the books will not only possess all the attractions of their own friendships and charms, but also the manifold – I had almost said the womanfold – associations connected with their donors. I can imagine now, in fact, from these fanciful associations, some fair Glasgow widow may be taken for the remoter one whom Sir Roger de Coverley could not forget; I can imagine how Sophia's muff may be seen and loved, but not by Tom Jones, going down the High Street on any winter day; or I can imagine the student finding in every fair form the exact counterpart in the Glasgow Athenaeum; and I can imagine the History of Europe exciting the utmost interest without either the knowledge or consent of my friend Sheriff Alison. I can imagine, in short, how through all the facts and fictions of this library, the ladies will always be active, and and that Age will not wither them, nor custom stale Their infinite variety. I am surrounded by gentlemen to whom I shall soon give place, being at least as curious to hear them as you yourselves undoubtedly are; but before I sit down allow me to observe that it seems to me a most delightful and happy chance that this meeting should be held at this genial season of the year, when a new time is, as it were, opening up before us, and when we celebrate the birth of that divine and blessed Teacher, who took himself the highest knowledge into the humblest places, and whose great system comprehended all mankind. I hail it as a most auspicious omen, at this time of the year, when many scattered friends and families are reassembled, that we should be called upon to meet here to promote a great purpose, a general good will, and a general improvement; as I consider that such designs are worthy of the faith we hold, and I do believe they are a practical remembrance of the sacred words, ‘On earth peace, good will towards men’. I hope that every year which dawns on your institution, will find it richer in its means of usefulness, and greyer headed in the honour and respect it has gained. It can hardly speak for itself more appropriately than in the words of an English writer, when contemplating the English emblem of this period of the year, the Holly Tree: And should my youth, as youth is apt, I know, Some harshness show, All vain asperities I, day by day, Would wear away, Till the smooth temper of my age should be  Like the high leaves upon the Holly Tree. And as when all the summer trees are seen So bright and green, The Holly leaves their fadeless hues display Less bright than they, But when the bare and wintry woods we see, What then so cheerful as the Holly Tree? So serious should my youth appear among The thoughtless throng, So would I seem among the young and gay More grave than they That in my age as cheerful I might be As the green winter of the Holly Tree. Ladies and Gentlemen, I am no stranger to Scotland, and – I say it with the deepest gratitude– I am no stranger to the warmth of Scottish hearts; but the warmth of your present welcome almost deprives me of any hope of acknowledging it. I will not detain you any longer at this late hour; let it suffice to assure you, that for taking the part with which I have been honoured in this festival, I have been repaid a thousandfold by your abundant kindness, and by the unspeakable gratification it has afforded me. I hope that, before many years are past, we may have another meeting in public when we shall rejoice at the immense progress your institution will have made in the meantime, and look back upon this night with pleasure and satisfaction. I shall now, in conclusion, repeat most heartily and fervently the motto referred to by Dr. Ewing, ‘Let Glasgow flourish’, which Bailie Nicol Jarvie, himself ‘a Glasgow body’, observed was 'elegantly putten round the town's arms’.</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4414">
                <text>Athenaeum, Glasgow, First Annual Soirée</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4415">
                <text>Speech at the Athenaeum, Glasgow, First Annual Soirée (28 December 1847).</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4416">
                <text>Dickens, Charles</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4417">
                <text>1847-12-28</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="4418">
                <text>1847-12-28_Speech_Athenaeum-Glasgow-First-Annual-Soiree</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="80">
            <name>Bibliographic Citation</name>
            <description>A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.</description>
            <elementTextContainer>
              <elementText elementTextId="4419">
                <text>Dickens, Charles. 'Speech at the Athenaeum, Glasgow, First Annual Soirée' (28 December 1847). &lt;em&gt;Dickens Search&lt;/em&gt;&lt;span&gt;. Eds. Emily Middleton and Lydia Craig. Accessed [date]. &lt;/span&gt;&lt;a href="https://dickenssearch.com/speeches/1847-12-28_Speech_Athenaeum-Glasgow-First-Annual-Soiree"&gt;https://dickenssearch.com/speeches/1847-12-28_Speech_Athenaeum-Glasgow-First-Annual-Soiree&lt;/a&gt;&lt;span&gt;.&lt;/span&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
      <elementSet elementSetId="4">
        <name>Scripto</name>
        <description/>
        <elementContainer>
          <element elementId="92">
            <name>Transcription</name>
            <description>A written representation of a document.</description>
            <elementTextContainer>
              <elementText elementTextId="4424">
                <text>&lt;p&gt;&lt;span data-contrast="none"&gt;Ladies and Gentlemen, Let me begin by endeavouring to convey to you the assurance that not even the warmth of your reception can exceed in simple earnestness and cordiality the feelings with which I come among you. This beautiful scene and your generous greeting would naturally awaken within me no common feelings, but when I connect them with the high purpose of this brilliant assembly; when I regard it as an educational example and encouragement to all Scotland; when I regard it no less as a recognition on the part of everybody here to the right indisputable and inalienable of all those who are actively engaged in the work and business of life to elevate and improve themselves so far as in them lies by all good means, I feel as if I stood here to swear brotherhood to all the young men in Glasgow, and to all the young women too,&lt;/span&gt;&lt;span data-contrast="none"&gt;– &lt;/span&gt;&lt;span data-contrast="none"&gt;being unfortunately in no position to take upon myself any tenderer vows in that respect. I feel, I say, as though we were pledged from this time forth to make common cause together in one of the most worthy and laudable of all human objects.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;Ladies and gentlemen, common cause must be made in such a design as brings us together tonight: without it nothing can be done, but with it everything. It is a common cause of right, God knows, for it is idle to suppose that the advantages of such an institution as the Glasgow Athenaeum stop within its walls or are confined to its own members. Through all the society of this great and important city, upwards to the highest and downwards to the lowest, its influence I know must be felt for good: downwards in a clearer perception of, and sympathy with, those social miseries that can be alleviated, and those wide open doors of vice and crime that can be shut and barred; and upward in the greater intelligence, increased efficiency, and higher character of all who partake of its benefits themselves, or who communicate, as all must do, in a greater or less degree, some portion of them to the circle of relatives and friends in which they move.&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;Nor, ladies and gentlemen, would I say of any man, however high his social position, or however great his attainments, that he might not find something to be learnt even by immediate contact with such an institution. If he only saw the goddess Knowledge coming out of her secluded palaces and high places to mingle with the throng, and to give them shining glimpses of the splendour of the treasures she once kept closely hoarded up, he might learn something. If he only saw the energy and courage with which those who earn their daily bread by the labour of their hands or heads, come night after night, as to a recreation, to that which was perhaps the sole absorbing business of his youth, there might still be something very wholesome for him to learn. But, when he could see in such places, as anybody who chooses can see, their genial and reviving influences, their substitution of the contemplation of the beauties of nature and art and the wisdom of great men, for mere sensual enjoyment, then he might know and learn this &lt;/span&gt;&lt;span data-contrast="none"&gt;– &lt;/span&gt;&lt;span data-contrast="none"&gt;that it is at once the duty and interest of all good members of society to encourage and protect these institutions.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;Ladies and gentlemen, I take occasion to say now, as I did at an Athenaeum meeting in Yorkshire a few weeks since &lt;/span&gt;&lt;span data-contrast="none"&gt;– &lt;/span&gt;&lt;span data-contrast="none"&gt;and I think it a point always to be borne in mind on occasions such as these &lt;/span&gt;&lt;span data-contrast="none"&gt;–  &lt;/span&gt;&lt;span data-contrast="none"&gt;that when such associations are objected to or decried on the ground that, in the views of the objectors, education among the people has not succeeded, the term &lt;/span&gt;&lt;i&gt;&lt;span data-contrast="none"&gt;education&lt;/span&gt;&lt;/i&gt;&lt;span data-contrast="none"&gt; is used with not the least reference to its real meaning, and is wholly misunderstood. Mere reading and writing are not education. It would be quite as reasonable to call bricks and mortar, architecture; oils and colours, art; reeds and cat-gut, music; or a child's spelling-book the works of Shakespeare, Milton or Bacon, as to call the lowest rudiments of education, ‘education’, and to visit upon that much abused and slandered word their failure in any instance. To my thinking it is precisely because they are not education: because, generally speaking, the word has been misunderstood in that sense a great deal too long; because education for the business of life, and for the due cultivation of the domestic virtues, is at least as important from day to day to the grown person as to the child; because real education amidst the strife and contention for a livelihood, and the consequent necessity incumbent on a great number of young persons to go into the world when they are very young and having had no adequate opportunity for mental culture, is extremely difficult, &lt;/span&gt;&lt;span data-contrast="none"&gt;–  &lt;/span&gt;&lt;span data-contrast="none"&gt;it is because of these things that I look upon Mechanics' Institutions and Athenaeums as vitally important to the well-being of society; and it is because the rudiments of education may there be turned to good account in the acquisition of sound principles, and in the practice of the great virtues of Faith, Hope, and Charity, to which all our knowledge tends: it is because of that, I take it, that we are met here in Education's name tonight.&amp;nbsp;&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;It is a very great satisfaction to me to occupy the place with which I am honoured in this meeting on behalf of an infant Institution, &lt;/span&gt;&lt;span data-contrast="none"&gt;– &lt;/span&gt;&lt;span data-contrast="none"&gt;a remarkably fine child no doubt, of thriving aspect, of vigorous constitution, but an infant still. I esteem myself singularly fortunate in knowing it before its prime, in the hope that I may have the pleasure of remembering in its prime, and when it has attained to its lusty maturity, that I was a friend of its youth. It has already passed through some of the disorders to which childhood is liable. Succeeding to its elder brother, of a very meritorious character but of rather a weak constitution, who expired when only about twelve months old from, it is said, the exhausting effects of getting up too early in the morning, it has fought manfully through a sea of troubles. Its friends have often been much concerned for it; its pulse has been so exceedingly low that it was only beating 1250, when it should have been 10,000. Several relations and friends have even gone so far as to walk off once or twice in the melancholy belief that it was dead. But notwithstanding all this, assisted by the indomitable energy of one or two kind nurses, to whom it can never be sufficiently grateful, it has come through triumphantly; and now, of all the youthful members of its family I ever saw, it has the strongest attitude, the healthiest look, the brightest and most cheerful air.&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;I find it with lectures in prospect and in progress, in a great variety of sound, useful, and well-selected subjects; I find that already evening classes are in operation for the modern languages, French, German, Spanish, and Italian, as well as for Logic, Grammar, Music and Mathematics, and that these are now attended by upwards of five hundred persons. But best and foremost of all in the history of the institution, and far more satisfactory to me than anything else, I find that all this has been mainly achieved by the young men of Glasgow themselves, with very little assistance. And, ladies and gentlemen, as the axiom that Heaven helps those who help themselves is truer in no case than in this, I look to the young men of Glasgow, from such a past and such a present, to a noble future. Everything that has been done in any other Athenaeum hitherto, I confidently expect to see done here; and when that shall be the case, and when there are great cheap schools connected with it, and when it has bound together for ever all its friends, and won over to itself all those who look distrustfully upon it now &lt;/span&gt;&lt;span data-contrast="none"&gt;– &lt;/span&gt;&lt;span data-contrast="none"&gt;then, but not till then, may the young men of Glasgow rest from their labours, and think their duty done.&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;If the young men of Glasgow look for any stimulus or encouragement in this wise, they have one already beside them in the presence of their fair townswomen: an incentive which is irresistible. It is a most delightful circumstance to me, and one fraught with inestimable benefits to institutions of this kind, that at a meeting of this nature those who in all things are our strongest aid, our best examples, our encouragers and friends, are not excluded. In ancient times abstract ideas of excellence were associated with those arts which refined and elevated mankind, and it was even conceived that the Graces themselves came down to encourage their cultivation by their example, and adorn them by their presence. But, now, we have the Graces with us themselves for, I am happy to say, that in Glasgow there is a peculiar bond of union between its Athenaeum and the fairest part of creation. The present Library being a small one, and the necessary additions being difficult and expensive to make, I understand that the ladies generally have resolved to hold a fancy bazaar for the sale of the work of their own hands, and to devote the proceeds to the admirable purpose of its extension. And I learn, with no less pleasure, that Her Majesty the Queen, approving of this most excellent design, with a graceful and womanly feeling, has consented that the bazaar shall be held under her royal patronage.&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;After this I can only say, gentlemen, that if you do not find something very agreeable in your books, you are much duller scholars than I take you to be. And you, ladies &lt;/span&gt;&lt;span data-contrast="none"&gt;– &lt;/span&gt;&lt;span data-contrast="none"&gt;the single ladies at least &lt;/span&gt;&lt;span data-contrast="none"&gt;– however&lt;/span&gt;&lt;span data-contrast="none"&gt; disinterested I know you are by sex and nature, will I hope reap advantages from your exertions to promote its interests, by never marrying any but members of the Athenaeum. It seems to me that it ought to be the pleasantest library in the world.&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;Hazlitt, in speaking of some of the graceful fancies of the writers of fiction, says:&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;How long since I first became acquainted with these characters; what old fashioned friends they seem; and yet I am not tired of them, like so many other friends, nor they of me.&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;In this case the books will not only possess all the attractions of their own friendships and charms, but also the manifold &lt;/span&gt;&lt;span data-contrast="none"&gt;– &lt;/span&gt;&lt;span data-contrast="none"&gt;I had almost said the womanfold &lt;/span&gt;&lt;span data-contrast="none"&gt;– &lt;/span&gt;&lt;span data-contrast="none"&gt;associations connected with their donors. I can imagine now, in fact, from these fanciful associations, some fair Glasgow widow may be taken for the remoter one whom Sir Roger de Coverley could not forget; I can imagine how Sophia's muff may be seen and loved, but not by Tom Jones, going down the High Street on any winter day; or I can imagine the student finding in every fair form the exact counterpart in the Glasgow Athenaeum; and I can imagine the &lt;/span&gt;&lt;i&gt;&lt;span data-contrast="none"&gt;History of Europe&lt;/span&gt;&lt;/i&gt;&lt;span data-contrast="none"&gt; exciting the utmost interest without either the knowledge or consent of my friend Sheriff Alison. I can imagine, in short, how through all the facts and fictions of this library, the ladies will always be active, and and that&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;Age will not wither them, nor custom stale&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;Their infinite variety.&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;I am surrounded by gentlemen to whom I shall soon give place, being at least as curious to hear them as you yourselves undoubtedly are; but before I sit down allow me to observe that it seems to me a most delightful and happy chance that this meeting should be held at this genial season of the year, when a new time is, as it were, opening up before us, and when we celebrate the birth of that divine and blessed Teacher, who took himself the highest knowledge into the humblest places, and whose great system comprehended all mankind. I hail it as a most auspicious omen, at this time of the year, when many scattered friends and families are reassembled, that we should be called upon to meet here to promote a great purpose, a general good will, and a general improvement; as I consider that such designs are worthy of the faith we hold, and I do believe they are a practical remembrance of the sacred words, ‘On earth peace, good will towards men’.&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;I hope that every year which dawns on your institution, will find it richer in its means of usefulness, and greyer headed in the honour and respect it has gained. It can hardly speak for itself more appropriately than in the words of an English writer, when contemplating the English emblem of this period of the year, the Holly Tree:&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;And should my youth, as youth is apt, I know,&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;Some harshness show,&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;All vain asperities I, day by day,&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;Would wear away,&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;Till the smooth temper of my age should be &lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;Like the high leaves upon the Holly Tree.&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;And as when all the summer trees are seen&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;So bright and green,&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;The Holly leaves their fadeless hues display&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;Less bright than they,&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;But when the bare and wintry woods we see,&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;What then so cheerful as the Holly Tree?&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;So serious should my youth appear among&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;The thoughtless throng,&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;So would I seem among the young and gay&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;More grave than they&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;That in my age as cheerful I might be&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;As the green winter of the Holly Tree.&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;Ladies and Gentlemen, I am no stranger to Scotland, and &lt;/span&gt;&lt;span data-contrast="none"&gt;– I &lt;/span&gt;&lt;span data-contrast="none"&gt;say it with the deepest gratitude&lt;/span&gt;&lt;span data-contrast="none"&gt;– &lt;/span&gt;&lt;span data-contrast="none"&gt;I am no stranger to the warmth of Scottish hearts; but the warmth of your present welcome almost deprives me of any hope of acknowledging it. I will not detain you any longer at this late hour; let it suffice to assure you, that for taking the part with which I have been honoured in this festival, I have been repaid a thousandfold by your abundant kindness, and by the unspeakable gratification it has afforded me. I hope that, before many years are past, we may have another meeting in public when we shall rejoice at the immense progress your institution will have made in the meantime, and look back upon this night with pleasure and satisfaction. I shall now, in conclusion, repeat most heartily and fervently the motto referred to by Dr. Ewing, ‘Let Glasgow flourish’, which Bailie Nicol Jarvie, himself ‘a Glasgow body’, observed was 'elegantly putten round the town's arms’.&amp;nbsp;&lt;/span&gt;&lt;span data-ccp-props="{&amp;quot;201341983&amp;quot;:0,&amp;quot;335557856&amp;quot;:16777215,&amp;quot;335559739&amp;quot;:0,&amp;quot;335559740&amp;quot;:276,&amp;quot;335572079&amp;quot;:6,&amp;quot;335572080&amp;quot;:1,&amp;quot;335572081&amp;quot;:4278190080,&amp;quot;469789806&amp;quot;:&amp;quot;single&amp;quot;}"&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="272" public="1" featured="0">
    <collection collectionId="6">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="418">
                  <text>Speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="600">
                  <text>speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1497">
                  <text>&lt;h4&gt;This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time.&amp;nbsp;&lt;/h4&gt;&#13;
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.&lt;br /&gt;&lt;br /&gt;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 (&lt;em&gt;The Speeches of Charles Dickens&lt;/em&gt; [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 &lt;em&gt;The Dickensian&lt;/em&gt;;&lt;sup&gt;&lt;a href="#fn1" id="ref1"&gt;1&lt;/a&gt;&lt;/sup&gt; 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.&lt;br /&gt;&lt;br /&gt;Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884:&lt;br /&gt;&#13;
&lt;blockquote&gt;[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 &lt;span&gt;–&lt;/span&gt; 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. (&lt;em&gt;Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America&lt;/em&gt;, pp. 273-74)&lt;/blockquote&gt;&#13;
However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like &lt;em&gt;The Times&lt;/em&gt;. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say).&lt;br /&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;br /&gt;Please &lt;a href="https://dickenssearch.com/contact"&gt;contact us&lt;/a&gt; with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens.&lt;br /&gt;&lt;br /&gt;&lt;sup id="fn1"&gt;1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', &lt;em&gt;The Dickensian&lt;/em&gt; 85.418 (1989): pp. 66-80. &lt;a href="#ref1" title="Jump back to footnote 1 in the text."&gt;↩&lt;/a&gt;&lt;/sup&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="3162">
                  <text>Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="19">
      <name>Speech</name>
      <description/>
      <elementContainer>
        <element elementId="4">
          <name>Location</name>
          <description>The location</description>
          <elementTextContainer>
            <elementText elementTextId="4063">
              <text>Manchester</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="97">
          <name>Venue</name>
          <description>Where the speech was given</description>
          <elementTextContainer>
            <elementText elementTextId="4064">
              <text>Free Trade Hall</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="98">
          <name>Ngram Date</name>
          <description>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.</description>
          <elementTextContainer>
            <elementText elementTextId="4065">
              <text>18431005</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="99">
          <name>Ngram Text</name>
          <description>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 &amp;nbsp; (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML.</description>
          <elementTextContainer>
            <elementText elementTextId="4066">
              <text>Ladies and Gentlemen, I am sure I need scarcely tell you that I am very proud and happy, and that I take it as a great distinction, to be asked to come amongst you on an occasion such as this, when even with the brilliant and beautiful spectacle which I see before me, I can hail it as the most brilliant and beautiful circumstance of all that we assemble together here, even here, upon neutral ground, where we have no more knowledge of party differences, or public animosities between side and side, or between man and man, than if we were a public meeting in the commonwealth of Utopia. Ladies and gentlemen, upon this, and upon a hundred other grounds, this assembly is not less interesting to me, believe me – although personally almost a stranger here – than it is interesting to you; and I take it, that it is not of greater importance to all of us than it is to every man who has learned to know that he has an interest in the moral and social elevation, the harmless relaxation, the peace, happiness, and improvement, of the community at large. Not even those who saw the first foundation of your Athenaeum laid, and watched its progress, as I know they did, almost as tenderly as if it were the progress of a living creature, until it reared its beautiful front, an honour to the town – not even they, nor even you who within its walls have tasted its usefulness, and put it to the proof, have greater reason, I am persuaded, to exult in its establishment, or to hope that it may thrive and prosper, than scores of thousands at a distance, who – whether consciously or unconsciously matters not – have, in the principle of its success and bright example, a deep and personal concern. It well becomes, particularly well becomes, this enterprising town, this little world of labour, that she should stand out foremost in the foremost rank in such a cause. It well becomes her that among her numerous and noble public institutions, she should have a splendid temple sacred to the education and improvement of a large class of those who, in their various and useful stations, assist in the production of our wealth, and in rendering her name famous through the world. I think it is grand to know that while her factories re-echo with the clanking of stupendous engines and the whirl and rattle of machinery, the immortal mechanism of God’s own hand, the mind, is not forgotten in the din and uproar, but is lodged and tended in a palace of its own. Ladies and gentlemen, that it is a structure deeply fixed and rooted in the public spirit of this place, and built to last, I have no more doubt, judging from the spectacle I see before me, and from what I know of its brief history, than I have of the reality of these walls that hem us in, and the pillars that spring up about us. You are perfectly well aware, I have no doubt, that the Athenaeum was projected at a time when commerce was in a vigorous and flourishing condition, and when those classes of society to which it particularly addresses itself were fully employed, and in the receipt of regular incomes. A season of depression almost without parallel ensued, and large numbers of young men employed in warehouses and offices suddenly found their occupation gone, and themselves reduced to very straightened and penurious circumstances. This altered state of things led, as I am told, to the compulsory withdrawal of many of the members, to a proportionate decrease in the expected funds, and to the incurrence of a debt of £3,000. By the very great zeal and energy of all concerned, and by the liberality of those to whom they applied for help, that debt is now in rapid course of being discharged. A little more of the same indefatigable exertion on the one hand, and a little more of the same community of feeling upon the other, and there will be no such thing; the figures will be blotted out for good and all; and, from that time, the Athenaeum may be said to belong to you and to your heirs for ever. But, ladies and gentlemen, at all time, now in its most thriving, and in its least flourishing condition – here, with its cheerful rooms, its pleasant and instructive lectures, its improving library of six thousand volumes; its opportunities of discussion and debate, of healthful bodily exercise, and, though last not least (for by this I set great store, as a very novel and excellent provision) its opportunities of blameless rational enjoyment – here it is, open to every youth and man in this great town, accessible to every being in this vast hive, who, for all these benefits, and the inestimable ends to which they lead, can set aside one sixpence weekly. I do look upon the reduction of the subscription to that amount, and upon the fact that the number of members has considerably more than doubled within the last twelve months, as strides in the path of the very best civilization, and chapters of rich promise in the history of mankind. I do not know, ladies and gentlemen, whether, at this time of day and with such a prospect before us, we need trouble ourselves very much to rake up the ashes of the dead-and-gone objections, – the palsied, halting, blind, deaf, everything but dumb objections, that were wont to be urged by men of all parties against institutions such as this whose interests we are met to promote; but their philosophy was always to be summed up in the unmeaning application of one short sentence. How often have we heard, from a large class of men, wise in their generation, who would really seem to be born and bred for no other purpose than to pass into currency counterfeit and mischievous scraps of wisdom, as it is the sole pursuit of some other criminals to utter base coin, – how often have we heard from them as an all-convincing argument, that ‘A little learning is a dangerous thing’? Why, a little hanging was considered a very dangerous thing, according to the same authorities, with this difference, that because a little hanging was dangerous, we had a great deal of it; and because a little learning was dangerous, we were to have none at all. Why, when I hear such cruel absurdities gravely reiterated, I do sometimes begin to doubt whether the parrots of society are not more pernicious to its interests than its birds of prey. I should be glad to hear such people’s estimate of the comparative danger of ‘a little learning’ and a vast amount of ignorance; I should be glad to know which they consider the most prolific parent of misery and crime. Descending a little lower in the social scale, I should be glad to assist them in their calculations, by carrying them into certain jails and nightly refuges I know of, where my own heart dies within me when I see thousands of immortal creatures condemned, without alternative or choice, to tread, not what our great poet calls the ‘primrose path to the everlasting bonfire’, but one of jagged flints and stones, laid down by brutal ignorance, and held together, like the solid rocks by years of this most wicked axiom. Would we know from any honourable body of merchants, upright in deed and thought, whether they would rather have ignorant or enlightened persons in their own employment, we have their answer in this building; we have their answer in this company; we have it emphatically given in the munificent generosity of your own merchants of Manchester, of all sects and kinds, when this establishment was first proposed. But, ladies and gentlemen, are the advantages derivable by the people from institutions such as this, only of a negative character? If a little learning be an innocent thing, has it no distinct, wholesome, and immediate influence upon the mind? The old doggerel rhyme, so often written in the beginning of books, says that When house and lands are gone and spent, Then learning is most excellent. But I should be strongly disposed to reform that adage, and say that Though house and lands be never got, Learning can give what they can not. And this I know, that the first unpurchasable blessing earned by every man who makes an effort to improve himself in such a place as the Athenaeum is self-respect – an inward dignity of character which once acquired and righteously maintained, nothing, no, not the hardest drudgery, nor the direst poverty, can vanquish. Though he should find it hard for a season even to keep the wolf of hunger from his door, let him but once have chased the dragon of ignorance from his hearth, and self-respect and hope are left him. You could no more deprive him of those sustaining qualities by loss or destruction of his worldly goods, than you could, by plucking out his eyes, take from him an internal consciousness of the bright glory of the sun. The man who lives from day to day by the daily exercise in his sphere of hand or head, and seeks to improve himself in such a place as the Athenaeum, acquires for himself that property of soul which has in all times upheld struggling men of every degree, but self-made men especially and always. He secures to himself that faithful companion which, while it has ever lent the light of its countenance to men of rank and eminence who have deserved it, has ever shed its brightest consolations on men of low estate and almost hopeless means. It took its patient seat beside Sir Walter Raleigh in his dungeon-study in the Tower; and laid its head upon the block with More. But it did not disdain to watch the stars with Ferguson, the shepherd’s boy; it walked the streets in mean attire with Crabbe; it was a poor barber here in Lancashire with Arkwright; it was a tallow-chandler’s son with Franklin; it worked at shoemaking with Bloomfield in his garret; it followed the plough with Burns; and, high above the noise of loom and hammer, it whispers courage, even at this day, in ears I could name in Sheffield and in Manchester. The more the man who improves his leisure in such a place learns, the better, gentler, kinder man he must become. When he knows how much great minds have suffered for the truth in every age and time, and to what dismal persecutions opinion has been exposed, he will become more tolerant of other men’s belief in all matters, and will incline more leniently to their sentiments when they chance to differ from his own. Understanding that the relations between himself and his employers involve a mutual duty and responsibility, he will discharge his part of the implied contract cheerfully, faithfully, and honourably; for the history of every useful life warns him to shape his course in that direction. The benefits he acquires in such a place are not of a selfish kind, but extend themselves to his home, and to those whom it contains. Something of what he hears or reads within such walls can scarcely fail to become at times a topic of discourse by his own fireside, nor can it ever fail to lead to larger sympathies with men, and to a higher veneration for the great Creator of all the wonders of this universe. It appeals to his home and his homely feeling in other ways; for at certain times he carries there his wife and daughter, or his sister, or, possibly, some bright-eyed acquaintance of a more tender description. Judging from what I see before me, I think it is very likely; I am sure I would if I could. He takes her there to enjoy a pleasant evening, to be gay and happy. Or, sometimes, it is possible that he may happen to date his tenderness from the Athenaeum. I think that is a very excellent thing, too, and not the least among the advantages of the institution. In any case I am quite sure the number of bright eyes and beaming faces which grace this meeting tonight by their presence, will never be among the least of its excellences in my recollection. Ladies and gentlemen, I shall not easily forget this scene, the pleasing task your favour has devolved upon me, or the strong and inspiring confirmation I have tonight, of all the hopes and reliances I have ever placed upon institutions of this nature. In the literary point of view – in their bearing upon literature – I regard them as of great importance, deeming that the more intelligent and reflective society in the mass becomes, and the more readers there are, the more distinctly writers of all kinds will be able to throw themselves upon the truthful feeling of the people, and the more honoured and the more useful literature must be. At the same time, I must confess that, if there had been an Athenaeum, and the people had been readers years ago, some leaves of dedication in your library, of praise of patrons which was very cheaply bought, very dearly sold, and very marketably haggled for by the groat, would be blank leaves, and posterity might probably have lacked the information that certain monsters of virtue ever had existence. But it is upon a much better and wider scale; it is, let me say it once again, in the effect of such institutions upon the great social system, and the peace and happiness of mankind, that I delight to contemplate them; and, in my heart, I am quite certain that long after this institution, and others of the same nature, have crumbled into dust, the noble harvest of the seed sown in them will shine out brightly in the wisdom, the mercy, and the forbearance of another race. Ladies and gentlemen, I will not detain you any longer; but, in virtue of my office, which entitles me to subvert, I suppose, for the time being, all rational and proper modes of proceeding, I will beg to introduce you to Mr. Cobden. Ladies and Gentlemen, I am most deeply, and cordially, and earnestly obliged to you for this kind and hearty welcome. And let me say that only one thing has made me at all uncomfortable for a moment this evening, and it is this – that gentlemen who have spoken should have preserved the fiction that any merits exist on my part in being here tonight; for, trust me, that of all the rewards and honours which you could give, or I could possibly receive, a request to preside at such an assembly as this would be the highest. And pray remember that in any future time a similar request to be useful in like manner, I should take to be the very highest mark of your favour and distinguished regard. Ladies and gentlemen, when Mr. Roby delivers that lecture he has promised, at the Athenaeum, I engage to attend; and, at its close, I will deliver another, and I shall be most happy, in conjunction with Mr. Disraeli, to write the best description of Mr. Roby, as he appeared when delivering the lecture that our join abilities can possibly produce. Ladies, I'm happy to say that the time for discussing Mr. Roby’s speech in corners and by-places has now arrived, and that I can dismiss you to those more whispered and low invocations, after the very brilliant and eloquent one which was delivered to you as the Lancashire Witches by Mr. Disraeli. Gentlemen, I am instructed to inform you that there is still at the bazaar, ‘a most excellent stock of goods’, which are to be procured at ‘the most reasonable prices’, and ‘on the lowest possible terms’, – consistent with the interests of the establishment. And, ladies and gentlemen, once again I beg to return you most heartfelt thanks.</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4057">
                <text>Athenaeum, Manchester, First Annual Soirée</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4058">
                <text>Speech at the Athenaeum, Manchester, First Annual Soirée (5 October 1843).</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4059">
                <text>Dickens, Charles</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4060">
                <text>1843-10-05</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="4061">
                <text>1843-10-05_Speech_Athenaeum-Manchester-First-Annual-Soiree</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="80">
            <name>Bibliographic Citation</name>
            <description>A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.</description>
            <elementTextContainer>
              <elementText elementTextId="4062">
                <text>&lt;span&gt;Dickens, Charles. 'Speech at the Athenaeum, Manchester, First Annual Soirée' (5 October 1843).&lt;/span&gt;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em&gt;Dickens Search&lt;/em&gt;&lt;span&gt;. Eds. Emily Middleton and Lydia Craig. Accessed [date]. &lt;/span&gt;&lt;a href="https://dickenssearch.com/speeches/1843-10-05_Speech_Athenaeum-Manchester-First-Annual-Soiree"&gt;https://dickenssearch.com/speeches/1843-10-05_Speech_Athenaeum-Manchester-First-Annual-Soiree&lt;/a&gt;&lt;span&gt;.&lt;/span&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
      <elementSet elementSetId="4">
        <name>Scripto</name>
        <description/>
        <elementContainer>
          <element elementId="92">
            <name>Transcription</name>
            <description>A written representation of a document.</description>
            <elementTextContainer>
              <elementText elementTextId="4067">
                <text>&lt;p&gt;Ladies and Gentlemen, I am sure I need scarcely tell you that I am very proud and happy, and that I take it as a great distinction, to be asked to come amongst you on an occasion such as this, when even with the brilliant and beautiful spectacle which I see before me, I can hail it as the most brilliant and beautiful circumstance of all that we assemble together here, even&lt;em&gt; here&lt;/em&gt;, upon neutral ground, where we have no more knowledge of party differences, or public animosities between side and side, or between man and man, than if we were a public meeting in the commonwealth of Utopia.&lt;/p&gt;&#13;
&lt;p&gt;Ladies and gentlemen, upon this, and upon a hundred other grounds, this assembly is not less interesting to me, believe me – although personally almost a stranger here – than it is interesting to you; and I take it, that it is not of greater importance to all of us than it is to every man who has learned to know that he has an interest in the moral and social elevation, the harmless relaxation, the peace, happiness, and improvement, of the community at large. Not even those who saw the first foundation of your Athenaeum laid, and watched its progress, as I know they did, almost as tenderly as if it were the progress of a living creature, until it reared its beautiful front, an honour to the town – not even they, nor even you who within its walls have tasted its usefulness, and put it to the proof, have greater reason, I am persuaded, to exult in its establishment, or to hope that it may thrive and prosper, than scores of thousands at a distance, who – whether consciously or unconsciously matters not – have, in the principle of its success and bright example, a deep and personal concern.&lt;/p&gt;&#13;
&lt;p&gt;It well becomes, particularly well becomes, this enterprising town, this little world of labour, that she should stand out foremost in the foremost rank in such a cause. It well becomes her that among her numerous and noble public institutions, she should have a splendid temple sacred to the education and improvement of a large class of those who, in their various and useful stations, assist in the production of our wealth, and in rendering her name famous through the world. I think it is grand to know that while her factories re-echo with the clanking of stupendous engines and the whirl and rattle of machinery, the immortal mechanism of God’s own hand, the mind, is not forgotten in the din and uproar, but is lodged and tended in a palace of its own. Ladies and gentlemen, that it is a structure deeply fixed and rooted in the public spirit of this place, and built to last, I have no more doubt, judging from the spectacle I see before me, and from what I know of its brief history, than I have of the reality of these walls that hem us in, and the pillars that spring up about us.&lt;/p&gt;&#13;
&lt;p&gt;You are perfectly well aware, I have no doubt, that the Athenaeum was projected at a time when commerce was in a vigorous and flourishing condition, and when those classes of society to which it particularly addresses itself were fully employed, and in the receipt of regular incomes. A season of depression almost without parallel ensued, and large numbers of young men employed in warehouses and offices suddenly found their occupation gone, and themselves reduced to very straightened and penurious circumstances. This altered state of things led, as I am told, to the compulsory withdrawal of many of the members, to a proportionate decrease in the expected funds, and to the incurrence of a debt of £3,000. By the very great zeal and energy of all concerned, and by the liberality of those to whom they applied for help, that debt is now in rapid course of being discharged. A little more of the same indefatigable exertion on the one hand, and a little more of the same community of feeling upon the other, and there will be no such thing; the figures will be blotted out for good and all; and, from that time, the Athenaeum may be said to belong to you and to your heirs for ever.&lt;/p&gt;&#13;
&lt;p&gt;But, ladies and gentlemen, at all time, now in its most thriving, and in its least flourishing condition – here, with its cheerful rooms, its pleasant and instructive lectures, its improving library of six thousand volumes; its opportunities of discussion and debate, of healthful bodily exercise, and, though last not least (for by this I set great store, as a very novel and excellent provision) its opportunities of blameless rational enjoyment – here it is, open to every youth and man in this great town, accessible to every being in this vast hive, who, for all these benefits, and the inestimable ends to which they lead, can set aside one sixpence weekly. I do look upon the reduction of the subscription to that amount, and upon the fact that the number of members has considerably more than doubled within the last twelve months, as strides in the path of the very best civilization, and chapters of rich promise in the history of mankind.&lt;/p&gt;&#13;
&lt;p&gt;I do not know, ladies and gentlemen, whether, at this time of day and with such a prospect before us, we need trouble ourselves very much to rake up the ashes of the dead-and-gone objections, – the palsied, halting, blind, deaf, everything but dumb objections, that were wont to be urged by men of all parties against institutions such as this whose interests we are met to promote; but their philosophy was always to be summed up in the unmeaning application of one short sentence. How often have we heard, from a large class of men, wise in their generation, who would really seem to be born and bred for no other purpose than to pass into currency counterfeit and mischievous scraps of wisdom, as it is the sole pursuit of some other criminals to utter base coin, – how often have we heard from them as an all-convincing argument, that ‘A little learning is a dangerous thing’? Why, a little hanging was considered a very dangerous thing, according to the same authorities, with this difference, that because a little hanging was dangerous, we had a great deal of it; and because a little learning was dangerous, we were to have none at all. Why, when I hear such cruel absurdities gravely reiterated, I do sometimes begin to doubt whether the parrots of society are not more pernicious to its interests than its birds of prey. I should be glad to hear such people’s estimate of the comparative danger of ‘a little learning’ and a vast amount of ignorance; I should be glad to know which they consider the most prolific parent of misery and crime. Descending a little lower in the social scale, I should be glad to assist them in their calculations, by carrying them into certain jails and nightly refuges I know of, where my own heart dies within me when I see thousands of immortal creatures condemned, without alternative or choice, to tread, not what our great poet calls the ‘primrose path to the everlasting bonfire’, but one of jagged flints and stones, laid down by brutal ignorance, and held together, like the solid rocks by years of this most wicked axiom.&lt;/p&gt;&#13;
&lt;p&gt;Would we know from any honourable body of merchants, upright in deed and thought, whether they would rather have ignorant or enlightened persons in their own employment, we have their answer in this building; we have their answer in this company; we have it emphatically given in the munificent generosity of your own merchants of Manchester, of all sects and kinds, when this establishment was first proposed. But, ladies and gentlemen, are the advantages derivable by the people from institutions such as this, only of a negative character? If a little learning be an innocent thing, has it no distinct, wholesome, and immediate influence upon the mind? The old doggerel rhyme, so often written in the beginning of books, says that&lt;/p&gt;&#13;
&lt;p&gt;When house and lands are gone and spent,&lt;/p&gt;&#13;
&lt;p&gt;Then learning is most excellent.&lt;/p&gt;&#13;
&lt;p&gt;But I should be strongly disposed to reform that adage, and say that&lt;/p&gt;&#13;
&lt;p&gt;Though house and lands be never got,&lt;/p&gt;&#13;
&lt;p&gt;Learning can give what they can &lt;em&gt;not&lt;/em&gt;.&lt;/p&gt;&#13;
&lt;p&gt;And this I know, that the first unpurchasable blessing earned by every man who makes an effort to improve himself in such a place as the Athenaeum is self-respect – an inward dignity of character which once acquired and righteously maintained, nothing, no, not the hardest drudgery, nor the direst poverty, can vanquish. Though he should find it hard for a season even to keep the wolf of hunger from his door, let him but once have chased the dragon of ignorance from his hearth, and self-respect and hope are left him. You could no more deprive him of those sustaining qualities by loss or destruction of his worldly goods, than you could, by plucking out his eyes, take from him an internal consciousness of the bright glory of the sun.&lt;/p&gt;&#13;
&lt;p&gt;The man who lives from day to day by the daily exercise in his sphere of hand or head, and seeks to improve himself in such a place as the Athenaeum, acquires for himself that property of soul which has in all times upheld struggling men of every degree, but self-made men especially and always. He secures to himself that faithful companion which, while it has ever lent the light of its countenance to men of rank and eminence who have deserved it, has ever shed its brightest consolations on men of low estate and almost hopeless means. It took its patient seat beside Sir Walter Raleigh in his dungeon-study in the Tower; and laid its head upon the block with More. But it did not disdain to watch the stars with Ferguson, the shepherd’s boy; it walked the streets in mean attire with Crabbe; it was a poor barber here in Lancashire with Arkwright; it was a tallow-chandler’s son with Franklin; it worked at shoemaking with Bloomfield in his garret; it followed the plough with Burns; and, high above the noise of loom and hammer, it whispers courage, even at this day, in ears I could name in Sheffield and in Manchester.&lt;/p&gt;&#13;
&lt;p&gt;The more the man who improves his leisure in such a place learns, the better, gentler, kinder man he must become. When he knows how much great minds have suffered for the truth in every age and time, and to what dismal persecutions opinion has been exposed, he will become more tolerant of other men’s belief in all matters, and will incline more leniently to their sentiments when they chance to differ from his own. Understanding that the relations between himself and his employers involve a mutual duty and responsibility, he will discharge his part of the implied contract cheerfully, faithfully, and honourably; for the history of every useful life warns him to shape his course in that direction.&lt;/p&gt;&#13;
&lt;p&gt;The benefits he acquires in such a place are not of a selfish kind, but extend themselves to his home, and to those whom it contains. Something of what he hears or reads within such walls can scarcely fail to become at times a topic of discourse by his own fireside, nor can it ever fail to lead to larger sympathies with men, and to a higher veneration for the great Creator of all the wonders of this universe. It appeals to his home and his homely feeling in other ways; for at certain times he carries there his wife and daughter, or his sister, or, possibly, some bright-eyed acquaintance of a more tender description. Judging from what I see before me, I think it is very likely; I am sure I would if I could. He takes her there to enjoy a pleasant evening, to be gay and happy. Or, sometimes, it is possible that he may happen to date his tenderness from the Athenaeum. I think that is a very excellent thing, too, and not the least among the advantages of the institution. In any case I am quite sure the number of bright eyes and beaming faces which grace this meeting tonight by their presence, will never be among the least of its excellences in my recollection.&lt;/p&gt;&#13;
&lt;p&gt;Ladies and gentlemen, I shall not easily forget this scene, the pleasing task your favour has devolved upon me, or the strong and inspiring confirmation I have tonight, of all the hopes and reliances I have ever placed upon institutions of this nature. In the literary point of view – in their bearing upon literature – I regard them as of great importance, deeming that the more intelligent and reflective society in the mass becomes, and the more readers there are, the more distinctly writers of all kinds will be able to throw themselves upon the truthful feeling of the people, and the more honoured and the more useful literature must be. At the same time, I must confess that, if there had been an Athenaeum, and the people had been readers years ago, some leaves of dedication in your library, of praise of patrons which was very cheaply bought, very dearly sold, and very marketably haggled for by the groat, would be blank leaves, and posterity might probably have lacked the information that certain monsters of virtue ever had existence. But it is upon a much better and wider scale; it is, let me say it once again, in the effect of such institutions upon the great social system, and the peace and happiness of mankind, that I delight to contemplate them; and, in my heart, I am quite certain that long after this institution, and others of the same nature, have crumbled into dust, the noble harvest of the seed sown in them will shine out brightly in the wisdom, the mercy, and the forbearance of another race.&lt;/p&gt;&#13;
&lt;p&gt;Ladies and gentlemen, I will not detain you any longer; but, in virtue of my office, which entitles me to subvert, I suppose, for the time being, all rational and proper modes of proceeding, I will beg to introduce you to Mr. Cobden.&lt;/p&gt;</text>
              </elementText>
              <elementText elementTextId="4068">
                <text>&lt;p&gt;Ladies and Gentlemen, I am most deeply, and cordially, and earnestly obliged to you for this kind and hearty welcome. And let me say that only one thing has made me at all uncomfortable for a moment this evening, and it is this – that gentlemen who have spoken should have preserved the fiction that any merits exist on my part in being here tonight; for, trust me, that of all the rewards and honours which you could give, or I could possibly receive, a request to preside at such an assembly as this would be the highest. And pray remember that in any future time a similar request to be useful in like manner, I should take to be the very highest mark of your favour and distinguished regard.&lt;/p&gt;&#13;
&lt;p&gt;Ladies and gentlemen, when Mr. Roby delivers that lecture he has promised, at the Athenaeum, I engage to attend; and, at its close, I will deliver another, and I shall be most happy, in conjunction with Mr. Disraeli, to write the best description of Mr. Roby, as he appeared when delivering the lecture that our join abilities can possibly produce. Ladies, I'm happy to say that the time for discussing Mr. Roby’s speech in corners and by-places has now arrived, and that I can dismiss you to those more whispered and low invocations, after the very brilliant and eloquent one which was delivered to you as the Lancashire Witches by Mr. Disraeli. Gentlemen, I am instructed to inform you that there is still at the bazaar, ‘a most excellent stock of goods’, which are to be procured at ‘the most reasonable prices’, and ‘on the lowest possible terms’, – consistent with the interests of the establishment. And, ladies and gentlemen, once again I beg to return you most heartfelt thanks.&lt;/p&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="1">
        <name>manchester</name>
      </tag>
    </tagContainer>
  </item>
  <item itemId="357" public="1" featured="0">
    <collection collectionId="6">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="418">
                  <text>Speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="600">
                  <text>speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1497">
                  <text>&lt;h4&gt;This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time.&amp;nbsp;&lt;/h4&gt;&#13;
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.&lt;br /&gt;&lt;br /&gt;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 (&lt;em&gt;The Speeches of Charles Dickens&lt;/em&gt; [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 &lt;em&gt;The Dickensian&lt;/em&gt;;&lt;sup&gt;&lt;a href="#fn1" id="ref1"&gt;1&lt;/a&gt;&lt;/sup&gt; 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.&lt;br /&gt;&lt;br /&gt;Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884:&lt;br /&gt;&#13;
&lt;blockquote&gt;[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 &lt;span&gt;–&lt;/span&gt; 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. (&lt;em&gt;Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America&lt;/em&gt;, pp. 273-74)&lt;/blockquote&gt;&#13;
However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like &lt;em&gt;The Times&lt;/em&gt;. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say).&lt;br /&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;br /&gt;Please &lt;a href="https://dickenssearch.com/contact"&gt;contact us&lt;/a&gt; with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens.&lt;br /&gt;&lt;br /&gt;&lt;sup id="fn1"&gt;1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', &lt;em&gt;The Dickensian&lt;/em&gt; 85.418 (1989): pp. 66-80. &lt;a href="#ref1" title="Jump back to footnote 1 in the text."&gt;↩&lt;/a&gt;&lt;/sup&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="3162">
                  <text>Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="19">
      <name>Speech</name>
      <description/>
      <elementContainer>
        <element elementId="4">
          <name>Location</name>
          <description>The location</description>
          <elementTextContainer>
            <elementText elementTextId="5014">
              <text>Hartford, Connecticut</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="97">
          <name>Venue</name>
          <description>Where the speech was given</description>
          <elementTextContainer>
            <elementText elementTextId="5015">
              <text>City Hotel</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="98">
          <name>Ngram Date</name>
          <description>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.</description>
          <elementTextContainer>
            <elementText elementTextId="5016">
              <text>18420207</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="99">
          <name>Ngram Text</name>
          <description>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 &amp;nbsp; (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML.</description>
          <elementTextContainer>
            <elementText elementTextId="5017">
              <text>Gentlemen, to say that I thank you for the earnest manner in which you have drunk the toast just now so eloquently proposed to you; to say that I give you back your kind wishes and good feelings with more than compound interest, and that I feel how dumb and powerless the best acknowledgements would be beside such genial hospitality as yours–is nothing. To say that in this winter season, flowers have sprung up in every footstep’s length of the path which has brought me here, that no country ever smiled more pleasantly than yours has smiled on me, and that I have rarely looked upon a brighter summer prospect than that which now lies before me now – is nothing. But it is something to be no stranger in a strange place; to feel, sitting at a board for the first time, the ease and affection of an old guest, to be at once on such intimate terms with the family as to have a homely, genuine interest in its every member; it is, I say, something to be in this novel and happy frame of mind. And as it is of your creation, and owes its being to you, I have no reluctance in urging it as a reason why, in addressing you, I should not so much consult the form and fashion of my speech, as I should employ the universal language of the heart which you, and such as you, best teach and best can understand. Gentlemen, in that universal language–common to you in America, and to us in England, as that younger mother tongue which, by means of, and through the happy union of our two great countries, shall be spoken ages hence, by land and sea, over the wide surface of the glove–I thank you. I had occasion, gentlemen, to say the other night in Boston, as I have more than once had occasion to remark before, that it is not easy for an author to speak of his own books. If the task be a difficult one at any time, its difficult certainly is not diminished when a frequent occurrence to the same theme has left one nothing new to say. Still I feel that, in a company like this, and especially after what has been said by the President, that I ought not to pass over those labours of love which, if they have no other merit, have been the happy means of bringing us together. It has been observed that you cannot judge of an author’s personal character from his writings. It may be that you cannot–I think it very likely, for many reasons, that you cannot–but, at least, a reader will rise from the perusal of a book with some defined and tangible idea of the writer’s moral creed and broad purposes, if he has any at all; and it is probably enough that he may like to have this idea confirmed from the author’s lips, or dissipated by his explanation. Gentlemen, my moral creed–which is a very wide and comprehensive one, and includes all sects and parties–is very easily summed up. I have faith, and I wish to diffuse faith in the existence–yes, of beautiful things, even in those conditions of society which are so degenerate, degraded, and forlorn that, at first sight, it would seem as though they could not be described but by a strange and terrible reversal of the words of Scripture – God said, Let there be light, and there was none. I take it that we are born and that we hold our sympathies, hopes, and energies in trust for the many, and not for the few. That we cannot hold in too strong a light of disgust and contempt, before the view of others, all meanness, falsehood, cruelty, and oppression, of every grade and kind. 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. [Loud applause.] This is a lesson taught us in the great book of nature. This is the lesson which may be read, alike in the bright track of the stars, and in the dusty course of the poorest thing that drags its tiny length upon the ground. This is the lesson every uppermost in the thoughts of that inspired man, who tells us that there are Tongues in tress, books in the running brooks Sermons in stones, and good in everything. Gentlemen, keeping these objects steadily before me, I am at no loss to refer your favour and your generous hospitality back to the right source. While I know, on the one hand, that if, instead of being what it is, this were a land of tyranny and wrong, I should care very little for your smiles or frowns, so I am sure upon the other, that if, instead of being what I am, I were the greatest genius that every trod the earth, and had exerted myself for the oppression and degradation of mankind, you would despise and reject me. I hope you will, whenever, through such means, I give you the opportunity. Trust me that whenever you give me the like occasion, I will return the compliment with interest. Gentlemen, as I have no secrets from you, in the spirit of confidence you have engendered between us, and as I have made a kind of compact with myself that I never will, while I remain in America, omit an opportunity of referring to a topic in which I and all others of my class on both sides of the water are equally interested–equally interested, there is no difference between us–I would beg leave to whisper in your ear two words, International Copyright. I use them in no sordid sense, believe me, and those that know me best, best know that. For myself, I would rather that my children coming after me, trudged in the mud, and knew by the general feeling of society that their father was beloved, and had been of some use, that I would have them ride in their carriages, and know by their banker’s books that he was rich. But I do not see, I confess, why one should be obliged to make the choice, or why fame, besides playing that delightful reveille for which she is so justly celebrated, should not blow out of her trumpet a few notes of a different kind from those with which she has hitherto contented herself. It was well observed the other night by a beautiful speaker, whose words went to the heart of every man who heard him, that if there had existed any law in this respect, Scott might not have sunk beneath the mighty pressure on his brain, but might have lived to add new creatures of his fancy to the crowd which swarm about you in your summer walks and gather round your winter evening hearths. As I listened to his words there came back fresh upon me, that touching scene in the great man’s life, when he lay upon his couch surrounded by his family and listened, for the last time, to the rippling of the river he had so well loved, over its stony bed. I pictured him to myself, faint, wan, dying, crushed both in his mind and body by his honourable struggle, and hovering round him the ghosts of his own imagination–Waverley, Ravenswood, Jeannie Deans, Rob Roy, Caleb Balderstone, Dominie Sampson–all the familiar throng – with cavaliers, and Puritans, and Highland chiefs innumerable overflowing the chamber, and fading away in the dim distance beyond. I pictured them, fresh from traversing the world, and hanging down their heads in shame and sorrow that, from all those lands into which they had carried gladness, instruction, and delight for millions, they had brought him now one friendly hand to help to raise him from that sad, sad bed. No, nor brought him from that land in which his own language was spoken, and in every house and hut of which his own books were read in his own tongue, one grateful dollar-piece to buy a garland for his grave. Oh! if every man who goes from here, as many do, to look upon that tomb in Dryburgh Abbey, would but remember this, and bring the recollection home! Gentlemen I thank you again, and once again, and many times to that. You have given me a new reason for remembering this day, which is already one of the mark of my calendar, it being my birthday; and you have given those who are nearest and dearest to me a new reason for recollection it with pride and interest. Heaven knows that, although I should grow ever so grey, I shall need nothing to remind me of this epoch in my life. But I am glad to think that from this time you are inseparably connected with every recurrence of this day; and, that on its periodical return, I shall always, in imagination, have the unfading pleasure of entertaining you as my guests in return for the gratification you have afforded me tonight.</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="5008">
                <text>Banquet at Hartford</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="5009">
                <text>Speech at a banquet in his honour in Hartford, Connecticut (7 February 1842).</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="5010">
                <text>Dickens, Charles</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="5011">
                <text>1842-02-07</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="5012">
                <text>1842-02-07_Speech_Banquet-at-Hartford</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="80">
            <name>Bibliographic Citation</name>
            <description>A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.</description>
            <elementTextContainer>
              <elementText elementTextId="5013">
                <text>&lt;span&gt;Dickens, Charles. 'Speech at Hartford' &lt;/span&gt;&lt;span&gt;(7 February 1842). &lt;/span&gt;&lt;em&gt;Dickens Search&lt;/em&gt;&lt;span&gt;. Eds. Emily Middleton and Lydia Craig. Accessed [date]. &lt;/span&gt;&lt;a href="https://dickenssearch.com/speeches/1842-02-07_Speech_1842-02-07_Speech_Banquet-at-Hartford"&gt;https://dickenssearch.com/speeches/1842-02-07_Speech_1842-02-07_Speech_Banquet-at-Hartford&lt;/a&gt;.</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
      <elementSet elementSetId="4">
        <name>Scripto</name>
        <description/>
        <elementContainer>
          <element elementId="92">
            <name>Transcription</name>
            <description>A written representation of a document.</description>
            <elementTextContainer>
              <elementText elementTextId="5018">
                <text>&lt;p&gt;Gentlemen, to say that I thank you for the earnest manner in which you have drunk the toast just now so eloquently proposed to you; to say that I give you back your kind wishes and good feelings with more than compound interest, and that I feel how dumb and powerless the best acknowledgements would be beside such genial hospitality as yours–is nothing. To say that in this winter season, flowers have sprung up in every footstep’s length of the path which has brought me here, that no country ever smiled more pleasantly than yours has smiled on me, and that I have rarely looked upon a brighter summer prospect than that which now lies before me now – is nothing.&lt;/p&gt;&#13;
&lt;p&gt;But it is something to be no stranger in a strange place; to feel, sitting at a board for the first time, the ease and affection of an old guest, to be at once on such intimate terms with the family as to have a homely, genuine interest in its every member; it is, I say, something to be in this novel and happy frame of mind. And as it is of your creation, and owes its being to you, I have no reluctance in urging it as a reason why, in addressing you, I should not so much consult the form and fashion of my speech, as I should employ the universal language of the heart which you, and such as you, best teach and best can understand. Gentlemen, in that universal language–common to you in America, and to us in England, as that younger mother tongue which, by means of, and through the happy union of our two great countries, shall be spoken ages hence, by land and sea, over the wide surface of the glove–I thank you.&lt;/p&gt;&#13;
&lt;p&gt;I had occasion, gentlemen, to say the other night in Boston, as I have more than once had occasion to remark before, that it is not easy for an author to speak of his own books. If the task be a difficult one at any time, its difficult certainly is not diminished when a frequent occurrence to the same theme has left one nothing new to say. Still I feel that, in a company like this, and especially after what has been said by the President, that I ought not to pass over those labours of love which, if they have no other merit, have been the happy means of bringing us together.&lt;/p&gt;&#13;
&lt;p&gt;It has been observed that you cannot judge of an author’s personal character from his writings. It may be that you cannot–I think it very likely, for many reasons, that you cannot–but, at least, a reader will rise from the perusal of a book with some defined and tangible idea of the writer’s moral creed and broad purposes, if he has any at all; and it is probably enough that he may like to have this idea confirmed from the author’s lips, or dissipated by his explanation. Gentlemen, my moral creed–which is a very wide and comprehensive one, and includes all sects and parties–is very easily summed up. I have faith, and I wish to diffuse faith in the existence–yes, of beautiful things, even in those conditions of society which are so degenerate, degraded, and forlorn that, at first sight, it would seem as though they could not be described but by a strange and terrible reversal of the words of Scripture – God said, Let there be light, and there was none. I take it that we are born and that we hold our sympathies, hopes, and energies in trust for the many, and not for the few. That we cannot hold in too strong a light of disgust and contempt, before the view of others, all meanness, falsehood, cruelty, and oppression, of every grade and kind. 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. [&lt;em&gt;Loud applause.&lt;/em&gt;] This is a lesson taught us in the great book of nature. This is the lesson which may be read, alike in the bright track of the stars, and in the dusty course of the poorest thing that drags its tiny length upon the ground. This is the lesson every uppermost in the thoughts of that inspired man, who tells us that there are&lt;/p&gt;&#13;
&lt;p&gt;Tongues in tress, books in the running brooks&lt;/p&gt;&#13;
&lt;p&gt;Sermons in stones, and good in everything.&lt;/p&gt;&#13;
&lt;p&gt;Gentlemen, keeping these objects steadily before me, I am at no loss to refer your favour and your generous hospitality back to the right source. While I know, on the one hand, that if, instead of being what it is, this were a land of tyranny and wrong, I should care very little for your smiles or frowns, so I am sure upon the other, that if, instead of being what I am, I were the greatest genius that every trod the earth, and had exerted myself for the oppression and degradation of mankind, you would despise and reject me. I hope you will, whenever, through such means, I give you the opportunity. Trust me that whenever you give me the like occasion, I will return the compliment with interest.&lt;/p&gt;&#13;
&lt;p&gt;Gentlemen, as I have no secrets from you, in the spirit of confidence you have engendered between us, and as I have made a kind of compact with myself that I never will, while I remain in America, omit an opportunity of referring to a topic in which I and all others of my class on both sides of the water are equally interested–equally interested, there is no difference between us–I would beg leave to whisper in your ear two words, International Copyright. I use them in no sordid sense, believe me, and those that know me best, best know that. For myself, I would rather that my children coming after me, trudged in the mud, and knew by the general feeling of society that their father was beloved, and had been of some use, that I would have them ride in their carriages, and know by their banker’s books that he was rich. But I do not see, I confess, why one should be obliged to make the choice, or why fame, besides playing that delightful &lt;em&gt;reveille &lt;/em&gt;for which she is so justly celebrated, should not blow out of her trumpet a few notes of a different kind from those with which she has hitherto contented herself.&lt;/p&gt;&#13;
&lt;p&gt;It was well observed the other night by a beautiful speaker, whose words went to the heart of every man who heard him, that if there had existed any law in this respect, Scott might not have sunk beneath the mighty pressure on his brain, but might have lived to add new creatures of his fancy to the crowd which swarm about you in your summer walks and gather round your winter evening hearths.&lt;/p&gt;&#13;
&lt;p&gt;As I listened to his words there came back fresh upon me, that touching scene in the great man’s life, when he lay upon his couch surrounded by his family and listened, for the last time, to the rippling of the river he had so well loved, over its stony bed. I pictured him to myself, faint, wan, dying, crushed both in his mind and body by his honourable struggle, and hovering round him the ghosts of his own imagination–Waverley, Ravenswood, Jeannie Deans, Rob Roy, Caleb Balderstone, Dominie Sampson–all the familiar throng – with cavaliers, and Puritans, and Highland chiefs innumerable overflowing the chamber, and fading away in the dim distance beyond. I pictured them, fresh from traversing the world, and hanging down their heads in shame and sorrow that, from all those lands into which they had carried gladness, instruction, and delight for millions, they had brought him now one friendly hand to help to raise him from that sad, sad bed. No, nor brought him from that land in which his own language was spoken, and in every house and hut of which his own books were read in his own tongue, one grateful dollar-piece to buy a garland for his grave. Oh! if every man who goes from here, as many do, to look upon that tomb in Dryburgh Abbey, would but remember this, and bring the recollection home!&lt;/p&gt;&#13;
&lt;p&gt;Gentlemen I thank you again, and once again, and many times to that. You have given me a new reason for remembering this day, which is already one of the mark of my calendar, it being my birthday; and you have given those who are nearest and dearest to me a new reason for recollection it with pride and interest. Heaven knows that, although I should grow ever so grey, I shall need nothing to remind me of this epoch in my life. But I am glad to think that from this time you are inseparably connected with every recurrence of this day; and, that on its periodical return, I shall always, in imagination, have the unfading pleasure of entertaining you as my guests in return for the gratification you have afforded me tonight.&lt;/p&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="308" public="1" featured="0">
    <collection collectionId="6">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="418">
                  <text>Speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="600">
                  <text>speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1497">
                  <text>&lt;h4&gt;This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time.&amp;nbsp;&lt;/h4&gt;&#13;
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.&lt;br /&gt;&lt;br /&gt;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 (&lt;em&gt;The Speeches of Charles Dickens&lt;/em&gt; [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 &lt;em&gt;The Dickensian&lt;/em&gt;;&lt;sup&gt;&lt;a href="#fn1" id="ref1"&gt;1&lt;/a&gt;&lt;/sup&gt; 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.&lt;br /&gt;&lt;br /&gt;Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884:&lt;br /&gt;&#13;
&lt;blockquote&gt;[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 &lt;span&gt;–&lt;/span&gt; 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. (&lt;em&gt;Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America&lt;/em&gt;, pp. 273-74)&lt;/blockquote&gt;&#13;
However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like &lt;em&gt;The Times&lt;/em&gt;. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say).&lt;br /&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;br /&gt;Please &lt;a href="https://dickenssearch.com/contact"&gt;contact us&lt;/a&gt; with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens.&lt;br /&gt;&lt;br /&gt;&lt;sup id="fn1"&gt;1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', &lt;em&gt;The Dickensian&lt;/em&gt; 85.418 (1989): pp. 66-80. &lt;a href="#ref1" title="Jump back to footnote 1 in the text."&gt;↩&lt;/a&gt;&lt;/sup&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="3162">
                  <text>Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="19">
      <name>Speech</name>
      <description/>
      <elementContainer>
        <element elementId="101">
          <name>Summary</name>
          <description>Occasionally speeches are summarised in sources in third person. Include that here, so that everything in the text transcription is only Dickens's words.</description>
          <elementTextContainer>
            <elementText elementTextId="4472">
              <text>&lt;p&gt;&lt;span data-contrast="auto"&gt;In reply Dickens said that he begged, on behalf of the distinguished men included in the toast, to return thanks for this honour; an honour which was not lessened by the fact of its being unusual in that hall. It would ill become him at that late period of the evening to detain them by any lengthened observations, but he could not help observing on behalf of his brethren engaged in the pursuits of Literature, that they highly appreciated this graceful compliment, and that one of the best tributes which could be paid to them was to receive a recognition of their art at the hands of the Chief Magistrate of the City of London, and to partake of his sumptuous hospitality.&lt;/span&gt;&lt;/p&gt;</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="4">
          <name>Location</name>
          <description>The location</description>
          <elementTextContainer>
            <elementText elementTextId="4473">
              <text>London</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="97">
          <name>Venue</name>
          <description>Where the speech was given</description>
          <elementTextContainer>
            <elementText elementTextId="4474">
              <text>Mansion House</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="98">
          <name>Ngram Date</name>
          <description>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.</description>
          <elementTextContainer>
            <elementText elementTextId="4475">
              <text>18490707</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4466">
                <text>Banquet at the Mansion House 1849</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4467">
                <text>Speech at the Banquet at the Mansion House (7 July 1849).</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4468">
                <text>Dickens, Charles</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4469">
                <text>1849-07-07</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="4470">
                <text>1849-07-07_Speech_Banquet-at-the-Mansion-House</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="80">
            <name>Bibliographic Citation</name>
            <description>A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.</description>
            <elementTextContainer>
              <elementText elementTextId="4471">
                <text>Dickens, Charles. 'Speech at the Banquet at the Mansion House' (7 July 1849). &lt;em&gt;Dickens Search&lt;/em&gt;&lt;span&gt;. Eds. Emily Middleton and Lydia Craig. Accessed [date]. &lt;/span&gt;&lt;a href="https://dickenssearch.com/speeches/1849-07-07_Speech_Banquet-at-the-Mansion-House"&gt;https://dickenssearch.com/speeches/1849-07-07_Speech_Banquet-at-the-Mansion-House&lt;/a&gt;&lt;span&gt;.&lt;/span&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="342" public="1" featured="0">
    <collection collectionId="6">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="418">
                  <text>Speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="600">
                  <text>speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1497">
                  <text>&lt;h4&gt;This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time.&amp;nbsp;&lt;/h4&gt;&#13;
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.&lt;br /&gt;&lt;br /&gt;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 (&lt;em&gt;The Speeches of Charles Dickens&lt;/em&gt; [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 &lt;em&gt;The Dickensian&lt;/em&gt;;&lt;sup&gt;&lt;a href="#fn1" id="ref1"&gt;1&lt;/a&gt;&lt;/sup&gt; 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.&lt;br /&gt;&lt;br /&gt;Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884:&lt;br /&gt;&#13;
&lt;blockquote&gt;[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 &lt;span&gt;–&lt;/span&gt; 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. (&lt;em&gt;Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America&lt;/em&gt;, pp. 273-74)&lt;/blockquote&gt;&#13;
However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like &lt;em&gt;The Times&lt;/em&gt;. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say).&lt;br /&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;br /&gt;Please &lt;a href="https://dickenssearch.com/contact"&gt;contact us&lt;/a&gt; with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens.&lt;br /&gt;&lt;br /&gt;&lt;sup id="fn1"&gt;1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', &lt;em&gt;The Dickensian&lt;/em&gt; 85.418 (1989): pp. 66-80. &lt;a href="#ref1" title="Jump back to footnote 1 in the text."&gt;↩&lt;/a&gt;&lt;/sup&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="3162">
                  <text>Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="19">
      <name>Speech</name>
      <description/>
      <elementContainer>
        <element elementId="101">
          <name>Summary</name>
          <description>Occasionally speeches are summarised in sources in third person. Include that here, so that everything in the text transcription is only Dickens's words.</description>
          <elementTextContainer>
            <elementText elementTextId="4854">
              <text>&lt;p&gt;&lt;span data-contrast="none"&gt;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.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span data-contrast="none"&gt;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.&lt;/span&gt;&lt;/p&gt;</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="4">
          <name>Location</name>
          <description>The location</description>
          <elementTextContainer>
            <elementText elementTextId="4855">
              <text>London</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="97">
          <name>Venue</name>
          <description>Where the speech was given</description>
          <elementTextContainer>
            <elementText elementTextId="4856">
              <text>Mansion House</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="98">
          <name>Ngram Date</name>
          <description>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.</description>
          <elementTextContainer>
            <elementText elementTextId="4857">
              <text>18530502</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4848">
                <text>Banquet at the Mansion House 1853</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4849">
                <text>Speech at the Banquet at the Mansion House (2 May 1853).</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4850">
                <text>Dickens, Charles</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4851">
                <text>1853-05-02</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="4852">
                <text>1853-05-02_Speech_Banquet-at-the-Mansion-House</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="80">
            <name>Bibliographic Citation</name>
            <description>A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.</description>
            <elementTextContainer>
              <elementText elementTextId="4853">
                <text>Dickens, Charles. 'Speech at the Banquet at the Mansion House' (2 May 1853). &lt;em&gt;Dickens Search&lt;/em&gt;&lt;span&gt;. Eds. Emily Middleton and Lydia Craig. Accessed [date]. &lt;/span&gt;&lt;a href="https://dickenssearch.com/speeches/1853-05-02_Speech_Banquet-at-the-Mansion-House"&gt;https://dickenssearch.com/speeches/1853-05-02_Speech_Banquet-at-the-Mansion-House&lt;/a&gt;&lt;span&gt;.&lt;/span&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="297" public="1" featured="0">
    <collection collectionId="6">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="418">
                  <text>Speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="600">
                  <text>speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1497">
                  <text>&lt;h4&gt;This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time.&amp;nbsp;&lt;/h4&gt;&#13;
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.&lt;br /&gt;&lt;br /&gt;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 (&lt;em&gt;The Speeches of Charles Dickens&lt;/em&gt; [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 &lt;em&gt;The Dickensian&lt;/em&gt;;&lt;sup&gt;&lt;a href="#fn1" id="ref1"&gt;1&lt;/a&gt;&lt;/sup&gt; 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.&lt;br /&gt;&lt;br /&gt;Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884:&lt;br /&gt;&#13;
&lt;blockquote&gt;[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 &lt;span&gt;–&lt;/span&gt; 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. (&lt;em&gt;Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America&lt;/em&gt;, pp. 273-74)&lt;/blockquote&gt;&#13;
However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like &lt;em&gt;The Times&lt;/em&gt;. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say).&lt;br /&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;br /&gt;Please &lt;a href="https://dickenssearch.com/contact"&gt;contact us&lt;/a&gt; with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens.&lt;br /&gt;&lt;br /&gt;&lt;sup id="fn1"&gt;1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', &lt;em&gt;The Dickensian&lt;/em&gt; 85.418 (1989): pp. 66-80. &lt;a href="#ref1" title="Jump back to footnote 1 in the text."&gt;↩&lt;/a&gt;&lt;/sup&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="3162">
                  <text>Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="19">
      <name>Speech</name>
      <description/>
      <elementContainer>
        <element elementId="4">
          <name>Location</name>
          <description>The location</description>
          <elementTextContainer>
            <elementText elementTextId="4354">
              <text>London</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="97">
          <name>Venue</name>
          <description>Where the speech was given</description>
          <elementTextContainer>
            <elementText elementTextId="4355">
              <text>Mansion House</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="98">
          <name>Ngram Date</name>
          <description>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.</description>
          <elementTextContainer>
            <elementText elementTextId="4356">
              <text>18610401</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="99">
          <name>Ngram Text</name>
          <description>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 &amp;nbsp; (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML.</description>
          <elementTextContainer>
            <elementText elementTextId="4357">
              <text>My Lord Mayor, Ladies and Gentlemen, being honoured with your permission to propose a toast, I would venture to remark that since I have been seated at this table I have found it pleasant to consider (reverting, as men naturally do, to their own pursuits) how ill English literature could afford to part with its Lord Mayors of London. The literature of English history, losing its Lord Mayors, would lose, I find on consideration, some of its most notable instances of the public spirit, the munificence, the personal bravery, and the prowess of the good old citizens on this side Temple Bar. The literature of English romance, losing its Lord Mayors, would lose at one blow its wealthiest of London merchants, and its most beautiful merchant’s daughter, its crossest cook, its best known foreign adventurer, its most profitable investment on record, and its most wonderful cat. Similarly English biography, losing its Lord Mayors, would lose some of its most notable examples of rewarded perseverance and integrity, and some of its highest illustrations of the nobility of self-made men. I find that even the greatest of English satirists, of whom it is well said that his pictures require to be read like books – I find that even he could no more dispense with his Lord Mayors than any of the rest; for without them he could neither have committed his ‘idle apprentice’ for trial, nor, under circumstances of very touching and powerful contrast, have rewarded his ‘industrious apprentice’ by presenting him at the height of his fame and fortune. Now these considerations suggest to me and to all here that a Lord Mayor never is, never was, and never can be, considered complete without a Lady Mayoress; and the Lady Mayoress is the theme of a very few words I have to add. My lord, among the respects in which the City of London has set a highly civilized and most admirable example, is the one that it steadily disassociates itself on occasions like the present, from the absurd English custom of separating the lords of creation from the ladies. As to which custom, I think that if the male sex were fairly polled, they would arrive at an almost unanimous conclusion that we men were never so wearisome to ourselves, never so exceedingly uninteresting to each other, as when conventionally we were supposed to be left entirely at our ease. Yet this abrogation of a bad usage on the part of the City, although no doubt it has its roots in social gallantry and good sense, is attended with the one inconvenience that it necessitates the proposing the Lady Mayoress’s health in the Lady Mayoress’s presence. And this renders exceedingly difficult a task which, from its very acceptable and its obvious nature, would otherwise have been almost easy. On the other hand, according to the great law of compensation which pervades the universe, it is to be observed that that silent presence is in itself the most eloquent speech that could be made in offering the toast, and the best illustration of the virtues and graces of its subjects. And if I may venture to depart from a mere state and ceremony, it is to tell you that I have had the honour of an intimate personal friendship with the Lady Mayoress, and that it has been my personal privilege to see her widely diffusing her excellent influence in other capital than this. And let me add that, as the liberality and princely hospitality of the chief magistrate of London could find no fitter female representative than her, so the wholesome influence of an English lady could certainly find no better representative there. With the permission of his lordship, I beg to propose ‘The health of the Lady Mayoress’.</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4348">
                <text>Banquet at the Mansion House 1861</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4349">
                <text>Banquet at the Mansion House (1 April 1861).</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4350">
                <text>Dickens, Charles</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4351">
                <text>1861-04-01</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="4352">
                <text>1861-04-1_Speech_Banquet-at-the-Mansion-House</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="80">
            <name>Bibliographic Citation</name>
            <description>A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.</description>
            <elementTextContainer>
              <elementText elementTextId="4353">
                <text>Dickens, Charles. 'Banquet at the Mansion House' (1 April 1861). &lt;em&gt;Dickens Search&lt;/em&gt;&lt;span&gt;. Eds. Emily Middleton and Lydia Craig. Accessed [date]. &lt;/span&gt;&lt;a href="https://dickenssearch.com/speeches/1861-04-1_Speech_Banquet-at-the-Mansion-House"&gt;https://dickenssearch.com/speeches/1861-04-1_Speech_Banquet-at-the-Mansion-House&lt;/a&gt;&lt;span&gt;.&lt;/span&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
      <elementSet elementSetId="4">
        <name>Scripto</name>
        <description/>
        <elementContainer>
          <element elementId="92">
            <name>Transcription</name>
            <description>A written representation of a document.</description>
            <elementTextContainer>
              <elementText elementTextId="4358">
                <text>&lt;p&gt;My Lord Mayor, Ladies and Gentlemen, being honoured with your permission to propose a toast, I would venture to remark that since I have been seated at this table I have found it pleasant to consider (reverting, as men naturally do, to their own pursuits) how ill English literature could afford to part with its Lord Mayors of London. The literature of English history, losing its Lord Mayors, would lose, I find on consideration, some of its most notable instances of the public spirit, the munificence, the personal bravery, and the prowess of the good old citizens on this side Temple Bar. The literature of English romance, losing its Lord Mayors, would lose at one blow its wealthiest of London merchants, and its most beautiful merchant’s daughter, its crossest cook, its best known foreign adventurer, its most profitable investment on record, and its most wonderful cat. Similarly English biography, losing its Lord Mayors, would lose some of its most notable examples of rewarded perseverance and integrity, and some of its highest illustrations of the nobility of self-made men. I find that even the greatest of English satirists, of whom it is well said that his pictures require to be read like books – I find that even he could no more dispense with his Lord Mayors than any of the rest; for without them he could neither have committed his ‘idle apprentice’ for trial, nor, under circumstances of very touching and powerful contrast, have rewarded his ‘industrious apprentice’ by presenting him at the height of his fame and fortune.&lt;/p&gt;&#13;
&lt;p&gt;Now these considerations suggest to me and to all here that a Lord Mayor never is, never was, and never can be, considered complete without a Lady Mayoress; and the Lady Mayoress is the theme of a very few words I have to add. My lord, among the respects in which the City of London has set a highly civilized and most admirable example, is the one that it steadily disassociates itself on occasions like the present, from the absurd English custom of separating the lords of creation from the ladies. As to which custom, I think that if the male sex were fairly polled, they would arrive at an almost unanimous conclusion that we men were never so wearisome to ourselves, never so exceedingly uninteresting to each other, as when conventionally we were supposed to be left entirely at our ease. Yet this abrogation of a bad usage on the part of the City, although no doubt it has its roots in social gallantry and good sense, is attended with the one inconvenience that it necessitates the proposing the Lady Mayoress’s health in the Lady Mayoress’s presence. And this renders exceedingly difficult a task which, from its very acceptable and its obvious nature, would otherwise have been almost easy. On the other hand, according to the great law of compensation which pervades the universe, it is to be observed that that silent presence is in itself the most eloquent speech that could be made in offering the toast, and the best illustration of the virtues and graces of its subjects.&lt;/p&gt;&#13;
&lt;p&gt;And if I may venture to depart from a mere state and ceremony, it is to tell you that I have had the honour of an intimate personal friendship with the Lady Mayoress, and that it has been my personal privilege to see her widely diffusing her excellent influence in other capital than this. And let me add that, as the liberality and princely hospitality of the chief magistrate of London could find no fitter female representative than her, so the wholesome influence of an English lady could certainly find no better representative there. With the permission of his lordship, I beg to propose ‘The health of the Lady Mayoress’.&lt;/p&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="355" public="1" featured="0">
    <collection collectionId="6">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="418">
                  <text>Speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="600">
                  <text>speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1497">
                  <text>&lt;h4&gt;This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time.&amp;nbsp;&lt;/h4&gt;&#13;
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.&lt;br /&gt;&lt;br /&gt;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 (&lt;em&gt;The Speeches of Charles Dickens&lt;/em&gt; [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 &lt;em&gt;The Dickensian&lt;/em&gt;;&lt;sup&gt;&lt;a href="#fn1" id="ref1"&gt;1&lt;/a&gt;&lt;/sup&gt; 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.&lt;br /&gt;&lt;br /&gt;Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884:&lt;br /&gt;&#13;
&lt;blockquote&gt;[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 &lt;span&gt;–&lt;/span&gt; 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. (&lt;em&gt;Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America&lt;/em&gt;, pp. 273-74)&lt;/blockquote&gt;&#13;
However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like &lt;em&gt;The Times&lt;/em&gt;. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say).&lt;br /&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;br /&gt;Please &lt;a href="https://dickenssearch.com/contact"&gt;contact us&lt;/a&gt; with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens.&lt;br /&gt;&lt;br /&gt;&lt;sup id="fn1"&gt;1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', &lt;em&gt;The Dickensian&lt;/em&gt; 85.418 (1989): pp. 66-80. &lt;a href="#ref1" title="Jump back to footnote 1 in the text."&gt;↩&lt;/a&gt;&lt;/sup&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="3162">
                  <text>Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="19">
      <name>Speech</name>
      <description/>
      <elementContainer>
        <element elementId="101">
          <name>Summary</name>
          <description>Occasionally speeches are summarised in sources in third person. Include that here, so that everything in the text transcription is only Dickens's words.</description>
          <elementTextContainer>
            <elementText elementTextId="4990">
              <text>&lt;p&gt;&lt;span data-contrast="none"&gt;Dickens proposed ‘The Health of the Lady Mayoress’ &lt;/span&gt;&lt;span data-contrast="none"&gt;– &lt;/span&gt;&lt;span data-contrast="none"&gt;with characteristic grace&amp;nbsp;&lt;/span&gt;&lt;span data-contrast="none"&gt;– &lt;/span&gt;&lt;span data-contrast="none"&gt;and the company separated.&lt;/span&gt;&lt;/p&gt;</text>
            </elementText>
            <elementText elementTextId="4991">
              <text>'I dined with Ferguson at the Lord Mayor's last Tuesday, and had a grimly-distracted impulse upon me to defy the Toastmaster, and rush into a speech about him and his noble art, when I sat pining under the imbecility of a variety of Constitutional and Corporational idiots. I did seize him for a moment by the hair of his head (in proposing the Lady Mayoress), and derived some faint consolation from the Company's response to the reference. O! No man will ever know under what provocation to contradiction and a savage yell of repudiation, I suffered at the hands of the renowned Mr. Goschen — feebly complacent in the uniform of Madame Tussaud's Own Military Waxers, and almost the worst speaker I ever heard in my life! Mary and Georgina sitting on either side of me, urged me to "look pleased". I replied in expressions not to be repeated. Shee (the Judge) was just as good and graceful, as He (the Member) was bad and gawky.'</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="4">
          <name>Location</name>
          <description>The location</description>
          <elementTextContainer>
            <elementText elementTextId="4992">
              <text>London</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="97">
          <name>Venue</name>
          <description>Where the speech was given</description>
          <elementTextContainer>
            <elementText elementTextId="4993">
              <text>Mansion House</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="94">
          <name>Publication Type</name>
          <description>E.g.  newspaper/serial</description>
          <elementTextContainer>
            <elementText elementTextId="4994">
              <text>Letter</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="93">
          <name>Publication</name>
          <description>The title of the newspaper/serial (if applicable)</description>
          <elementTextContainer>
            <elementText elementTextId="4995">
              <text>To Charles Kent, 18 January 1866</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="98">
          <name>Ngram Date</name>
          <description>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.</description>
          <elementTextContainer>
            <elementText elementTextId="4996">
              <text>18660116</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4984">
                <text>Banquet at the Mansion House 1866</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4985">
                <text>Speech at the Banquet at the Mansion House (16 January 1866).</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4986">
                <text>Dickens, Charles</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4987">
                <text>1866-01-16</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="4988">
                <text>1866-01-16_Speech_Banquet-at-the-Mansion-House</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="80">
            <name>Bibliographic Citation</name>
            <description>A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.</description>
            <elementTextContainer>
              <elementText elementTextId="4989">
                <text>Dickens, Charles. 'Speech at the Banquet at the Mansion House' (16 January 1866). &lt;em&gt;Dickens Search&lt;/em&gt;&lt;span&gt;. Eds. Emily Middleton and Lydia Craig. Accessed [date]. &lt;/span&gt;&lt;a href="https://dickenssearch.com/speeches/1866-01-16_Speech_Banquet-at-the-Mansion-House"&gt;https://dickenssearch.com/speeches/1866-01-16_Speech_Banquet-at-the-Mansion-House&lt;/a&gt;&lt;span&gt;.&lt;/span&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="277" public="1" featured="0">
    <collection collectionId="6">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="418">
                  <text>Speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="600">
                  <text>speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1497">
                  <text>&lt;h4&gt;This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time.&amp;nbsp;&lt;/h4&gt;&#13;
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.&lt;br /&gt;&lt;br /&gt;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 (&lt;em&gt;The Speeches of Charles Dickens&lt;/em&gt; [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 &lt;em&gt;The Dickensian&lt;/em&gt;;&lt;sup&gt;&lt;a href="#fn1" id="ref1"&gt;1&lt;/a&gt;&lt;/sup&gt; 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.&lt;br /&gt;&lt;br /&gt;Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884:&lt;br /&gt;&#13;
&lt;blockquote&gt;[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 &lt;span&gt;–&lt;/span&gt; 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. (&lt;em&gt;Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America&lt;/em&gt;, pp. 273-74)&lt;/blockquote&gt;&#13;
However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like &lt;em&gt;The Times&lt;/em&gt;. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say).&lt;br /&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;br /&gt;Please &lt;a href="https://dickenssearch.com/contact"&gt;contact us&lt;/a&gt; with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens.&lt;br /&gt;&lt;br /&gt;&lt;sup id="fn1"&gt;1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', &lt;em&gt;The Dickensian&lt;/em&gt; 85.418 (1989): pp. 66-80. &lt;a href="#ref1" title="Jump back to footnote 1 in the text."&gt;↩&lt;/a&gt;&lt;/sup&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="3162">
                  <text>Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="19">
      <name>Speech</name>
      <description/>
      <elementContainer>
        <element elementId="101">
          <name>Summary</name>
          <description>Occasionally speeches are summarised in sources in third person. Include that here, so that everything in the text transcription is only Dickens's words.</description>
          <elementTextContainer>
            <elementText elementTextId="4127">
              <text>&lt;p&gt;He was, he said, so confused by the warmth of the reception which he had met with, that he should have felt considerable difficulty in addressing a few words to them, if he were not relieved by the nature and subject of the toast which had been entrusted to him. The subject of the toast had been, indeed, exhausted by the chairman, The toast was ‘success to the Southwark Literary and Scientific Institution’, and although there were many gentlemen in that room who could more ably advocate the interests of that society, there was no one, however, no individual in Southwark – no one in London – no one in all England, more devoted to the success of Literary and Scientific Institutions, or who more desired to promote the welfare of the association to sustain which they were that day assembled.&lt;/p&gt;&#13;
&lt;p&gt;For he felt assured that such societies tended not only to enlarge the mind and awaken the best energies of our natures, but to improve and ameliorate the hearts of mankind. The chairman had alluded to the laying of the foundation stone of their building; but he would say, if they had never laid that stone – if they had met in a shed – nay, in the open fields – not only if the had no laid a foundation stone, but if they had not laid a single brick, nor an atom of straw, as the commencement of their edifice, still they had laid a moral foundation calculated to promote the best uses amongst what was styled the ‘many-headed’, but which by the aid of such institutions would soon be designated the ‘many-thoughted, monster’.&lt;/p&gt;&#13;
&lt;p&gt;The Revered Professor near him had adverted to the opinions of Lord Bacon. He also remembered a doctrine of that illustrious man, which was by no means inapplicable to the present subject, on the present occasion. He stated that the qualities of the loadstone were discovered by the test of the needles formed from the rod of iron – not of the bar itself. So in that and the like institutions, the few bright and brilliant individuals who originated them, drawn from the multitude, were those who ultimately consolidated their paramount utility as regarded the multitude itself.&lt;/p&gt;&#13;
&lt;p&gt;Had institutions similar to this existed long since, that one disgraceful leaf of dedication which formed the blot upon the literature of past ages, would have been torn from its pages. That huckstering, peddling, pandering to patronage for the sale of a book, the offspring of intellect and genius, would not now remain a stain upon their most brilliant productions. Oh! it was sickening to see a man whom God had made a poet, crouching to those whose only title to eminence was derived from the achievements of the great great grandfather of those little, little sons. The poet – for it was his natural avocation – was entitled to worship the stars; but when they contemplated him paying his adoration to stars and garters too, that was indeed a very different thing.&lt;/p&gt;&#13;
&lt;p&gt;If such institutions had existed in times gone by, Milton might have been appreciated in the age which he adorned, Otway might have lived and dined a few years longer, and he knew not but that even Wordsworth might have been drawn from the dust of those shelves where until lately he had lain unnoticed and unmarked. Nay, many of the illustrious dead, whose works were destined to illuminate posterity, might not have died the wretched inmates of the madhouse, or the asylum for the destitute. For these, and for many other reasons, he hailed with sincere gratification the brilliant prospects of their institution – for brilliant they were, despite the paltry, pitiful incumbrance of £1,000.&lt;/p&gt;&#13;
&lt;p&gt;Those prospects were still more encouraging, when looking around him he perceived gentlemen who entertained the most opposite views upon political questions joining together to sustain and support a society constituted for such objects. It was gratifying to find that this was a neutral ground upon which all shades of political opinions might mingle without a political compromise, proving satisfactorily – and a gratifying circumstance it was – the desire of those gentlemen rather to be elected by an enlightened constituency than to be representatives of ignorance and grovelling stupidity.&lt;/p&gt;&#13;
&lt;p&gt;It was also gratifying to see amongst them so many ladies, they who on all occasions bestowed a grace and charm upon society, but who, upon the present occasion, lent to it an additional lustre. They came there to advocate claims of the highest and purest order – they came there not only to promote the demands of society for increased means for the dissipation of knowledge and the advancement of literature, but also by such means to cement more closely the dearest bonds by which society was united – in bestowing an additional charm upon the hearth and fireside of all, and giving to their household gods an additional claim to their worship and adoration.&lt;/p&gt;&#13;
&lt;p&gt;Thus a new spirit would be infused into the heart of society – a new soul would be breathed into the huge brick and mortar body of the metropolis; and if they wanted a spur to their exertions – if they energies required excitement – let them but recollect that in the churchyard not far distant from that place our Chaucer was entombed, and that not a stone’s throw from that room Shakespeare’s own theatre once stood. He would not say another word, but would conclude by proposing ‘Success to the Southwark Literary and Scientific Institution’.&lt;/p&gt;</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="4">
          <name>Location</name>
          <description>The location</description>
          <elementTextContainer>
            <elementText elementTextId="4128">
              <text>Southwark</text>
            </elementText>
            <elementText elementTextId="4129">
              <text>London</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="97">
          <name>Venue</name>
          <description>Where the speech was given</description>
          <elementTextContainer>
            <elementText elementTextId="4130">
              <text>Bridge House Hotel</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="98">
          <name>Ngram Date</name>
          <description>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.</description>
          <elementTextContainer>
            <elementText elementTextId="4131">
              <text>18401202</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="99">
          <name>Ngram Text</name>
          <description>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 &amp;nbsp; (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML.</description>
          <elementTextContainer>
            <elementText elementTextId="4132">
              <text>He was, he said, so confused by the warmth of the reception which he had met with, that he should have felt considerable difficulty in addressing a few words to them, if he were not relieved by the nature and subject of the toast which had been entrusted to him. The subject of the toast had been, indeed, exhausted by the chairman, The toast was ‘success to the Southwark Literary and Scientific Institution’, and although there were many gentlemen in that room who could more ably advocate the interests of that society, there was no one, however, no individual in Southwark – no one in London – no one in all England, more devoted to the success of Literary and Scientific Institutions, or who more desired to promote the welfare of the association to sustain which they were that day assembled. For he felt assured that such societies tended not only to enlarge the mind and awaken the best energies of our natures, but to improve and ameliorate the hearts of mankind. The chairman had alluded to the laying of the foundation stone of their building; but he would say, if they had never laid that stone – if they had met in a shed – nay, in the open fields – not only if the had no laid a foundation stone, but if they had not laid a single brick, nor an atom of straw, as the commencement of their edifice, still they had laid a moral foundation calculated to promote the best uses amongst what was styled the ‘many-headed’, but which by the aid of such institutions would soon be designated the ‘many-thoughted, monster’. The Revered Professor near him had adverted to the opinions of Lord Bacon. He also remembered a doctrine of that illustrious man, which was by no means inapplicable to the present subject, on the present occasion. He stated that the qualities of the loadstone were discovered by the test of the needles formed from the rod of iron – not of the bar itself. So in that and the like institutions, the few bright and brilliant individuals who originated them, drawn from the multitude, were those who ultimately consolidated their paramount utility as regarded the multitude itself. Had institutions similar to this existed long since, that one disgraceful leaf of dedication which formed the blot upon the literature of past ages, would have been torn from its pages. That huckstering, peddling, pandering to patronage for the sale of a book, the offspring of intellect and genius, would not now remain a stain upon their most brilliant productions. Oh! it was sickening to see a man whom God had made a poet, crouching to those whose only title to eminence was derived from the achievements of the great great grandfather of those little, little sons. The poet – for it was his natural avocation – was entitled to worship the stars; but when they contemplated him paying his adoration to stars and garters too, that was indeed a very different thing. If such institutions had existed in times gone by, Milton might have been appreciated in the age which he adorned, Otway might have lived and dined a few years longer, and he knew not but that even Wordsworth might have been drawn from the dust of those shelves where until lately he had lain unnoticed and unmarked. Nay, many of the illustrious dead, whose works were destined to illuminate posterity, might not have died the wretched inmates of the madhouse, or the asylum for the destitute. For these, and for many other reasons, he hailed with sincere gratification the brilliant prospects of their institution – for brilliant they were, despite the paltry, pitiful incumbrance of £1,000. Those prospects were still more encouraging, when looking around him he perceived gentlemen who entertained the most opposite views upon political questions joining together to sustain and support a society constituted for such objects. It was gratifying to find that this was a neutral ground upon which all shades of political opinions might mingle without a political compromise, proving satisfactorily – and a gratifying circumstance it was – the desire of those gentlemen rather to be elected by an enlightened constituency than to be representatives of ignorance and grovelling stupidity. It was also gratifying to see amongst them so many ladies, they who on all occasions bestowed a grace and charm upon society, but who, upon the present occasion, lent to it an additional lustre. They came there to advocate claims of the highest and purest order – they came there not only to promote the demands of society for increased means for the dissipation of knowledge and the advancement of literature, but also by such means to cement more closely the dearest bonds by which society was united – in bestowing an additional charm upon the hearth and fireside of all, and giving to their household gods an additional claim to their worship and adoration. Thus a new spirit would be infused into the heart of society – a new soul would be breathed into the huge brick and mortar body of the metropolis; and if they wanted a spur to their exertions – if they energies required excitement – let them but recollect that in the churchyard not far distant from that place our Chaucer was entombed, and that not a stone’s throw from that room Shakespeare’s own theatre once stood. He would not say another word, but would conclude by proposing ‘Success to the Southwark Literary and Scientific Institution’.</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4121">
                <text>Banquet for Foundation-Laying of the Southwark Literary and Scientific Institution</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4122">
                <text>Banquet for Foundation-Laying of the Southwark Literary and Scientific Institution (2 December 1840).</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4123">
                <text>Dickens, Charles</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4124">
                <text>1840-12-02</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="4125">
                <text>1840-12-02_Speech_Banquet-for-Foundation-Laying-of-the-Southwark-Literary-and-Scientific-Institution</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="80">
            <name>Bibliographic Citation</name>
            <description>A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.</description>
            <elementTextContainer>
              <elementText elementTextId="4126">
                <text>&lt;span&gt;Dickens, Charles. 'Banquet for Foundation-Laying of the Southwark Literary and Scientific Institution' (2 December 1840).&lt;/span&gt;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em&gt;Dickens Search&lt;/em&gt;&lt;span&gt;. Eds. Emily Middleton and Lydia Craig. Accessed [date]. &lt;/span&gt;&lt;a href="https://dickenssearch.com/speeches/1840-12-02_Speech_Banquet-for-Foundation-Laying-of-the-Southwark-Literary-and-Scientific-Institution"&gt;https://dickenssearch.com/speeches/1840-12-02_Speech_Banquet-for-Foundation-Laying-of-the-Southwark-Literary-and-Scientific-Institution&lt;/a&gt;&lt;span&gt;.&lt;/span&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="287" public="1" featured="0">
    <collection collectionId="6">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="418">
                  <text>Speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="600">
                  <text>speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1497">
                  <text>&lt;h4&gt;This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time.&amp;nbsp;&lt;/h4&gt;&#13;
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.&lt;br /&gt;&lt;br /&gt;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 (&lt;em&gt;The Speeches of Charles Dickens&lt;/em&gt; [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 &lt;em&gt;The Dickensian&lt;/em&gt;;&lt;sup&gt;&lt;a href="#fn1" id="ref1"&gt;1&lt;/a&gt;&lt;/sup&gt; 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.&lt;br /&gt;&lt;br /&gt;Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884:&lt;br /&gt;&#13;
&lt;blockquote&gt;[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 &lt;span&gt;–&lt;/span&gt; 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. (&lt;em&gt;Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America&lt;/em&gt;, pp. 273-74)&lt;/blockquote&gt;&#13;
However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like &lt;em&gt;The Times&lt;/em&gt;. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say).&lt;br /&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;br /&gt;Please &lt;a href="https://dickenssearch.com/contact"&gt;contact us&lt;/a&gt; with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens.&lt;br /&gt;&lt;br /&gt;&lt;sup id="fn1"&gt;1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', &lt;em&gt;The Dickensian&lt;/em&gt; 85.418 (1989): pp. 66-80. &lt;a href="#ref1" title="Jump back to footnote 1 in the text."&gt;↩&lt;/a&gt;&lt;/sup&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="3162">
                  <text>Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="19">
      <name>Speech</name>
      <description/>
      <elementContainer>
        <element elementId="4">
          <name>Location</name>
          <description>The location</description>
          <elementTextContainer>
            <elementText elementTextId="4241">
              <text>Liverpool</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="97">
          <name>Venue</name>
          <description>Where the speech was given</description>
          <elementTextContainer>
            <elementText elementTextId="4242">
              <text>Saint George's Hall</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="98">
          <name>Ngram Date</name>
          <description>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.</description>
          <elementTextContainer>
            <elementText elementTextId="4243">
              <text>18690410</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="99">
          <name>Ngram Text</name>
          <description>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 &amp;nbsp; (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML.</description>
          <elementTextContainer>
            <elementText elementTextId="4244">
              <text>Mr. Mayor, Ladies and Gentlemen, Although I have become so well accustomed of late to the sound of my own voice in this neighbourhood as to hear it with perfect composure, the occasion is, believe me, very very different in respect of those overwhelming voices of yours. As Professor Wilson once confided to me in Edinburgh that I had not the least idea from hearing him in public, what a magnificent speaker he found himself to be when quite alone, so you can form no conception, from the specimen before you, of the eloquence with which I shall thank you again and again in some of the innermost moments of my future life. Often and often then, God willing, my memory will recall this brilliant scene, and will reilluminate this: – banquet-hall deserted, Whose lights are fled Whose garlands dead And all but I departed: and faithful to this place in its present aspect, I will mark and observe it exactly as it stands – not one man’s seat empty, not one woman’s fair face absent – while life and memory abide by me. Mr. Mayor, Lord Dufferin in his speech so affecting to me, so eloquently uttered, and so rapturously received, made a graceful and gracious allusion to the immediate occasion of my present visit to your noble city. It is no homage to Liverpool, based upon a moment’s untrustworthy enthusiasm, but it is the solid fact built upon the rock of experience that when I first made up my mind, after considerable deliberation, systematically to meet my readers in large numbers, face to face, and to try to express myself to them through the breath of life, Liverpool stood foremost among the great places outside London to which I looked with eager confidence and pleasure. And why was this? Not merely because of the reputation of its citizens for generous estimation of the arts; not merely because I had unworthily filled the chair of its great self-educational institution long ago; not merely because the place had been a home to me since the well-remembered day when its blessed roofs and steeples dipped into the Mersey behind me on the occasion of my first sailing away to see my generous friends across the Atlantic seven-and-twenty years ago. Not for one of those considerations; but because it had been my happiness to have a public opportunity of testing the spirit of its people. I had asked Liverpool for help towards the worthy preservation of Shakespeare’s house. On another occasion I had ventured to address Liverpool in the names of Leigh Hunt and Sheridan Knowles. On still another occasion I had addressed it in the cause of the brotherhood and sisterhood of letters and the kindred arts. And on each and all the response had been unsurpassably spontaneous, open-handed, and munificent. Mr. Mayor, and ladies and gentlemen, if I may venture to take a small illustration of my present position from my own peculiar craft, I would say that there is this objection, in writing fiction, to giving the story an autobiographical form: that through whatever dangers the narrator may pass, it is clear unfortunately to the reader beforehand that he must have come through them somehow, else he could not have lived to tell the tale. Now in speaking fact, when the fact is associated with such honours as those with which you have enriched me, there is this singular difficulty in returning thanks, that the speaker must infallibly come back to himself through whatever oratorical disasters he may languish on the road. Let me, therefore, – let me, then, take the plainer and simpler middle course of dividing my subject equally between myself and you. Let me assure you that whatever you have accepted with pleasure, either by word of pen or by word of mouth, from me, you have greatly improved in the acceptance. As the gold is said to be doubly and trebly refined which has seven times passed the furnace, so a fancy may be said to become more and more refined each time it passes through the human heart. You have, and you know you have, brought to the consideration of me that quality in yourselves without which I should have beaten the air. Your earnestness has stimulated mine, your laughter has made me laugh, and your tears have overflowed my eyes. All that I can claim for myself, in establishing the relations which exist between us, is constant fidelity to hard work. My literary brethren about me, of whom I am so proud to see so many, know very well how true it is, of all art, that what seems the easiest done is oftentimes the most difficult to do, and that the smallest truth may come of the greatest pains, – much, as it occurred to me at Manchester, the other day, the sensitive touch of Mr. Whitworth’s wonderful measuring machine comes at last, though Heaven, Manchester, and its maker only knew how much hammering and firing were required to bring it out. And my companions-in-arms know thoroughly well, and I think it is right the public should know too, that in our careful toil and trouble, and in our steady striving for excellence – not in any little gifts, misused by fits and starts – lies our highest duty at once to our calling, to one another, to ourselves and to you. Ladies and gentlemen, before sitting down I find that I have to clear myself of two very unexpected accusations. The first is a most singular charge preferred against me by my old friend Lord Houghton: that I have been somewhat unconscious of the merits of the House of Lords. Now, ladies and gentlemen, seeing that I have had some not altogether obscure or unknown personal friends in that assembly; seeing that I had some little association with, and knowledge of, a certain obscure peer lately known in England by the name of Lord Brougham; seeing that I regard with some admiration and affection another obscure peer wholly unknown in literary circles, called Lord Lytton; seeing also that I have had for some years some slight admiration of the extraordinary judicial properties and amazingly acute mind of a certain Lord Chief Justice popularly known by the name of Lord Cockburn; and also seeing that there is no man in England whom I respect more in his public capacity, whom I love more in his private capacity, or from whom I have received more remarkable proofs of his honour and love of literature, than another obscure nobleman called Lord Russell; taking these circumstances into consideration, I was rather amazed by my noble friend’s accusation. When I asked him, on his sitting down, what amazing devil possessed him to make this charge, he replied that he had never forgotten the days of Lord Verisopht. Then, ladies and gentlemen, I understood it all; because it is a remarkable fact, that in the days when that depreciative and profoundly unnatural character was invented, there was no Lord Houghton in the House of Lords. And there was in the House of Commons, a rather indifferent member called Richard Monckton Milnes. Ladies and gentlemen, to conclude – for the present; to conclude, I close with the other charge of my noble friend, and here I am more serious, and I may be allowed perhaps to express my seriousness in half a dozen plain words. When I first took Literature as my profession in England, I calmly resolved within myself that, whether I succeeded or whether I failed, Literature should be my sole profession. It appeared to me at that time that it was not so well understood in England as it was in other countries that Literature was a dignified profession, by which any man might stand or fall. I made a compact with myself that in my person Literature should stand, and by itself, of itself, and for itself; and there is no consideration on earth which would induce me to break that bargain. Ladies and gentlemen, finally allow me to thank you for your great kindness, and for the touching earnestness with which you have drunk my health. I should have thanked you with all my heart if it had not so unfortunately happened that, for many sufficient reasons, I lost my heart, at between half-past six and half-past seven o’clock tonight. Gentlemen – for I address myself solely to you – the nature of the toast I am about to propose cannot, I think, be better or more briefly expressed than in a short quotation from Shakespeare, slightly altered: Scene: A banqueting hall. Thunder – of admiration. Lightning – of eyes. Enter Macbeth and Banquo: Banquo: Who are these, So sparkling and so bright in their attire, That look not like the inhabitants o’ the earth And yet are on’t? Reply: Sir, these are the Lancashire Witches. Pondering this turn in my mind just now, and looking round this magnificent hall, I naturally pondered also on the legend of its patron saint. It is recorded of Saint George that he was even more devoted to love and beauty than the other six Champions of Christendom. And I, his loyal imitator and disciple, have moulded myself completely upon him in looking around me here. How happy could I be with either, Were t’other dear charmer away, is a sentiment that was first put into writing some few ages after Saint George’s time; but I have a profound conviction that he would have originated it if he could have projected himself into this occasion. However, he was much better employed in killing the Dragon. Oh yes! – much better employed in killing the Dragon, who would have devoured the lady. And he was much better employed still, in marrying the lady, and enslaving himself by freeing her. The legend, as I remember, goes on to relate that the accursed brood of dragons after that time retired into inaccessible solitudes, and was seen no more – except on very special occasions. Now, it occurs to me, that if any of those dragons should yet be lingering in retirement, and if they should have, in virtue of any bewitched sixth sense, the slightest notion of the havoc that will be wrought amongst Saint George’s descendants by this assembly of glowing beauty here tonight, then the dragon race is even with Saint George at last, and is most terribly avenged. Gentlemen, I give you ‘The Ladies’. Ladies and gentlemen, the learned lady who has just sat down has completely mistaken me. I referred not to my having been enslaved tonight by one lady, or two, but by all present; and when I made the quotation from Captain Macheath, I made a quotation from a gentleman who, though he happened at the moment to be attended by only two ladies, was notoriously the slave, as I am, of the whole sex. I have no, ladies and gentlemen, to propose to you a toast inseparable from the enterprise of Liverpool – from the public honour and public spirit of Liverpool; equally inseparable from the stately streets and buildings around us, and from the hospitals, schools, and free libraries, and those great monuments of consideration for the many which have made this place an example to England. I have to propose to you to drink ‘His Worship the Mayor and the Corporation of this Town’.</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4235">
                <text>Banquet in His Honour, Liverpool</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4236">
                <text>Speeches given at a Banquet in His Honour, Liverpool (10 April 1869).</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4237">
                <text>Dickens, Charles</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4238">
                <text>1869-04-10</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="4239">
                <text>1869-04-10_Speech_Banquet-in-His-Honour-Liverpool</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="80">
            <name>Bibliographic Citation</name>
            <description>A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.</description>
            <elementTextContainer>
              <elementText elementTextId="4240">
                <text>Dickens, Charles. 'Speeches given at a Banquet in His Honour, Liverpool' (10 April 1869). &lt;em&gt;Dickens Search&lt;/em&gt;&lt;span&gt;. Eds. Emily Middleton and Lydia Craig. Accessed [date]. &lt;/span&gt;&lt;a href="https://dickenssearch.com/speeches/1869-04-10_Speech_Banquet-in-His-Honour-Liverpool"&gt;https://dickenssearch.com/speeches/1869-04-10_Speech_Banquet-in-His-Honour-Liverpool&lt;/a&gt;&lt;span&gt;.&lt;/span&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
      <elementSet elementSetId="4">
        <name>Scripto</name>
        <description/>
        <elementContainer>
          <element elementId="92">
            <name>Transcription</name>
            <description>A written representation of a document.</description>
            <elementTextContainer>
              <elementText elementTextId="4245">
                <text>&lt;p&gt;Mr. Mayor, Ladies and Gentlemen, Although I have become so well accustomed of late to the sound of my own voice in this neighbourhood as to hear it with perfect composure, the occasion is, believe me, very very different in respect of those overwhelming voices of yours. As Professor Wilson once confided to me in Edinburgh that I had not the least idea from hearing him in public, what a magnificent speaker he found himself to be when quite alone, so you can form no conception, from the specimen before you, of the eloquence with which I shall thank you again and again in some of the innermost moments of my future life. Often and often then, God willing, my memory will recall this brilliant scene, and will reilluminate this:&lt;/p&gt;&#13;
&lt;p&gt;– banquet-hall deserted,&lt;/p&gt;&#13;
&lt;p&gt;Whose lights are fled&lt;/p&gt;&#13;
&lt;p&gt;Whose garlands dead&lt;/p&gt;&#13;
&lt;p&gt;And all but I departed:&lt;/p&gt;&#13;
&lt;p&gt;and faithful to this place in its present aspect, I will mark and observe it exactly as it stands – not one man’s seat empty, not one woman’s fair face absent – while life and memory abide by me.&lt;/p&gt;&#13;
&lt;p&gt;Mr. Mayor, Lord Dufferin in his speech so affecting to me, so eloquently uttered, and so rapturously received, made a graceful and gracious allusion to the immediate occasion of my present visit to your noble city. It is no homage to Liverpool, based upon a moment’s untrustworthy enthusiasm, but it is the solid fact built upon the rock of experience that when I first made up my mind, after considerable deliberation, systematically to meet my readers in large numbers, face to face, and to try to express myself to them through the breath of life, Liverpool stood foremost among the great places outside London to which I looked with eager confidence and pleasure. And why was this? Not merely because of the reputation of its citizens for generous estimation of the arts; not merely because I had unworthily filled the chair of its great self-educational institution long ago; not merely because the place had been a home to me since the well-remembered day when its blessed roofs and steeples dipped into the Mersey behind me on the occasion of my first sailing away to see my generous friends across the Atlantic seven-and-twenty years ago. Not for one of those considerations; but because it had been my happiness to have a public opportunity of testing the spirit of its people. I had asked Liverpool for help towards the worthy preservation of Shakespeare’s house. On another occasion I had ventured to address Liverpool in the names of Leigh Hunt and Sheridan Knowles. On still another occasion I had addressed it in the cause of the brotherhood and sisterhood of letters and the kindred arts. And on each and all the response had been unsurpassably spontaneous, open-handed, and munificent.&lt;/p&gt;&#13;
&lt;p&gt;Mr. Mayor, and ladies and gentlemen, if I may venture to take a small illustration of my present position from my own peculiar craft, I would say that there is this objection, in writing fiction, to giving the story an autobiographical form: that through whatever dangers the narrator may pass, it is clear unfortunately to the reader beforehand that he must have come through them somehow, else he could not have lived to tell the tale. Now in speaking fact, when the fact is associated with such honours as those with which you have enriched me, there is this singular difficulty in returning thanks, that the speaker must infallibly come back to himself through whatever oratorical disasters he may languish on the road. Let me, therefore, – &amp;nbsp;let me, then, take the plainer and simpler middle course of dividing my subject equally between myself and you. Let me assure you that whatever you have accepted with pleasure, either by word of pen or by word of mouth, from me, you have greatly improved in the acceptance. As the gold is said to be doubly and trebly refined which has seven times passed the furnace, so a fancy may be said to become more and more refined each time it passes through the human heart. You have, and you know you have, brought to the consideration of me that quality in yourselves without which I should have beaten the air. Your earnestness has stimulated mine, your laughter has made me laugh, and your tears have overflowed my eyes. All that I can claim for myself, in establishing the relations which exist between us, is constant fidelity to hard work. My literary brethren about me, of whom I am so proud to see so many, know very well how true it is, of all art, that what seems the easiest done is oftentimes the most difficult to do, and that the smallest truth may come of the greatest pains, – much, as it occurred to me at Manchester, the other day, the sensitive touch of Mr. Whitworth’s wonderful measuring machine comes at last, though Heaven, Manchester, and its maker only knew how much hammering and firing were required to bring it out. And my companions-in-arms know thoroughly well, and I think it is right the public should know too, that in our careful toil and trouble, and in our steady striving for excellence – not in any little gifts, misused by fits and starts – lies our highest duty at once to our calling, to one another, to ourselves and to you.&lt;/p&gt;&#13;
&lt;p&gt;Ladies and gentlemen, before sitting down I find that I have to clear myself of two very unexpected accusations. The first is a most singular charge preferred against me by my old friend Lord Houghton: that I have been somewhat unconscious of the merits of the House of Lords. Now, ladies and gentlemen, seeing that I have had some not altogether obscure or unknown personal friends in that assembly; seeing that I had some little association with, and knowledge of, a certain obscure peer lately known in England by the name of Lord Brougham; seeing that I regard with some admiration and affection another obscure peer wholly unknown in literary circles, called Lord Lytton; seeing also that I have had for some years some slight admiration of the extraordinary judicial properties and amazingly acute mind of a certain Lord Chief Justice popularly known by the name of Lord Cockburn; and also seeing that there is no man in England whom I respect more in his public capacity, whom I love more in his private capacity, or from whom I have received more remarkable proofs of his honour and love of literature, than another obscure nobleman called Lord Russell; taking these circumstances into consideration, I was rather amazed by my noble friend’s accusation. When I asked him, on his sitting down, what amazing devil possessed him to make this charge, he replied that he had never forgotten the days of Lord Verisopht. Then, ladies and gentlemen, I understood it all; because it is a remarkable fact, that in the days when that depreciative and profoundly unnatural character was invented, there was no Lord Houghton in the House of Lords. And there was in the House of Commons, a rather indifferent member called Richard Monckton Milnes.&lt;/p&gt;&#13;
&lt;p&gt;Ladies and gentlemen, to conclude – for the present; to conclude, I close with the other charge of my noble friend, and here I am more serious, and I may be allowed perhaps to express my seriousness in half a dozen plain words. When I first took Literature as my profession in England, I calmly resolved within myself that, whether I succeeded or whether I failed, Literature should be my sole profession. It appeared to me at that time that it was not so well understood in England as it was in other countries that Literature was a dignified profession, by which any man might stand or fall. I made a compact with myself that in my person Literature should stand, and by itself, of itself, and for itself; and there is no consideration on earth which would induce me to break that bargain.&lt;/p&gt;&#13;
&lt;p&gt;Ladies and gentlemen, finally allow me to thank you for your great kindness, and for the touching earnestness with which you have drunk my health. I should have thanked you with all my heart if it had not so unfortunately happened that, for many sufficient reasons, I lost my heart, at between half-past six and half-past seven o’clock tonight.&lt;/p&gt;</text>
              </elementText>
              <elementText elementTextId="4246">
                <text>&lt;p&gt;Gentlemen – for I address myself solely to you – the nature of the toast I am about to propose cannot, I think, be better or more briefly expressed than in a short quotation from Shakespeare, slightly altered:&lt;/p&gt;&#13;
&lt;p&gt;Scene: A banqueting hall. Thunder – of admiration. Lightning – of eyes. Enter Macbeth and Banquo:&lt;/p&gt;&#13;
&lt;p&gt;Banquo: Who are these,&lt;/p&gt;&#13;
&lt;p&gt;So sparkling and so bright in their attire,&lt;/p&gt;&#13;
&lt;p&gt;That look not like the inhabitants o’ the earth&lt;/p&gt;&#13;
&lt;p&gt;And yet are on’t?&lt;/p&gt;&#13;
&lt;p&gt;Reply:&lt;/p&gt;&#13;
&lt;p&gt;Sir, these are the Lancashire Witches.&lt;/p&gt;&#13;
&lt;p&gt;Pondering this turn in my mind just now, and looking round this magnificent hall, I naturally pondered also on the legend of its patron saint. It is recorded of Saint George that he was even more devoted to love and beauty than the other six Champions of Christendom. And I, his loyal imitator and disciple, have moulded myself completely upon him in looking around me here.&lt;/p&gt;&#13;
&lt;p&gt;How happy could I be with either,&lt;/p&gt;&#13;
&lt;p&gt;Were t’other dear charmer away,&lt;/p&gt;&#13;
&lt;p&gt;is a sentiment that was first put into writing some few ages after Saint George’s time; but I have a profound conviction that he would have originated it if he could have projected himself into this occasion. However, he was much better employed in killing the Dragon. Oh yes! – much better employed in killing the Dragon, who would have devoured the lady. And he was much better employed still, in marrying the lady, and enslaving himself by freeing her. The legend, as I remember, goes on to relate that the accursed brood of dragons after that time retired into inaccessible solitudes, and was seen no more – except on very special occasions. Now, it occurs to me, that if any of those dragons should yet be lingering in retirement, and if they should have, in virtue of any bewitched sixth sense, the slightest notion of the havoc that will be wrought amongst Saint George’s descendants by this assembly of glowing beauty here tonight, then the dragon race is even with Saint George at last, and is most terribly avenged. Gentlemen, I give you ‘The Ladies’.&lt;/p&gt;</text>
              </elementText>
              <elementText elementTextId="4247">
                <text>&lt;p&gt;Ladies and gentlemen, the learned lady who has just sat down has completely mistaken me. I referred not to my having been enslaved tonight by one lady, or two, but by all present; and when I made the quotation from Captain Macheath, I made a quotation from a gentleman who, though he happened at the moment to be attended by only two ladies, was notoriously the slave, as I am, of the whole sex.&lt;/p&gt;&#13;
&lt;p&gt;I have now, ladies and gentlemen, to propose to you a toast inseparable from the enterprise of Liverpool – from the public honour and public spirit of Liverpool; equally inseparable from the stately streets and buildings around us, and from the hospitals, schools, and free libraries, and those great monuments of consideration for the many which have made this place an example to England. I have to propose to you to drink ‘His Worship the Mayor and the Corporation of this Town’.&lt;/p&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="241" public="1" featured="0">
    <collection collectionId="6">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="418">
                  <text>Speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="600">
                  <text>speeches</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1497">
                  <text>&lt;h4&gt;This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time.&amp;nbsp;&lt;/h4&gt;&#13;
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.&lt;br /&gt;&lt;br /&gt;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 (&lt;em&gt;The Speeches of Charles Dickens&lt;/em&gt; [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 &lt;em&gt;The Dickensian&lt;/em&gt;;&lt;sup&gt;&lt;a href="#fn1" id="ref1"&gt;1&lt;/a&gt;&lt;/sup&gt; 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.&lt;br /&gt;&lt;br /&gt;Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884:&lt;br /&gt;&#13;
&lt;blockquote&gt;[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 &lt;span&gt;–&lt;/span&gt; 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. (&lt;em&gt;Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America&lt;/em&gt;, pp. 273-74)&lt;/blockquote&gt;&#13;
However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like &lt;em&gt;The Times&lt;/em&gt;. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say).&lt;br /&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;br /&gt;Please &lt;a href="https://dickenssearch.com/contact"&gt;contact us&lt;/a&gt; with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens.&lt;br /&gt;&lt;br /&gt;&lt;sup id="fn1"&gt;1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', &lt;em&gt;The Dickensian &lt;/em&gt;73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', &lt;em&gt;The Dickensian&lt;/em&gt; 85.418 (1989): pp. 66-80. &lt;a href="#ref1" title="Jump back to footnote 1 in the text."&gt;↩&lt;/a&gt;&lt;/sup&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="3162">
                  <text>Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="19">
      <name>Speech</name>
      <description/>
      <elementContainer>
        <element elementId="4">
          <name>Location</name>
          <description>The location</description>
          <elementTextContainer>
            <elementText elementTextId="3707">
              <text>New York</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="97">
          <name>Venue</name>
          <description>Where the speech was given</description>
          <elementTextContainer>
            <elementText elementTextId="3708">
              <text>City Hotel</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="98">
          <name>Ngram Date</name>
          <description>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.</description>
          <elementTextContainer>
            <elementText elementTextId="3709">
              <text>18420218</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="99">
          <name>Ngram Text</name>
          <description>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 &amp;nbsp; (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML.</description>
          <elementTextContainer>
            <elementText elementTextId="3710">
              <text>Mr. President and Gentlemen, I don’t know how to thank you – I really don’t know how. You might, perhaps, suppose that by the dint of custom and from the experience your kindness has heaped upon me since my arrival in this country, that the difficult would have been somewhat diminished or dwindled into nothing but I do assure you the fact is exactly the reverse. Unlike that rolling stone which gathers no moss, I have, in my progress to your city, collected around me such a heap of obligation and weight of acknowledgement, that in my power of expressing it I have grown more and more unwieldy every hour! I picked up such a quantity of fresh moss – so to speak – at a certain brilliant scene on Monday night, that I thought I never could, by any possibility, grow any bigger. But crowded upon that, there comes again tonight a new accumulation of such extent and magnitude, that I am fairly at a standstill and can roll no more! Gentlemen, we know from all the authorities, that whenever a fairy stone, or ball, or reel of thread, stopped of its own accord–which I do not–some catastrophe was sure to be at hand. Its precedent, however, holds good in my case. For, remembering the short time I have before me in this land of mighty interest, and the poor opportunities I can have at best of acquiring a knowledge of, and making myself acquainted with it, I have felt it almost a duty to decline the honours which my generous friends elsewhere would heap upon me, and henceforth to pass through the country more quietly. Argus himself, though he had but one mouth for his hundred eyes, would have found the reception of a public entertainment once a week somewhat relaxing to his vigilance and activity. And as I would lose no scrap or jot from the rich mines of gratification and instruction which await me, I know, on every hand–and of which I have already derived no small instalment from your hospitals and common jails–I have resolved to take up my staff, and go upon my way rejoicing, and for the future to shake hands with Americans not at parties, but at home. And therefore, gentlemen, I say tonight, with a full heart and an honest purpose and grateful feelings, that I bear with me, and shall ever bear with me, a deeper sense of your kind, affectionate and noble greeting, than it is possible to convey in words; that no European sky without, and no cheerful home or well-warmed room within shall every shut out this land from my vision; that I shall often hear your words of welcome in my quiet room, oftenest when it is most quiet, and shall see your aces in the winter evening fire; that if I should live to grow old, the light of this hall and others like it will shine as brightly to my dull eyes fifty years hence as it does tonight and that when my course is run the sympathy you have shown to me shall be well remembered and paid back, so please God, in my undying love and honest endeavours for the good of my race. Gentlemen, one other word with reference to this tiresome first person, and I close that theme. I came here in an open, honest, and confiding spirit, if ever man did, and because I heartily inclined toward you; had I felt otherwise I should have kept away. As I came here, and am here, without the least admixture of the hundredth portion of a grain of base alloy, without the faintest unworthy reference to self in any word I have ever addressed to you, or in any sentiment I have ever interchanged with you, I assert my right tonight, in regard to the past for the last time, my right in reason, truth, and justice, to appeal to you, as I have done on two former occasions, on a question of universal literary interest in both countries. And, gentlemen, I claim this justice: that I have made the appeal as one who has a most righteous claim to speak and to be heard; and that I have done so in a frank, and courteous, and good-humoured spirit of deference to those who frankly, courteously, and good humouredly differed from me in any or every respect. For myself, gentlemen, I have only to add that I will ever be as true to you as you have been to me. I recognise in your enthusiastic approval of the creations of my fancy, as in a glass, your enlightened care for the happiness of the many, your tender and gentle regard for the afflicted and helpless, your sympathy for the downcast, your plans for the correction and improvement of the bad, and the encouragement and solace of the good–the education and advancement of every member of society. My constant and increasing devotion to the end of my life to these ends, and to every other object to the extent of my humble capacity, having the common good in view, shall prove to you that in this you do not mistake me, and that the light you have shed around my path was not unworthily bestowed. And now that I have said this much in reference to myself, let me have the gratification I have long expected of saying a few words in reference to somebody else. There is in this city a gentleman who, at the conclusion of one of my books–I well remember it was the Old Curiosity Shop – wrote to me in England a letter so generous, so affectionate, and so manly, that if I had written the book under every circumstance of disadvantage, discouragement, and difficult, instead of with everything to cheer and urge me on, I should have found in the receipt of that letter my best and happiest reward. I answered him, and he answered me, and so we kept shaking hands autobiographically, as if no ocean rolled between us, until I came here on Saturday night, longing and eager to see him. And here he sits! And I I need not tell you that it is the crowning circumstance to me of the night, that he is here in this capacity. Why, gentlemen, I don’t go upstairs to bed two nights out of seven, as I have a credible witness very near at hand to testify,–I say, gentlemen, I do not go to bed two nights out of seven without taking Washington Irving under my arm upstairs to bed with me; and when I don’t take him I take his next of kin – his own brother – Oliver Goldsmith. Washington Irving! Why, who but he was in my thoughts the other day as I approached your city in the steamboat from New Haven, when I was looking out for the Hog’s Back, the Frying Pan, and Hell Gate and all those horrible places of renown that were a terror to the Dutch navigators? Washington Irving! Why, when I visited Shakespeare’s birthplace not long ago, and went beneath the roof where he first saw light, whose name but his was the first that was pointed out with pride upon the wall?– Washington Irving! – Diedrich Knickerbocker, Geoffrey Crayon! Why, where can we go that they have not been before us? In the English farmhouse, in the crowded city, along the beautiful lanes, across the pleasant fields of England, and amidst her blessed, happy homes, his name above every name rises up with hallowed recollections of his virtues and talents, and like his memory will continue to be hallowed in those bright and innocent sanctuaries, until the last tick of the clock of Time! If we go into the country are there no Bracebridge Halls in existence? If we visit the crowded city, has Little Britain never had a chronicler? Is there no Boar’s Head in Eastcheap? Why, gentlemen, when Mr. Crayon left England he left sitting in the small back parlour of a certain public house near that same Boar’s Head, a man of infinite wisdom, with a red nose and an oilskin hat, who was sitting there when I came away. Yes, gentlemen, it was the same man – not a man that was very like him, but the self-same man–his nose in an immortal redness, and his hat in an undying glaze. Why, Mr. Crayon was also on terms of intimacy, in a certain village near that same Bracebridge Hall, with a certain radical fellow, who used to go about very much out at elbow, with his hat full of old newspapers. Gentlemen, I knew the man. He’s there to this very hour, with the newspapers in his hat, very much to the dissatisfaction of Mr. Tibbets the elder. And he has not changed a hair; and when I came away he charged me to give his best respects to Washington Irving! Gentlemen, leaving the town and ‘Rural Life in England,’ and forgetting for a moment, if anybody can, ‘The Pride of the Village,’ and ‘The Broken Heart’, let us cross the water again and ask who has associated himself most closely with the Italian Post-House, and the Bandits of the Pyrenees? When the traveller beyond the Alps is lighted to his little chamber, along dark, echoing, and spacious corridors, damp, gloomy, and cold; when he has sat down by the fire to watch the gradual change of his room from misery to comfort; when he has drawn his curtains, such as they are, moth-eaten and mouldy, and hearts the tempest beating with fury against his window; and when all the ghost stories that ever were told crowd around and I upon him – amid all his thick-coming fancies – who is it he thinks of at such a time? Why, Washington Irving! Go further away still, to the Moorish fountain, sparkling full in the moonlight, with a few water carriers and village gossips lingering about it still, as in days of old, for its refreshing coolness, and the voices of others going to the village dying away in the distance, like bees. Who, at such an hour, takes his silent stand beside the traveller, and points with his magic wand to the walls of Alhambra? Who awakens in every cave the echoing music, the tread of many twinkling feet, the sound of cymbals, the rattling clang of armour, the tramp of mailed men, and bids legions which for centuries have slept a dreamless sleep within the earth, or watched unwinkingly for buried treasure – who bids them start up and pass in grim array before your eyes? Or, leaving this, who embarked with Colombus in his gallant ship, traversed with him the dark and mighty ocean, leaped into the main, upon the land, and planted there the flag of Spain? Who but this same man now sitting by my side. And who, to come to your coast, is a more fit companion for the buccaneers, and monder-diggers, or who more fit to accompany Rip Van Winkle in his fearful journey to the mountains, where the uncouth crew did play at ninepins on that thundery afternoon? [Roars of laughter.] What pen but his could call such spirits from the vasty deep – make them come, too, at his call – peopling those Catskill mountains until they seem as much a part of them as any crag that ever frowned, or torrent that ever darted headlong from their heights. But, gentlemen, this is a most dangerous theme for me, for I have been enchanted with these people from my boyhood, and my glass slipper is on me still. Lest I should be tempted now to talk too long about them I will, in conclusion, give you a sentiment, most appropriate in the presence of Bryant, Halleck, and – but I suppose I must not mention the ladies here – I will give you ‘The Literature of America – She well knows how to honour her own literature, and to do honour to that of other lands, when she chooses Washington Irving for her representative in the country of Cervantes!’</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="3702">
                <text>Banquet in his Honour, New York</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="3704">
                <text>Dickens, Charles</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="3705">
                <text>1842-02-18_Speech_Banquet-New-York</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="80">
            <name>Bibliographic Citation</name>
            <description>A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.</description>
            <elementTextContainer>
              <elementText elementTextId="3706">
                <text>&lt;span&gt;Dickens, Charles. 'Speech at Hartford' &lt;/span&gt;&lt;span&gt;(7 February 1842). &lt;/span&gt;&lt;em&gt;Dickens Search&lt;/em&gt;&lt;span&gt;. Eds. Emily Middleton and Lydia Craig. Accessed [date]. &lt;/span&gt;&lt;a href="https://dickenssearch.com/speeches/1842-02-18_Speech_Banquet-New-York"&gt;https://dickenssearch.com/speeches/1842-02-18_Speech_Banquet-New-York&lt;/a&gt;.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="3723">
                <text>1842-02-18</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="3735">
                <text>Speech at a banquet in his honour in New York (18 February 1842).</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
      <elementSet elementSetId="4">
        <name>Scripto</name>
        <description/>
        <elementContainer>
          <element elementId="92">
            <name>Transcription</name>
            <description>A written representation of a document.</description>
            <elementTextContainer>
              <elementText elementTextId="3711">
                <text>&lt;p&gt;Mr. President and Gentlemen, I don’t know how to thank you – I really don’t know how. You might, perhaps, suppose that by the dint of custom and from the experience your kindness has heaped upon me since my arrival in this country, that the difficult would have been somewhat diminished or dwindled into nothing but I do assure you the fact is exactly the reverse. Unlike that rolling stone which gathers no moss, I have, in my progress to your city, collected around me such a heap of obligation and weight of acknowledgement, that in my power of expressing it I have grown more and more unwieldy every hour! I picked up such a quantity of fresh moss – so to speak – at a certain brilliant scene on Monday night, that I thought I never could, by any possibility, grow any bigger. But crowded upon that, there comes again tonight a new accumulation of such extent and magnitude, that I am fairly at a standstill and can roll no more!&lt;/p&gt;&#13;
&lt;p&gt;Gentlemen, we know from all the authorities, that whenever a fairy stone, or ball, or reel of thread, stopped of its own accord–which I do not–some catastrophe was sure to be at hand. Its precedent, however, holds good in my case. For, remembering the short time I have before me in this land of mighty interest, and the poor opportunities I can have at best of acquiring a knowledge of, and making myself acquainted with it, I have felt it almost a duty to decline the honours which my generous friends elsewhere would heap upon me, and henceforth to pass through the country more quietly. Argus himself, though he had but one mouth for his hundred eyes, would have found the reception of a public entertainment once a week somewhat relaxing to his vigilance and activity. And as I would lose no scrap or jot from the rich mines of gratification and instruction which await me, I know, on every hand–and of which I have already derived no small instalment from your hospitals and common jails–I have resolved to take up my staff, and go upon my way rejoicing, and for the future to shake hands with Americans not at parties, but at home. And therefore, gentlemen, I say tonight, with a full heart and an honest purpose and grateful feelings, that I bear with me, and shall ever bear with me, a deeper sense of your kind, affectionate and noble greeting, than it is possible to convey in words; that no European sky without, and no cheerful home or well-warmed room within shall every shut out this land from my vision; that I shall often hear your words of welcome in my quiet room, oftenest when it is most quiet, and shall see your aces in the winter evening fire; that if I should live to grow old, the light of this hall and others like it will shine as brightly to my dull eyes fifty years hence as it does tonight and that when my course is run the sympathy you have shown to me shall be well remembered and paid back, so please God, in my undying love and honest endeavours for the good of my race.&lt;/p&gt;&#13;
&lt;p&gt;Gentlemen, one other word with reference to this tiresome first person, and I close that theme. I came here in an open, honest, and confiding spirit, if ever man did, and because I heartily inclined toward you; had I felt otherwise I should have kept away. As I came here, and &lt;em&gt;am &lt;/em&gt;here, without the least admixture of the hundredth portion of a grain of base alloy, without the faintest unworthy reference to self in any word I have ever addressed to you, or in any sentiment I have ever interchanged with you, I assert my right tonight, in regard to the past for the last time, my right in reason, truth, and justice, to appeal to you, as I have done on two former occasions, on a question of universal literary interest in both countries. And, gentlemen, I claim this justice: that I have made the appeal as one who has a most righteous claim to speak and to be heard; and that I have done so in a frank, and courteous, and good-humoured spirit of deference to those who frankly, courteously, and good humouredly differed from me in any or every respect. For myself, gentlemen, I have only to add that I will ever be as true to you as you have been to me. I recognise in your enthusiastic approval of the creations of my fancy, as in a glass, your enlightened care for the happiness of the many, your tender and gentle regard for the afflicted and helpless, your sympathy for the downcast, your plans for the correction and improvement of the bad, and the encouragement and solace of the good–the education and advancement of every member of society. My constant and increasing devotion to the end of my life to these ends, and to every other object to the extent of my humble capacity, having the common good in view, shall prove to you that in this you do not mistake me, and that the light you have shed around my path was not unworthily bestowed.&lt;/p&gt;&#13;
&lt;p&gt;And now that I have said this much in reference to myself, let me have the gratification I have long expected of saying a few words in reference to somebody else. There is in this city a gentleman who, at the conclusion of one of my books–I well remember it was the &lt;em&gt;Old Curiosity Shop &lt;/em&gt;– wrote to me in England a letter so generous, so affectionate, and so manly, that if I had written the book under every circumstance of disadvantage, discouragement, and difficult, instead of with everything to cheer and urge me on, I should have found in the receipt of that letter my best and happiest reward. I answered him, and he answered me, and so we kept shaking hands autobiographically, as if no ocean rolled between us, until I came here on Saturday night, longing and eager to see him. And here he sits! And I I need not tell you that it is the crowning circumstance to me of the night, that he is here in this capacity.&lt;/p&gt;&#13;
&lt;p&gt;Why, gentlemen, I don’t go upstairs to bed two nights out of seven, as I have a credible witness very near at hand to testify,–I say, gentlemen, I do not go to bed two nights out of seven without taking Washington Irving under my arm upstairs to bed with me; and when I don’t take him I take his next of kin – his own brother – Oliver Goldsmith. Washington Irving! Why, who but he was in my thoughts the other day as I approached your city in the steamboat from New Haven, when I was looking out for the Hog’s Back, the Frying Pan, and Hell Gate and all those horrible places of renown that were a terror to the Dutch navigators? Washington Irving! Why, when I visited Shakespeare’s birthplace not long ago, and went beneath the roof where he first saw light, whose name but &lt;em&gt;his &lt;/em&gt;was the first that was pointed out with pride upon the wall?– Washington Irving! – Diedrich Knickerbocker, Geoffrey Crayon! Why, where can we go that they have not been before us? In the English farmhouse, in the crowded city, along the beautiful lanes, across the pleasant fields of England, and amidst her blessed, happy homes, his name above every name rises up with hallowed recollections of his virtues and talents, and like his memory will continue to be hallowed in those bright and innocent sanctuaries, until the last tick of the clock of Time!&lt;/p&gt;&#13;
&lt;p&gt;If we go into the country are there no Bracebridge Halls in existence? If we visit the crowded city, has Little Britain never had a chronicler? Is there no Boar’s Head in Eastcheap? Why, gentlemen, when Mr. Crayon left England he left sitting in the small back parlour of a certain public house near that same Boar’s Head, a man of infinite wisdom, with a red nose and an oilskin hat, who was sitting there when I came away. Yes, gentlemen, it was the same man – not a man that was very &lt;em&gt;like &lt;/em&gt;him, but the self-same man–his nose in an immortal redness, and his hat in an undying glaze. Why, Mr. Crayon was also on terms of intimacy, in a certain village near that same Bracebridge Hall, with a certain radical fellow, who used to go about very much out at elbow, with his hat full of old newspapers. Gentlemen, I knew the man. He’s there to this very hour, with the newspapers in his hat, very much to the dissatisfaction of Mr. Tibbets the elder. And he has not changed a hair; and when I came away he charged me to give his best respects to Washington Irving!&lt;/p&gt;&#13;
&lt;p&gt;Gentlemen, leaving the town and ‘Rural Life in England,’ and forgetting for a moment, if anybody can, ‘The Pride of the Village,’ and ‘The Broken Heart’, let us cross the water again and ask who has associated himself most closely with the Italian Post-House, and the Bandits of the Pyrenees? When the traveller beyond the Alps is lighted to his little chamber, along dark, echoing, and spacious corridors, damp, gloomy, and cold; when he has sat down by the fire to watch the gradual change of his room from misery to comfort; when he has drawn his curtains, such as they are, moth-eaten and mouldy, and hearts the tempest beating with fury against his window; and when all the ghost stories that ever were told crowd around and I upon him – amid all his thick-coming fancies – who is it he thinks of at such a time? Why, Washington Irving!&lt;/p&gt;&#13;
&lt;p&gt;Go further away still, to the Moorish fountain, sparkling full in the moonlight, with a few water carriers and village gossips lingering about it still, as in days of old, for its refreshing coolness, and the voices of others going to the village dying away in the distance, like bees. Who, at such an hour, takes his silent stand beside the traveller, and points with his magic wand to the walls of Alhambra? Who awakens in every cave the echoing music, the tread of many twinkling feet, the sound of cymbals, the rattling clang of armour, the tramp of mailed men, and bids legions which for centuries have slept a dreamless sleep within the earth, or watched unwinkingly for buried treasure – who bids them start up and pass in grim array before your eyes?&lt;/p&gt;&#13;
&lt;p&gt;Or, leaving this, who embarked with Colombus in his gallant ship, traversed with him the dark and mighty ocean, leaped into the main, upon the land, and planted there the flag of Spain? Who but this same man now sitting by my side. And who, to come to your coast, is a more fit companion for the buccaneers, and monder-diggers, or who more fit to accompany Rip Van Winkle in his fearful journey to the mountains, where the uncouth crew did play at ninepins on that thundery afternoon? [&lt;em&gt;Roars of laughter.&lt;/em&gt;] What pen but his could call such spirits from the vasty deep – make them come, too, at his call – peopling those Catskill mountains until they seem as much a part of them as any crag that ever frowned, or torrent that ever darted headlong from their heights.&lt;/p&gt;&#13;
&lt;p&gt;But, gentlemen, this is a most dangerous theme for me, for I have been enchanted with these people from my boyhood, and my glass slipper is on me still. Lest I should be tempted now to talk too long about them I will, in conclusion, give you a sentiment, most appropriate in the presence of Bryant, Halleck, and – but I suppose I must not mention the ladies here – I will give you ‘The Literature of America – She well knows how to honour her own literature, and to do honour to that of other lands, when she chooses Washington Irving for her representative in the country of Cervantes!’&lt;/p&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
</itemContainer>
