6 10 361 https://www.dickenssearch.com/files/original/5/Sketches_of_London_No._XIII_The_River/1835-06-06_The_Evening_Chronicle_Sketches_of_London_The_River.pdf 778e46709b2adf5d7b67f0ab69c34939 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Evening Chronicle Pseudonym The name under which the item was published BOZ Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18350606 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. "Are you fond of the water?" is a question very frequently asked in hot summer weather by amphibious-looking young men. "Very," is the general reply. "An’t you?"—"Hardly ever off it," is the response, accompanied by sundry adjectives expressive of the speaker’s heartfelt admiration of that element. Now, with all respect for the opinion of society in general, and cutter clubs in particular, we humbly suggest that some of the most painful reminiscences in the mind of every individual who has occasionally disported himself on the Thames, must be connected with his aquatic recreations. Who ever heard of a successful water-party?—or to put the question in a still more intelligible form, who ever saw one? We have been on water excursions out of number; but we solemnly declare that we cannot call to mind one single occasion of the kind which was not marked by more miseries than any one would suppose could reasonably be crowded into the space of some eight or nine hours. Something has always gone wrong. Either the cork of the salad-dressing has come out, or the most anxiously expected member of the party has not come out, or the most disagreeable man in company would come out, or a child or two have fallen into the water, or the gentleman who undertook to steer has endangered everybody’s life all the way, or the gentlemen who volunteered to row have been "out of practice," and performed very alarming evolutions, putting their oars down into the water and not being able to get them up again; or taking terrific pulls without putting them in at all; in either case, pitching over on the backs of their heads with startling violence, and exhibiting the soles of their pumps to the "sitters" in the boat, in a very humiliating manner. We grant that the banks of the Thames are very beautiful at Richmond and Twickenham, and other distant places, often sought though seldom reached; but from the "Red-us" back to Blackfriar's-bridge, the scene is wonderfully changed. The Penitentiary is a noble building no doubt, and the sportive youths who "go in" at that particular part of the river on a summer’s evening, may be all very well in perspective, but where you are obliged to keep in shore coming home, and the young ladies will colour up, and look perseveringly the other way, while the married dittoes cough slightly, and look at the water, you certainly feel rather awkward— especially if you happen to have been attempting the most distant approach to sentimentality for an hour or two previously. Although experience and suffering have produced in our minds the result we have just stated, we are by no means blind to a proper sense of the fun which a looker-on may extract from the amateurs of boating. What can be more amusing than Searle’s yard on a fine Sunday morning. It’s a Richmond tide, and some dozen boats are preparing for the reception of the parties who have engaged them. Two or three fellows in great rough trowsers and Guernsey shirts, are getting them ready by easy stages; now coming down the yard with a pair of sculls and a cushion—then having a chat with the "jack," who, like all his tribe, seems to be wholly incapable of doing anything but lounging about—then going back again, and returning with a rudder-line and a stretcher—then solacing themselves with another chat—and then wondering, with their hands in their capacious pockets, "where them gentlemen’s got to as ordered the six." One of these, the head man, with the legs of his trowsers carefully tucked up at the bottom, to admit the water, we presume—for it is an element in which he is infinitely more at home than on land—is quite a character, and shares with the defunct oyster-swallower the celebrated name of "Dando." Watch him, as taking a few minutes respite from his toils, he negligently seats himself on the edge of a boat, and fans his broad bushy chest with a cap scarcely half so furry. Look at his magnificent though reddish whiskers, and mark the somewhat native humour with which he "chaffs" the boys and prentices, or cunningly gammons the gemmen into the gift of a glass of gin, of which we verily believe he swallows enough in a day to float a "six oar" without producing the slightest effect upon his scull. But the party has now arrived, and Dando relieved from his state of uncertainty starts up into activity. They approach in full aquatic costume, with round blue jackets, striped shirts, and caps of all sizes and patterns, from the velvet skull cap of Tully's lounge, to the easy head-dress familiar to the students of the old spelling-books as having on the authority of the portrait, formed part of the costume of the Reverend Mr. Dilworth. This is the most amusing time to observe a regular Cockney water-party. There has evidently been up to this period no inconsiderable degree of boasting on everybody’s part relative to his knowledge of navigation; the sight of the water rapidly cools their courage, and the air of self-denial with which each of them insists on somebody else’s taking an oar is perfectly delightful. At length, after a great deal of changing and fidgetting, consequent upon the election of a stroke-oar—the inability of one gentleman to pull on this side, of another to pull on that, and of a third to pull at all, the boat’s crew are seated. "Shove her off!" cries the cockswain, who looks about as easy and comfortable as if he were steering in the Bay of Biscay. The order is obeyed; the boat is immediately turned completely round, and proceeds towards Westminster-bridge, amidst such a splashing and struggling as never was seen before, except when the Royal George went down. "Back wa’a'ter, Sir," shouts Dando, "Back wa’a'ter, you, Sir, aft;" upon which, everybody thinking he must be the individual referred to, they all back water, and back comes the boat, stern first, to the spot whence it started. "Back water, you Sir, aft; pull round, you Sir, for’ad, can’t you?" shouts Dando, in a phrenzy of excitement. "Pull round, Tom, can’t you?" re-echoes one of the party. "Tom an’t for’ad," replies another. "Yes, he is," cries a third; and the unfortunate young man, at the imminent risk of breaking a blood-vessel, pulls and pulls, until the head of the boat fairly lies in the direction of Vauxhall-bridge. "That’s right—now pull all on you!" shouts Dando again, adding, in an under tone, to somebody by him, "Blowed if hever I see sitch a set of muffs!" and away jogs the boat in a zig-zag direction, every one of the six oars dipping into the water at a different time; and the yard is once more clear, until the arrival of the next party. A well-contested rowing-match on the Thames, is a very lively and interesting scene. The water is studded with boats of all sorts, kinds, and descriptions—places in the coal-barges at the different wharfs are let to crowds of spectators—beer and tobacco flow freely about—men, women, and children wait for the start in breathless expectation—cutters of six and eight oars glide gently up and down, waiting to accompany their protégés during the race—bands of music add to the animation if not to the harmony of the scene —groups of watermen are assembled at the different stairs discussing the merits of the respective candidates—and the prize wherry which is rowed slowly about by a pair of sculls, is an object of general interest. Two o’clock strikes, and everybody looks anxiously in the direction of the bridge through which the candidates for the prize will come—half-past two, and the general attention which has been preserved so long begins to flag when suddenly a gun is heard, and the noise of distant hurra’ing along each bank of the river—every head is bent forward—the noise draws nearer and nearer—the boats which have been waiting at the bridge start briskly up the river—a well-manned galley shoots through the arch, the sitters cheering on the boats behind them, which are not yet visible —"Here they are," is the general cry—and through darts the first boat, the men in her stripped to the skin, and exerting every muscle to preserve the advantage they have gained—four other boats follow close astern, there are not two boats’ length between them—the shouting is tremendous, and the interest intense. "Go on, Pink"—"Give it her, Red"—"Sulliwin for ever"—"Brayvo! George"—"Now, Tom, now—now—now—why don’t your partner stretch out?"—"Two pots to a pint on yellow," &c., &c. Every little public-house fires its gun, and hoists its flag; and the men who win the heat, come in, amidst a splashing and shouting, and banging and confusion, which no one can imagine who has not witnessed it, and of which any description would convey a very faint idea. One of the most amusing places we know is the steam wharf of the London-bridge, or St. Katherine’s Dock Company, on a Saturday morning, when the Gravesend and Margate steamers are usually crowded to excess; and as we have just taken a glance at the river above bridge, we hope our readers will not object to accompany us on board a Gravesend packet. Coaches are every moment setting down at the entrance to the wharf, and the stare of bewildered astonishment with which the "fares" resign themselves and their luggage into the hands of the porters, who seize all the packages at once as a matter of course, and run away with them heaven knows where, is laughable in the extreme. A Margate boat lies alongside the wharf, the Gravesend boat (which starts first) lies alongside that again; and as a temporary communication is formed between the two, by means of a plank and hand-rail, the natural confusion of the scene is by no means diminished. "Gravesend?" inquires a stout father of a stout family, who follow him under the guidance of their mother and a servant, at the no small risk of two or three of them being left behind in the confusion. "Gravesend." "Pass on, if you please, Sir," replies the attendant—"other boat, Sir," whereupon the stout father, being rather mystified, and the stout mother rather distracted by maternal anxiety, the whole party deposit themselves in the Margate boat, and after having congratulated himself on having secured very comfortable seats, the stout father sallies to the chimney to look for his luggage, which he has a faint recollection of having given some man something to take somewhere. No luggage, however, bearing the most remote resemblance to his in shape or form is to be discovered, on which the stout father calls very loudly for an officer, to whom he states the case in the presence of another father of another family—a little thin man, who entirely concurs with him (the stout father) in thinking that it’s high time something was done with these steam companies, and that as the Corporation Bill don't do it, something else must; for really people’s property is not to be sacrificed in this way; and that if the luggage isn’t restored without delay, he will take care it shall be put in the papers, for the public's not to be the victim of these great monopolies; on which the officer in his turn replies, that that company ever since it has been St. Kat’rine’s Dock Company, has protected life and property; that if it had been the London Bridge Wharf Company, indeed he shouldn’t have wondered, seeing that the morality of that company (they being the opposition) can’t be answered for, by no one; but as it is he’s convinced there must be some mistake, and he wouldn’t mind making a solemn oath afore a magistrate that the gentleman’ll find his luggage afore he gets to Margate. Here the stout father thinking he is making a capital point replies that as it happens he an't going to Margate at all, and that "Passenger to Gravesend" was on the luggage in letters of full two inches long, on which the officer rapidly explains the mistake, and the stout mother and the stout children and the servant are hurried with all possible despatch on board the Gravesend-boat, which they reach just in time to discover that their luggage is there, and that their comfortable seats are not. Then the bell, which is the signal for the Gravesend-boat starting, begins to ring most furiously, and people keep time to the bell by running in and out of our boat at a double quick pace: the bell stops, the boat starts: people who have been taking leave of their friends on board, are carried away against their will; and people who have been taking leave of their friends on shore, find that they have performed a very needless ceremony, in consequence of their not being carried away at all. The regular passengers, who have season tickets, go below to breakfast; people who have purchased morning papers, compose themselves to read them; and people who have not been down the river before, think that both the shipping and the water look a great deal better at a distance. When we get down about as far as Blackwall and begin to move at a quicker rate, the spirits of the passengers appear to rise in proportion. Old women who have brought large wicker hand-baskets with them, set seriously to work at the demolition of heavy sandwiches, and pass round a wine-glass, which is frequently replenished from a flat bottle like a stomach-warmer, with considerable glee, handing it first to the gentleman in the foraging-cap, who plays the harp—partly as an expression of satisfaction with his previous exertions, and partly to induce him to play "Dumbledumbdeary," for "Alick" to dance to; which being done, Alick, who is a damp earthy-looking child, in red worsted socks, takes certain small jumps upon the deck, to the unspeakable satisfaction of his family circle. Girls who have brought the first volume of some new novel in their reticule, become extremely plaintive, and expatiate to Mr. Brown, or young Mr. O’Brien, who has been looking over them, on the blueness of the sky, and brightness of the water; on which Mr. Brown or Mr. O’Brien, as the case may be, remarks in a low voice that he has been quite insensible of late to the beauties of nature—that his whole thoughts and wishes have centered in one object alone—whereupon the young lady looks up, and failing in her attempt to appear unconscious, looks down again; and turns over the next leaf with great difficulty in order to afford opportunity for a lengthened pressure of the hand. Telescopes, sandwiches, and glasses of brandy-and-water cold-without, begin to be in great requisition; and bashful men who have been looking down the hatchway at the engine, find to their great relief, a subject on which they can converse with one another—and a copious one too—Steam— "Wonderful thing steam, Sir." "Ah! (a deep-drawn sigh) it is indeed, Sir"—"great power, Sir."— "Immense—immense;"—"Great deal done by steam, Sir."—"Ah (another sigh at the immensity of the subject, and a knowing shake of the head)! you may say that, Sir." "Still in its infancy, they say Sir," and other novel remarks of this kind, are generally the commencement of a conversation which is prolonged until the conclusion of the trip—not a long one on the water; nor we hope no paper either. If the trip should have appeared tedious, our good humour returns the moment we reach the pier; and if our description should have unfortunately done so too, we hope our readers will forget it the instant they leave—The River. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-06-06_The_Evening_Chronicle_Sketches_of_London_NoXIII_The_River.xml" target="_blank" rel="noopener">'Sketches of London, No. XIII, The River.' The Evening Chronicle (6 June 1835).</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'Sketches of London, No. XIII, The River' Description An account of the resource Published in The Evening Chronicle (6 June 1835). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350606/021/0003" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350606/021/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-06-06 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-06-06_The_Evening_Chronicle_Sketches_of_London_NoXIII_The_River Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Sketches of London, No. XIII, The River' (6 June 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/short-stories/1835-06-06_The_Evening_Chronicle_Sketches_of_London_NoXIII_The_River">https://dickenssearch.com/short-stories/1835-06-06_The_Evening_Chronicle_Sketches_of_London_NoXIII_The_River</a>. Scripto Transcription A written representation of a document. "Are you fond of the water?" is a question very frequently asked in hot summer weather by amphibious-looking young men. "Very," is the general reply. "An’t you?"—"Hardly ever off it," is the response, accompanied by sundry adjectives expressive of the speaker’s heartfelt admiration of that element.  Now, with all respect for the opinion of society in general, and cutter clubs in particular, we humbly suggest that some of the most painful reminiscences in the mind of every individual who has occasionally disported himself on the Thames, must be connected with his aquatic recreations.  Who ever heard of a successful water-party?—or to put the question in a still more intelligible form, who ever saw one?  We have been on water excursions out of number; but we solemnly declare that we cannot call to mind one single occasion of the kind which was not marked by more miseries than any one would suppose could reasonably be crowded into the space of some eight or nine hours. Something has always gone wrong. Either the cork of the salad-dressing has come out, or the most anxiously expected member of the party has not come out, or the most disagreeable man in company would come out, or a child or two have fallen into the water, or the gentleman who undertook to steer has endangered everybody’s life all the way, or the gentlemen who volunteered to row have been "out of practice," and performed very alarming evolutions, putting their oars down into the water and not being able to get them up again; or taking terrific pulls without putting them in at all; in either case, pitching over on the backs of their heads with startling violence, and exhibiting the soles of their pumps to the "sitters" in the boat, in a very humiliating manner. We grant that the banks of the Thames are very beautiful at Richmond and Twickenham, and other distant places, often sought though seldom reached; but from the "Red-us" back to Blackfriar's-bridge, the scene is wonderfully changed. The Penitentiary is a noble building no doubt, and the sportive youths who "go in" at that particular part of the river on a summer’s evening, may be all very well in perspective, but where you are obliged to keep in shore coming home, and the young ladies will colour up, and look perseveringly the other way, while the married dittoes cough slightly, and look  at the water, you certainly feel rather awkward— especially if you happen to have been attempting the most distant approach to sentimentality for an hour or two previously. Although experience and suffering have produced in our minds the result we have just stated, we are by no means blind to a proper sense of the fun which a looker-on may extract from the amateurs of boating. What can be more amusing than Searle’s yard on a fine Sunday morning. It’s a Richmond tide, and some dozen boats are preparing for the reception of the parties who have engaged them. Two or three fellows in great rough trowsers and Guernsey shirts, are getting them ready by easy stages; now coming down the yard with a pair of sculls and a cushion—then having a chat with the "jack," who, like all his tribe, seems to be wholly incapable of doing anything but lounging about—then going back again, and returning with a rudder-line and a stretcher—then solacing themselves with another chat—and then wondering, with their hands in their capacious pockets, "where them gentlemen’s got to as ordered the six." One of these, the head man, with the legs of his trowsers carefully tucked up at the bottom, to admit the water, we presume—for it is an element in which he is infinitely more at home than on land—is quite a character, and shares with the defunct oyster-swallower the celebrated name of "Dando." Watch him, as taking a few minutes respite from his toils, he negligently seats himself on the edge of a boat, and fans his broad bushy chest with a cap scarcely half so furry. Look at his magnificent though reddish whiskers, and mark the somewhat native humour with which he "chaffs" the boys and prentices, or cunningly gammons the gemmen into the gift of a glass of gin, of which we verily believe he swallows enough in a day to float a "six oar" without producing the slightest effect upon his scull. But the party has now arrived, and Dando relieved from his state of uncertainty starts up into activity. They approach in full aquatic costume, with round blue jackets, striped shirts, and caps of all sizes and patterns, from the velvet skull cap of Tully's lounge, to the easy head-dress familiar to the students of the old spelling-books as having on the authority of the portrait, formed part of the costume of the Reverend Mr. Dilworth. This is the most amusing time to observe a regular Cockney water-party.  There has evidently been up to this period no inconsiderable degree of boasting on everybody’s part relative to his knowledge of navigation; the sight of the water rapidly cools their courage, and the air of self-denial with which each of them insists on somebody else’s taking an oar is perfectly delightful. At length, after a great deal of changing and fidgetting, consequent upon the election of a stroke-oar—the inability of one gentleman to pull on this side, of another to pull on that, and of a third to pull at all, the boat’s crew are seated. "Shove her off!" cries the cockswain, who looks about as easy and comfortable as if he were steering in the Bay of Biscay. The order is obeyed; the boat is immediately turned completely round, and proceeds towards Westminster-bridge, amidst such a splashing and struggling as never was seen before, except when the Royal George went down. "Back wa’a'ter, Sir," shouts Dando, "Back wa’a'ter, you, Sir, aft;" upon which, everybody thinking he must be the individual referred to, they all back water, and back comes the boat, stern first, to the spot whence it started. "Back water, you Sir, aft; pull round, you Sir, for’ad, can’t you?" shouts Dando, in a phrenzy of excitement. "Pull round, Tom, can’t you?" re-echoes one of the party. "Tom an’t for’ad," replies another. "Yes, he is," cries a third; and the unfortunate young man, at the imminent risk of breaking a blood-vessel, pulls and pulls, until the head of the boat fairly lies in the direction of Vauxhall-bridge. "That’s right—now pull all on you!" shouts Dando again, adding, in an under tone, to somebody by him, "Blowed if hever I see sitch a set of muffs!" and away jogs the boat in a zig-zag direction, every one of the six oars dipping into the water at a different time; and the yard is once more clear, until the arrival of the next party. A well-contested rowing-match on the Thames, is a very lively and interesting scene. The water is studded with boats of all sorts, kinds, and descriptions—places in the coal-barges at the different wharfs are let to crowds of spectators— beer and tobacco flow freely about—men, women, and children wait for the start in breathless expectation—cutters of six and eight oars glide gently up and down, waiting to accompany their protégés during the race—bands of music add to the animation if not to the harmony of the scene —groups of watermen are assembled at the different stairs discussing the merits of the respective candidates—and the prize wherry which is rowed slowly about by a pair of sculls, is an object of general interest. Two o’clock strikes, and everybody looks anxiously in the direction of the bridge through which the candidates for the prize will come—half-past two, and the general attention which has been preserved so long begins to flag when suddenly a gun is heard, and the noise of distant hurra’ing along each bank of the river—every head is bent forward—the noise draws nearer and nearer—the boats which have been waiting at the bridge start briskly up the river—a well-manned galley shoots through the arch, the sitters cheering on the boats behind them, which are not yet visible —"Here they are," is the general cry—and through darts the first boat, the men in her stripped to the skin, and exerting every muscle to preserve the advantage they have gained—four other boats follow close astern, there are not two boats’ length between them—the shouting is tremendous, and the interest intense. "Go on, Pink"—"Give it her, Red"—"Sulliwin for ever"—"Brayvo! George"—"Now, Tom, now—now—now—why don’t your partner stretch out?"—"Two pots to a pint on yellow," &c., &c. Every little public-house fires its gun, and hoists its flag; and the men who win the heat, come in, amidst a splashing and shouting, and banging and confusion, which no one can imagine who has not witnessed it, and of which any description would convey a very faint idea. One of the most amusing places we know is the steam wharf of the London-bridge, or St. Katherine’s Dock Company, on a Saturday morning, when the Gravesend and Margate steamers are usually crowded to excess; and as we have just taken a glance at the river above bridge, we hope our readers will not object to accompany us on board a Gravesend packet. Coaches are every moment setting down at the entrance to the wharf, and the stare of bewildered astonishment with which the "fares" resign themselves and their luggage into the hands of the porters, who seize all the packages at once as a matter of course, and run away with them heaven knows where, is laughable in the extreme. A Margate boat lies alongside the wharf, the Gravesend boat (which starts first) lies alongside that again; and as a temporary communication is formed between the two, by means of a plank and hand-rail, the natural confusion of the scene is by no means diminished. "Gravesend?" inquires a stout father of a stout family, who follow him under the guidance of their mother and a servant, at the no small risk of two or three of them being left behind in the confusion. "Gravesend." "Pass on, if you please, Sir," replies the attendant—"other boat, Sir," whereupon the stout father, being rather mystified, and the stout mother rather distracted by maternal anxiety, the whole party deposit themselves in the Margate boat, and after having congratulated himself on having secured very comfortable seats, the stout father sallies to the chimney to look for his luggage, which he has a faint recollection of having given some man something to take somewhere.  No luggage, however, bearing the most remote resemblance to his in shape or form is to be discovered, on which the stout father calls very loudly for an officer, to whom he states the case in the presence of another father of another family—a little thin man, who entirely concurs with him (the stout father) in thinking that it’s high time something was done with these steam companies, and that as the Corporation Bill don't do it, something else must; for really people’s property is not to be sacrificed in this way; and that if the luggage isn’t restored without delay, he will take care it shall be put in the papers, for the public's not to be the victim of these great monopolies; on which the officer in his turn replies, that that company ever since it has been St. Kat’rine’s Dock Company, has protected life and property; that if it had been the London Bridge Wharf Company, indeed he shouldn’t have wondered, seeing that the morality of that company (they being the opposition) can’t be answered for, by no one; but as it is he’s convinced there must be some mistake, and he wouldn’t mind making a solemn oath afore a magistrate that the gentleman’ll find his luggage afore he gets to Margate. Here the stout father thinking he is making a capital point replies that as it happens he an't going to Margate at all, and that "Passenger to Gravesend" was on the luggage in letters of full two inches long, on which the officer rapidly explains the mistake, and the stout mother and the stout children and the servant are hurried with all possible despatch on board the Gravesend-boat, which they reach just in time to discover that their luggage is there, and that their comfortable seats are not. Then the bell, which is the signal for the Gravesend-boat starting, begins to ring most furiously, and people keep time to the bell by running in and out of our boat at a double quick pace: the bell stops, the boat starts: people who have been taking leave of their friends on board, are carried away against their will; and people who have been taking leave of their friends on shore, find that they have performed a very needless ceremony, in consequence of their not being carried away at all. The regular passengers, who have season tickets, go below to breakfast; people who have purchased morning papers, compose themselves to read them; and people who have not been down the river before, think that both the shipping and the water look a great deal better at a distance. When we get down about as far as Blackwall and begin to move at a quicker rate, the spirits of the passengers appear to rise in proportion. Old women who have brought large wicker hand-baskets with them, set seriously to work at the demolition of heavy sandwiches, and pass round a wine-glass, which is frequently replenished from a flat bottle like a stomach-warmer, with considerable glee, handing it first to the gentleman in the foraging-cap, who plays the harp—partly as an expression of satisfaction with his previous exertions, and partly to induce him to play "Dumbledumbdeary," for "Alick" to dance to; which being done, Alick, who is a damp earthy-looking child, in red worsted socks, takes certain small jumps upon the deck, to the unspeakable satisfaction of his family circle. Girls who have brought the first volume of some new novel in their reticule, become extremely plaintive, and expatiate to Mr. Brown, or young Mr. O’Brien, who has been looking over them, on the blueness of the sky, and brightness of the water; on which Mr. Brown or Mr. O’Brien, as the case may be, remarks in a low voice that he has been quite insensible of late to the beauties of nature—that his whole thoughts and wishes have centered in one object alone—whereupon the young lady looks up, and failing in her attempt to appear unconscious, looks down again; and turns over the next leaf with great difficulty in order to afford opportunity for a lengthened pressure of the hand. Telescopes, sandwiches, and glasses of brandy-and-water cold-without, begin to be in great requisition; and bashful men who have been looking down the hatchway at the engine, find to their great relief, a subject on which they can converse with one another—and a copious one too—Steam— "Wonderful thing steam, Sir." "Ah! (a deep-drawn sigh) it is indeed, Sir"—"great power, Sir."— "Immense—immense;"—"Great deal done by steam, Sir."—"Ah (another sigh at the immensity of the subject, and a knowing shake of the head)! you may say that, Sir." "Still in its infancy, they say Sir," and other novel remarks of this kind, are generally the commencement of a conversation which is prolonged until the conclusion of the trip—not a long one on the water; nor we hope no paper either. If the trip should have appeared tedious, our good humour returns the moment we reach the pier; and if our description should have unfortunately done so too, we hope our readers will forget it the instant they leave—The River. https://www.dickenssearch.com/files/original/5/Sketches_of_London_No._XIV_Our_Parish_[II]/1835-06-18_The_Evening_Chronicle_Sketches_of_London_No._XVI_Our_Parish_II.pdf a84b23dd87d7acd9a758486f05b7f902 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Evening Chronicle Pseudonym The name under which the item was published BOZ Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18350618 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. The row of houses in which our friends the old lady and her troublesome neighbour reside, contains, we think, within its circumscribed limits, a greater number of characters than all the rest of our parish put together. When we say that we live in the row ourselves, we have not the slightest intention to insinuate that we can lay claim to any particular characteristics. We merely mention the fact, in order that the statement may have the authority of our own personal observation and experience; and we present our readers occasionally with a slight sketch of the materials we have collected from this source, in the hope that an attempted delineation of character now and then will vary the numerous scenes we undertook to describe when we entitled these papers, "Sketches of London." There is a family who live very near the old lady— two doors removed on the left-hand side—to which we must beg to introduce our readers without further delay. The four Miss Willises settled in our parish thirteen years ago: it is a melancholy reflection that the old adage, "time and tide wait for no man," applies with equal force to the fairer portion of the creation; and willingly would we conceal the fact, that even thirteen years ago the Miss Willises were far from juvenile; our duty as faithful parochial chroniclers, however, is paramount to every other consideration, and we are bound to state that thirteen years since the authorities in matrimonial cases considered the youngest Miss Willis in a very precarious state, while the eldest sister was positively given over as being far beyond all human hope. Well, the Miss Willises took a lease of the house; it was fresh painted and papers from top to bottom; the paint inside was all wainscoted; the marble all cleaned; the old grates taken down and register-stoves, you could see to dress in, put up; four trees were planted in the back garden; several small baskets of gravel sprinkled over the front one; vans of elegant furniture arrived; spring blinds were fitted to the windows; carpenters who had been employed in the various preparations, alterations, and repairs, made confidential statements to the different maid servants in the row, relative to the magnificent scale on which the Miss Willises were commencing; the maid servants told their "Missises;" the Missises told their friends, and vague rumours were circulated throughout the parish, that No. 25, in Gordon-place, had been taken by four maiden ladies of immense property. At last the Miss Willises moved in; and then the "calling" began. The house was the perfection of neatness—so were the four Miss Willises. Everything was formal, stiff, and cold—so were the four Miss Willises. Not a single chair of the whole set was ever seen out of its place—not a single Miss Willis was ever seen out of her's. There they always sat, in the same places, doing precisely the same things at the same hour. The eldest Miss Willis used to knit, the second to draw, the two others to play duets on the piano. They seemed to have no separate existence, but to have made up their minds just to winter through life together. They were three long graces in drapery, with the addition—like a school-dinner—of another long grace afterwards—the three fates with another sister—the Siamese twins multiplied by two. The eldest Miss Willis grew bilious—the four Miss Willises became bilious immediately—The eldest Miss Willis grew ill-tempered and religious—The four Miss Willises were ill-tempered and religious directly. Whatever the eldest did the others did, and whatever anybody else did they all disapproved of; and thus they vegetated—living in Polar harmony among themselves; and as they sometimes went out, or saw company "in a quiet-way" at home, occasionally icing the neighbours. Three years passed over in this way, when an unlooked-for and extraordinary phenomenon occurred. The Miss Willises showed symptoms of summer, the frost gradually broke up; a complete thaw took place. Was it possible! one of the four Miss Willises was going to be married! Now, where on earth the husband came from, by what feelings the poor man could have been actuated, or by what process of reasoning the four Miss Willises succeeded in persuading themselves that it was possible for a man to marry one of them without marrying them all, are questions too profound for us to resolve: certain it is, however, that the visits of Mr. Robinson (a gentleman in a public office with a good salary and a little property of his own beside) were received—that the four Miss Willises were courted in due form by the said Mr. Robinson—that the neighbours were perfectly frantic to discover which of the four Miss Willises was the fortunate fair—and that the difficulty they experienced in solving the problem was not at all lessened by the announcement of Miss Willis—"We are going to marry Mr. Robinson." It was very extraordinary; they were so completely identified, the one with the other, that the curiosity of the whole row—even of the old lady herself—was roused almost beyond endurance. The subject was discussed at every little card table and tea-drinking; the old gentleman of silk-worm notoriety didn't hesitate to express his decided opinion that Mr. Robinson was of Eastern descent, and contemplated marrying the whole family at once; and the row generally shook their heads with considerable gravity, and declared the business to be very mysterious. They hoped it might all end well;—it certainly had a very singular appearance, but still it would be uncharitable to express any opinion without good grounds to go upon; and certainly the Miss Willises were quite old enough to judge for themselves, and to be sure people ought to know their own business best, and so forth. At last, one fine morning, at a quarter before eight o'clock, A.M., two glass coaches drove up to the Miss Willises' door, at which Mr. Robinson had arrived in a cab ten minutes before, dressed in a light blue coat and a double milled kersey pantaloons, white neck-kerchief, pumps, and dress gloves, his manner denoting, as appeared from the evidence of the housemaid at No. 23, who was sweeping the door-steps at the time, a considerable degree of nervous excitement. It was also hastily reported on the same testimony, that the cook, who opened the door, wore a large white bow, of unusual dimensions, in a much smarter head-dress than the regulation cap to which the Miss Willises invariably restricted the somewhat excursive taste of female servants in general. The intelligence spread rapidly from house to house; it was quite clear that the eventful morning had at length arrived; the whole row stationed themselves behind their first and second-floor blinds, and waited the result in breathless expectation. The Miss Willises' door opened; the door of the first glass coach did the same; two gentlemen, and a pair of ladies to correspond—friends of the family no doubt; up went the steps, bang went the door; off went the first glass coach, and up came the second. The street door opened again; the excitement of the whole row increased - Mr. Robinson and the eldest Miss Willis. "I thought so," said the lady at No. 19, "I always said it was Miss Willis!" "Well I never!" ejaculated the young lady at No. 18, to the young lady at No. 17—"Did you ever, dear!" responded the young lady at No. 17, to the young lady at No. 18. "It's too ridiculous!" exclaimed a spinster of an uncertain age, at No. 16, joining in the conversation. But who shall pourtray the astonishment of Gordon-place when Mr. Robinson handed in all the Miss Willises, one after the other, and then squeezed himself into an acute angle of the glass coach, which forthwith proceeded at a brisk pace after the other glass-coach; which other glass coach had itself proceeded at a brisk pace in the direction of the parish church. Who shall depict the perplexity of the clergy-man when all the Miss Willises knelt down at the communion table, and repeated the responses incidental to the marriage service in an audible voice?—or who shall describe the confusion which prevailed, when—even after the difficulties thus occasioned had been adjusted—all the Miss Willises went into hysterics at the conclusion of the ceremony until the sacred edifice resounded with their united wailings! As the four sisters and Mr. Robinson continued to occupy the same house after this memorable occasion, and as the married sister, whoever she was, never appeared in public without the other three, we are not quite clear that the neighbours would ever have discovered the real Mrs. Robinson but for a circumstance of the most gratifying description. Coming events cast their shadows before, and events like that at which we hint with becoming delicacy and diffidence, will happen occasionally in the best regulated families—indeed the best regulated are usually supposed to be the most subject to such occurrences. Three quarter days elapsed, and the row, on whom a new light appeared to have been bursting for some time, began to speak with a sort of implied confidence on the subject, and to wonder how Mrs. Robinson—the youngest Miss Willis that was—got on; and servants might be seen running up the steps about nine or ten o'clock every morning, with "Missis's compliments, and wishes to know how Mrs. Robinson finds herself this morning?" And the answer always was, "Mrs. Robinson's compliments, and she's in very good spirits, and doesn't find herself any worse." The piano was heard no longer—the knitting-needles were laid aside—drawing was neglected—and mantua-making and millinery on the smallest scale imaginable, appeared to have become the favourite amusement of the whole family. The parlour wasn't quite as tidy as it used to be; and if you called in the morning, you would see lying on a table, with an old newspaper carelessly thrown over them, two or three particularly small caps—rather larger than if they had been made for a moderate-sized doll—with a small piece of lace in the shape of a horse-shoe let in behind, or perhaps a white robe, not very large in circumference, but very much out of proportion in point of length, with a little tucker round the top, and a frill round the bottom; and once when we called we saw a long white roller, with a kind of blue margin down each side, the probable use of which we were at a loss to conjecture. Then we fanced that Mr. Dawson, the surgeon, &c., who displays a large lamp with a different colour in every pane of glass, at the corner of the row, began to be knocked up at night oftener than he used to be; and once we were very much alarmed by hearing a hackney coach stop at Mrs. Robinson's door at half-past two o'clock in the morning, out of which there emerged a fat old woman in a cloak and night cap, with a bundle in one hand and a pair of pattens in the other, who looked as if she had been suddenly knocked up out of bed for some purpose of other; and when we got up in the morning we saw the knocker was tied up in an old white kid glove, and we, in our innocence (we are in a state of bachelorship), wondered what on earth it all meant, until we heard the eldest Miss Willis, in propriá persona, say with great dignity, in answer to the next inquiry, "My compliments and Mrs. Robinson's doing as well as can be expected, and the little girl thrives wonderfully." And then, in common with the rest of the row, our curiosity was satisfied, and we began to wonder it had never occurred to us what the matter was before. Official parish registers of marriages, births, christenings, and deaths, are not generally considered to possess any amusement or much interest, except for those who are personally connected with some individual record contained within their musty leaves. Our parish register will have, at least, three advantages—it will be easy of access, it will be faithfully entered up from time to time, and it will at least be penned with a humble desire to amuse those who may consult it. As we dare not occupy any greater space at this busy period, we have only to add that we must defer any further account of the four Miss Willises until another opportunity; that we propose in future publishing a parochial sketch alternately with one coming more immediately under our first heading; and that from this time forward we shall make no further apology for an abrupt conclusion to an article under the title of "Our Parish," than is contained in the words "To be continued." TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-06-18_The_Evening_Chronicle_Sketches_of_London_NoXVI_Our_ParishII.xml" target="_blank" rel="noopener">'Sketches of London, No. XIV, Our Parish' (II). The Evening Chronicle (18 June 1835).</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'Sketches of London, No. XIV, Our Parish' (II) Description An account of the resource Published in The Evening Chronicle (18 June 1835). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350618/019/0003">https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350618/019/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-06-18 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-06-18_The_Evening_Chronicle_Sketches_of_London_NoXVI_Our_ParishII Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Sketches of London, No. XVI, Our Parish (II)' (18 June 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/short-stories/1835-06-18_The_Evening_Chronicle_Sketches_of_London_NoXVI_Our_ParishII">https://dickenssearch.com/short-stories/1835-06-18_The_Evening_Chronicle_Sketches_of_London_NoXVI_Our_ParishII</a>. Scripto Transcription A written representation of a document. The row of houses in which our friends the old lady and her troublesome neighbour reside, contains, we think, within its circumscribed limits, a greater number of characters than all the rest of our parish put together. When we say that we live in the row ourselves, we have not the slightest intention to insinuate that we can lay claim to any particular characteristics. We merely mention the fact, in order that the statement may have the authority of our own personal observation and experience; and we present our readers occasionally with a slight sketch of the materials we have collected from this source, in the hope that an attempted delineation of character now and then will vary the numerous scenes we undertook to describe when we entitled these papers, "Sketches of London."  There is a family who live very near the old lady— two doors removed on the left-hand side—to which we must beg to introduce our readers without further delay. The four Miss Willises settled in our parish thirteen years ago: it is a melancholy reflection that the old adage, "time and tide wait for no man," applies with equal force to the fairer portion of the creation; and willingly would we conceal the fact, that even thirteen years ago the Miss Willises were far from juvenile; our duty as faithful parochial chroniclers, however, is paramount to every other consideration, and we are bound to state that thirteen years since the authorities in matrimonial cases considered the youngest Miss Willis in a very precarious state, while the eldest sister was positively given over as being far beyond all human hope. Well, the Miss Willises took a lease of the house; it was fresh painted and papers from top to bottom; the paint inside was all wainscoted; the marble all cleaned; the old grates taken down and register-stoves, you could see to dress in, put up; four trees were planted in the back garden; several small baskets of gravel sprinkled over the front one; vans of elegant furniture arrived; spring blinds were fitted to the windows; carpenters who had been employed in the various preparations, alterations, and repairs, made confidential statements to the different maid servants in the row, relative to the magnificent scale on which the Miss Willises were commencing; the maid servants told their "Missises;" the Missises told their friends, and vague rumours were circulated throughout the parish, that No. 25, in Gordon-place, had been taken by four maiden ladies of immense property. At last the Miss Willises moved in; and then the "calling" began. The house was the perfection of neatness—so were the four Miss Willises. Everything was formal, stiff, and cold—so were the four Miss Willises. Not a single chair of the whole set was ever seen out of its place—not a single Miss Willis was ever seen out of her's. There they always sat, in the same places, doing precisely the same things at the same hour. The eldest Miss Willis used to knit, the second to draw, the two others to play duets on the piano. They seemed to have no separate existence, but to have made up their minds just to winter through life together. They were three long graces in drapery, with the addition—like a school-dinner—of another long grace afterwards—the three fates with another sister—the Siamese twins multiplied by two. The eldest Miss Willis grew bilious—the four Miss Willises became bilious immediately—The eldest Miss Willis grew ill-tempered and religious—The four Miss Willises were ill-tempered and religious directly. Whatever the eldest did the others did, and whatever anybody else did they all disapproved of; and thus they vegetated—living in Polar harmony among themselves; and as they sometimes went out, or saw company "in a quiet-way" at home, occasionally icing the neighbours. Three years passed over in this way, when an unlooked-for and extraordinary phenomenon occurred. The Miss Willises showed symptoms of summer, the frost gradually broke up; a complete thaw took place. Was it possible! one of the four Miss Willises was going to be married! Now, where on earth the husband came from, by what feelings the poor man could have been actuated, or by what process of reasoning the four Miss Willises succeeded in persuading themselves that it was possible for a man to marry one of them without marrying them all, are questions too profound for us to resolve: certain it is, however, that the visits of Mr. Robinson (a gentleman in a public office with a good salary and a little property of his own beside) were received—that the four Miss Willises were courted in due form by the said Mr. Robinson—that the neighbours were perfectly frantic to discover which of the four Miss Willises was the fortunate fair—and that the difficulty they experienced in solving the problem was not at all lessened by the announcement of Miss Willis—"We are going to marry Mr. Robinson." It was very extraordinary; they were so completely identified, the one with the other, that the curiosity of the whole row—even of the old lady herself—was roused almost beyond endurance. The subject was discussed at every little card table and tea-drinking; the old gentleman of silk-worm notoriety didn't hesitate to express his decided opinion that Mr. Robinson was of Eastern descent, and contemplated marrying the whole family at once; and the row generally shook their heads with considerable gravity, and declared the business to be very mysterious. They hoped it might all end well;—it certainly had a very singular appearance, but still it would be uncharitable to express any opinion without good grounds to go upon; and certainly the Miss Willises were quite old enough to judge for themselves, and to be sure people ought to know their own business best, and so forth. At last, one fine morning, at a quarter before eight o'clock, A.M., two glass coaches drove up to the Miss Willises' door, at which Mr. Robinson had arrived in a cab ten minutes before, dressed in a light blue coat and a double milled kersey pantaloons, white neck-kerchief, pumps, and dress gloves, his manner denoting, as appeared from the evidence of the housemaid at No. 23, who was sweeping the door-steps at the time, a considerable degree of nervous excitement. It was also hastily reported on the same testimony, that the cook, who opened the door, wore a large white bow, of unusual dimensions, in a much smarter head-dress than the regulation cap to which the Miss Willises invariably restricted the somewhat excursive taste of female servants in general. The intelligence spread rapidly from house to house; it was quite clear that the eventful morning had at length arrived; the whole row stationed themselves behind their first and second-floor blinds, and waited the result in breathless expectation. The Miss Willises' door opened; the door of the first glass coach did the same; two gentlemen, and a pair of ladies to correspond—friends of the family no doubt; up went the steps, bang went the door; off went the first glass coach, and up came the second. The street door opened again; the excitement of the whole row increased - Mr. Robinson and the eldest Miss Willis. "I thought so," said the lady at No. 19, "I always said it was Miss Willis!" "Well I never!" ejaculated the young lady at No. 18, to the young lady at No. 17—"Did you ever, dear!" responded the young lady at No. 17, to the young lady at No. 18. "It's too ridiculous!" exclaimed a spinster of an uncertain age, at No. 16, joining in the conversation. But who shall pourtray the astonishment of Gordon-place when Mr. Robinson handed in all the Miss Willises, one after the other, and then squeezed himself into an acute angle of the glass coach, which forthwith proceeded at a brisk pace after the other glass-coach; which other glass coach had itself proceeded at a brisk pace in the direction of the parish church. Who shall depict the perplexity of the clergy-man when all the Miss Willises knelt down at the communion table, and repeated the responses incidental to the marriage service in an audible voice?—or who shall describe the confusion which prevailed, when—even after the difficulties thus occasioned had been adjusted—all the Miss Willises went into hysterics at the conclusion of the ceremony until the sacred edifice resounded with their united wailings!  As the four sisters and Mr. Robinson continued to occupy the same house after this memorable occasion, and as the married sister, whoever she was, never appeared in public without the other three, we are not quite clear that the neighbours would ever have discovered the real Mrs. Robinson but for a circumstance of the most gratifying description. Coming events cast their shadows before, and events like that at which we hint with becoming delicacy and diffidence, will happen occasionally in the best regulated families—indeed the best regulated are usually supposed to be the most subject to such occurrences. Three quarter days elapsed, and the row, on whom a new light appeared to have been bursting for some time, began to speak with a sort of implied confidence on the subject, and to wonder how Mrs. Robinson—the youngest Miss Willis that was—got on; and servants might be seen running up the steps about nine or ten o'clock every morning, with "Missis's compliments, and wishes to know how Mrs. Robinson finds herself this morning?" And the answer always was, "Mrs. Robinson's compliments, and she's in very good spirits, and doesn't find herself any worse." The piano was heard no longer—the knitting-needles were laid aside—drawing was neglected—and mantua-making and millinery on the smallest scale imaginable, appeared to have become the favourite amusement of the whole family. The parlour wasn't quite as tidy as it used to be; and if you called in the morning, you would see lying on a table, with an old newspaper carelessly thrown over them, two or three particularly small caps—rather larger than if they had been made for a moderate-sized doll—with a small piece of lace in the shape of a horse-shoe let in behind, or perhaps a white robe, not very large in circumference, but very much out of proportion in point of length, with a little tucker round the top, and a frill round the bottom; and once when we called we saw a long white roller, with a kind of blue margin down each side, the probable use of which we were at a loss to conjecture. Then we fanced that Mr. Dawson, the surgeon, &c., who displays a large lamp with a different colour in every pane of glass, at the corner of the row, began to be knocked up at night oftener than he used to be; and once we were very much alarmed by hearing a hackney coach stop at Mrs. Robinson's door at half-past two o'clock in the morning, out of which there emerged a fat old woman in a cloak and night cap, with a bundle in one hand and a pair of pattens in the other, who looked as if she had been suddenly knocked up out of bed for some purpose of other; and when we got up in the morning we saw the knocker was tied up in an old white kid glove, and we, in our innocence (we are in a state of bachelorship), wondered what on earth it all meant, until we heard the eldest Miss Willis, in propriá persona, say with great dignity, in answer to the next inquiry, "My compliments and Mrs. Robinson's doing as well as can be expected, and the little girl thrives wonderfully." And then, in common with the rest of the row, our curiosity was satisfied, and we began to wonder it had never occurred to us what the matter was before. Official parish registers of marriages, births, christenings, and deaths, are not generally considered to possess any amusement or much interest, except for those who are personally connected with some individual record contained within their musty leaves. Our parish register will have, at least, three advantages—it will be easy of access, it will be faithfully entered up from time to time, and it will at least be penned with a humble desire to amuse those who may consult it. As we dare not occupy any greater space at this busy period, we have only to add that we must defer any further account of the four Miss Willises until another opportunity; that we propose in future publishing a parochial sketch alternately with one coming more immediately under our first heading; and that from this time forward we shall make no further apology for an abrupt conclusion to an article under the title of "Our Parish," than is contained in the words "To be continued." https://www.dickenssearch.com/files/original/5/Sketches_of_London_No._XV_The_Pawnbroker_s_Shop/1835-06-30_The_Evening_Chronicle_Sketches_of_London_No._XV_The_Pawnbrokers_Shop.pdf 4a40bf40b62592555e2d078409ed1efc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Evening Chronicle Pseudonym The name under which the item was published BOZ Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18350630 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. Of all the numerous receptacles for misery and distress with which the streets of London unhappily abound, there are, perhaps, none which present such striking scenes of vice and poverty as the pawnbrokers' shops. The very nature and description of these places prevents their being but little known, except to the unfortunate beings whose profligacy or misfortune drives them to seek the temporary relief they offer: the subject may appear, at first sight, to be anything but an inviting one, but we venture on it nevertheless, in the hope that, as far as the limits of our present paper are concerned, it will present at all events nothing to disgust even the most fastidious reader. There are some pawnbrokers' shops of a very superior description. There are grades in pawning as in everything else; and distinctions must be observed even in poverty. The aristocratic Spanish cloak, and the plebeian calico shirt—the silver fork and the flat-iron—the muslin cravat and the Belcher neck-kerchief, would assort but ill together; so the better sort of pawnbroker calls himself a silversmith, and decorates his shop with handsome trinkets and expensive jewellery, while the more humble money-lender boldly advertises his calling, and invites observation. It is with pawnbrokers' shops of the latter class that we have to do. We have selected one for our purpose, and will endeavour to describe it. The pawnbroker's shop is situated near Drury-lane, at the corner of a court, which affords a side-entrance for the accommodation of such customers as may be desirous of avoiding the observation of the passers-by, or the chance of recognition in the public street. It is a low, dirty-looking dusty shop, the door of which stands always doubtfully, a little way open, half-inviting, half-repelling the hesitating visitor, who, if he be as yet uninitiated, examines one of the old garnet brooches in the window for a minute or two with affected eagerness, as if he contemplated making the purchase; and then looking cautiously round to ascertain that no one watches him, hastily slinks in; the door closing of itself after him to just its former width. The shop-front and the window-frames bear evident marks of having been once painted; but what the colour was originally, or at what date it was originally laid on, are, at this remote period, questions which may be asked, but cannot be answered. Tradition states that the transparency on the front door, which displays at night three red balls on a blue ground, once bore also, inscribed in graceful waves, the words "Money advanced on plate, jewels, wearing apparel, and every description of property," but a few illegible hieroglyphics are all that now remain to attest the fact. The plate and jewels would seem to have disappeared together with the announcement; for the articles of stock, which are displayed in some profusion in the window, do not include any very valuable luxuries of either kind. A few old china cups, some modern vases, adorned with paltry paintings of three Spanish cavaliers, playing three Spanish guitars, or a party of boors carousing, each boor with one leg painfully elevated in the air, by way of expressing his perfect freedom and gaiety—several sets of chess-men, two or three flutes, a few fiddles—a round-eyed portrait staring in astonishment from a very dark ground, some gaudily bound prayer-books and testaments—two rows of silver watches, quite as clumsy, and almost as large as Ferguson's first—numerous old fashioned table and tea-spoons displayed, fan-like, in half-dozens—strings of coral with great broad gilt snaps—cards of rings and brooches fastened and labelled separately like the insects in the British Museum—cheap silver penholders and snuff-boxes, with a masonic star, complete the jewellery department; while five or six beds in smeary, clouded ticks, strings of blankets and sheets, silk and cotton handkerchiefs, and wearing apparel of every description form the more useful, though even less ornamental, part of the articles exposed for sale. An extensive collection of planes, chisels, saws, and other carpenters' tools, which have been pledged, and never redeemed, form the foreground of the picture; while the large frames, full of ticketted bundles which are dimly seen through the dirty casement up stairs—the squalid neighbourhood—the adjoining houses, straggling, shrunken, and rotten, with one or two filthy, unwholesome-looking heads thrust out of every window, and old red pans and stunted plants exposed on the tottering parapets, to the manifest hazard of the heads of the passers-by—the noisy men loitering under the archway at the corner of the court, or about the gin-shop next door, and their wives patiently standing on the curb-stone, with large baskets of cheap vegetables slung round them for sale, are its immediate auxiliaries. If the outside of the pawnbroker's shop be calculated to attract the attention, or excite the interest of the speculative pedestrian, its interior cannot fail to produce the same effect in a very increased degree. The front door, which we have before noticed, opens into the common shop, which is the resort of all those customers whose habitual acquaintance with such scenes render them indifferent to the observations of their companions in poverty. The side door opens into a small passage, from which some half dozen doors (which may be secured on the inside by bolts) open into a corresponding number of little dens or closets, which face the counter. Here the more timid, or respectable portion of the crowd, shroud themselves from the notice of the remainder, and patiently wait until the gentleman behind the counter, with the curly black hair, diamond ring, and double silver watch-guard, shall feel disposed to favour them with his notice—a consummation which depends considerably on the temper of the aforesaid gentleman for the time being. At the present moment this elegantly attired individual is in the act of entering the duplicate he has just made out in a thick book, a process from which he is diverted occasionally by a conversation he is carrying on with another young man similarly employed at a little distance from him, whose allusions to "that last bottle of soda-water last night"—and "how regularly round my hat he felt himself when the young ooman gave 'em in charge," would appear to refer to the consequences of some stolen joviality of the preceding evening. The customers generally, however, seem rather unable to participate in the amusement derivable from this source, for an old sallow-looking woman who has been leaning with both arms on the counter, with a small bundle before her, for half-an-hour previously, suddenly interrupts the conversation by addressing the jewelled shopman - "Now, Mr. Henry, do make haste, there's a good soul, for my two grand-children's a locked up at home, and I'm afeer'd o' the fire." The shopman slightly raises his head, with an air of deep abstraction, and resumes his entry with as much deliberation as if he were engraving.—"You're in a hurry, Mrs. Tatham, this ev'nin'—an't you?" is the only notice he deigns to take after the lapse of five minutes or so. "Yes, I am indeed, Mr. Henry; now do serve me next, there's a good creetur; I wouldn't worry you, only it's all along o' them botherin' children." "Well what have you got here" - inquires the shopman, unpinning the bundle—"The old concern, I suppose—pair o' stays and a petticut. You must look up something else, old ooman; I can't lend you any thing more upon them, they're completely worn out by this time, if it's only by putting in and taking out again, three times a week."—"Oh! you are a rum 'un, you are," replies the old woman laughing extremely as in duty bound—"I wish I'd got the gift of the gab like you, see if I'd be up the spout so often then? No, no; it ain't the petticut, it's a child's frock and a beautiful silk ankecher as belongs to my husband; he gave four shillin' for it the wery same blessed day as he broke his arm."—"What do you want upon these?" inquires Mr. Henry, slightly glancing at the articles, which in all probability are old acquaintances. "What do you want upon these?"—"Eighteenpence." —"Lend you ninepence." "Oh, make it a shillin'— there's a dear! do now." "Not another farden." "Well, I suppose I must take it." The duplicate is made out; one ticket pinned on the parcel, the other given to the old woman; the parcel is flung carelessly down into a corner, and some other customer prefers his claim to be served without further delay. The choice falls upon an unshaven, dirty, sottish-looking fellow, whose tarnished paper cap, stuck negligently over one eye, communicates an additionally repulsive expression to his very uninviting countenance. He was enjoying a little relaxation from his sedentary pursuits a quarter of an hour ago, in kicking his wife up the court. He has come to redeem some tools:—probably to enable him to complete a job, on account of which he has already received some money, if his inflamed countenance and drunken stagger may be taken as evidence of the fact. Having waited some little time, he makes his presence known by venting his ill-humour on a ragged urchin, who, being unable to bring his face on a level with the counter by any other process has employed himself in climbing up and then hooking himself on with his elbows—an uneasy perch from which he has fallen at intervals, generally alighting on the toes of the person in his immediate vicinity. In the present case, the unfortunate little wretch has received a cuff which sends him reeling to the door, and the donor of the blow is immediately the object of general indignation. "What do you strike the boy for, you brute?" exclaims a slip-shod woman, with two flat-irons in a little basket. "Do you think he's your wife you willin?" "Go and hang yourself," replies the gentleman addressed, with a drunken look of savage stupidity, aiming at the same time a blow at the woman, which fortunately misses its object. "Go and hang yourself; and wait there till I come and cut you down."—"Cut you down," rejoins the woman, "I wish I had the cutting of you up, you wagabond! (loud).—oh! you precious wagabond! (rather louder).—where's your wife, you willin (louder still; women of this class are always sympathetic, and work themselves into a tremendous passion in no time)? Your poor dear wife as you uses worser nor a dog—strike a wo-man—you a man! (very shrill); I wish I had you—I'd murder you, I would, if I died for it!" "Now be civil," retorts the man fiercely. "Be civil, you wiper!" ejaculates the woman contemptuously. "An't it shocking," she continues, turning round and appealing to an old woman who is peeping out of one of the little closets we have before described, and who has not the slightest objection to join in the attack possessing, as she does, the comfortable conviction that she's bolted in. "Ain't it shocking, ma'am? ("Dreadful!" says the old woman in a parenthesis, not exactly knowing what the question refers to.); he's got a wife, ma'am, as takes in mangling, and is as 'dustrious and hard working a young ooman as can be, (very fast) as lives in the back parlour of our 'ous, which my husband and me lives in the front one (with great rapidity)—and we hears him a beaten' on her sometimes when he comes home drunk, the whole night through, and not only a beaten' her, but beaten his own child too, to make her more miserable—ugh, you beast!—and she, poor creetur won't swear the peace agin him, nor do nothin', because she likes the wretch arter all—worse luck!" Here as the woman has completely run herself out of breath, the pawnbroker himself, who has just appeared behind the counter in a grey dressing-gown, embraces the favourable opportunity of putting in a word:—"Now I won't have none of this sort of thing on my premises," he interposes with an air of authority. "Mrs. Mackin, keep yourself to yourself, or I'm damned if you get four pence for a flat iron here; and, Jinkins you leave your ticket here till you're sober, and send your wife for them two planes, for I won't have you in my shop at no price; so make yourself scarce, before I make you scarcer." This eloquent address produces anything but the effect desired; the women rail in concert; the man hits about him in all directions, and is in the act of establishing an indisputable claim to gratuitous lodgings for the night, when the entrance of his wife—a wretched worn-out woman apparently in the last stage of consumption, whose face bears evident marks of recent ill-usage, and whose strength seems hardly equal to the burden—light enough, God knows—of the thin, sickly child she carries in her arms, turns his cowardly rage in a safer direction. "Come home, dear," cries the miserable creature, in an imploring tone; "Do come home, there's a good fellow, and go to bed." "Go home yourself," rejoins the furious ruffian, accompanying an epithet we cannot repeat, with a kick we will not describe. "Do come home quietly," repeats the wife, bursting into tears. "Go home yourself," retorts the husband again, enforcing his argument by the application we have before hinted at. The poor creature flies out of the shop with the impetus thus administered; and her "natural protector" follows her up the court, alternately venting his rage in accelerating her progress, and in knocking the little scanty blue bonnet of the unfortunate child over its still more scanty and faded-looking face. The scene of which we have just attempted a slight description, is scarcely concluded, when a couple of the private boxes are occupied by persons who present so striking a contrast to each other, that we cannot resist the temptation of noticing them in our sketch as briefly as possible. In the last one which is situated in the darkest and most obscure corner of the shop considerably removed from either of the gas-lights, are a young delicate girl of about twenty and an elderly female—evidently her mother from the resemblance between them—who stand at some distance back, as if to avoid the observation even of the shopmen. It is not their first visit to a pawnbroker's shop, for they answer without a moment's hesitation the usual questions, put in a rather respectful manner, and in a much lower tone than usual, of "What name shall I say?" "Your own property, of course?" "Where do you live, ma'am?" "Housekeeper or lodger?" They bargain, too, for a higher loan than the shopman is at first inclined to offer, which a perfect stranger would be little disposed to do, and the elderly female urges her daughter on in scarcely audible whispers to exert her utmost powers of persuasion to obtain an advance of the sum, and expatiate on the value of the articles they have brought to raise a present supply upon. They are a small gold chain and a "Forget me not" ring: the girl's property, for they are both too small for the mother; given her in better times—prized perhaps once for the giver's sake, but parted with now without a struggle; for want has hardened the mother, and her example has hardened the girl; and the prospect of receiving money, coupled with a recollection of the misery they have both endured from the want of it; the coldness of old friends—the stern refusal of some and the still more galling compassion of others—appears to obliterate the consciousness of self humiliation which the bare idea of their present situation would once have aroused. In the next is a young female, whose attire, miserably poor but extremely gaudy, wretchedly cold but scrupulously fine, too plainly bespeaks her station in life. The rich satin gown with its faded trimmings—the worn-out thin shoes, and pink silk stockings—the summer bonnet in winter, and the sunken face where a daub of rouge only serves as an index to the ravages of squandered health never to be regained, and lost happiness never to be restored; and where the practised smile is a wretched mockery of the misery of the heart—cannot be mistaken. There is something in the glimpse she has just caught of her young neighbour, and in the sight of the little trinkets she has offered in pawn, that seems to have awakened in this woman's mind some slumbering recollection, and to have changed for an instant her whole demeanour. Her first hasty impulse was to bend forward as if to scan more minutely the appearance of her half-concealed companions; her next, on seeing them involuntarily shrink from her, to retreat to the back of the box, cover her face with her hands, and burst into an agony of tears. There are strange chords in the human heart, which will lie dormant through years of depravity and wickedness, but which will vibrate at last to some slight circumstance apparently trivial in itself, but connected by some undefined and indistinct association with past days that can never be recalled, and with bitter recollections from which the most degraded creature in existence cannot escape. There has been another spectator, in the person of a woman in the common shop; the lowest of the low; dirty, unbonnetted, flaunting, and slovenly. Her curiosity was at first attracted by the little she could see of the group; then her attention; the half- intoxicated leer changed to an expression of something like interest, and a feeling similar to that we have described, appeared for a moment, and only a moment, to extend itself even to her bosom. Who shall say how soon these women may change places? The last has but two more stages—the hospital and the grave! How many females situated as her two companions are, and as she may have been once, have terminated the same wretched course, in the same wretched manner? One is already tracing her footsteps with frightful rapidity. How soon may the other follow her example! How many have done the same! Such are a few of the sights and scenes of a Pawnbroker's Shop. We could extend this sketch much further; but we fear the subject would present few—very few—attractions. We will, therefore, only apologise for having dwelt upon it so long. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-06-30_The_Evening_Chronicle_Sketches_of_London_NoXV_The_Pawnbrokers_Shop.xml" target="_blank" rel="noopener">'Sketches of London, No. XV, The Pawnbroker's Shop.' The Evening Chronicle (30 June 1835).</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'Sketches of London, No. XV, The Pawnbroker's Shop' Description An account of the resource Published in The Evening Chronicle (30 June 1835). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350630/023/0003" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350630/023/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-06-20 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-06-30_The_Evening_Chronicle_Sketches_of_London_NoXV_The_Pawnbrokers_Shop Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Sketches of London, No. XV, The Pawnbroker's Shop' (30 June 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/short-stories/1835-06-30_The_Evening_Chronicle_Sketches_of_London_NoXV_The_Pawnbrokers_Shop">https://dickenssearch.com/short-stories/1835-06-30_The_Evening_Chronicle_Sketches_of_London_NoXV_The_Pawnbrokers_Shop</a>. Scripto Transcription A written representation of a document. Of all the numerous receptacles for misery and distress with which the streets of London unhappily abound, there are, perhaps, none which present such striking scenes of vice and poverty as the pawnbrokers' shops. The very nature and description of these places prevents their being but little known, except to the unfortunate beings whose profligacy or misfortune drives them to seek the temporary relief they offer: the subject may appear, at first sight, to be anything but an inviting one, but we venture on it nevertheless, in the hope that, as far as the limits of our present paper are concerned, it will present at all events nothing to disgust even the most fastidious reader. There are some pawnbrokers' shops of a very superior description. There are grades in pawning as in everything else; and distinctions must be observed even in poverty. The aristocratic Spanish cloak, and the plebeian calico shirt—the silver fork and the flat-iron—the muslin cravat and the Belcher neck-kerchief, would assort but ill together; so the better sort of pawnbroker calls himself a silversmith, and decorates his shop with handsome trinkets and expensive jewellery, while the more humble money-lender boldly advertises his calling, and invites observation. It is with pawnbrokers' shops of the latter class that we have to do. We have selected one for our purpose, and will endeavour to describe it. The pawnbroker's shop is situated near Drury-lane, at the corner of a court, which affords a side-entrance for the accommodation of such customers as may be desirous of avoiding the observation of the passers-by, or the chance of recognition in the public street. It is a low, dirty-looking dusty shop, the door of which stands always doubtfully, a little way open, half-inviting, half-repelling the hesitating visitor, who, if he be as yet uninitiated, examines one of the old garnet brooches in the window for a minute or two with affected eagerness, as if he contemplated making the purchase; and then looking cautiously round to ascertain that no one watches him, hastily slinks in; the door closing of itself after him to just its former width. The shop-front and the window-frames bear evident marks of having been once painted; but what the colour was originally, or at what date it was originally laid on, are, at this remote period, questions which may be asked, but cannot be answered. Tradition states that the transparency on the front door, which displays at night three red balls on a blue ground, once bore also, inscribed in graceful waves, the words "Money advanced on plate, jewels, wearing apparel, and every description of property," but a few illegible hieroglyphics are all that now remain to attest the fact. The plate and jewels would seem to have disappeared together with the announcement; for the articles of stock, which are displayed in some profusion in the window, do not include any very valuable luxuries of either kind. A few old china cups, some modern vases, adorned with paltry paintings of three Spanish cavaliers, playing three Spanish guitars, or a party of boors carousing, each boor with one leg painfully elevated in the air, by way of expressing his perfect freedom and gaiety—several sets of chess-men, two or three flutes, a few fiddles—a round-eyed portrait staring in astonishment from a very dark ground, some gaudily bound prayer-books and testaments—two rows of silver watches, quite as clumsy, and almost as large as Ferguson's first—numerous old fashioned table and tea-spoons displayed, fan-like, in half-dozens—strings of coral with great broad gilt snaps—cards of rings and brooches fastened and labelled separately like the insects in the British Museum—cheap silver penholders and snuff-boxes, with a masonic star, complete the jewellery department; while five or six beds in smeary, clouded ticks, strings of blankets and sheets, silk and cotton handkerchiefs, and wearing apparel of every description form the more useful, though even less ornamental, part of the articles exposed for sale. An extensive collection of planes, chisels, saws, and other carpenters' tools, which have been pledged, and never redeemed, form the foreground of the picture; while the large frames, full of ticketted bundles which are dimly seen through the dirty casement up stairs—the squalid neighbourhood—the adjoining houses, straggling, shrunken, and rotten, with one or two filthy, unwholesome-looking heads thrust out of every window, and old red pans and stunted plants exposed on the tottering parapets, to the manifest hazard of the heads of the passers-by—the noisy men loitering under the archway at the corner of the court, or about the gin-shop next door, and their wives patiently standing on the curb-stone, with large baskets of cheap vegetables slung round them for sale, are its immediate auxiliaries. If the outside of the pawnbroker's shop be calculated to attract the attention, or excite the interest of the speculative pedestrian, its interior cannot fail to produce the same effect in a very increased degree. The front door, which we have before noticed, opens into the common shop, which is the resort of all those customers whose habitual acquaintance with such scenes render them indifferent to the observations of their companions in poverty. The side door opens into a small passage, from which some half dozen doors (which may be secured on the inside by bolts) open into a corresponding number of little dens or closets, which face the counter. Here the more timid, or respectable portion of the crowd, shroud themselves from the notice of the remainder, and patiently wait until the gentleman behind the counter, with the curly black hair, diamond ring, and double silver watch-guard, shall feel disposed to favour them with his notice—a consummation which depends considerably on the temper of the aforesaid gentleman for the time being. At the present moment this elegantly attired individual is in the act of entering the duplicate he has just made out in a thick book, a process from which he is diverted occasionally by a conversation he is carrying on with another young man similarly employed at a little distance from him, whose allusions to "that last bottle of soda-water last night"—and "how regularly round my hat he felt himself when the young ooman gave 'em in charge," would appear to refer to the consequences of some stolen joviality of the preceding evening. The customers generally, however, seem rather unable to participate in the amusement derivable from this source, for an old sallow-looking woman who has been leaning with both arms on the counter, with a small bundle before her, for half-an-hour previously, suddenly interrupts the conversation by addressing the jewelled shopman - "Now, Mr. Henry, do make haste, there's a good soul, for my two grand-children's a locked up at home, and I'm afeer'd o' the fire." The shopman slightly raises his head, with an air of deep abstraction, and resumes his entry with as much deliberation as if he were engraving.—"You're in a hurry, Mrs. Tatham, this ev'nin'—an't you?" is the only notice he deigns to take after the lapse of five minutes or so. "Yes, I am indeed, Mr. Henry; now do serve me next, there's a good creetur; I wouldn't worry you, only it's all along o' them botherin' children." "Well what have you got here" - inquires the shopman, unpinning the bundle—"The old concern, I suppose—pair o' stays and a petticut. You must look up something else, old ooman; I can't lend you any thing more upon them, they're completely worn out by this time, if it's only by putting in and taking out again, three times a week."—"Oh! you are a rum 'un, you are," replies the old woman laughing extremely as in duty bound—"I wish I'd got the gift of the gab like you, see if I'd be up the spout so often then? No, no; it ain't the petticut, it's a child's frock and a beautiful silk ankecher as belongs to my husband; he gave four shillin' for it the wery same blessed day as he broke his arm."—"What do you want upon these?" inquires Mr. Henry, slightly glancing at the articles, which in all probability are old acquaintances. "What do you want upon these?"—"Eighteenpence." —"Lend you ninepence." "Oh, make it a shillin'— there's a dear! do now." "Not another farden." "Well, I suppose I must take it." The duplicate is made out; one ticket pinned on the parcel, the other given to the old woman; the parcel is flung carelessly down into a corner, and some other customer prefers his claim to be served without further delay. The choice falls upon an unshaven, dirty, sottish-looking fellow, whose tarnished paper cap, stuck negligently over one eye, communicates an additionally repulsive expression to his very uninviting countenance. He was enjoying a little relaxation from his sedentary pursuits a quarter of an hour ago, in kicking his wife up the court. He has come to redeem some tools:—probably to enable him to complete a job, on account of which he has already received some money, if his inflamed countenance and drunken stagger may be taken as evidence of the fact. Having waited some little time, he makes his presence known by venting his ill-humour on a ragged urchin, who, being unable to bring his face on a level with the counter by any other process has employed himself in climbing up and then hooking himself on with his elbows—an uneasy perch from which he has fallen at intervals, generally alighting on the toes of the person in his immediate vicinity. In the present case, the unfortunate little wretch has received a cuff which sends him reeling to the door, and the donor of the blow is immediately the object of general indignation. "What do you strike the boy for, you brute?" exclaims a slip-shod woman, with two flat-irons in a little basket. "Do you think he's your wife you willin?" "Go and hang yourself," replies the gentleman addressed, with a drunken look of savage stupidity, aiming at the same time a blow at the woman, which fortunately misses its object. "Go and hang yourself; and wait there till I come and cut you down."—"Cut you down," rejoins the woman, "I wish I had the cutting of you up, you wagabond! (loud).—oh! you precious wagabond! (rather louder).—where's your wife, you willin (louder still; women of this class are always sympathetic, and work themselves into a tremendous passion in no time)? Your poor dear wife as you uses worser nor a dog—strike a wo-man—you a man! (very shrill); I wish I had you—I'd murder you, I would, if I died for it!" "Now be civil," retorts the man fiercely. "Be civil, you wiper!" ejaculates the woman contemptuously. "An't it shocking," she continues, turning round and appealing to an old woman who is peeping out of one of the little closets we have before described, and who has not the slightest objection to join in the attack possessing, as she does, the comfortable conviction that she's bolted in. "Ain't it shocking, ma'am? ("Dreadful!" says the old woman in a parenthesis, not exactly knowing what the question refers to.); he's got a wife, ma'am, as takes in mangling, and is as 'dustrious and hard working a young ooman as can be, (very fast) as lives in the back parlour of our 'ous, which my husband and me lives in the front one (with great rapidity)—and we hears him a beaten' on her sometimes when he comes home drunk, the whole night through, and not only a beaten' her, but beaten his own child too, to make her more miserable—ugh, you beast!—and she, poor creetur won't swear the peace agin him, nor do nothin', because she likes the wretch arter all—worse luck!" Here as the woman has completely run herself out of breath, the pawnbroker himself, who has just appeared behind the counter in a grey dressing-gown, embraces the favourable opportunity of putting in a word:—"Now I won't have none of this sort of thing on my premises," he interposes with an air of authority. "Mrs. Mackin, keep yourself to yourself, or I'm damned if you get four pence for a flat iron here; and, Jinkins you leave your ticket here till you're sober, and send your wife for them two planes, for I won't have you in my shop at no price; so make yourself scarce, before I make you scarcer." This eloquent address produces anything but the effect desired; the women rail in concert; the man hits about him in all directions, and is in the act of establishing an indisputable claim to gratuitous lodgings for the night, when the entrance of his wife—a wretched worn-out woman apparently in the last stage of consumption, whose face bears evident marks of recent ill-usage, and whose strength seems hardly equal to the burden—light enough, God knows—of the thin, sickly child she carries in her arms, turns his cowardly rage in a safer direction. "Come home, dear," cries the miserable creature, in an imploring tone; "Do come home, there's a good fellow, and go to bed." "Go home yourself," rejoins the furious ruffian, accompanying an epithet we cannot repeat, with a kick we will not describe. "Do come home quietly," repeats the wife, bursting into tears. "Go home yourself," retorts the husband again, enforcing his argument by the application we have before hinted at. The poor creature flies out of the shop with the impetus thus administered; and her "natural protector" follows her up the court, alternately venting his rage in accelerating her progress, and in knocking the little scanty blue bonnet of the unfortunate child over its still more scanty and faded-looking face. The scene of which we have just attempted a slight description, is scarcely concluded, when a couple of the private boxes are occupied by persons who present so striking a contrast to each other, that we cannot resist the temptation of noticing them in our sketch as briefly as possible. In the last one which is situated in the darkest and most obscure corner of the shop considerably removed from either of the gas-lights, are a young delicate girl of about twenty and an elderly female—evidently her mother from the resemblance between them—who stand at some distance back, as if to avoid the observation even of the shopmen. It is not their first visit to a pawnbroker's shop, for they answer without a moment's hesitation the usual questions, put in a rather respectful manner, and in a much lower tone than usual, of "What name shall I say?" "Your own property, of course?" "Where do you live, ma'am?" "Housekeeper or lodger?" They bargain, too, for a higher loan than the shopman is at first inclined to offer, which a perfect stranger would be little disposed to do, and the elderly female urges her daughter on in scarcely audible whispers to exert her utmost powers of persuasion to obtain an advance of the sum, and expatiate on the value of the articles they have brought to raise a present supply upon. They are a small gold chain and a "Forget me not" ring: the girl's property, for they are both too small for the mother; given her in better times—prized perhaps once for the giver's sake, but parted with now without a struggle; for want has hardened the mother, and her example has hardened the girl; and the prospect of receiving money, coupled with a recollection of the misery they have both endured from the want of it; the coldness of old friends—the stern refusal of some and the still more galling compassion of others—appears to  obliterate the consciousness of self humiliation which the bare idea of their present situation would once have aroused. In the next is a young female, whose attire, miserably poor but extremely gaudy, wretchedly cold but scrupulously fine, too plainly bespeaks her station in life. The rich satin gown with its faded trimmings—the worn-out thin shoes, and pink silk stockings—the summer bonnet in winter, and the sunken face where a daub of rouge only serves as an index to the ravages of squandered health never to be regained, and lost happiness never to be restored; and where the practised smile is a wretched mockery of the misery of the heart—cannot be mistaken. There is something in the glimpse she has just caught of her young neighbour, and in the sight of the little trinkets she has offered in pawn, that seems to have awakened in this woman's mind some slumbering recollection, and to have changed for an instant her whole demeanour. Her first hasty impulse was to bend forward as if to scan more minutely the appearance of her half-concealed companions; her next, on seeing them involuntarily shrink from her, to retreat to the back of the box, cover her face with her hands, and burst into an agony of tears. There are strange chords in the human heart, which will lie dormant through years of depravity and wickedness, but which will vibrate at last to some slight circumstance apparently trivial in itself, but connected by some undefined and indistinct association with past days that can never be recalled, and with bitter recollections from which the most degraded creature in existence cannot escape. There has been another spectator, in the person of a woman in the common shop; the lowest of the low; dirty, unbonnetted, flaunting, and slovenly. Her curiosity was at first attracted by the little she could see of the group; then her attention; the half- intoxicated leer changed to an expression of something like interest, and a feeling similar to that we have described, appeared for a moment, and only a moment, to extend itself even to her bosom. Who shall say how soon these women may change places? The last has but two more stages—the hospital and the grave! How many females situated as her two companions are, and as she may have been once, have terminated the same wretched course, in the same wretched manner? One is already tracing her footsteps with frightful rapidity. How soon may the other follow her example! How many have done the same! Such are a few of the sights and scenes of a Pawnbroker's Shop. We could extend this sketch much further; but we fear the subject would present few—very few—attractions. We will, therefore, only apologise for having dwelt upon it so long. https://www.dickenssearch.com/files/original/5/Sketches_of_London_No._XVI_Our_Parish_[III]/1835-07-14_The_Evening_Chronicle_Sketches_of_London_No._XVI_Our_Parish_III.pdf 12955137d0c18da452c9ddcc5b94a4d2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Evening Chronicle Pseudonym The name under which the item was published BOZ Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18350714 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. An event has recently occurred in our parish which for the moment completely absorbs every other consideration, and throws even the Miss Willises entirely into the shade. We have had an election—an election for beadle: a contest of paramount interest has just terminated; a parochial convulsion has taken place. It has been succeeded by a glorious triumph, which the country—or at least the parish—its no great matter which—will long remember. The supporters of the old beadle system have been defeated in their strong-hold, and the advocates of the great new beadle principles have achieved a proud victory. Our parish—which, like all other parishes, is a little world of its own—has long been divided into two parties, whose contentions slumbering for a while, have never failed to burst forth with unabated vigour on any occasion on which they could by possibility be renewed. Watching rates, lighting rates, paving rates, sewer's rates, church rates, poor's rates—all sorts of rates, have been in their turn the subjects of a grand struggle; and as to questions of patronage, the asperity and determination with which they have been contested is scarcely credible. The leader of the official party - the steady advocate of the churchwardens and the unflinching supporter of the overseers—is an old gentleman who lives in our row. He owns some half-dozen houses in it, and always walks on the opposite side of the way so that he may be able to take in a view of the whole of his property at once. He is a tall, thin, bony man, with an interrogative nose, and little restless perking eyes, which appear to have been given him for the sole purpose of peeping into other people's affairs with. He is deeply impressed with the importance of our parish business, and prides himself not a little on his style of addressing the parishioners in vestry assembled. His views are rather confined than extensive; his principles more narrow than liberal. He has been heard to declaim very loudly in favour of the liberty of the press, and advocates the repeal of the stamp duty on newspapers, because the daily journals, who now have a monopoly of the public, never give verbatim reports of vestry meetings. He wouldn't appear egotistical for the world; but at the same time he must say, that there are speeches—that celebrated speech of his own on the emoluments of the Sexton, and the duties of the office, for instance—which might be communicated to the public, greatly to their improvement and advantage. His great opponent in public life is Captain Purday, the old naval officer of half-pay, to whom we introduced our readers a sketch or two back. The Captain being a determined opponent of the constituted authorities, whoever they may chance to be—and our other friend being their steady supporter, with an equal disregard of their individual merits—it will readily be supposed that occasions for their coming into direct collision are neither few nor far between. They divided the vestry fourteen times on a motion for heating the Church with warm water instead of coals, and made speeches about liberty and expenditure, and prodigality and hot water, which threw the whole parish into a state of excitement. Then the Captain, when he was on the visiting committee, and his opponent overseer brought forward certain distinct and specific charges relative to the management of the workhouse, boldly expressed his total want of confidence in the existing authorities, and moved for "a copy of the recipe by which the paupers' soup was prepared, together with any documents relating thereto." This the overseer steadily resisted; he fortified himself by precedent, appealed to the established usage, and declined to produce the papers, on the ground of the injury that would be done to the public service, if documents of a strictly private nature, passing between the master of the workhouse and the cook, were to be thus dragged to light on the motion of any individual member of the vestry. The motion was lost by a majority of two; and then the Captain, who never allows himself to be defeated, moved for a committee of inquiry into the whole subject. The affair grew serious; the question was discussed at meeting after meeting, and vestry after vestry; speeches were made, attacks repudiated, personal defiances exchanged, explanations received, and the greatest excitement prevailed, until at last, just as the question was going to be finally decided, the vestry found that somehow or other they had become entangled in a point of form from which it was impossible to escape with propriety. So the motion was dropped, and everybody looked extremely important, and seemed quite satisfied with the meritorious nature of the whole proceeding. This was the state of affairs in our parish a week or two since, when Simmons, the beadle, suddenly died. The lamented deceased had over-exerted himself a day or two previously, in conveying an aged female, highly intoxicated, to the strong room of the work house. The excitement thus occasioned, added to a severe cold, which this indefatigable officer had caught in his capacity of director of the parish-engine, by inadvertently playing over himself instead of a fire, proved too much for a constitution already enfeebled by age; and the intelligence was conveyed to the Board one evening that Simmons had died, and left his respects. The breath was scarcely out of the body of the deceased functionary when the field was filled with competitors for the vacant office, each of whom rested his claims to public support entirely on the number and extent of his family, as if the office of beadle were originally instituted as an encouragement for the propagation of the human species. "Bung for Beadle. Five small children!" "Hopkins for Beadle. Seven small children!!" "Timkins for Beadle. Nine small children!!!" Such were the placards in large black letters on a white ground, which were plentifully pasted on the walls and posted in the windows of the principal shops. Timkins’s success was considered certain: several mothers of families half promised their votes, and the nine small children would have run over the course but for the production of another placard announcing the appearance of a still more meritorious candidate. "Spruggins for Beadle. Ten small children (two of them twins) and a wife!!!" There was no resisting this; ten small children would have been almost irresistible in themselves, without the twins; but the touching parenthesis about that interesting production of nature, and the still more touching allusion to Mrs. Spruggins must ensure success. Spruggins was the favourite at once; and the appearance of his lady, as she went about to solicit votes (which encouraged confident hopes of a still further addition to the house of Spruggins at no remote period), increased the general prepossession in his favour. The other candidates, Bung alone excepted, resigned in despair; the day of election was fixed; and the canvas proceeded with briskness and perseverance on both sides. The members of the vestry could not be supposed to escape the contagious excitement inseparable from the occasion. The majority of the lady inhabitants of the parish declared at once for Spruggins, and the quondam overseer took the same side, on the ground that men with large families always had been elected to the office, and that, although he must admit, that, in other respects, Spruggins was the least qualified candidate of the whole; still it was an old practice, and he saw no reason why an old practice should be departed from. This was enough for the Captain. He immediately sided with Bung; canvassed for him personally in all directions, wrote squibs on Spruggins, and got his butcher to skewer them up on conspicuous joints in his shop-front; frightened his neighbour, the old lady, into a palpitation of the heart by his awful denunciations of Spruggins’s party; and bounced in and out, and up and down, and backwards and forwards, until all the sober inhabitants of the parish thought it inevitable that he must die of a brain fever long before the election began. The day of election arrived; it was no longer an individual struggle but a party contest between the ins and outs; the question was, whether the withering influence of the overseers, the domination of the churchwardens, and the blighting despotism of the vestry clerk should be allowed to render the election of beadle a form—a nullity; whether they should impose a vestry elected beadle on the parish, to do their bidding and forward their views, or whether the parishioners, fearlessly asserting their undoubted rights, should elect an independent beadle of their own. The nomination was fixed to take place in the vestry, but so great was the throng of anxious spectators, that it was found necessary to adjourn to the church, where the ceremony commenced with due solemnity. The appearance of the churchwardens and overseers, and the ex-churchwardens and ex-overseers, with Spruggins in the rear, excited general attention. Spruggins was a little thin man in rusty black with a long pale face, and a countenance expressive of care and fatigue, which might either be attributed to the extent of his family or the anxiety of his feelings. His opponent appeared in a cast-off coat of the Captain’s - a blue coat with bright buttons, white trousers, and that description of shoes familiarly known by the appellation of "high-lows." There was a serenity in the open countenance of Bung—a kind of moral dignity in his confident air—an "I wish you may get it" sort of expression in his eye—which infused animation into his supporters, and evidently dispirited his opponents. The ex-churchwarden rose to propose Thomas Spruggins for beadle. He had known him long; he had had his eye upon him closely for years; he had watched him with twofold vigilance for months. [A parishioner here suggested that this might be termed "taking a double sight;" but the observation was drowned in loud cries of "order!"]. He would repeat that he had had his eye upon him for years, and this he would say, that a more well-conducted, a more well-behaved, a more sober, a more quiet man, with a more well regulated mind, he had never met with. A man with a larger family he had never known [cheers]. The parish required a man who could be depended on [hear! from the Spruggins side, answered by ironical cheers from the Bung party]. Such a man he now proposed ["No," "yes"]. He would not allude to individuals [the ex-churchwarden continued in the celebrated negative style adopted by great speakers]. He would not advert to a gentleman who had once held a high rank in the service of his Majesty; he would not say that that gentleman was no gentleman; he would not assert that that man was no man; he would not say, that he was a turbulent parishioner; he would not say that he had grossly misbehaved himself, not only on this, but on all former occasions; he would not say that he was one of those discontented and treasonable spirits, who carried confusion and disorder wherever they went; he would not say that he harboured in his heart envy, and hatred, and malice, and all uncharitableness. No! He wished to have everything comfortable and pleasant; and therefore, he would say—nothing about him [cheers]. The Captain replied in a similar parliamentary style. He would not say he was astonished at the speech they had just heard; he would not say he was disgusted [cheers]; he would not retort the epithets which had been hurled against him [renewed cheering]; he would not allude to men once in office, but now happily out of it, who had mismanaged the work-house, ground the paupers, diluted the beer, slack-baked the bread, boned the meat, heightened the work, and lowered the soup [tremendous cheers]. He would not ask what such men deserved [a voice, "Nothing a day, and find themselves!"]. He would not say that one burst of general indignation should drive them from the parish they polluted with their presence ["Give it him!"]. He would not allude to the unfortunate man who had been proposed—he would not say, as the Vestry’s tool, but as Beadle. He would not advert to that individual’s family; he would not say that nine children, twins, and a wife, were very bad examples for pauper imitation [loud cheers]. He would not advert in detail to the qualifications of Bung. The man stood before him, and he would not say in his presence what he might be disposed to say of him, if he were absent. [Here Mr. Bung telegraphed to a friend near him under cover of his hat, by contracting his left eye, and applying his right thumb to the tip of his nose]. It had been objected to Bung that he had only five children ["Hear, hear!" from the opposition]. Well, he had yet to learn that the Legislature had affixed any precise amount of infantine qualification to the office of beadle; but taking it for granted that an extensive family were a great requisite, he entreated them to look to facts and compare data, about which there could be no mistake. Bung was 35 years of age. Spruggins—of whom he wished to speak with all possible respect—was 50. Was it not more than possible—was it not very probable—that by the time Bung attained the latter age, he might see around him a family, even exceeding in number and extent, that to which Spruggins at present laid claim [deafening cheers and waving of handkerchiefs]? The Captain concluded amidst loud applause by calling upon the parishioners to sound the tocsin, rush to the poll, free themselves from dictation, or be slaves for ever. On the following day the polling began, and we never have had such a bustle in our parish since we got up our famous anti-slavery petition, which was such an important one that the House of Commons ordered it to be printed, on the motion of the Member for the district. The Captain engaged two hackney coaches and a cab for Bung’s people—the cab for the drunken voters, and the two coaches for the old ladies, the greater portion of whom, owing to the Captain’s impetuosity, were driven up to the poll and home again, before they recovered from their flurry sufficiently to know with any degree of clearness what they had been doing; the opposite party wholly neglected these precautions, and the consequence was, that a great many ladies who were walking leisurely up to the church—for it was a very hot day—to vote for Spruggins, were artfully decoyed into the coaches, and voted for Bung. The Captain’s arguments, too, had produced considerable effect: the attempted influence of the vestry produced a greater. A threat of exclusive dealing was clearly established against the vestry-clerk—a case of heartless and profligate atrocity. It appeared that the delinquent had been in the habit of purchasing six penn’orth of muffins weekly from an old woman who rents a small house in our parish, and resides among the original settlers; on her last weekly visit a message was conveyed to her through the medium of the cook, couched in mysterious terms, but indicating with sufficient clearness, that the vestry-clerk’s appetite for muffins in future depended entirely on her vote on the beadleship. This was sufficient; the stream had been turning previously, and the impulse thus administered directed its final course. The Bung party ordered one shillingsworth of muffins weekly for the remainder of the old woman’s natural life; the parishioners were loud in their exclamations; and the fate of Spruggins was sealed. It was in vain that the twins were exhibited in dresses of the same pattern, and night-caps to match at the church door; the boy in Mrs. Spruggins’s right arm and the girl in her left—even Mrs. Spruggins herself failed to be an object of sympathy any longer. The majority attained by Bung on the gross poll was four hundred and twenty-eight, and the cause of the parishioners triumphed. (To be continued.) TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-07-14_The_Evening_Chronicle_Sketches_of_London_NoXVI_Our_ParishIII.xml" target="_blank" rel="noopener">'Sketches of London No. XVI, Our Parish' (III). The Evening Chronicle (14 July 1835).</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'Sketches of London, No. XVI, Our Parish' (III) Subject The topic of the resource Description An account of the resource Published in The Evening Chronicle (14 July 1835). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350714/012/0003" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350714/012/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-07-14 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-07-14_The_Evening_Chronicle_Sketches_of_London_NoXVI_Our_ParishIII Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Sketches of London, No. XVI, Our Parish' (III) (14 July 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/short-stories/1835-07-14_The_Evening_Chronicle_Sketches_of_London_NoXVI_Our_ParishIII">https://dickenssearch.com/short-stories/1835-07-14_The_Evening_Chronicle_Sketches_of_London_NoXVI_Our_ParishIII</a>. Scripto Transcription A written representation of a document. An event has recently occurred in our parish which for the moment completely absorbs every other consideration, and throws even the Miss Willises entirely into the shade. We have had an election—an election for beadle: a contest of paramount interest has just terminated; a parochial convulsion has taken place. It has been succeeded by a glorious triumph, which the country—or at least the parish—its no great matter which—will long remember. The supporters of the old beadle system have been defeated in their strong-hold, and the advocates of the great new beadle principles have achieved a proud victory.  Our parish—which, like all other parishes, is a little world of its own—has long been divided into two parties, whose contentions slumbering for a while, have never failed to burst forth with unabated vigour on any occasion on which they could by possibility be renewed. Watching rates, lighting rates, paving rates, sewer's rates, church rates, poor's rates—all sorts of rates, have been in their turn the subjects of a grand struggle; and as to questions of patronage, the asperity and determination with which they have been contested is scarcely credible. The leader of the official party - the steady advocate of the churchwardens and the unflinching supporter of the overseers—is an old gentleman who lives in our row. He owns some half-dozen houses in it, and always walks on the opposite side of the way so that he may be able to take in a view of the whole of his property at once. He is a tall, thin, bony man, with an interrogative nose, and little restless perking eyes, which appear to have been given him for the sole purpose of peeping into other people's affairs with. He is deeply impressed with the importance of our parish business, and prides himself not a little on his style of addressing the parishioners in vestry assembled. His views are rather confined than extensive; his principles more narrow than liberal. He has been heard to declaim very loudly in favour of the liberty of the press, and advocates the repeal of the stamp duty on newspapers, because the daily journals, who now have a monopoly of the public, never give verbatim reports of vestry meetings. He wouldn't appear egotistical for the world; but at the same time he must say, that there are speeches—that celebrated speech of his own on the emoluments of the Sexton, and the duties of the office, for instance—which might be communicated to the public, greatly to their improvement and advantage. His great opponent in public life is Captain Purday, the old naval officer of half-pay, to whom we introduced our readers a sketch or two back. The Captain being a determined opponent of the constituted authorities, whoever they may chance to be—and our other friend being their steady supporter, with an equal disregard of their individual merits—it will readily be supposed that occasions for their coming into direct collision are neither few nor far between. They divided the vestry fourteen times on a motion for heating the Church with warm water instead of coals, and made speeches about liberty and expenditure, and prodigality and hot water, which threw the whole parish into a state of excitement. Then the Captain, when he was on the visiting committee, and his opponent overseer brought forward certain distinct and specific charges relative to the management of the workhouse, boldly expressed his total want of confidence in the existing authorities, and moved for "a copy of the recipe by which the paupers' soup was prepared, together with any documents relating thereto." This the overseer steadily resisted; he fortified himself by precedent, appealed to the established usage, and declined to produce the papers, on the ground of the injury that would be done to the public service, if documents of a strictly private nature, passing between the master of the workhouse and the cook, were to be thus dragged to light on the motion of any individual member of the vestry. The motion was lost by a majority of two; and then the Captain, who never allows himself to be defeated, moved for a committee of inquiry into the whole subject. The affair grew serious; the question was discussed at meeting after meeting, and vestry after vestry; speeches were made, attacks repudiated, personal defiances exchanged, explanations received, and the greatest excitement prevailed, until at last, just as the question was going to be finally decided, the vestry found that somehow or other they had become entangled in a point of form from which it was impossible to escape with propriety. So the motion was dropped, and everybody looked extremely important, and seemed quite satisfied with the meritorious nature of the whole proceeding.  This was the state of affairs in our parish a week or two since, when Simmons, the beadle, suddenly died. The lamented deceased had over-exerted himself a day or two previously, in conveying an aged female, highly intoxicated, to the strong room of the work house. The excitement thus occasioned, added to a severe cold, which this indefatigable officer had caught in his capacity of director of the parish-engine, by inadvertently playing over himself instead of a fire, proved too much for a constitution already enfeebled by age; and the intelligence was conveyed to the Board one evening that Simmons had died, and left his respects. The breath was scarcely out of the body of the deceased functionary when the field was filled with competitors for the vacant office, each of whom rested his claims to public support entirely on the number and extent of his family, as if the office of beadle were originally instituted as an encouragement for the propagation of the human species. "Bung for Beadle. Five small children!" "Hopkins for Beadle. Seven small children!!" "Timkins for Beadle. Nine small children!!!" Such were the placards in large black letters on a white ground, which were plentifully pasted on the walls and posted in the windows of the principal shops. Timkins’s success was considered certain: several mothers of families half promised their votes, and the nine small children would have run over the course but for the production of another placard announcing the appearance of a still more meritorious candidate. "Spruggins for Beadle. Ten small children (two of them twins) and a wife!!!" There was no resisting this; ten small children would have been almost irresistible in themselves, without the twins; but the touching parenthesis about that interesting production of nature, and the still more touching allusion to Mrs. Spruggins must ensure success. Spruggins was the favourite at once; and the appearance of his lady, as she went about to solicit votes (which encouraged confident hopes of a still further addition to the house of Spruggins at no remote period), increased the general prepossession in his favour. The other candidates, Bung alone excepted, resigned in despair; the day of election was fixed; and the canvas proceeded with briskness and perseverance on both sides. The members of the vestry could not be supposed to escape the contagious excitement inseparable from the occasion. The majority of the lady inhabitants of the parish declared at once for Spruggins, and the quondam overseer took the same side, on the ground that men with large families always had been elected to the office, and that, although he must admit, that, in other respects, Spruggins was the least qualified candidate of the whole; still it was an old practice, and he saw no reason why an old practice should be departed from. This was enough for the Captain. He immediately sided with Bung; canvassed for him personally in all directions, wrote squibs on Spruggins, and got his butcher to skewer them up on conspicuous joints in his shop-front; frightened his neighbour, the old lady, into a palpitation of the heart by his awful denunciations of Spruggins’s party; and bounced in and out, and up and down, and backwards and forwards, until all the sober inhabitants of the parish thought it inevitable that he must die of a brain fever long before the election began. The day of election arrived; it was no longer an individual struggle but a party contest between the ins and outs; the question was, whether the withering influence of the overseers, the domination of the churchwardens, and the blighting despotism of the vestry clerk should be allowed to render the election of beadle a form—a nullity; whether they should impose a vestry elected beadle on the parish, to do their bidding and forward their views, or whether the parishioners, fearlessly asserting their undoubted rights, should elect an independent beadle of their own. The nomination was fixed to take place in the vestry, but so great was the throng of anxious spectators, that it was found necessary to adjourn to the church, where the ceremony commenced with due solemnity. The appearance of the churchwardens and overseers, and the ex-churchwardens and ex-overseers, with Spruggins in the rear, excited general attention. Spruggins was a little thin man in rusty black with a long pale face, and a countenance expressive of care and fatigue, which might either be attributed to the extent of his family or the anxiety of his feelings. His opponent appeared in a cast-off coat of the Captain’s - a blue coat with bright buttons, white trousers, and that description of shoes familiarly known by the appellation of "high-lows." There was a serenity in the open countenance of Bung—a kind of moral dignity in his confident air—an "I wish you may get it" sort of expression in his eye—which infused animation into his supporters, and evidently dispirited his opponents. The ex-churchwarden rose to propose Thomas Spruggins for beadle. He had known him long; he had had his eye upon him closely for years; he had watched him with twofold vigilance for months. [A parishioner here suggested that this might be termed "taking a double sight;" but the observation was drowned in loud cries of "order!"]. He would repeat that he had had his eye upon him for years, and this he would say, that a more well-conducted, a more well-behaved, a more sober, a more quiet man, with a more well regulated mind, he had never met with. A man with a larger family he had never known [cheers]. The parish required a man who could be depended on [hear! from the Spruggins side, answered by ironical cheers from the Bung party]. Such a man he now proposed ["No," "yes"]. He would not allude to individuals [the ex-churchwarden continued in the celebrated negative style adopted by great speakers]. He would not advert to a gentleman who had once held a high rank in the service of his Majesty; he would not say that that gentleman was no gentleman; he would not assert that that man was no man; he would not say, that he was a turbulent parishioner; he would not say that he had grossly misbehaved himself, not only on this, but on all former occasions; he would not say that he was one of those discontented and treasonable spirits, who carried confusion and disorder wherever they went; he would not say that he harboured in his heart envy, and hatred, and malice, and all uncharitableness. No! He wished to have everything comfortable and pleasant; and therefore, he would say—nothing about him [cheers]. The Captain replied in a similar parliamentary style. He would not say he was astonished at the speech they had just heard; he would not say he was disgusted [cheers]; he would not retort the epithets which had been hurled against him [renewed cheering]; he would not allude to men once in office, but now happily out of it, who had mismanaged the work-house, ground the paupers, diluted the beer, slack-baked the bread, boned the meat, heightened the work, and lowered the soup [tremendous cheers]. He would not ask what such men deserved [a voice, "Nothing a day, and find themselves!"]. He would not say that one burst of general indignation should drive them from the parish they polluted with their presence ["Give it him!"]. He would not allude to the unfortunate man who had been proposed—he would not say, as the Vestry’s tool, but as Beadle. He would not advert to that individual’s family; he would not say that nine children, twins, and a wife, were very bad examples for pauper imitation [loud cheers]. He would not advert in detail to the qualifications of Bung. The man stood before him, and he would not say in his presence what he might be disposed to say of him, if he were absent. [Here Mr. Bung telegraphed to a friend near him under cover of his hat, by contracting his left eye, and applying his right thumb to the tip of his nose]. It had been objected to Bung that he had only five children ["Hear, hear!" from the opposition]. Well, he had yet to learn that the Legislature had affixed any precise amount of infantine qualification to the office of beadle; but taking it for granted that an extensive family were a great requisite, he entreated them to look to facts and compare data, about which there could be no mistake. Bung was 35 years of age. Spruggins—of whom he wished to speak with all possible respect—was 50. Was it not more than possible—was it not very probable—that by the time Bung attained the latter age, he might see around him a family, even exceeding in number and extent, that to which Spruggins at present laid claim [deafening cheers and waving of handkerchiefs]? The Captain concluded amidst loud applause by calling upon the parishioners to sound the tocsin, rush to the poll, free themselves from dictation, or be slaves for ever. On the following day the polling began, and we never have had such a bustle in our parish since we got up our famous anti-slavery petition, which was such an important one that the House of Commons ordered it to be printed, on the motion of the Member for the district. The Captain engaged two hackney coaches and a cab for Bung’s people—the cab for the drunken voters, and the two coaches for the old ladies, the greater portion of whom, owing to the Captain’s impetuosity, were driven up to the poll and home again, before they recovered from their flurry sufficiently to know with any degree of clearness what they had been doing; the opposite party wholly neglected these precautions, and the consequence was, that a great many ladies who were walking leisurely up to the church—for it was a very hot day—to vote for Spruggins, were artfully decoyed into the coaches, and voted for Bung. The Captain’s arguments, too, had produced considerable effect: the attempted influence of the vestry produced a greater. A threat of exclusive dealing was clearly established against the vestry-clerk—a case of heartless and profligate atrocity. It appeared that the delinquent had been in the habit of purchasing six penn’orth of muffins weekly from an old woman who rents a small house in our parish, and resides among the original settlers; on her last weekly visit a message was conveyed to her through the medium of the cook, couched in mysterious terms, but indicating with sufficient clearness, that the vestry-clerk’s appetite for muffins in future depended entirely on her vote on the beadleship. This was sufficient; the stream had been turning previously, and the impulse thus administered directed its final course. The Bung party ordered one shillingsworth of muffins weekly for the remainder of the old woman’s natural life; the parishioners were loud in their exclamations; and the fate of Spruggins was sealed. It was in vain that the twins were exhibited in dresses of the same pattern, and night-caps to match at the church door; the boy in Mrs. Spruggins’s right arm and the girl in her left—even Mrs. Spruggins herself failed to be an object of sympathy any longer. The majority attained by Bung on the gross poll was four hundred and twenty-eight, and the cause of the parishioners triumphed. (To be continued.) https://www.dickenssearch.com/files/original/5/Sketches_of_London_No._XVII_The_Streets_-_Morning/1835-07-21_The_Evening_Chronicle_Sketches_of_London,_No._XVII_The_Streets_Morning.pdf 49963c3258f11f0765b911874fe1b7f1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Evening Chronicle Pseudonym The name under which the item was published BOZ Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18350721 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. The appearance presented by the streets of London an hour before sun-rise on a summer’s morning, is most striking even to the few whose unfortunate pursuits of pleasure, or scarcely less unfortunate pursuits of business, make them well acquainted with the scene. There is an air of cold, solitary desolation about the noiseless streets we are accustomed to see thronged at other times by a busy, eager crowd, and the quiet closely shut buildings which throughout the day are swarming with life and bustle, that is very impressive. The last drunken man who shall find his way home before sunlight has just staggered heavily along, occasionally roaring out the burden of the drinking song of the previous night: the last houseless vagrant whom penury and police have left in the streets, has coiled up his chilly limbs in some paved corner, to dream of food and warmth: the drunken, the dissipated, and the wretched have disappeared: the more sober and orderly part of the population have not yet awakened to the labours of the day; and the stillness of death is over the streets; its very hue seems to be imparted to them, cold and lifeless as they look in the grey, sombre light of daybreak. The coach-stands in the larger thoroughfares are deserted; the night houses are closed; the chosen promenades of profligate misery are empty. An occasional policeman may be seen at the street corners, listlessly gazing on the deserted prospect before him; and now and then a rakish-looking cat runs stealthily across the road, and descends his own area with as much caution and slyness—bounding first on the water-butt, then on the dust-hole, and then alighting on the flag-stones —as if he were conscious that his character depended on his gallantries of the preceding night escaping public observation. A partially opened bedroom-window here and there bespeaks the heat of the weather and the uneasy slumbers of its occupant; and the dim scanty flicker of the rush-light through the window-blind denotes the chamber of watching or sickness. With these few exceptions, the streets present no signs of life, nor the houses of habitation. An hour wears away; the spires of the churches and roofs of the principal buildings are faintly tinged with the light of the rising sun, and the streets, by almost imperceptible degrees, begin to resume their bustle and animation. Market carts roll slowly along, the sleepy waggoner impatiently urging on his tired horses, or vainly endeavouring to awaken the boy, who, luxuriously stretched on the top of the fruit baskets, forgets in happy oblivion his long-cherished curiosity to behold the wonders of London. Rough, sleepy-looking animals of strange appearance, something between ostlers and hackney coachmen, begin to take down the shutters of early public-houses, and little deal tables, with the ordinary preparations for a street breakfast, make their appearance at the customary stations. Numbers of men and women (principally the latter) carrying upon their heads heavy baskets of fruit, toil down the park side of Piccadilly, on their way to Covent-garden; and following each other in rapid succession, form a long straggling line from thence to the turn of the road at Knightsbridge. Here and there a bricklayer’s labourer, with the day’s dinner tied up in a handkerchief, walks briskly to his work, and occasionally a little knot of three or four school-boys on a stolen bathing expedition, rattle merrily over the pavement; their boisterous mirth contrasting forcibly with the demeanour of the little sweep, who, having knocked and rung till his arm aches, and being interdicted by a merciful Legislature from endangering his lungs by calling out, sits patiently down on the door-step until the house maid may happen to awake. Covent-garden Market, and the avenues leading to it, are thronged with carts of all sorts, sizes, and descriptions, from the heavy lumbering waggon with its four stout horses, to the jingling costermonger’s cart with its consumptive donkey. The pavement is already strewed with decayed cabbage leaves, broken haybands, and all the indescribable litter of a vegetable market and the numerous noises are almost as multifarious. Men shouting, carts backing, horses neighing, boys fighting, basket-women talking, piemen expatiating on the excellence of their pastry, donkeys braying, and a hundred other sounds form a compound discordant enough to a Londoner’s ears, and remarkably disagreeable to those of country gentlemen, who are sleeping at the Hummums for the first time. Another hour passes away, and the day begins in good earnest. The servant of all work, who, under the plea of sleeping very soundly, has utterly disregarded "Missises ringing" for half an hour previously, is warned by master (whom Missis has sent up in his drapery to the landing-place for that purpose) that it’s half-past six, whereupon she awakes all of a sudden with well feigned astonishment, and goes down stairs very sulkily, wishing, while she strikes a light, that the principle of spontaneous combustion would extend itself to coals and kitchen ranges; when the fire is lit she opens the street-door to take in the milk when, by the most singular coincidence in the world, she discovers that the servant next door has just taken in her milk too, and that Mr. Todd’s young man over the way is by an equally extraordinary chance taking down his master’s shutters. The inevitable consequence is, that she just steps milk-jug in hand as far as next door just to say "good morning" to Betsy Clark, and that Mr. Todd’s young man just steps over the way just to say "good morning" to both of ’em; and as the aforesaid Mr. Todd’s young man is almost as good-looking and fascinating as the baker himself, the conversation quickly becomes very interesting, and probably would become more so, if Betsy Clark’s missis, who always will be a followin’ her about, didn’t give an angry tap at her bed-room window, on which Mr. Todd’s young man tries to whistle coolly, as he goes back to his shop much faster than he came from it; and the two girls run back to their respective places, and shut their street-doors with surprising softness, each of them poking their heads out of the front parlour-window a minute afterwards, however, ostensibly with the view of looking at the mail which just then passes by, but really for the purpose of catching another glimpse of Mr. Todd’s young man, who, being fond of mails, but more fond of females, takes a short look at the coach and a long look at the girls, much to the satisfaction of all parties concerned. The mail itself goes on to the coach-office in due course, and the passengers who are going out by the early coach stare with astonishment at the passengers who are coming in by the early coach, who look blue and dismal, and are evidently under the influence of that odd feeling produced by travelling, which makes the events of yesterday morning seem as if they had happened at least six months ago, and induces people to wonder with considerable gravity whether the friends and relations they took leave of a fortnight before, have altered much since they have left them. The coach-office is all alive, and the coaches which are just going out are surrounded by the usual crowd of Jews and nondescripts, who seem to consider, God knows why, that it's quite impossible any man can mount a coach without requiring at least sixpenn'orth of oranges, a pen-knife, a pocket-book, a last year’s annual, a pencil-case, a piece of sponge, and a small series of caricatures. Half-an-hour more, and the sun darts his bright rays cheerfully down the still half-empty streets, and shines with sufficient force to rouse the diurnal laziness of the apprentice, who pauses every other minute from his task of sweeping out the shop and watering the pavement in front of it, to tell another apprentice similarly employed how hot it will be to-day, or to stand with his right hand shading his eyes and his left resting on the broom, gazing at the Wonder, or the Tally-Ho, or the Nimrod, or some other fast coach, till it's out of sight, when he re-enters the shop envying the passengers on the outside of the fast coach, and thinking of the old red brick house "down in the country," where he went to school: the miseries of thin milk and water and thick bread and scrapings fading into nothing before the pleasant recollection of the green field the boys used to play in, and the green pond he was caned for presuming to fall into, and other school-boy associations. Cabs, with trunks and band-boxes between the drivers’ legs and outside the apron, rattle briskly up and down the streets on their way to the coach-offices, or steam-packet wharfs; and the cab-drivers and hackney-coachmen who are on the stand. polish up the ornamental part of their dingy vehicles—the former wondering how people can prefer "them wild-beast cariwans of omnibuses to a riglar cab with a fast trotter," and the latter admiring how people can trust their necks into one of "them crazy cabs, when they can have a ’spectable ackney cotche with a pair of orses as von’t run away with no vun;"—a consolation unquestionably founded in fact, seeing that a hackney-coach horse never was known to run at all, "except," as the smart cabman in front of the rank observes, "except one, and he run back’ards!" The shops are now completely opened, and apprentices and shopmen are busily engaged in cleaning and decking the windows for the day. The bakers’ shops in town are filled with servants and children waiting for the drawing of the first batch of rolls—an operation which was performed a full hour ago in the suburbs; for the early clerk population of Somers and Camdon Towns, Islington and Pentonville, are fast pouring into the City, or directing their steps towards Chancery-lane and the inns of court. Middle-aged men, whose salaries have by no means increased in the same proportion as their families, plod steadily along, apparently with no object in view but the counting-house, knowing by sight almost everybody they meet or overtake, for they have seen them every morning (Sunday excepted) during the last twenty years; but speaking to no one. If they do happen to overtake a personal acquaintance, they just exchange a hurried salutation, and keep walking on, either by his side or in front of him, as his rate of walking may chance to be. As to stopping to shake hands, or to take the friend’s arm, they seem to think that it is not included in their salary, and they have no right to do it. Small office lads in large hats, who are made men before they are boys, hurry along in pairs with their first coat carefully brushed, and the white trowsers of last Sunday plentifully besmeared with dust and ink. It evidently requires a considerable mental struggle to avoid investing part of the day’s dinner-money in the purchase of the stale tarts so temptingly exposed in dusty tins at the pastry-cooks’ doors; but a consciousness of their own importance, and the receipt of seven shillings a week, with the prospect of an early rise to eight comes to their aid, and they accordingly put their hats a little more on one side, and look under the bonnets of all the milliners’ and stay-makers’ apprentices they meet. Poor girls! The hardest worked, the worst paid; and too often the worst used, class of the community. Eleven o’clock, and a new set of people fill the streets. The goods in the shop-windows are invitingly arranged: the shopmen in their white neck-kerchiefs and spruce coats, look as if they couldn’t clean a window if their lives depended on it: the carts have disappeared from Covent Garden: the waggoners have returned and the costermongers repaired to their ordinary "beats" in the suburbs: clerks are at their offices, and gigs, cabs, omnibuses, and saddle-horses are conveying their masters to the same destination. The streets are thronged with a vast concourse of people - gay and shabby, rich and poor, idle and industrious; and we come to the heat, bustle, and activity of noon. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-07-21_The_Evening_Chronicle_Sketches_of_London_NoXVII_The_Streets_Morning.xml" target="_blank" rel="noopener">'Sketches of London, No. XVII, The Streets - Morning.' The Evening Chronicle (21 July 1835).</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'Sketches of London, No. XVII, The Streets - Morning' Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/BL/0001315/18350721/013/0001" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/BL/0001315/18350721/013/0001</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-07-21 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-07-21_The_Evening_Chronicle_Sketches_of_London_NoXVII_The_Streets_Morning Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Sketches of London, No. XVII, The Streets - Morning' (21 July 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/short-stories/1835-07-21_The_Evening_Chronicle_Sketches_of_London_NoXVII_The_Streets_Morning">https://dickenssearch.com/short-stories/1835-07-21_The_Evening_Chronicle_Sketches_of_London_NoXVII_The_Streets_Morning</a>. Description An account of the resource Published in The Evening Chronicle (21 July 1835). Scripto Transcription A written representation of a document. The appearance presented by the streets of London an hour before sun-rise on a summer’s morning, is most striking even to the few whose unfortunate pursuits of pleasure, or scarcely less unfortunate pursuits of business, make them well acquainted with the scene.  There is an air of cold, solitary desolation about the noiseless streets we are accustomed to see thronged at other times by a busy, eager crowd, and the quiet closely shut buildings which throughout the day are swarming with life and bustle, that is very impressive. The last drunken man who shall find his way home before sunlight has just staggered heavily along, occasionally roaring out the burden of the drinking song of the previous night: the last houseless vagrant whom penury and police have left in the streets, has coiled up his chilly limbs in some paved corner, to dream of food and warmth: the drunken, the dissipated, and the wretched have disappeared: the more sober and orderly part of the population have not yet awakened to the labours of the day; and the stillness of death is over the streets; its very hue seems to be imparted to them, cold and lifeless as they look in the grey, sombre light of daybreak. The coach-stands in the larger thoroughfares are deserted; the night houses are closed; the chosen promenades of profligate misery are empty. An occasional policeman may be seen at the street corners, listlessly gazing on the deserted prospect before him; and now and then a rakish-looking cat runs stealthily across the road, and descends his own area with as much caution and slyness—bounding first on the water-butt, then on the dust-hole, and then alighting on the flag-stones —as if he were conscious that his character depended on his gallantries of the preceding night escaping public observation. A partially opened bedroom-window here and there bespeaks the heat of the weather and the uneasy slumbers of its occupant; and the dim scanty flicker of the rush-light through the window-blind denotes the chamber of watching or sickness. With these few exceptions, the streets present no signs of life, nor the houses of habitation. An hour wears away; the spires of the churches and roofs of the principal buildings are faintly tinged with the light of the rising sun, and the streets, by almost imperceptible degrees, begin to resume their bustle and animation. Market carts roll slowly along, the sleepy waggoner impatiently urging on his tired horses, or vainly endeavouring to awaken the boy, who, luxuriously stretched on the top of the fruit baskets, forgets in happy oblivion his long-cherished curiosity to behold the wonders of London. Rough, sleepy-looking animals of strange appearance, something between ostlers and hackney coachmen, begin to take down the shutters of early public-houses, and little deal tables, with the ordinary preparations for a street breakfast, make their appearance at the customary stations.  Numbers of men and women (principally the latter) carrying upon their heads heavy baskets of fruit, toil down the park side of Piccadilly, on their way to Covent-garden; and following each other in rapid succession, form a long straggling line from thence to the turn of the road at Knightsbridge. Here and there a bricklayer’s labourer, with the day’s dinner tied up in a handkerchief, walks briskly to his work, and occasionally a little knot of three or four school-boys on a stolen bathing expedition, rattle merrily over the pavement; their boisterous mirth contrasting forcibly with the demeanour of the little sweep, who, having knocked and rung till his arm aches, and being interdicted by a merciful Legislature from endangering his lungs by calling out, sits patiently down on the door-step until the house maid may happen to awake. Covent-garden Market, and the avenues leading to it, are thronged with carts of all sorts, sizes, and descriptions, from the heavy lumbering waggon with its four stout horses, to the jingling costermonger’s cart with its consumptive donkey. The pavement is already strewed with decayed cabbage leaves, broken haybands, and all the indescribable litter of a vegetable market and the numerous noises are almost as multifarious. Men shouting, carts backing, horses neighing, boys fighting, basket-women talking, piemen expatiating on the excellence of their pastry, donkeys braying, and a hundred other sounds form a compound discordant enough to a Londoner’s ears, and remarkably disagreeable to those of country gentlemen, who are sleeping at the Hummums for the first time. Another hour passes away, and the day begins in good earnest. The servant of all work, who, under the plea of sleeping very soundly, has utterly disregarded "Missises ringing" for half an hour previously, is warned by master (whom Missis has sent up in his drapery to the landing-place for that purpose) that it’s half-past six, whereupon she awakes all of a sudden with well feigned astonishment, and goes down stairs very sulkily, wishing, while she strikes a light, that the principle of spontaneous combustion would extend itself to coals and kitchen ranges; when the fire is lit she opens the street-door to take in the milk when, by the most singular coincidence in the world, she discovers that the servant next door has just taken in her milk too, and that Mr. Todd’s young man over the way is by an equally extraordinary chance taking down his master’s shutters. The inevitable consequence is, that she just steps milk-jug in hand as far as next door just to say "good morning" to Betsy Clark, and that Mr. Todd’s young man just steps over the way just to say "good morning" to both of ’em; and as the aforesaid Mr. Todd’s young man is almost as good-looking and fascinating as the baker himself, the conversation quickly becomes very interesting, and probably would become more so, if Betsy Clark’s missis, who always will be a followin’ her about, didn’t give an angry tap at her bed-room window, on which Mr. Todd’s young man tries to whistle coolly, as he goes back to his shop much faster than he came from it; and the two girls run back to their respective places, and shut their street-doors with surprising softness, each of them poking their heads out of the front parlour-window a minute afterwards, however, ostensibly with the view of looking at the mail which just then passes by, but really for the purpose of catching another glimpse of Mr. Todd’s young man, who, being fond of mails, but more fond of females, takes a short look at the coach and a long look at the girls, much to the satisfaction of all parties concerned. The mail itself goes on to the coach-office in due course, and the passengers who are going out by the early coach stare with astonishment at the passengers who are coming in by the early coach, who look blue and dismal, and are evidently under the influence of that odd feeling produced by travelling, which makes the events of yesterday morning seem as if they had happened at least six months ago, and induces people to wonder with considerable gravity whether the friends and relations they took leave of a fortnight before, have altered much since they have left them. The coach-office is all alive, and the coaches which are just going out are surrounded by the usual crowd of Jews and nondescripts, who seem to consider, God knows why, that it's quite impossible any man can mount a coach without requiring at least sixpenn'orth of oranges, a pen-knife, a pocket-book, a last year’s annual, a pencil-case, a piece of sponge, and a small series of caricatures. Half-an-hour more, and the sun darts his bright rays cheerfully down the still half-empty streets, and shines with sufficient force to rouse the diurnal laziness of the apprentice, who pauses every other minute from his task of sweeping out the shop and watering the pavement in front of it, to tell another apprentice similarly employed how hot it will be to-day, or to stand with his right hand shading his eyes and his left resting on the broom, gazing at the Wonder, or the Tally-Ho, or the Nimrod, or some other fast coach, till it's out of sight, when he re-enters the shop envying the passengers on the outside of the fast coach, and thinking of the old red brick house "down in the country," where he went to school: the miseries of thin milk and water and thick bread and scrapings fading into nothing before the pleasant recollection of the green field the boys used to play in, and the green pond he was caned for presuming to fall into, and other school-boy associations. Cabs, with trunks and band-boxes between the drivers’ legs and outside the apron, rattle briskly up and down the streets on their way to the coach-offices, or steam-packet wharfs; and the cab-drivers and hackney-coachmen who are on the stand. polish up the ornamental part of their dingy vehicles—the former wondering how people can prefer "them wild-beast cariwans of omnibuses to a riglar cab with a fast trotter," and the latter admiring how people can trust their necks into one of "them crazy cabs, when they can have a ’spectable ackney cotche with a pair of orses as von’t run away with no vun;"—a consolation unquestionably founded in fact, seeing that a hackney-coach horse never was known to run at all, "except," as the smart cabman in front of the rank observes, "except one, and he run back’ards!" The shops are now completely opened, and apprentices and shopmen are busily engaged in cleaning and decking the windows for the day. The bakers’ shops in town are filled with servants and children waiting for the drawing of the first batch of rolls—an operation which was performed a full hour ago in the suburbs; for the early clerk population of Somers and Camdon Towns, Islington and Pentonville, are fast pouring into the City, or directing their steps towards Chancery-lane and the inns of court. Middle-aged men, whose salaries have by no means increased in the same proportion as their families, plod steadily along, apparently with no object in view but the counting-house, knowing by sight almost everybody they meet or overtake, for they have seen them every morning (Sunday excepted) during the last twenty years; but speaking to no one. If they do happen to overtake a personal acquaintance, they just exchange a hurried salutation, and keep walking on, either by his side or in front of him, as his rate of walking may chance to be. As to stopping to shake hands, or to take the friend’s arm, they seem to think that it is not included in their salary, and they have no right to do it. Small office lads in large hats, who are made men before they are boys, hurry along in pairs with their first coat carefully brushed, and the white trowsers of last Sunday plentifully besmeared with dust and ink. It evidently requires a considerable mental struggle to avoid investing part of the day’s dinner-money in the purchase of the stale tarts so temptingly exposed in dusty tins at the pastry-cooks’ doors; but a consciousness of their own importance, and the receipt of seven shillings a week, with the prospect of an early rise to eight comes to their aid, and they accordingly put their hats a little more on one side, and look under the bonnets of all the milliners’ and stay-makers’ apprentices they meet. Poor girls! The hardest worked, the worst paid; and too often the worst used, class of the community. Eleven o’clock, and a new set of people fill the streets. The goods in the shop-windows are invitingly arranged: the shopmen in their white neck-kerchiefs and spruce coats, look as if they couldn’t clean a window if their lives depended on it: the carts have disappeared from Covent Garden: the waggoners have returned and the costermongers repaired to their ordinary "beats" in the suburbs: clerks are at their offices, and gigs, cabs, omnibuses, and saddle-horses are conveying their masters to the same destination. The streets are thronged with a vast concourse of people - gay and shabby, rich and poor, idle and industrious; and we come to the heat, bustle, and activity of noon. https://www.dickenssearch.com/files/original/5/Sketches_of_London_No._XVIII_Our_Parish_[IV]/1835-07-28_The_Evening_Chronicle_Sketches_of_London_No._XVIII_Our_Parish_IV.pdf 6ff43e1f188d79ce4f2b830c10d7acc0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Evening Chronicle Pseudonym The name under which the item was published BOZ Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18350728 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. The excitement of the election for Beadle having subsided, and our parish being again restored to a state of comparative tranquility, we are enabled to continue our sketches of individual parishioners who take no share in our party contests, or in the turmoil and bustle of public life. And we feel sincere pleasure in acknowledging here, that in collecting materials for this task we have been greatly assisted by Mr. Bung himself, who has imposed on us a debt of obligation which we fear we can never repay. The life of this gentleman has been one of a very chequered description: he has undergone transitions—not from grave to gay, for he never was grave—not from lively to severe, for severity forms no part of his disposition; his fluctuations have been between poverty in the extreme & poverty modified, or, to use his own emphatic languages, between nothing to eat and just half enough. He is not as he forcibly remarks, "One of those fortunate men who if they were to dive under one side of a barge stark-naked, would come up on the other, with a new suit of clothes on, and a ticket for soup in the waistcoat pocket:" neither is he one of those, whose spirit has been broken beyond redemption by misfortune and want. He is just one of the careless, good-for-nothing, happy fellows, who float cork like on the surface, for the world to play at hockey with: knocked here and there and every where: now to the right, then to the left, again up in the air, and anon to the bottom, but always reappearing, and bounding with the stream, buoyantly and merrily along. Some few months before he was prevailed upon to stand a contested election for the office of beadle, necessity attached him to the service of a broker; and on the opportunities he here acquired of ascertaining the condition of most of the poorer inhabitants of the parish, his patron, the Captain, first grounded his claims to public support. Chance threw the man in our way a short time since. We were, in the first instance, attracted by his prepossessing impudence at the election; we were not surprised, on further acquaintance, to find him a shrewd knowing fellow, with no inconsiderable power of observation, and after conversing with him a little, were somewhat struck (as we dare say our readers have frequently been in other cases) with the power some men seem to have, not only of sympathizing with, but to all appearance of understanding feelings, to which they themselves are entire strangers. We had been expressing to the new functionary our surprise that he should ever have served in the capacity to which we have just adverted, when we gradually led him into one or two professional anecdotes. As are are induced to think on reflection that they will tell better, in nearly his own words, than with any attempted embellishments of our's, we will at once entitle them MR. BUNG'S NARRATIVE. "It's very true, as you say Sir," Mr. Bung commenced, "that a broker's man's is not a life to envied; and in course you know as well as I do, though you don't say it, that people hate and scout 'em, because they're the Ministers of wretchedness, like, to poor people. But what could I do Sir? The thing was no worse, because I did it instead of somebody else, and if putting me in possession of a house, would put me in possession of three and sixpence a day, and levying a distress on another man's goods would relieve my distress and that of my family, it can't be expected but what I'd take the job and go through with it. I never liked it, God knows; I always looked out for something else, and the moment I got other work to do I left it, and if there is any thing wrong in being the agent in such matters—not the principal mind you—I'm sure the business, to a beginning like I was, at all events carries its own punishment along with it. I wished again and again that the people would only blow me up, or pitch into me—that I wouldn't have minded: it's all in my way: but it's the being shut up by yourself in one room for three days, without so much as an old newspaper to look at, or any thing to see out o' the winder but the roofs and chimnies at the back of the house, or any thing to listen to but the ticking perhaps of an old Dutch clock, the sobbing of the missis now and then, the low talking of friends in the next room, who speak in whispers, lest "the man" should over-hear them, or perhaps the occasional opening of the door, as a child peeps in to look at you, and then runs half frightened away.—It's all this that makes you feel sneaking somehow, and ashamed of yourself; and then if it's winter time they just give you fire enough to make you think you'd like more, and bring in your grub as if they wish it u'd choke you—as I dare say they do, for the matter of that, most heartily. If they're very civil, they make you up a bed in the room at night; and if they don't, your master sends one in for you; but there you are, without being washed or shaved all the time, shunned by every body and spoken to by no one unless some one comes in at dinner time, and asks you whether you want any more, in a tone as much to say, "I hope you don't;" or, in the evening, to inquire whether you wouldn't rather have a candle, after you've been sitting in the dark half the night. When I was left in this way, I used to sit think, think, thinking, till I felt as lonesome as a kitten in a wash-house copper with the lid on; but I believe the old brokers' men, who are regularly trained to it, never think at all. I have heard some on 'em say, indeed, that they don't know how! "I put in a good many distresses in my time (continued Mr. Bung), and in course I wasn't long in finding that some people are not as much to be pitied as others are, and that people with good incomes, who get into difficulties, which they keep patching up day after day, and week after week, get so used to these sorts of things in time, that at last they come scarcely to feel them at all. I remember the very first place I was put in possession of was a gentleman's house in this parish here, that every body would suppose couldn't help having money if he tried. I went with old Fixem, my old master, 'bout half-arter eight in the morning, rang the area-bell, servant in livery opened the door; 'Governor at home?'—'Yes, he is,' says the man; 'but he's a breakfasting just now'—'Never mind,' says Fixem, 'just you tell him there's a gentleman here as wants to speak to him partickler." So the servant he opens his eyes, and stares about him all ways—looking for the gentleman, as it struck me; for I don't think anybody but a man as was stone-blind would mistake Fixem for one; and as for me, I was as seedy as a cheap cowcumber. Hows'ever he turns round and goes to the breakfast-parlour, which was a little snug sort of room at the end of the passage, and Fixem (as we always did in that profession) without waiting to be announced, walks in arter him; and before the servant could get out—'Please Sir, here's a man as wants to speak to you'—looks in at the door as familiar and pleasant as may be. 'Who the devil are you: and how dare you walk into a gentleman's house without leave?'—says the master, as fierce as a bull in fits—'My name,' says Fixem, winking at the master to send the servant away, and putting the warrant into his hands folded up like a note, 'My name's Smith,' says he,' and I called from Johnson's about that business of Thompson's.'—'Oh,' says the other, quite down upon him directly, 'How is Thompson?' says he.—'Pray sit down, Mr. Smith: John—leave the room.'— Out went the servant, and the gentleman and Fixem looked at one another till they couldn't look any longer, and then they varied the amusement by looking at me, who had been standing on the mat all this time.—'Hundred and fifty pounds, I see,' said the gentleman at last.—'Hundred and fifty pound,' said Fixem 'besides cost of levy, sheriff's poundage, and all other incidental expenses.' 'Um,' says the gentleman, 'I shan't be able to settle this before to-morrow afternoon.'—'Very sorry; but I shall be obliged to leave my man here till then,' replies Fixem, pretending to look very miserably over it. 'That's very unfortunate,' said the gentleman, 'for I've got a large party here to-night; and I'm ruined if those fellows of mine get an inkling of the matter.—Just step here, Mr. Smith,' says he, after a short pause; so Fixem walks with him up to the window, and after a good deal o' whispering, and a little chinking of suverins, and looking at me, he comes back and says 'Bung: you're a handy fellow, and very honest I know. This gentleman wants an assistant to clean the plate and wait at table today; and if you're not particularly engaged,' says old Fixem, grinning like mad, and shoving a couple of suverins into my hand, 'he'll be very glad to avail himself of your services.' Well, I laughed, and the gentleman laughed, and we all laughed; and I went home and cleaned myself, leaving Fixem there; and when I went back, Fixem went away, and I polished up the plate, and waited at table, and gammoned the servants, and nobody had the least idea I was in possession; though it very nearly came out after all: for one of the last gentlemen who remained, came down stairs into the hall where I was sitting pretty late at night, and putting half a crown in my hand says, 'Here, my man,' says he, 'run and get me a coach, will you?' I thought it was a do to get me out of the house, and was just going to say so, sulkily enough, when the gentleman (who was up to every thing) came running down stairs as if he was in great anxiety. 'Bung,' says he, pretending to be in a con-suming passion, 'Sir,' says I. 'Why the devil an't you looking after that plate?' says he. 'I was just going to send him or a coach for me,' says the other gentleman. 'And I was just a going to say,' says I,—'Any body else, my dear fellow,' interrupts the master of the house, pushing me down the passage to get me out of the way—'anybody else; but I have put this man in possession of all the plate and valuables, and I cannot allow him on any consideration whatever to leave the house. Bung, damn you, go and count those forks in the breakfast-parlour instantly.' You may be sure I went laughing pretty hearty when I found it was all right. The money was paid next day, with the addition of something else for myself, and that was the best job that I (and I suspect old Fixem too) ever got in that line." "But this is the bright side of the picture, sir, after all," resumed Mr. Bung, laying aside the knowing look and flash air with which he had repeated the previous anecdote—"and I'm sorry to say it's the side one sees very—very seldom in comparison with the dark one. The civility which money will purchase is rarely extended to those who have none; and there's a consolation even in being able to patch up one difficulty to make way for another, to which very poor people are strangers. I was once put into a house down George's-yard—that little dirty court at the back of the gas-works; and I never shall forget the misery of them people, dear me. It was a distress for half a year's rent—two pound ten I think. There were only two rooms in the house, as there was no passage, the lodgers up stairs always went through the room of the people of the house, as they passed in and out, and every time they did so—which on average was about four times every quarter of an hour—they blowed up quite frightful: for their things had been seized too, and included in the inventory. There was a little piece of inclosed dust in front of the house, with a cinder path leading up to the door, and an open rain-water butt on one side. A dirty striped curtain on a very slack strong hung in the window, and a little triangular bit of broken looking-glass rested on the sill inside. I suppose it was meant for the people's use, but their appearance was so wretched and so miserable, that I'm certain they never could have plucked up courage to look themselves in the face a second time, if they survived the fright of doing so once. There was two or three chairs, that might have been worth, in their best days, from eight-pence to a shilling a-piece; a small deal table; an old corner cupboard, with nothing in it, and one of those bedsteads which turn up half way, and leave the bottom legs sticking out for you to knock your head against, or hang your hat upon; no bed, no bedding. There was an old sack, by way of rug, before the fire-place, and four or five children were grovelling about among the sand on the floor. The execution was only put in to get 'em out of the house, for there was nothing to take to pay the expenses; and here I stopped for three days, though that was a mere form too: for in course I knew, and we all knew, they could never pay the money. In one of the chairs by the side of the place where the fire ought to have been, was an old 'ooman—the ugliest and dirtiest I ever see—who sat rocking herself backwards and forwards, backwards and forwards without once stopping, except for an instant, now and then, to clasp together the withered hands which, with these exceptions, she kept constantly rubbing upon her knees, just raising and depressing her fingers convulsively, in time to the rocking of the chair. On the other side sat the mother with an infant in her arms which cried 'till it cried itself to sleep, and when it woke, cried 'till it cried itself off again. The old 'ooman's voice I never heard; she seemed completely stupified; and as to the mother's, it would have been better if she had been so too; for misery changed her to a devil; if you had heard how she cursed the little naked children as was rolling on the floor, and seen how savagely she struck the infant when it cried with hunger, you'd have shuddered as much as I did. There they remained all the time: the children eat a morsel of bread once or twice, and I gave 'em best part of the dinners my missis brought me; but the women eat nothing: they never even laid down on the bedstead, nor was the room swept or cleaned all the time. The neighbours were all too poor themselves to take any notice of 'em; but what I could make out from the abuse of the woman up-stairs, it seemed the husband had been transported a few weeks before. When the time was up, the landlord and old Fixem too, got rather frightened about the family; and so they made a stir about it, and got 'em taken to the workhouse. They sent the sick couch for the old 'ooman; and Simmons took the children away at night. The old 'ooman went into the infirmary, and very soon died. The children are all in the house to this day, and very comfortable they are in comparison; as to the mother, there was no taming her at all. She had been a quiet, hard-working woman, I believe; but her misery had actually drove her wild; so after she had been sent to the House of Correction half a dozen times, for throwing inkstands at the overseers, blaspheming the churchwardens, and smashing every body as come near her, she burst a blood vessel one mornin', and died too—and a happy release it was, both for herself and the old paupers male and female, which she used to tip over in all directions, as if they were so many skittles, and she the ball. "Now this was bad enough," resumed Mr. Bung, taking a half-step towards the door, as if to intimate that he had nearly concluded. "This was bad enough, but there was a sort of quiet misery—if you understand what I mean by that, Sir—about a lady at one house I was put into, as touched me a good deal more. It doesn't matter where it was exactly; indeed, I'd rather not say; but it was the same sort o'job. I went with Fixem in the usual way—there was a year's rent in arrear; a very small servant-girl opened the door, and three or four fine looking little children was in the front parlour we was shown into, which was very clean, but very scantily furnished, much like the children themselves. 'Bung,' says Fixem to me in a low voice when we were left alone for a minute, 'I know something about this here family, and my opinion is, it's no go.' 'Do you think they can't settle?' says I, quite anxiously: for I liked the looks of them children. Fixem shook his head, and was just about to reply when the door opened, and in come a lady as white as ever I see any one in my days, except about the eyes, which were red with crying. She walked in as firm as I could have done: shut the door carefully after her, and sat herself down with a face as composed as if it was made of stone. 'What is the matter, gentlemen,' says she, in a surprisin' steady voice. 'Is this an execution?' 'It is, Mum,' says Fixem. The lady looked at him as steady as ever; she didn't seem to have understood him. 'It is, Mum,' says Fixem again, 'this is my warrant of distress, Mum' says he, handing it over as polite as if it was a newspaper which had been bespoke arter the next gentleman. The lady's lip trembled as she took the printed paper. She cast her eye over it, and old Fixem began to explain the form, but I saw she wasn't reading it, plain enough, poor thing. 'Oh, my God!' says she, suddenly a-bursting out crying, letting the warrant fall, and hiding her fact in her hands. 'Oh, my God! what will become of us?' The noise she made brought in a young lady of about nineteen or twenty, who, I suppose, had been a-listening at the door: she'd got a little boy in her arms; she sat him down in the lady's l ap, without speaking, and she hugged the poor little fellow to her bosom and cried over him, till even old Fixem put on his blue spectacles to hide the two tears that was a trickling down, one on each side of his dirty face. 'Now, dear Ma,' says the young lady, 'you know how much you have borne. For all our sakes: for Pa's sake,' says the lady, 'don't give way to this!' 'No, no, I won't!' says the lady, gathering herself up hastily and drying her eyes; 'I am very foolish, but I'm better now—much better.' And then she roused herself up; went with us into every room while we took the inventory; opened all the drawers of her own accord; sorted the children's little clothes to make the work easier; and, except doing everything in a strange sort of hurry, seemed as calm and composed as if nothing had happened. When we came down stairs again, she hesitated a minute or two, and at last says, 'Gentleman,' says she, 'I am afraid I have done wrong, and perhaps it may bring you into trouble. I secreted just now,' she says, 'the only trinket I have left in the world— here it is.' So she lays down on the table a little miniature mounted in gold. 'It's a miniature,' she says, 'of my poor dear father! I little thought, once that I should ever thank God for depriving me of the original; but I do, and have done for years back, most fervently. Take it away, sir,' she says, 'it's a face that never turned from me in sickness or distress, and I can hardly bear to turn from it now, when, God knows, I suffer both in no ordinary degree.'—I couldn't say nothing, but I raised my head from the inventory which I was filling up, and looked at Fixem; the old fellow nodded to me significantly; so I ran my pen through the 'Mini' - I had just written, and left the miniature on the table. "Well, sir, to make short of a long story, I was left in possession, and in possession I remained; and though I was an ignorant man, and the master of the house a clever one, I saw what he never did, but what he would give worlds now (if he had 'em) to have seen in time. I saw, sir, that his wife was wasting away beneath cares of which she never complained, and griefs she never told. I saw that she was dying before his eyes: I knew that an exertion from him might have saved her; but he never made it. I don't blame him: I don't think he could rouse himself. She had for so long anticipated all his wishes, and acted for him, that he was a lost man when left to himself. I used to think when I caught sight of her, in the clothes she used to wear, which looked shabby even upon her, and would have been scarcely decent on any one else, that if I was a gentleman it would wring my very heart to see the woman that was a smart and merry girl when I courted her, so altered through her love for me. Bitter cold and damp weather it was; yet though her dress was thin, and her shoes none of the best, during the whole three days, from morning to night, she was out of doors running about to try and raise the money. The money was raised, and the execution was paid out. The whole family crowded into the room where I was when the money arrived. The father was quiet happy as the inconvenience was removed—I dare say he didn't know how—the children looks merry and cheerful again; the eldest girl was bustling about making preparations for the first comfortable meal they had had since the distress was put in—and the mother looked pleased to see them all so; but if ever I saw death in a woman's face, I saw it in her's, that night. "I was right, sir," concluded Mr. Bung, hurriedly passing his coat-sleeve over his face. "The family grew more prosperous, and good fortune arrived. But it was too late. Those children are motherless now, and their father would give up all that he has since gained—house, home, goods, money; all that he has, or ever can have to restore the wife he has lost. (To be continued.) TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-07-28_The_Evening_Chronicle_Sketches_of_London_NoXVIII_Our_ParishIV.xml" target="_blank" rel="noopener">'Sketches of London, No. XVIII, Our Parish' (IV). The Evening Chronicle (28 July 1835).</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'Sketches of London, No. XVIII, Our Parish' (IV) Description An account of the resource Published in The Evening Chronicle (28 July 1835). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/BL/0001315/18350728/018/0003" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/BL/0001315/18350728/018/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-07-28 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-07-28_The_Evening_Chronicle_Sketches_of_London_NoXVIII_Our_ParishIV Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Sketches of London, No. XVIII, Our Parish' (IV) (28 July 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/short-stories/1835-07-28_The_Evening_Chronicle_Sketches_of_London_NoXVIII_Our_ParishIV">https://dickenssearch.com/short-stories/1835-07-28_The_Evening_Chronicle_Sketches_of_London_NoXVIII_Our_ParishIV</a>. Scripto Transcription A written representation of a document. The excitement of the election for Beadle having subsided, and our parish being again restored to a state of comparative tranquility, we are enabled to continue our sketches of individual parishioners who take no share in our party contests, or in the turmoil and bustle of public life. And we feel sincere pleasure in acknowledging here, that in collecting materials for this task we have been greatly assisted by Mr. Bung himself, who has imposed on us a debt of obligation which we fear we can never repay. The life of this gentleman has been one of a very chequered description: he has undergone transitions—not from grave to gay, for he never was grave—not from lively to severe, for severity forms no part of his disposition; his fluctuations have been between poverty in the extreme & poverty modified, or, to use his own emphatic languages, between nothing to eat and just half enough. He is not as he forcibly remarks, "One of those fortunate men who if they were to dive under one side of a barge stark-naked, would come up on the other, with a new suit of clothes on, and a ticket for soup in the waistcoat pocket:" neither is he one of those, whose spirit has been broken beyond redemption by misfortune and want. He is just one of the careless, good-for-nothing, happy fellows, who float cork like on the surface, for the world to play at hockey with: knocked here and there and every where: now to the right, then to the left, again up in the air, and anon to the bottom, but always reappearing, and bounding with the stream, buoyantly and merrily along. Some few months before he was prevailed upon to stand a contested election for the office of beadle, necessity attached him to the service of a broker; and on the opportunities he here acquired of ascertaining the condition of most of the poorer inhabitants of the parish, his patron, the Captain, first grounded his claims to public support. Chance threw the man in our way a short time since. We were, in the first instance, attracted by his prepossessing impudence at the election; we were not surprised, on further acquaintance, to find him a shrewd knowing fellow, with no inconsiderable power of observation, and after conversing with him a little, were somewhat struck (as we dare say our readers have frequently been in other cases) with the power some men seem to have, not only of sympathizing with, but to all appearance of understanding feelings, to which they themselves are entire strangers. We had been expressing to the new functionary our surprise that he should ever have served in the capacity to which we have just adverted, when we gradually led him into one or two professional anecdotes. As are are induced to think on reflection that they will tell better, in nearly his own words, than with any attempted embellishments of our's, we will at once entitle them <div style="text-align: left;">                     MR. BUNG'S NARRATIVE. "It's very true, as you say Sir," Mr. Bung commenced, "that a broker's man's is not a life to envied; and in course you know as well as I do, though you don't say it, that people hate and scout 'em, because they're the Ministers of wretchedness, like, to poor people. But what could I do Sir? The thing was no worse, because I did it instead of somebody else, and if putting me in possession of a house, would put me in possession of three and sixpence a day, and levying a distress on another man's goods would relieve my distress and that of my family, it can't be expected but what I'd take the job and go through with it. I never liked it, God knows; I always looked out for something else, and the moment I got other work to do I left it, and if there is any thing wrong in being the agent in such matters—not the principal mind you—I'm sure the business, to a beginning like I was, at all events carries its own punishment along with it. I wished again and again that the people would only blow me up, or pitch into me—that I wouldn't have minded: it's all in my way: but it's the being shut up by yourself in one room for three days, without so much as an old newspaper to look at, or any thing to see out o' the winder but the roofs and chimnies at the back of the house, or any thing to listen to but the ticking perhaps of an old Dutch clock, the sobbing of the missis now and then, the low talking of friends in the next room, who speak in whispers, lest "the man" should over-hear them, or perhaps the occasional opening of the door, as a child peeps in to look at you, and then runs half frightened away.—It's all this that makes you feel sneaking somehow, and ashamed of yourself; and then if it's winter time they just give you fire enough to make you think you'd like more, and bring in your grub as if they wish it u'd choke you—as I dare say they do, for the matter of that, most heartily. If they're very civil, they make you up a bed in the room at night; and if they don't, your master sends one in for you; but there you are, without being washed or shaved all the time, shunned by every body and spoken to by no one unless some one comes in at dinner time, and asks you whether you want any more, in a tone as much to say, "I hope you don't;" or, in the evening, to inquire whether you wouldn't rather have a candle, after you've been sitting in the dark half the night. When I was left in this way, I used to sit think, think, thinking, till I felt as lonesome as a kitten in a wash-house copper with the lid on; but I believe the old brokers' men, who are regularly trained to it, never think at all. I have heard some on 'em say, indeed, that they don't know how!  "I put in a good many distresses in my time (continued Mr. Bung), and in course I wasn't long in finding that some people are not as much to be pitied as others are, and that people with good incomes, who get into difficulties, which they keep patching up day after day, and week after week, get so used to these sorts of things in time, that at last they come scarcely to feel them at all. I remember the very first place I was put in possession of was a gentleman's house in this parish here, that every body would suppose couldn't help having money if he tried. I went with old Fixem, my old master, 'bout half-arter eight in the morning, rang the area-bell, servant in livery opened the door; 'Governor at home?'—'Yes, he is,' says the man; 'but he's a breakfasting just now'—'Never mind,' says Fixem, 'just you tell him there's a gentleman here as wants to speak to him partickler." So the servant he opens his eyes, and stares about him all ways—looking for the gentleman, as it struck me; for I don't think anybody but a man as was stone-blind would mistake Fixem for one; and as for me, I was as seedy as a cheap cowcumber. Hows'ever he turns round and goes to the breakfast-parlour, which was a little snug sort of room at the end of the passage, and Fixem (as we always did in that profession) without waiting to be announced, walks in arter him; and before the servant could get out—'Please Sir, here's a man as wants to speak to you'—looks in at the door as familiar and pleasant as may be. 'Who the devil are you: and how dare you walk into a gentleman's house without leave?'—says the master, as fierce as a bull in fits—'My name,' says Fixem, winking at the master to send the servant away, and putting the warrant into his hands folded up like a note, 'My name's Smith,' says he,' and I called from Johnson's about that business of Thompson's.'—'Oh,' says the other, quite down upon him directly, 'How is Thompson?' says he.—'Pray sit down, Mr. Smith: John—leave the room.'— Out went the servant, and the gentleman and Fixem looked at one another till they couldn't look any longer, and then they varied the amusement by looking at me, who had been standing on the mat all this time.—'Hundred and fifty pounds, I see,' said the gentleman at last.—'Hundred and fifty pound,' said Fixem 'besides cost of levy, sheriff's poundage, and all other incidental expenses.' 'Um,' says the gentleman, 'I shan't be able to settle this before to-morrow afternoon.'—'Very sorry; but I shall be obliged to leave my man here till then,' replies Fixem, pretending to look very miserably over it. 'That's very unfortunate,' said the gentleman, 'for I've got a large party here to-night; and I'm ruined if those fellows of mine get an inkling of the matter.—Just step here, Mr. Smith,' says he, after a short pause; so Fixem walks with him up to the window, and after a good deal o' whispering, and a little chinking of suverins, and looking at me, he comes back and says 'Bung: you're a handy fellow, and very honest I know. This gentleman wants an assistant to clean the plate and wait at table today; and if you're not particularly engaged,' says old Fixem, grinning like mad, and shoving a couple of suverins into my hand, 'he'll be very glad to avail himself of your services.' Well, I laughed, and the gentleman laughed, and we all laughed; and I went home and cleaned myself, leaving Fixem there; and when I went back, Fixem went away, and I polished up the plate, and waited at table, and gammoned the servants, and nobody had the least idea I was in possession; though it very nearly came out after all: for one of the last gentlemen who remained, came down stairs into the hall where I was sitting pretty late at night, and putting half a crown in my hand says, 'Here, my man,' says he, 'run and get me a coach, will you?' I thought it was a do to get me out of the house, and was just going to say so, sulkily enough, when the gentleman (who was up to every thing) came running down stairs as if he was in great anxiety. 'Bung,' says he, pretending to be in a con-suming passion, 'Sir,' says I. 'Why the devil an't you looking after that plate?' says he. 'I was just going to send him or a coach for me,' says the other gentleman. 'And I was just a going to say,' says I,—'Any body else, my dear fellow,' interrupts the master of the house, pushing me down the passage to get me out of the way—'anybody else; but I have put this man in possession of all the plate and valuables, and I cannot allow him on any consideration whatever to leave the house. Bung, damn you, go and count those forks in the breakfast-parlour instantly.' You may be sure I went laughing pretty hearty when I found it was all right. The money was paid next day, with the addition of something else for myself, and that was the best job that I (and I suspect old Fixem too) ever got in that line."  "But this is the bright side of the picture, sir, after all," resumed Mr. Bung, laying aside the knowing look and flash air with which he had repeated the previous anecdote—"and I'm sorry to say it's the side one sees very—very seldom in comparison with the dark one. The civility which money will purchase is rarely extended to those who have none; and there's a consolation even in being able to patch up one difficulty to make way for another, to which very poor people are strangers. I was once put into a house down George's-yard—that little dirty court at the back of the gas-works; and I never shall forget the misery of them people, dear me. It was a distress for half a year's rent—two pound ten I think. There were only two rooms in the house, as there was no passage, the lodgers up stairs always went through the room of the people of the house, as they passed in and out, and every time they did so—which on average was about four times every quarter of an hour—they blowed up quite frightful: for their things had been seized too, and included in the inventory. There was a little piece of inclosed dust in front of the house, with a cinder path leading up to the door, and an open rain-water butt on one side. A dirty striped curtain on a very slack strong hung in the window, and a little triangular bit of broken looking-glass rested on the sill inside. I suppose it was meant for the people's use, but their appearance was so wretched and so miserable, that I'm certain they never could have plucked up courage to look themselves in the face a second time, if they survived the fright of doing so once. There was two or three chairs, that might have been worth, in their best days, from eight-pence to a shilling a-piece; a small deal table; an old corner cupboard, with nothing in it, and one of those bedsteads which turn up half way, and leave the bottom legs sticking out for you to knock your head against, or hang your hat upon; no bed, no bedding. There was an old sack, by way of rug, before the fire-place, and four or five children were grovelling about among the sand on the floor. The execution was only put in to get 'em out of the house, for there was nothing to take to pay the expenses; and here I stopped for three days, though that was a mere form too: for in course I knew, and we all knew, they could never pay the money. In one of the chairs by the side of the place where the fire ought to have been, was an old 'ooman—the ugliest and dirtiest I ever see—who sat rocking herself backwards and forwards, backwards and forwards without once stopping, except for an instant, now and then, to clasp together the withered hands which, with these exceptions, she kept constantly rubbing upon her knees, just raising and depressing her fingers convulsively, in time to the rocking of the chair. On the other side sat the mother with an infant in her arms which cried 'till it cried itself to sleep, and when it woke, cried 'till it cried itself off again. The old 'ooman's voice I never heard; she seemed completely stupified; and as to the mother's, it would have been better if she had  been so too; for misery changed her to a devil; if you had heard how she cursed the little naked children as was rolling on the floor, and seen how savagely she struck the infant when it cried with hunger, you'd have shuddered as much as I did. There they remained all the time: the children eat a morsel of bread once or twice, and I gave 'em best part of the dinners my missis brought me; but the women eat nothing: they never even laid down on the bedstead, nor was the room swept or cleaned all the time. The neighbours were all too poor themselves to take any notice of 'em; but what I could make out from the abuse of the woman up-stairs, it seemed the husband had been transported a few weeks before. When the time was up, the landlord and old Fixem too, got rather frightened about the family; and so they made a stir about it, and got 'em taken to the workhouse. They sent the sick couch for the old 'ooman; and Simmons took the children away at night. The old 'ooman went into the infirmary, and very soon died. The children are all in the house to this day, and very comfortable they are in comparison; as to the mother, there was no taming her at all. She had been a quiet, hard-working woman, I believe; but her misery had actually drove her wild; so after she had been sent to the House of Correction half a dozen times, for throwing inkstands at the overseers, blaspheming the churchwardens, and smashing every body as come near her, she burst a blood vessel one mornin', and died too—and a happy release it was, both for herself and the old paupers male and female, which she used to tip over in all directions, as if they were so many skittles, and she the ball.  "Now this was bad enough," resumed Mr. Bung, taking a half-step towards the door, as if to intimate that he had nearly concluded. "This was bad enough, but there was a sort of quiet misery—if you understand what I mean by that, Sir—about a lady at one house I was put into, as touched me a good deal more. It doesn't matter where it was exactly; indeed, I'd rather not say; but it was the same sort o'job. I went with Fixem in the usual way—there was a year's rent in arrear; a very small servant-girl opened the door, and three or four fine looking little children was in the front parlour we was shown into, which was very clean, but very scantily furnished, much like the children themselves. 'Bung,' says Fixem to me in a low voice when we were left alone for a minute, 'I know something about this here family, and my opinion is, it's no go.' 'Do you think they can't settle?' says I, quite anxiously: for I liked the looks of them children. Fixem shook his head, and was just about to reply when the door opened, and in come a lady as white as ever I see any one in my days, except about the eyes, which were red with crying. She walked in as firm as I could have done: shut the door carefully after her, and sat herself down with a face as composed as if it was made of stone. 'What is the matter, gentlemen,' says she, in a surprisin' steady voice. 'Is this an execution?' 'It is, Mum,' says Fixem. The lady looked at him as steady as ever; she didn't seem to have understood him. 'It is, Mum,' says Fixem again, 'this is my warrant of distress, Mum' says he, handing it over as polite as if it was a newspaper which had been bespoke arter the next gentleman. The lady's lip trembled as she took the printed paper. She cast her eye over it, and old Fixem began to explain the form, but I saw she wasn't reading it, plain enough, poor thing. 'Oh, my God!' says she, suddenly a-bursting out crying, letting the warrant fall, and hiding her fact in her hands. 'Oh, my God! what will become of us?' The noise she made brought in a young lady of about nineteen or twenty, who, I suppose, had been a-listening at the door: she'd got a little boy in her arms; she sat him down in the lady's l ap, without speaking, and she hugged the poor little fellow to her bosom and cried over him, till even old Fixem put on his blue spectacles to hide the two tears that was a trickling down, one on each side of his dirty face. 'Now, dear Ma,' says the young lady, 'you know how much you have borne. For all our sakes: for Pa's sake,' says the lady, 'don't give way to this!' 'No, no, I won't!' says the lady, gathering herself up hastily and drying her eyes; 'I am very foolish, but I'm better now—much better.' And then she roused herself up; went with us into every room while we took the inventory; opened all the drawers of her own accord; sorted the children's little clothes to make the work easier; and, except doing everything in a strange sort of hurry, seemed as calm and composed as if nothing had happened. When we came down stairs again, she hesitated a minute or two, and at last says, 'Gentleman,' says she, 'I am afraid I have done wrong, and perhaps it may bring you into trouble. I secreted just now,' she says, 'the only trinket I have left in the world— here it is.' So she lays down on the table a little miniature mounted in gold. 'It's a miniature,' she says, 'of my poor dear father! I little thought, once that I should ever thank God for depriving me of the original; but I do, and have done for years back, most fervently. Take it away, sir,' she says, 'it's a face that never turned from me in sickness or distress, and I can hardly bear to turn from it now, when, God knows, I suffer both in no ordinary degree.'—I couldn't say nothing, but I raised my head from the inventory which I was filling up, and looked at Fixem; the old fellow nodded to me significantly; so I ran my pen through the 'Mini' - I had just written, and left the miniature on the table.  "Well, sir, to make short of a long story, I was left in possession, and in possession I remained; and though I was an ignorant man, and the master of the house a clever one, I saw what he never did, but what he would give worlds now (if he had 'em) to have seen in time. I saw, sir, that his wife was wasting away beneath cares of which she never complained, and griefs she never told. I saw that she was dying before his eyes: I knew that an exertion from him might have saved her; but he never made it. I don't blame him: I don't think he could rouse himself. She had for so long anticipated all his wishes, and acted for him, that he was a lost man when left to himself. I used to think when I caught sight of her, in the clothes she used to wear, which looked shabby even upon her, and would have been scarcely decent on any one else, that if I was a gentleman it would wring my very heart to see the woman that was a smart and merry girl when I courted her, so altered through her love for me. Bitter cold and damp weather it was; yet though her dress was thin, and her shoes none of the best, during the whole three days, from morning to night, she was out of doors running about to try and raise the money. The money was raised, and the execution was paid out. The whole family crowded into the room where I was when the money arrived. The father was quiet happy as the inconvenience was removed—I dare say he didn't know how—the children looks merry and cheerful again; the eldest girl was bustling about making preparations for the first comfortable meal they had had since the distress was put in—and the mother looked pleased to see them all so; but if ever I saw death in a woman's face, I saw it in her's, that night. "I was right, sir," concluded Mr. Bung, hurriedly passing his coat-sleeve over his face. "The family grew more prosperous, and good fortune arrived. But it was too late. Those children are motherless now, and their father would give up all that he has since gained—house, home, goods, money; all that he has, or ever can have to restore the wife he has lost. (To be continued.)</div> https://www.dickenssearch.com/files/original/5/Sketches_of_London_No._XIX_Private_Theatres/1835-08-11_The_Evening_Chronicle_Sketches_of_London_No._XIX_Private_Theatres.pdf 3e60bf5dffd9cedc6678b2df000a38b3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Evening Chronicle Pseudonym The name under which the item was published BOZ Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18350811 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. "RICHARD THE THIRD. DUKE OF GLO’STER 2l. EARL OF RICHMOND, 1l. DUKE OF BUCKINGHAM, 15s. CATESBY, 12s. TRESSEL, 10s. 6d. LORD STANLEY, 5s. LORD MAYOR OF LONDON, 2s. 6d." Such are the written placards wafered up in the gentlemen’s dressing-room or the green-room (where there is any) at a private theatre; and such are the sums extracted from the shop-till, or overcharged in the office expenditure, by the idiotic donkies who are prevailed upon to pay for permission to exhibit their lamentable ignorance and boobyism on the stage of a private theatre. This they do, in proportion to the scope afforded by the character for the display of their imbecility. For instance, the Duke of Glo’ster's well worth two pounds, because he has it all to himself, must wear a real sword, and what is better still, must draw it several times in the course of the piece. The soliloquies alone are well worth fifteen shillings; then ther's the stabbing King Henry—decidedly cheap at three and sixpence; that’s eighteen and sixpence; bullying the coffin-bearers—say eighteen pence, though it’s worth much more—that’s a pound. Then the love scene with Lady Anne, and the bustle of the fourth act can’t be dear at ten shillings more—that’s only one pound ten, including the "off with his head!"—which is sure to bring down the applause, and it is very easy to do—"Orf with is ed" (very quick and loud, then slow and sneeringly)—"So much for Bu-u-u-uckingham!;" lay the emphasis on the "uck;" get yourself gradually into a corner, and work with your right hand while your’e saying it, as if you were feeling your way; and its sure to do. The tent scene is confessedly worth half-a-sovereign, and so you have the fight in, gratis; and everybody knows what an effect may be produced by a good combat. One—two— three—four—over; then, one—two—three—four— under; then thrust; then dodge and slide about; then fall down on one knee; then get up again and stagger. You may keep on doing this, as long as it seems to take—say ten minutes—and then fall down (backwards, if you can manage it without hurting yourself), and die game. Nothing like it for producing an effect. They always do it at Astley’s and Sadler’s Wells, and if they don’t know how to do this sort of thing, who in the world does? A small child or a female in white increases the interest of a combat materially—indeed we don't think a regular legitimate terrific broad-sword combat could be done without; but it would be rather difficult, and somewhat unusual, to introduce this effect in the last scene of Richard the Third; so the only thing to be done is, just to make the best of a bad bargain, and be as long as possible fighting it out. The principal patrons of private theatres are dirty boys; low copying-clerks, in attornies’ offices; capacious headed youths from city counting-houses; Jews, whose business, as lenders of fancy dresses, is a sure passport to the amateur stage; shop-boys who now and then mistake their masters’ money for their own; and a choice miscellany of idle vagabonds. The proprietor of a private theatre may be an ex-scene painter, a low coffee-house keeper, a disappointed eighth-rate actor, a Chancery officer, a retired smuggler, or uncertificated bankrupt. The theatre itself may be in Catherine-street, Strand, the purlieus of the city, the neighbourhood of Gray’s-inn-lane, or the vicinity of Sadler’s-wells; or it may, perhaps, form the chief nuisance of some shabby street, on the Surrey side of Waterloo bridge. The lady performers pay nothing for their characters, and it is needless to add, are usually selected from one class of society; and the audiences are necessarily of much the same character as the performers, who receive in return for their contributions to the management tickets to the amount of the money they pay. All the minor theatres in London, especially the lowest, constitute the centre of a little stage-struck neighbourhood. Each of them has an audience exclusively its own, and at any you will see dropping into the pit at half-price, or swaggering into the back of a box, if the price of admission be a reduced one, divers boys of from 15 to 21 years of age, who throw back their coats, and turn up their wristbands, after the portraits of Count D’Orsay, hum tunes and whistle when the curtain is down, by way of persuading the people near them that they are not at all anxious to have it up again, and speak familiarly of the inferior performers as Bill Such-a-one, and Ned So-and-so, or tell each other how a new piece called The Unknown Bandit of the Invisible Cavern is in rehearsal; how Mister Palmer is to play The Unknown Bandit; how Charley Scarton is to take the part of an English sailor, and fight a broad-sword combat with six unknown bandits at one and the same time (one theatrical sailor is always equal to half a dozen men at least); how Mister Palmer and Charley Scarton are to go through a double hornpipe in fetters in the second act; how the interior of the invisible cavern is to occupy the whole extent of the stage, and other town—surprising theatrical announcements. These are your amateurs—these are the Richards, Shylocks, Beverleys, and Othellos—the Young Dorntons, Rovers, Captain Absolutes, and Charles Surfaces—of a private theatre. See them at the neighbouring public-house or the theatrical coffee-shop! Why, they're the kings of the place, supposing no real performers to be present; and roll-about, hats on one side, and arms a-kimbo, as if they had actually come into possession of eighteen shillings a week, and a share of a ticket night. If one of them does but know an Astley’s supernumerary he is a happy fellow. Look at that youth. You must have remarked the mingled air of envy and admiration with which his companions will regard him as he converses familiarly with the mouldy-looking man in a fancy neck-kerchief, whose partially corked eyebrows, and half rouged face, testify to the fact of his having just left the stage or the circle. Observe the indignation with which the man of mouldy appearance points to a newspaper of the day, and the perplexed air with which, after upsetting his half pint of coffee over that dirty scrap of paper, and then wiping it with his still dirtier pocket-handkerchief, his amateur friend attempts to scrawl a note, apparently to the editor. Poor creature! his visions of orthography are of the wildest; and he tortures pot-hooks into forms as distorted and unnatural as those into which his mouldy companion's unfortunate frame was twisted, when he first took lessons in the art of tumbling! With the double view of guarding against the discovery of friends or employers, and enhancing the interest of an assumed character, by attaching a high-sounding name to its representative, these geniuses assume fictitious cognomens, which are not the least amusing part of the play-bill of a private theatre. Belville, Melville, Treville, Berkeley, Randolph, Byron, St. Clair, and so forth, are among the humblest; and the less-imposing titles of Jenkins, Walker, Thompson, Huggins, Barker, Solomons, &c., are completely laid aside. There is something imposing in this, and it's an excellent apology for shabbiness into the bargain. A shrunken, faded coat, a decayed hat, a patched and soiled pair of trowsers—nay even a very dirty shirt (and none of these appearances are very uncommon among the members of the corps dramatique), may be worn for the purpose of disguise, and to prevent the remotest chance of recognition. Then it prevents any troublesome inquiries or explanations about employment and pursuits: everybody is a gentleman at large for the occasion, and there are none of those unpleasant and unnecessary distinctions to which even genius must occasionally succumb elsewhere. As to the ladies (God bless 'em) they're quite above any formal absurdities, the mere circumstance of your being behind the scenes is a sufficient introduction to their society—for of course they know that none but strictly respectable persons would be admitted into that close fellowship with them, which acting engenders. They place implicit reliance on the manager, no doubt; and, as to the manager, he is all affability when he knows you well,—or, in other words, when he has pocketed your money once, and entertains confident hopes of doing so again. A quarter before eight—There'll be a full house to-night—six parties in the boxes already; four little boys and a woman in the pit; and two fiddles and a flute in the orchestra, who have got through five overtures since seven o’clock (the hour fixed for the commencement of the performances) and have just begun the sixth. There'll be plenty of it though when it does begin, for there is enough in the bill to last six hours at least. That gentleman in the white hat and checked shirt, brown coat and brass buttons, lounging behind the stage-box on the O. P. side, is Mr. Horatio St. Julien, alias Jem Larkins. His line is genteel comedy—his father’s coal and tatur. He does Alfred Highflyer in the last piece, and very well he’ll do it—at the price. The party of gentlemen in the opposite box, to whom he has just nodded, are friends and supporters of Mr. Beverley (otherwise Loggins), the Macbeth of the night. You observe their attempts to appear easy and gentlemanly; each member of the party, with his feet cocked up on the cushion in front of the box? They let 'em do these things here upon the same humane principle which permits poor people’s children to knock double knocks at the door of an empty house—because they can’t do it anywhere else. The two stout men in the centre box, with an opera-glass ostentatiously placed before them, are friends of the proprietor's—opulent country managers, as he confidentially informs every individual among the crew behind the curtain— opulent country managers looking out for recruirts, a representation which Mr. Nathan the dresser, who is in the manager’s interest, and has just arrived with the costumes, offers to confirm upon oath if required—corroborative evidence, however, is quite unnecessary, for the gulls believe it at once. The stout Jewess who has just entered is the mother of the pale bony little girl with the necklace of blue glass beads, sitting by her. She is being brought up to "the profession." Patomime is to be her line, and she's coming out to-night, in a hornpipe after the tragedy. The short thin man beside Mr. St. Julien, whose white face is deeply seared with the small-pox, and whose dirty shirt front is inlaid with open work, and embossed with coral studs like Lady Bird's, is the low comedian and comic singer of the establishment. The remainder of the audience—a tolerably numerous one by this time—are a motley group of dupes and blackguards. The foot-lights have just made their appearance: the wicks of the six little oil lamps round the only tier of boxes are being turned up, and the additional light thus afforded serves to show the presence of dirt and absence of paint, which forms a prominent feasure in the audience part of the house. As these preparations, however, announce the speedy commencement of the play, let us take a peep "behind," previous to the ringing-up. The little narrow passages beneath the stage are neither especially clean, nor too brilliantly lighted; and the absence of any flooring, together with the damp, mildewy smell which pervades the places, does not conduce in any great degree to their comfortable appearance. Don’t fall over this plate basket—it’s one of the "properties"—the cauldron for the witches’ cave; and the three uncouth-looking figures with broken clothes-props in their hands, who are drinking gin and water out of a pint pot, are the weird sisters. This miserable room, lighted by candles in sconces placed at lengthened intervals round the wall, is the dressing-room common to the gentlemen performers, and the square hole in the ceiling is the trap door of the stage above. You will observe that the ceiling is ornamented with the beams that support the boards, and tastefully hung with cob-webs. The characters in the tragedy are all dressed, and their own clothes are scattered in hurried confusion over the wooden dresser which surrounds the room. That snuff-shop-looking figure in front of the glass is Banquo, and the young lady with the liberal display of legs, who is kindly painting his face with a hare’s foot, is dressed for Fleance. The large woman who is consulting the stage directions in Cumberland’s edition of Macbeth, is the Lady Macbeth of the night—she is always selected to play the part, because she's tall and stout, and looks a little like Mrs. Siddons—at a considerable distance. That stupid-looking milksop with light hair and bow legs—a kind of man whom you can warrant town-made—is fresh caught; he plays Malcolm to-night, just to accustom himself to an audience. He'll get on by degrees; he'll play Othello in a month, and in a month more will very probably be apprehended on a charge of embezzlement. The black-eyed female with whom he is talking so earnestly, is dressed for the "gentlewoman." It's her first appearance, too—in that character. The boy of fourteen, who is having his eyebrows smeared with soap and whitening, is Duncan, King of Scotland; and the two dirty men with the corked countenances, in very old green tunics and dirty drab boots, are the "army." "Look sharp below there, gents," exclaims the dresser, a red-headed and red-whiskered Jew, calling through the trap, "they’re a-going to ring up. The flute says he’ll be blowed if he plays any more, and they’re getting precious noisy in front." A general rush immediately takes place to the half dozen little steep steps leading to the stage, and the heterogeneous group are soon assembled at the side scenes in breathless anxiety and motley confusion. "Now," cries the manager, consulting the written list which hangs behind the first P. S, wing, "Scene 1, open country—lamps down—thunder and lightning—all ready, White?" [this is addressed to one of the army]. "All ready"—"Very well, scene 2 - front chamber; is the front chamber down?" "Yes." "Very well—Jones."—[To the other army who is up in the flies:] "Hallo! Wind up the open country when we ring up." "I’ll take care," growls the elevated army.—"Scene 3, back perspective with practical bridge. Bridge ready, White? Got the tressels there?" "All right," responds the functionary. "Very well. Clear the stage," adds the manager, hastily packing every member of the company into the little space there is between the wings and the wall, and one wing and another. "Places, places, now then witches—Duncan—Malcolm—bloody officer—where’s that bloody officer?"—"Here!" replies the officer, who has been rose-pinking for the character. "Get ready, then; now, White, ring the second music bell." The actors who are to be discovered are hastily arranged, and the actors who are not to be discovered place themselves, in their anxiety to peep at the house, just where the whole audience can see them. The bell rings, and the orchestra, in acknowledgment of the call, play three distinct chords. The bell rings again, the tragedy (!) opens, and our description closes. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-08-11_The_Evening_Chronicle_Sketches_of_London_NoXIX_Private_Theatres.xml" target="_blank" rel="noopener">'Sketches of London, No. XIX, Private Theatres.' The Evening Chronicle (11 August 1835).</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'Sketches of London, No. XIX, Private Theatres' Description An account of the resource Published in The Evening Chronicle (11 August 1835). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350811/016/0003" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350811/016/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-08-11 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-08-11_The_Evening_Chronicle_Sketches_of_London_NoXIX_Private_Theatres Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Sketches of London, No. XIX, Private Theatres' (11 August 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/short-stories/1835-08-11_The_Evening_Chronicle_Sketches_of_London_NoXIX_Private_Theatres">https://dickenssearch.com/short-stories/1835-08-11_The_Evening_Chronicle_Sketches_of_London_NoXIX_Private_Theatres</a>. Scripto Transcription A written representation of a document. "RICHARD THE THIRD. DUKE OF GLO’STER 2l. EARL OF RICHMOND, 1l. DUKE OF BUCKINGHAM, 15s. CATESBY, 12s. TRESSEL, 10s. 6d. LORD STANLEY, 5s. LORD MAYOR OF LONDON, 2s. 6d." Such are the written placards wafered up in the gentlemen’s dressing-room or the green-room (where there is any) at a private theatre; and such are the sums extracted from the shop-till, or overcharged in the office expenditure, by the idiotic donkies who are prevailed upon to pay for permission to exhibit their lamentable ignorance and boobyism on the stage of a private theatre. This they do, in proportion to the scope afforded by the character for the display of their imbecility. For instance, the Duke of Glo’ster's well worth two pounds, because he has it all to himself, must wear a real sword, and what is better still, must draw it several times in the course of the piece. The soliloquies alone are well worth fifteen shillings; then ther's the stabbing King Henry—decidedly cheap at three and sixpence; that’s eighteen and sixpence; bullying the coffin-bearers—say eighteen pence, though it’s worth much more—that’s a pound. Then the love scene with Lady Anne, and the bustle of the fourth act can’t be dear at ten shillings more—that’s only one pound ten, including the "off with his head!"—which is sure to bring down the applause, and it is very easy to do—"Orf with is ed" (very quick and loud, then slow and sneeringly)—"So much for Bu-u-u-uckingham!;" lay the emphasis on the "uck;" get yourself gradually into a corner, and work with your right hand while your’e saying it, as if you were feeling your way; and its sure to do. The tent scene is confessedly worth half-a-sovereign, and so you have the fight in, gratis; and everybody knows what an effect may be produced by a good combat. One—two— three—four—over; then, one—two—three—four— under; then thrust; then dodge and slide about; then fall down on one knee; then get up again and stagger.  You may keep on doing this, as long as it seems to take—say ten minutes—and then fall down (backwards, if you can manage it without hurting yourself), and die game. Nothing like it for producing an effect. They always do it at Astley’s and Sadler’s Wells, and if they don’t know how to do this sort of thing, who in the world does? A small child or a female in white increases the interest of a combat materially—indeed we don't think a regular legitimate terrific broad-sword combat could be done without; but it would be rather difficult, and somewhat unusual, to introduce this effect in the last scene of Richard the Third; so the only thing to be done is, just to make the best of a bad bargain, and be as long as possible fighting it out. The principal patrons of private theatres are dirty boys; low copying-clerks, in attornies’ offices; capacious headed youths from city counting-houses; Jews, whose business, as lenders of fancy dresses, is a sure passport to the amateur stage; shop-boys who now and then mistake their masters’ money for their own; and a choice miscellany of idle vagabonds. The proprietor of a private theatre may be an ex-scene painter, a low coffee-house keeper, a disappointed eighth-rate actor, a Chancery officer, a retired smuggler, or uncertificated bankrupt. The theatre itself may be in Catherine-street, Strand, the purlieus of the city, the neighbourhood of Gray’s-inn-lane, or the vicinity of Sadler’s-wells; or it may, perhaps, form the chief nuisance of some shabby street, on the Surrey side of Waterloo bridge. The lady performers pay nothing for their characters, and it is needless to add, are usually selected from one class of society; and the audiences are necessarily of much the same character as the performers, who receive in return for their contributions to the management tickets to the amount of the money they pay. All the minor theatres in London, especially the lowest, constitute the centre of a little stage-struck neighbourhood. Each of them has an audience exclusively its own, and at any you will see dropping into the pit at half-price, or swaggering into the back of a box, if the price of admission be a reduced one, divers boys of from 15 to 21 years of age, who throw back their coats, and turn up their wristbands, after the portraits of Count D’Orsay, hum tunes and whistle when the curtain is down, by way of persuading the people near them that they are not at all anxious to have it up again, and speak familiarly of the inferior performers as Bill Such-a-one, and Ned So-and-so, or tell each other how a new piece called The Unknown Bandit of the Invisible Cavern is in rehearsal; how Mister Palmer is to play The Unknown Bandit; how Charley Scarton is to take the part of an English sailor, and fight a broad-sword combat with six unknown bandits at one and the same time (one theatrical sailor is always equal to half a dozen men at least); how Mister Palmer and Charley Scarton are to go through a double hornpipe in fetters in the second act; how the interior of the invisible cavern is to occupy the whole extent of the stage, and other town—surprising theatrical announcements. These are your amateurs—these are the Richards, Shylocks, Beverleys, and Othellos—the Young Dorntons, Rovers, Captain Absolutes, and Charles Surfaces—of a private theatre. See them at the neighbouring public-house or the theatrical coffee-shop! Why, they're the kings of the place, supposing no real performers to be present; and roll-about, hats on one side, and arms a-kimbo, as if they had actually come into possession of eighteen shillings a week, and a share of a ticket night. If one of them does but know an Astley’s supernumerary he is a happy fellow. Look at that youth. You must have remarked the mingled air of envy and admiration with which his companions will regard him as he converses familiarly with the mouldy-looking man in a fancy neck-kerchief, whose partially corked eyebrows, and half rouged face, testify to the fact of his having just left the stage or the circle. Observe the indignation with which the man of mouldy appearance points to a newspaper of the day, and the perplexed air with which, after upsetting his half pint of coffee over that dirty scrap of paper, and then wiping it with his still dirtier pocket-handkerchief, his amateur friend attempts to scrawl a note, apparently to the editor. Poor creature! his visions of orthography are of the wildest; and he tortures pot-hooks into forms as distorted and unnatural as those into which his mouldy companion's unfortunate frame was twisted, when he first took lessons in the art of tumbling! With the double view of guarding against the discovery of friends or employers, and enhancing the interest of an assumed character, by attaching a high-sounding name to its representative, these geniuses assume fictitious cognomens, which are not the least amusing part of the play-bill of a private theatre. Belville, Melville, Treville, Berkeley, Randolph, Byron, St. Clair, and so forth, are among the humblest; and the less-imposing titles of Jenkins, Walker, Thompson, Huggins, Barker, Solomons, &c., are completely laid aside. There is something imposing in this, and it's an excellent apology for shabbiness into the bargain. A shrunken, faded coat, a decayed hat, a patched and soiled pair of trowsers—nay even a very dirty shirt (and none of these appearances are very uncommon among the members of the corps dramatique), may be worn for the purpose of disguise, and to prevent the remotest chance of recognition. Then it prevents any troublesome inquiries or explanations about employment and pursuits: everybody is a gentleman at large for the occasion, and there are none of those unpleasant and unnecessary distinctions to which even genius must occasionally succumb elsewhere. As to the ladies (God bless 'em) they're quite above any formal absurdities, the mere circumstance of your being behind the scenes is a sufficient introduction to their society—for of course they know that none but strictly respectable persons would be admitted into that close fellowship with them, which acting engenders. They place implicit reliance on the manager, no doubt; and, as to the manager, he is all affability when he knows you well,—or, in other words, when he has pocketed your money once, and entertains confident hopes of doing so again. A quarter before eight—There'll be a full house to-night—six parties in the boxes already; four little boys and a woman in the pit; and two fiddles and a flute in the orchestra, who have got through five overtures since seven o’clock (the hour fixed for the commencement of the performances) and have just begun the sixth. There'll be plenty of it though when it does begin, for there is enough in the bill to last six hours at least. That gentleman in the white hat and checked shirt, brown coat and brass buttons, lounging behind the stage-box on the O. P. side, is Mr. Horatio St. Julien, alias Jem Larkins. His line is genteel comedy—his father’s coal and tatur. He does Alfred Highflyer in the last piece, and very well he’ll do it—at the price. The party of gentlemen in the opposite box, to whom he has just nodded, are friends and supporters of Mr. Beverley (otherwise Loggins), the Macbeth of the night. You observe their attempts to appear easy and gentlemanly; each member of the party, with his feet cocked up on the cushion in front of the box? They let 'em do these things here upon the same humane principle which permits poor people’s children to knock double knocks at the door of an empty house—because they can’t do it anywhere else. The two stout men in the centre box, with an opera-glass ostentatiously placed before them, are friends of the proprietor's—opulent country managers, as he confidentially informs every individual among the crew behind the curtain— opulent country managers looking out for recruirts, a representation which Mr. Nathan the dresser, who is in the manager’s interest, and has just arrived with the costumes, offers to confirm upon oath if required—corroborative evidence, however, is quite unnecessary, for the gulls believe it at once. The stout Jewess who has just entered is the mother of the pale bony little girl with the necklace of blue glass beads, sitting by her. She is being brought up to "the profession."  Patomime is to be her line, and she's coming out to-night, in a hornpipe after the tragedy. The short thin man beside Mr. St. Julien, whose white face is deeply seared with the small-pox, and whose dirty shirt front is inlaid with open work, and embossed with coral studs like Lady Bird's, is the low comedian and comic singer of the establishment. The remainder of the audience—a tolerably numerous one by this time—are a motley group of dupes and blackguards. The foot-lights have just made their appearance: the wicks of the six little oil lamps round the only tier of boxes are being turned up, and the additional light thus afforded serves to show the presence of dirt and absence of paint, which forms a prominent feasure in the audience part of the house.  As these preparations, however, announce the speedy commencement of the play, let us take a peep "behind," previous to the ringing-up. The little narrow passages beneath the stage are neither especially clean, nor too brilliantly lighted; and the absence of any flooring, together with the damp, mildewy smell which pervades the places, does not conduce in any great degree to their comfortable appearance. Don’t fall over this plate basket—it’s one of the "properties"—the cauldron for the witches’ cave; and the three uncouth-looking figures with broken clothes-props in their hands, who are drinking gin and water out of a pint pot, are the weird sisters. This miserable room, lighted by candles in sconces placed at lengthened intervals round the wall, is the dressing-room common to the gentlemen performers, and the square hole in the ceiling is the trap door of the stage above. You will observe that the ceiling is ornamented with the beams that support the boards, and tastefully hung with cob-webs. The characters in the tragedy are all dressed, and their own clothes are scattered in hurried confusion over the wooden dresser which surrounds the room. That snuff-shop-looking figure in front of the glass is Banquo, and the young lady with the liberal display of legs, who is kindly painting his face with a hare’s foot, is dressed for Fleance. The large woman who is consulting the stage directions in Cumberland’s edition of Macbeth, is the Lady Macbeth of the night—she is always selected to play the part, because she's tall and stout, and looks a little like Mrs. Siddons—at a considerable distance. That stupid-looking milksop with light hair and bow legs—a kind of man whom you can warrant town-made—is fresh caught; he plays Malcolm to-night, just to accustom himself to an audience. He'll get on by degrees; he'll play Othello in a month, and in a month more will very probably be apprehended on a charge of embezzlement. The black-eyed female with whom he is talking so earnestly, is dressed for the "gentlewoman." It's her first appearance, too—in that character. The boy of fourteen, who is having his eyebrows smeared with soap and whitening, is Duncan, King of Scotland; and the two dirty men with the corked countenances, in very old green tunics and dirty drab boots, are the "army." "Look sharp below there, gents," exclaims the dresser, a red-headed and red-whiskered Jew, calling through the trap, "they’re a-going to ring up. The flute says he’ll be blowed if he plays any more, and they’re getting precious noisy in front." A general rush immediately takes place to the half dozen little steep steps leading to the stage, and the heterogeneous group are soon assembled at the side scenes in breathless anxiety and motley confusion. "Now," cries the manager, consulting the written list which hangs behind the first P. S, wing, "Scene 1, open country—lamps down—thunder and lightning—all ready, White?" [this is addressed to one of the army]. "All ready"—"Very well, scene 2 - front chamber; is the front chamber down?" "Yes." "Very well—Jones."—[To the other army who is up in the flies:] "Hallo! Wind up the open country when we ring up." "I’ll take care," growls the elevated army.—"Scene 3, back perspective with practical bridge. Bridge ready, White? Got the tressels there?" "All right," responds the functionary. "Very well. Clear the stage," adds the manager, hastily packing every member of the company into the little space there is between the wings and the wall, and one wing and another. "Places, places, now then witches—Duncan—Malcolm—bloody officer—where’s that bloody officer?"—"Here!" replies the officer, who has been rose-pinking for the character. "Get ready, then; now, White, ring the second music bell." The actors who are to be discovered are hastily arranged, and the actors who are not to be discovered place themselves, in their anxiety to peep at the house, just where the whole audience can see them. The bell rings, and the orchestra, in acknowledgment of the call, play three distinct chords. The bell rings again, the tragedy (!) opens, and our description closes. https://www.dickenssearch.com/files/original/5/Sketches_of_London_No._XX_Our_Parish_[V]/1835-08-20_The_Evening_Chronicle_Sketches_of_London_Our_Parish_No.XX.pdf 275e6d7585f55cd074531029d02acf5e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Evening Chronicle Pseudonym The name under which the item was published BOZ Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18350820 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. Our Parish is very prolific in ladies’ charitable societies. In winter, when wet feet are common and colds not scarce, we have the ladies’ soup distribution society, the ladies’ coal distribution society, and the ladies’ blanket distribution society; in summer, when stone fruits flourish and stomach-aches prevail, we have the ladies’ dispensary, and the ladies’ sick visitation committee; and all the year round we have the ladies’ child’s examination society, the ladies’ bible and prayer-book circulation society, and the ladies’ child-bed linen monthly loan society. The two latter are decidedly the most important; whether they are productive of more benefit than the rest is not for us to say, but we can take upon ourselves to affirm, with the utmost solemnity, that they create a greater stir and more bustle than all the others put together. We should be disposed to say, on the first blush of the matter, that the bible and prayer-book society is not so popular as the child-bed linen society; the bible and prayer-book society has, however, considerably increased in importance within the last year or two; having derived some adventitious aid from the factious opposition of the child’s examination society, which factious opposition originated in manner following:—When the young curate was popular, and all the unmarried ladies in the parish took a serious turn, the charity children all at once became objects of peculiar and especial interest. The three Miss Browns (enthusiastic admirers of the curate) taught, and exercised, and examined, and re-examined the unfortunate children, until the boys grew pale, and the girls consumptive with study and fatigue. The three Miss Browns stood it out very well, because they relieved each other; but the children, having no relief at all, exhibited decided symptoms of weariness and care. The unthinking part of the parishioners laughed at all this, but the more reflective portion of the inhabitants abstained from expressing any opinion on the subject until that of the curate had been clearly ascertained. The opportunity was not long wanting. The curate preached a charity sermon on behalf of the charity school; and in the charity sermon aforesaid, expatiated in glowing terms on the praiseworthy and indefatigable exertions of certain estimable individuals. Sobs were heard to issue from the three Miss Browns’ pew; the pew opener of the division was seen to hurry down the centre aisle to the vestry door, and to return immediately, bearing a glass of water in her hand; a low moaning ensued; two more pew openers rushed to the spot, and the three Miss Browns, each supported by a pew opener, were led out of the church, and led in again after a lapse of five minutes with white pocket handkerchiefs to their eyes, as if they had been attending a funeral in the churchyard adjoining. If any doubt had for a moment existed, as to whom the allusion was intended to apply, it was at once removed. The wish to enlighten the charity children became universal, and the three Miss Browns were unanimously besought to divide the school into classes, and to assign each class to the superintendence of two young ladies. A little learning is a dangerous thing, but a little patronage is more so: the three Miss Browns appointed all the old maids, and carefully excluded the young ones. Maiden aunts triumphed: mammas were reduced to the lowest depths of despair; & there is no telling in what act of violence the general indignation against the three Miss Browns might have vented itself, had not a perfectly providential occurrence changed the tide of public feeling. Mrs. Johnson Parker, the mother of seven extremely fine girls—all unmarried—hastily reported to several other mamma's of several other unmarried families, that five old men, six old women, and children innumerable, in the free seats near her pew, were in the habit of coming to church every Sunday without either bible or prayer-book. Was this to be borne in a civilized country? Could such things be tolerated in a christian land? Never! A Ladies’ Bible and Prayer-book Distribution Society was instantly formed: President, Mrs. Johnson Parker; treasurers, auditors, and secretary, the Misses Johnson Parker: subscriptions were entered into; books were bought, all the free seat people provided therewith; and when the first lesson was given out on the first Sunday succeeding these events, there was such a dropping of books, and rustling of leaves, that it was morally impossible to hear one word of the service for five minutes afterwards. The three Miss Browns and their party saw the approaching danger, and endeavoured to avert it by ridicule and sarcasm. Neither the old men nor the old women could read their books now they had got em, said the three Miss Browns. Never mind; they could learn, replied Mrs. Johnson Parker. The children couldn’t read either, suggested the three Miss Browns. No matter; they could be taught, retorted Mrs. Johnson Parker. A balance of parties took place. The Miss Browns publicly examined—popular feeling inclined to the child’s examination society. The Miss Johnson Parkers' publicly distributed—a re-action took place in favour of the prayer-book distribution. A feather would have turned the scale, and a feather did turn it. A missionary returned from the West Indies; he was to be presented to the Dissenters’ Distribution Society on his marriage with a wealthy widow. Overtures were made to the Dissenters by the Johnson Parkers. Their object was the same, and why not have a joint meeting of the two societies? The proposition was accepted. The meeting was duly heralded by public announcement, and the room was crowded to suffocation. The missionary appeared on the platform; he was hailed with enthusiasm. He repeated a dialogue he had heard between two negroes behind a hedge, on the subject of distribution societies; he approbation was tumultuous. He gave an imitation of the two negroes in broken English; the roof was rent with applause. From that period we date (with one trifling exception) a daily increase in the popularity of the Distribution Society—an increase of popularity which the feeble and impotent opposition of the examination party has only tended to augment. Now, the great points about the Child-bed Linen Monthly Loan Society are, that it is less dependent on the fluctuations of public opinion than either the distribution or the child’s examination, and that come what may, there is never any lack of objects on which to exercise its benevolence. Our parish is a very populous one, and if anything, contributes, we should be disposed to say, rather more than its due share to the aggregate amount of births in the metropolis and its environs. The consequence is, that the Monthly Loan Society flourishes, and invests its members with a most enviable amount of bustling patronage. The society (whose only notion of dividing time, would appear to be its allotment into months) holds monthly tea-drinkings, at which the monthly report is received, a secretary elected for the month ensuing, and such of the monthly boxes as may not happen to be out on loan for the month, carefully examined. We were never present at one of these meetings, from all of which it is scarcely necessary to say, gentlemen are carefully excluded; but Mr. Bung has been called before the Board once or twice; and we have his authority for stating that its proceedings are conducted with great order and regularity, not more than four members being allowed to speak at one time on any pretence whatever. The regular committee is composed exclusively of married ladies, but a vast number of young unmarried ladies of from 18 to 25 years of age, respectively, are admitted as honorary members; partly because they are very useful in replenishing the boxes, and visiting the confined; partly because it is highly desirable that they should be initiated, at an early period, into the more serious and matronly duties of after life; and partly because prudent mammas have not unfrequently been known to turn this circumstance to wonderfully good account in matrimonial speculations. In addition to the loan of the monthly boxes (which are always painted blue, with the name of the society in large white letters on the lid), the society dispense occasional grants of beef tea, and a composition of warm beer, spice, eggs, and sugar, commonly known by the name of "caudle," to its patients. And here again the services of the honorary members are called into requisition, and most cheerfully conceded. Deputations of twos or threes are sent out to visit the patients, and on these occasions there is such a tasting of caudle and beef tea, such a stirring about of little messes in tiny saucepans on the hob, such a dressing and undressing of infants, such a tying and folding, and pinning, such a nursing and warming of little legs and feet before the fire, such a delightful confusion of talking and cooking, bustle, importance, and officiousness, as never can be enjoyed in its full extent but on similar occasions. In rivalry of these two institutions, and as a last expiring effort to acquire parochial popularity, the child’s examination people determined, the other day on having a grand public examination of the pupils; and the large school-room of the national seminary was, by and with the consent of the parish authorities, devoted to the purpose. Invitation circulars were forwarded to all the principal parishioners, including, of course, the heads of the other two societies, for whose especial behoof and edification the display was intended; and a large audience was confidently anticipated on the occasion. The floor was carefully scrubbed the day before, under the immediate superintendence of the three Miss Browns; forms were placed across the room for the accommodation of the visitors; specimens in writing were carefully selected, and as carefully patched and touched up, until they astonished the children who had written them, rather more than the company who read them; sums in compound addition were re-hearsed and re-hearsed until all the children had the totals by heart; and the preparations altogether were on the most laborious and most comprehensive scale. The morning arrived, the children were yellow-soaped, and flannelled, and towelled, 'til their faces shone again; every pupil’s hair was carefully combed into his or her eyes, as the case might be; the girls were adorned with snow-white tippets, and caps bound round the head by a single purple ribbon: the necks of the elder boys were fixed into collars of startling dimensions. The doors were thrown open and the Miss Browns and Co. were discovered in plain white muslin dresses and caps of the same —the child’s examination uniform. The room filled; the greetings of the company were loud and cordial; the distributionists trembled, for their popularity was at stake. The eldest boy fell forward, and delivered a propitiatory address from behind his collar. It was from the pen of Mr. Henry Brown; the applause was universal, and the Johnson Parkers were aghast. The examination proceeded with success, and terminated in triumph. The Child’s Examination Society gained a momentary victory, and the Johnson Parkers retreated in despair. A secret council of the distributionists was held that night—Mrs. Johnson Parker in the Chair—to consider of the best means of recovering the ground they had lost in the favour of the parish. What could be done? Another meeting! alas! who was to attend it? The Missionary would not do twice; and the slaves were emancipated. A bold step must be taken; the parish must be astonished in some way or other; but no one was able to suggest what the step should be. At length a very old lady was heard to mumble in indistinct tones, "Exeter Hall." A sudden light broke in upon the meeting. It was unanimously resolved that a deputation of old ladies should wait upon Mr. Somebody O'Something, a celebrated Catholic renegade and Protestant bigot, imploring his assistance, and the favour of a speech; and that the deputation should also wait on two or three other imbecile old women, not resident in the parish, and entreat their attendance. The application was successful; the meeting was held; the Irishman came: he talked of green isles - other shores—vast Atlantic—bosom of the deep—Christian charity—blood and extermination—mercy in hearts—arms in hands—altars and homes—household gods—wiped his eyes, blew his nose, and quoted Latin. The effect was tremendous—the Latin was a decided hit. Nobody knew exactly what it was about, but everybody knew it must be affecting, because even the orator was overcome. The popularity of the Distribution Society among the ladies of our parish is unprecedented; and the Child’s Examination is fast going to decay. [To be continued]. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-08-20_The_Evening_Chronicle_Sketches_of_London_NoXX_Our_ParishV.xml" target="_blank" rel="noopener">'Sketches of London, No. XX, Our Parish' (V). The Evening Chronicle (20 August 1835).</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'Sketches of London, No. XX, Our Parish' (V) Description An account of the resource Published in The Evening Chronicle (20 August 1835). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350820/022/0003" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350820/022/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-08-20 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-08-20_The_Evening_Chronicle_Sketches_of_London_NoXX_Our_ParishV Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Sketches of London, No. XX, Our Parish' (V) (20 August 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/short-stories/1835-08-20_The_Evening_Chronicle_Sketches_of_London_NoXX_Our_ParishV">https://dickenssearch.com/short-stories/1835-08-20_The_Evening_Chronicle_Sketches_of_London_NoXX_Our_ParishV</a>. Scripto Transcription A written representation of a document. Our Parish is very prolific in ladies’ charitable societies. In winter, when wet feet are common and colds not scarce, we have the ladies’ soup distribution society, the ladies’ coal distribution society, and the ladies’ blanket distribution society; in summer, when stone fruits flourish and stomach-aches prevail, we have the ladies’ dispensary, and the ladies’ sick visitation committee; and all the year round we have the ladies’ child’s examination society, the ladies’ bible and prayer-book circulation society, and the ladies’ child-bed linen monthly loan society. The two latter are decidedly the most important; whether they are productive of more benefit than the rest is not for us to say, but we can take upon ourselves to affirm, with the utmost solemnity, that they create a greater stir and more bustle than all the others put together. We should be disposed to say, on the first blush of the matter, that the bible and prayer-book society is not so popular as the child-bed linen society; the bible and prayer-book society has, however, considerably increased in importance within the last year or two; having derived some adventitious aid from the factious opposition of the child’s examination society, which factious opposition originated in manner following:—When the young curate was popular, and all the unmarried ladies in the parish took a serious turn, the charity children all at once became objects of peculiar and especial interest. The three Miss Browns (enthusiastic admirers of the curate) taught, and exercised, and examined, and re-examined the unfortunate children, until the boys grew pale, and the girls consumptive with study and fatigue. The three Miss Browns stood it out very well, because they relieved each other; but the children, having no relief at all, exhibited decided symptoms of weariness and care. The unthinking part of the parishioners laughed at all this, but the more reflective portion of the inhabitants abstained from expressing any opinion on the subject until that of the curate had been clearly ascertained. The opportunity was not long wanting. The curate preached a charity sermon on behalf of the charity school; and in the charity sermon aforesaid, expatiated in glowing terms on the praiseworthy and indefatigable exertions of certain estimable individuals. Sobs were heard to issue from the three Miss Browns’ pew; the pew opener of the division was seen to hurry down the centre aisle to the vestry door, and to return immediately, bearing a glass of water in her hand; a low moaning ensued; two more pew openers rushed to the spot, and the three Miss Browns, each supported by a pew opener, were led out of the church, and led in again after a lapse of five minutes with white pocket handkerchiefs to their eyes, as if they had been attending a funeral in the churchyard adjoining. If any doubt had for a moment existed, as to whom the allusion was intended to apply, it was at once removed. The wish to enlighten the charity children became universal, and the three Miss Browns were unanimously besought to divide the school into classes, and to assign each class to the superintendence of two young ladies. A little learning is a dangerous thing, but a little patronage is more so: the three Miss Browns appointed all the old maids, and carefully excluded the young ones. Maiden aunts triumphed: mammas were reduced to the lowest depths of despair; & there is no telling in what act of violence the general indignation against the three Miss Browns might have vented itself, had not a perfectly providential occurrence changed the tide of public feeling. Mrs. Johnson Parker, the mother of seven extremely fine girls—all unmarried—hastily reported to several other mamma's of several other unmarried families, that five old men, six old women, and children innumerable, in the free seats near her pew, were in the habit of coming to church every Sunday without either bible or prayer-book. Was this to be borne in a civilized country? Could such things be tolerated in a christian land? Never! A Ladies’ Bible and Prayer-book Distribution Society was instantly formed: President, Mrs. Johnson Parker; treasurers, auditors, and secretary, the Misses Johnson Parker: subscriptions were entered into; books were bought, all the free seat people provided therewith; and when the first lesson was given out on the first Sunday succeeding these events, there was such a dropping of books, and rustling of leaves, that it was morally impossible to hear one word of the service for five minutes afterwards. The three Miss Browns and their party saw the approaching danger, and endeavoured to avert it by ridicule and sarcasm. Neither the old men nor the old women could read their books now they had got em, said the three Miss Browns. Never mind; they could learn, replied Mrs. Johnson Parker. The children couldn’t read either, suggested the three Miss Browns. No matter; they could be taught, retorted Mrs. Johnson Parker. A balance of parties took place. The Miss Browns publicly examined—popular feeling inclined to the child’s examination society. The Miss Johnson Parkers' publicly distributed—a re-action took place in favour of the prayer-book distribution. A feather would have turned the scale, and a feather did turn it. A missionary returned from the West Indies; he was to be presented to the Dissenters’ Distribution Society on his marriage with a wealthy widow. Overtures were made to the Dissenters by the Johnson Parkers. Their object was the same, and why not have a joint meeting of the two societies? The proposition was accepted. The meeting was duly heralded by public announcement, and the room was crowded to suffocation. The missionary appeared on the platform; he was hailed with enthusiasm. He repeated a dialogue he had heard between two negroes behind a hedge, on the subject of distribution societies; he approbation was tumultuous. He gave an imitation of the two negroes in broken English; the roof was rent with applause. From that period we date (with one trifling exception) a daily increase in the popularity of the Distribution Society—an increase of popularity which the feeble and impotent opposition of the examination party has only tended to augment. Now, the great points about the Child-bed Linen Monthly Loan Society are, that it is less dependent on the fluctuations of public opinion than either the distribution or the child’s examination, and that come what may, there is never any lack of objects on which to exercise its benevolence. Our parish is a very populous one, and if anything, contributes, we should be disposed to say, rather more than its due share to the aggregate amount of births in the metropolis and its environs. The consequence is, that the Monthly Loan Society flourishes, and invests its members with a most enviable amount of bustling patronage. The society (whose only notion of dividing time, would appear to be its allotment into months) holds monthly tea-drinkings, at which the monthly report is received, a secretary elected for the month ensuing, and such of the monthly boxes as may not happen to be out on loan for the month, carefully examined. We were never present at one of these meetings, from all of which it is scarcely necessary to say, gentlemen are carefully excluded; but Mr. Bung has been called before the Board once or twice; and we have his authority for stating that its proceedings are conducted with great order and regularity, not more than four members being allowed to speak at one time on any pretence whatever. The regular committee is composed exclusively of married ladies, but a vast number of young unmarried ladies of from 18 to 25 years of age, respectively, are admitted as honorary members; partly because they are very useful in replenishing the boxes, and visiting the confined; partly because it is highly desirable that they should be initiated, at an early period, into the more serious and matronly duties of after life; and partly because prudent mammas have not unfrequently been known to turn this circumstance to wonderfully good account in matrimonial speculations. In addition to the loan of the monthly boxes (which are always painted blue, with the name of the society in large white letters on the lid), the society dispense occasional grants of beef tea, and a composition of warm beer, spice, eggs, and sugar, commonly known by the name of "caudle," to its patients. And here again the services of the honorary members are called into requisition, and most cheerfully conceded. Deputations of twos or threes are sent out to visit the patients, and on these occasions there is such a tasting of caudle and beef tea, such a stirring about of little messes in tiny saucepans on the hob, such a dressing and undressing of infants, such a tying and folding, and pinning, such a nursing and warming of little legs and feet before the fire, such a delightful confusion of talking and cooking, bustle, importance, and officiousness, as never can be enjoyed in its full extent but on similar occasions. In rivalry of these two institutions, and as a last expiring effort to acquire parochial popularity, the child’s examination people determined, the other day on having a grand public examination of the pupils; and the large school-room of the national seminary was, by and with the consent of the parish authorities, devoted to the purpose. Invitation circulars were forwarded to all the principal parishioners, including, of course, the heads of the other two societies, for whose especial behoof and edification the display was intended; and a large audience was confidently anticipated on the occasion. The floor was carefully scrubbed the day before, under the immediate superintendence of the three Miss Browns; forms were placed across the room for the accommodation of the visitors; specimens in writing were carefully selected, and as carefully patched and touched up, until they astonished the children who had written them, rather more than the company who read them; sums in compound addition were re-hearsed and re-hearsed until all the children had the totals by heart; and the preparations altogether were on the most laborious and most comprehensive scale. The morning arrived, the children were yellow-soaped, and flannelled, and towelled, 'til their faces shone again; every pupil’s hair was carefully combed into his or her eyes, as the case might be; the girls were adorned with snow-white tippets, and caps bound round the head by a single purple ribbon: the necks of the elder boys were fixed into collars of startling dimensions. The doors were thrown open and the Miss Browns and Co. were discovered in plain white muslin dresses and caps of the same —the child’s examination uniform. The room filled; the greetings of the company were loud and cordial; the distributionists trembled, for their popularity was at stake. The eldest boy fell forward, and delivered a propitiatory address from behind his collar. It was from the pen of Mr. Henry Brown; the applause was universal, and the Johnson Parkers were aghast. The examination proceeded with success, and terminated in triumph. The Child’s Examination Society gained a momentary victory, and the Johnson Parkers retreated in despair. A secret council of the distributionists was held that night—Mrs. Johnson Parker in the Chair—to consider of the best means of recovering the ground they had lost in the favour of the parish. What could be done? Another meeting! alas! who was to attend it? The Missionary would not do twice; and the slaves were emancipated. A bold step must be taken; the parish must be astonished in some way or other; but no one was able to suggest what the step should be. At length a very old lady was heard to mumble in indistinct tones, "Exeter Hall." A sudden light broke in upon the meeting. It was unanimously resolved that a deputation of old ladies should wait upon Mr. Somebody O'Something, a celebrated Catholic renegade and Protestant bigot, imploring his assistance, and the favour of a speech; and that the deputation should also wait on two or three other imbecile old women, not resident in the parish, and entreat their attendance. The application was successful; the meeting was held; the Irishman came:  he talked of green isles - other shores—vast Atlantic—bosom of the deep—Christian charity—blood and extermination—mercy in hearts—arms in hands—altars and homes—household gods—wiped his eyes, blew his nose, and quoted Latin. The effect was tremendous—the Latin was a decided hit. Nobody knew exactly what it was about, but everybody knew it must be affecting, because even the orator was overcome. The popularity of the Distribution Society among the ladies of our parish is unprecedented; and the Child’s Examination is fast going to decay. [To be continued]. https://www.dickenssearch.com/files/original/5/Sentiment/1836-09-01_The_Magazine_of_the_Beau_Monde_Sentiment.pdf 0627766a4d354af157c94a4ffa5824c5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Periodical Publication The title of the newspaper/serial (if applicable) The Magazine of the Beau Monde Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18360901 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. The Miss Crumptons, or to quote the authority of the inscription on the garden-gate of Minerva House, Hammersmith—"The Misses Crumpton" were two unusually tall, particularly thin, and exceedingly skinny personages— very upright and very yellow. Miss Amelia Crumpton owned to thirty-eight, and Miss Maria Crumpton admitted she was forty—an admission which was rendered perfectly unnecessary by the self-evident fact of her being fifty at least. They dressed in the most interesting manner—like twins, and looks about as happy and comfortable as a couple of marigolds run to seed. They were very precise, had the strictest possible ideas of propriety, wore false hair, and always smelt very strongly of lavender. Minerva House, conducted under the auspices of the two sisters, was a "finishing establishment for young ladies," where some twenty girls of the ages of from thirteen to nineteen inclusive, acquired a smattering of everything, and a knowledge of nothing; instruction in French and Italian, dancing lessons twice a week, and other necessaries of life. The house was a white one, a little removed from the road side, with close palings in front. The bed-room windows were always left partly open to afford a bird's eye view of numerous little bedsteads, with very white dimity furniture, and thereby impress the passer-by with a due sense of the luxuries of the establishment; and there was a front parlour hung round with highly varnished maps, which nobody ever looked at, and filled with books which no one ever read, appropriated exclusively to the reception of parents, who whenever they called, could not fail to be struck with the very knowledge-imparting appearance of the place. "Amelia, my dear," said Miss Maria Crumpton, entering the school room, with her false hair in papers, as she occasionally did, in order to impress the young ladies with a conviction of its reality—"Amelia, my dear, here's a most gratifying note I have just received. You needn't mind reading it aloud." Miss Amelia thus advised, proceeded to read the following note, with an air of great triumph. "Cornelius Brook Dingwall, Esq. M.P. presents his compliments to Miss Crumpton, and will feel much obliged by Miss Crumpton's calling on him, if she conveniently can, to morrow morning at one o'clock, as Cornelius Brook Dingall, Esq. M.P. is anxious to see Miss Crumpton on the subject of placing Miss Brook Dingwall under her charge. "Adelphi. "Monday morning." "A Member of Parliament's daughter!" ejaculated Amelia in an ecstatic tone. "A Member of Parliament's daughter!" repeated Miss Maria with a smile of delight, which of course, forthwith elicited a concurrent titter of pleasure from all the young ladies. "Its exceedingly delightful," said Miss Amelia, whereupon all the young ladies murmured their admiration again. Courtiers are but schoolboys multiplied by fifty. So important an announcement at once superseded the business of the day. A holiday was declared in commemoration of the greatevent: the Miss Crumptons retired to their private apartment to talk it over; the smaller girls discussed the probable manners and customs of the daughter of a Member of Parliament, and the young ladies verging on eighteen, wondered whether she was engaged, whether she was pretty, whether she wore much bustle, and many other whethers of equal importance. The two Miss Crumptons proceeded to the Adelphi at the appointed time next day, dressed, of course, in their best style, and looking as amiable as they possibly could—which, by-the-bye, is not saying much for them. Having sent in their cards through the medium of a red-hot looking footman in bright livery, they were ushered into the august presence of the profound Dingwall. Cornelius Brook Dingwall, Esq., M.P. was very haughty, solemn, and portentous. He had naturally a somewhat spasmodic expression of countenance, which was not rendered the less remarkable by his wearing an extremely stiff cravat. He was wonderfully proud of the "M.P.," attached to his name, and never lost an opportunity of reminding people of his dignity. He had a great idea of his own abilities, which must have been a great comfort to him, as no one else had; and in diplomacy, on a small scale in his own family arrangements, he considered himself unrivalled. He was a country magistrate, and discharged the duties of his station with all due justice and impartiality, frequently committing poachers, and occasionally committing himself. Miss Brook Dingwall was one of that numerous class of young ladies, who, like adverbs may be known by their answering to a common-place question, and doing nothing else. On the present occasion this talented individual was seated in a small library at a table covered with papers, doing nothing; but trying to look busy—playing at shop. Acts of Parliament, and letters directed to "Cornelius Brook Dingwall, Esq. M.P.," were ostentatiously scattered over the table, at a little distance from which, Mrs. Brook Dingwall was seated at work. One of those public nuisances, a spoiled child, was playing about the room, dressed after the most approved fashion, in a blue tunic with a black belt a quarter of a yard wide, fastened with an immense buckle, and looking like a robber in a Melo-Drama, seen through a diminishing glass. After a little pleasantry from the sweet child, who amused himself by running away with Miss Maria Crumpton's chair as fast as it was placed for her, the visitors were seated, and Cornelius Brook Dingwall Esq. opened the conversation. He had sent for Miss Crumpton, he said, in consequence of the high character he had received of her establishment from his friend Sir Alfred Muggs. Miss Crumpton murmured her acknowledgments to him (Muggs) and Cornelius proceeded. "One of my principal reasons Miss Crumpton for parting with my daughter is, that she has lately acquired some false sentimental sort of ideas which it is most desirable to eradicate from her young mind." (Here the little innocent before-noticed, fell out of an arm chair with an awful crash.) "Naughty boy," said his mamma, who appeared more surprised at his taking the liberty of falling down, than at anything else, "I'll ring the bell for James to take him away." "Pray don't check him, my love," said the diplomatist, as soon as he could make himself heard amidst the unearthly howling, consequent upon the threat and the tumble. "It all arises from his great flow of spirits." This last explanation was addressed to Miss Crumpton. "Certainly, Sir," replied the antique Maria, not exactly seeing, however, the connection between a flow of animal spirits, and a fall from an arm chair. Silence was restored, and the M.P. resumed: "Now I know nothing so likely to effect this object, Miss Crumpton, as her mixing constantly in the society of girls of her own age; and as I know that in your establishment she will meet such as are not likely to contaminate her young mind, I propose to send her to you." The youngest Miss Crumpton expressed the acknowledgements of the establishment generally. Maria was rendered perfectly speechless by bodily pain—the dear little fellow having recovered his spirits, was standing upon her most tender foot, by way of getting his face (which looked like a capital O in a red-lettered play-bill) on a level with the writing-table. "Of course Lavinia will be a parlour boarder," continued the enviable father; "and on one point I wish my directions to be strictly observed. The fact is, that some ridiculous love affair with a person much her inferior in life has been the case of her present state of mind. Knowing that of course under your care she can have no opportunity of meeting this person, I do not object to—indeed, I should rather prefer—her joining in such society as you see yourself," The important statement was again interrupted by the high-spirited little creature, in the excess of his joyousness, breaking a pane of glass, and nearly precipitating himself into an adjacent area. James was rung for; considerable confusion and screaming succeeded, two little blue legs, about the size of hoopsticks, were seen to kick violently in the air, as the man left the room, and the child was gone. "Mr. Brook Dingwall would like Miss Brook Dingwall to learn everything," said Mrs. Brook Dingwall, who hardly ever said any thing at all. "Certainly." said both the Miss Crumptons together. "And as I trust the plan I have devised will be effectual in weaning my daughter from this absurd idea, Miss Crumpton," continued the legislator, "I hope you will have the goodness to comply in all respects with any request I may forward to you." The promise was of course made, and after a lengthened discussion, conducted on behalf of the Dingwall's with the most becoming diplomatic gravity, and on that of the Crumpton's with profound respect, it was finally arranged that Miss Lavinia should be forwarded to Hammersmith on the next day but one; on which occasion the half-yearly ball given at the establishment was to take place. It might divert the dear girl's mind. This, by the way, was another bit of diplomacy. Miss Lavinia was forthwith introduced to her future governesses, and both the Miss Crumpton's pronounced her "a most charming girl," an opinion which, by a singular coincidence, they always entertained of any new pupil. Curtsies were made, acknowledgements expressed, condescension exhibited; and the interview terminated. Preparations, to make use of theatrical phraseology, "on a scale of magnitude never before attempted," were incessantly made at Minerva House, to give every effect to the forthcoming ball. The largest room in the house was pleasingly ornamented with blue calico roses, plaid tulips, and other equally natural-looking artificial flowers, the work of the young ladies themselves. The carpet was taken up; the folding-doors were taken door; the furniture was taken out, and rout seats taken in. The linen-drapers of Hammersmith were astounded at the sudden demand for blue sarsnet ribbon, and long white gloves. Dozens of geraniums were purchased for bouquets, and a harp and two violins were bespoke from town, in addition to the grand-piano already on the premises. The young ladies who were selected to show off "on the occasion," and do credit to the establishment, practised unceasingly, much to their own satisfaction, and greatly to the annoyance of the lame old gentleman over the way; and a constant correspondence was kept up with the Misses Crumpton and the Hammersmith pastry cook. The evening came: and then there was such a lacing of stays, and tying of sandals, and dressing of hair, as never can take place with a proper degree of bustle out of a boarding-school. The smaller girls managed to be in everybody's way, and were pushed about accordingly, and the elder ones dressed, and tied, and flattered, and envied one another as earnestly and sincerely as if they had actually come out. "How do I look, dear?" enquired Miss Emily Smithers, the belle of the house, of Miss Caroline Wilson, who was her bosom friend because she was the ugliest girl in Hammersmith, or out of it. "Oh, charming dear. How do I?" "Delightful—you never looked so handsome," returned the belle, adjusting her own dress, and not bestowing a glance on her poor companion. "I hope young Hilton will come early," said another young lady to Miss somebody else, in a fever of expectation. "I'm sure he'd be highly flattered if he knew it," returned the other, who was practicing l'eté for effect. "Oh! he's so handsome," said the first. "Such a charming person," added a second. "Such a distingue air," said a third. "Oh what do you think?" said another girl running into the room; Miss Crumpton says that her cousin's coming." "What! Theodosius Butler?" said everybody, in raptures. "Is he handsome," enquired a novice. "No, not particularly handsome," was the general reply; but oh, so clever!" Mr. Theodosius Butler was one of those immortal geniuses who are to be met with in almost every circle. They have usually very deep monotonous voices. They always persuade themselves that they are wonderful persons, and that they ought to be very miserable. They dont exactly know why. They are very conceited, and usually possess exactly half an idea: but with enthusiastic young ladies and silly young gentlemen, they are something wonderfully superior. The individual in question, Mr. Theodosius, had written a phamphlet containing some very weighty considerations on the expediency of doing something or other; and as every sentence contained at least fifty words of four syllables, his admirers took it for granted that he meant a good deal. "Perhaps that's he," exclaimed several young ladies, as the first pull of the evening threatened destruction to the bell at the gate. An awful pause ensued. Some boxes arrived, and a young lady—it was Miss Brook Dingwall, in full ball costumes, with an immense gold chain round her neck, and her dress looped up with a single rose. An ivory fan in her hand, and a most interesting expression of despair in her face. The Miss Crumptons enquired after the family with the most excruciating anxiety, and Miss Brook Dingwall was formally introduced to her future companions. The Miss Crumptons conversed with the young ladies in the most mellifluous tones, in order that Miss Brook Dingwall might be properly impressed with their amiable treatment. Another pull at the bell. Mr. Dadson, the writing master and his wife. The wife in green silk, with shoes and cap trimmings to correspond, and the writing master in a white waistcoat, black knee shorts, and ditto silk stockings, displaying a leg large enough for two writing masters, at least. The young ladies whispered one another, and the writing master and his wife flattered the Miss Crumptons who were dressed in amber, with long sashes, like dolls. Repeated pulls at the bell, and arrivals too numerous to particularize: Papas and Mammas, and aunts and uncles, the owners and guardians of the different pupils; the singing master Signor Lobskini, in a black wig; the pianoforte player and the violins, the harp in a state of intoxication, and some twenty young men who stood near the door, and talked to one another, occasionally bursting into a giggle. A general hum of conversation.—Coffee handed round, and plentifully partaken of by fat mamma's, looking like the stout people who come on in pantomimes for the sole purpose of being knocked down. The popular Mr. Hilton was the next arrival, and having, at the request of the Miss Crumptons, undertaken the office of Master of Ceremonies, the quadrilles commenced with considerable spirit. The young men by the door gradually advanced into the middle of the room, and in time became sufficiently at ease to consent to be introduced to partners. The writing master danced every set, springing about with the most fearful agility, and his wife played a rubber in the back parlour—a little room with five book shelves dignified by the name of the study. Setting her down to whist was a half-yearly piece of generalship on the part of the Miss Crumptons, as it was necessary to hide her somewhere on account of her being a fright. The interesting Lavinia Brook Dingwall was the only girl present who appeared to take no interest in the proceedings of the evening. In vain was she solicited to dance, in vain was the universal homage paid to her as the daughter of a member of parliament. She was equally unmoved by the splendid tenor of the inimitable Lobskini, and the brilliant execution of Miss Letitia Parsons, who performance of "The Recollections of Ireland," was universally declared to be almost equal to Moscheles himself. Not even the announcement of the arrival of Mr. Theodosius Butler could induce her to leave the corner of the back drawing room in which she was seated. "Now, Theodosius," said Miss Maria Crumpton, after that enlightened pamphleteer had nearly run the gauntlet of he whole company, "I must introduce you to our new pupil." Theodosius looked as if he cared for nothing earthly. "She's the daughter of a member of parliament," said Maria - Theodosius started. "And her name is—?" he enquired. "Miss Brook Dingwall." "Great Heaven!" poetically exclaimed Theodosius in a low tone. Miss Crumpton commenced the introduction in due form. Miss Brook Dingwall languidly raised her head. "Edward!" she exclaimed with a half shriek, on seeing the well known nankeen legs. Fortunately, as Miss Maria Crumpton possessed no remarkable share of penetration, and as it was one of the diplomatic arrangements that no attention was to be paid to Miss Lavinia's incoherent exclamations, she was perfectly unconscious of the mutual agitation of the parties; and therefore, seeing that the offer of his hand for the next quadrille was accepted, she left him by the side of Miss Brook Dingwall. "Oh, Edward," exclaimed that most romantic of all romantic young ladies, as that light of science seated himself beside her, "Oh, Edward is it you?" Mr. Theodosius assured the dear creature in the most impassioned manner that he was not conscious of being anybody but himself. "Then why—why—this disguise? oh, Edward McNeville Walter, what have I not suffered on your account." "Lavinia, hear me," replied the hero in his most poetic strain "Do not condemn me unheard. If anything that emanates from the soul of such a wretch as I, can occupy a place in your recollection—if any being so vile deserve your notice—you may remember that I once published a pamphlet (and paid for its publication) entitled "Considerations on the policy of removing the duty on bee's wax." "I do—I do—" sobbed Lavinia. "That," continued the lover "was a subject to which your father was devoted heart and soul." "He was—he was," reiterated the sentimentalist. "I knew it" continued Theodosius tragically, "I knew it—I forwarded him a copy. He wished to know me. Could I disclose my real name? Never! no, I assumed that name which you have so often pronounced in tones of endearment. As McNeville Walter I devoted myself to the stirring cause; as McNeville Walter I gained your heart; in the same character i was ejected from your house by your father's domestics, and in no character at all, have I since been enabled to see you. We now meet again, and I proudly own that I am—Theodosius Butler. The young lady appeared perfectly satisfied with this very argumentative address, and bestowed a look of the most ardent affection on the immortal advocate of bees wax. "May I hope," said he, "that the promise, your father's violent behaviour interrupted, may be renewed?" "Let us join this set," replied Lavinia coquetishly—for girls of nineteen can coquette. "No," ejaculated he of the nankeens. "I stir not from this spot writhing under this torture of suspense. May I—may I hope?" "You may." "The promise is renewed?" "It is." "I have your permission?" "You have." "To the fullest extent?" "You know it," returned Lavinia, affecting to blush. The contortions of the interesting Butler's visage expressed his raptures. We could dilate upon the occurrences of the evening. How Mr. Theodosius and Miss Lavinia danced and talked, and sighed for the remainder of the evening. How the Miss Crumpton's were delighted thereat. How the writing master continued to frisk about with one-horse power, and how his wife, from some unaccountable freak, left the whist table in the little back parlour, and persisted in displaying her green head dress in the most conspicuous part of the drawing-room. How the supper consisted of small triangular sandwiches in trays, with a tart here and there, by way of variety, and how the visitors consumed warm water disguised with lemon, and dotted with nutmeg, under the denomination of negus. These, and other matters of as much interest, however, we pass over, for the purpose of describing a scene of even more importance. A fortnight after the date of the ball, Cornelius Brook Dingwall, Esq. M.P. was seated at the same library table, and in the same room as we have before described. He was alone, and his face bore an expression of deep thought and solemn gravity—he was drawing up a bill for the better observance of Easter Monday. The footman tapped at the door. The legislator started from his reverie, and "Miss Crumpton" was announced. Permission was given for Miss Crumption to enter the sanctum; Maria came sidling in, and having taken her seat with a due portion of affectation, the footman retired, and the governess was left alone with the M.P. Oh! how she longed for the presence of a third party—even the facetious young gentleman would have been a relief. Miss Crumpton began the duet. She hoped Mrs. Brook Dingwall, and the handsome little boy were in good health. They were. Mrs. Brook Dingwall and little Frederick were at Brighton. "Much obliged to you Miss Crumpton," said Cornelius in his dignified manner, "for your attention to calling this morning. I should have driven down to Hammersmith to see Lavinia, but your account was so very satisfactory, and my duties in the House occupy me so much that I determined to postpone it for a week. How has she gone on." "Very well, indeed, Sir," returned Maria, dreading to inform the father she had gone off. "Ah, I thought the plan on which I proceeded would be a match for her." "Here was a favourable opportunity to say that somebody else had been a match for her. The unfortunate governess was unequal to the task. "You have persevered strictly in the line of conduct I prescribed Miss Crumpton?" "Strictly, Sir." "You tell me in your note that her spirits gradually improved." "Very much, indeed, sir." "To be sure, I was convinced they would." "But I fear, sir," said Miss Crumpton, with visible emotion. "I fear the plan has not succeeded so well as we could have wished." "No!" exclaimed the prophet, "God bless me, Miss Crumpton, you look alarmed. What has happened?" "Miss Brook Dingwall, Sir—" "Yes, Ma'am." "Has gone, Sir"—said Maria, exhibiting a strong inclination to faint. "Gone!" "Eloped, Sir." "Eloped!—Who wish—when—where—how?" almost shrieked the agitated diplomatist. The natural yellow of the unfortunate Maria's face, changed to all the hues of the rainbow, as she laid a small packet upon the member's table. He hurriedly opened it. A letter from his daughter and another from Theodosius. He glanced over their contents - "ere this reaches you, far distant—appeal to feelings—love to distraction—bee's wax—slavery," &c., &c. He dashed his hand to his forehead, and paced the room with fearfully long strides, to the great alarm of the precise Maria. "Now mind; from this time forward," said the Brook Dingwall, suddenly stopping at the table, and beating time upon it with his hand "from this time forward, I never will, under any circumstances whatever, allow a man who writes pamphlets to enter any room of this house but the kitchen—I'll allow my daughter and her husband one hundred and fifty pounds a year, and never see their faces again—and damme, ma'am, I'll bring in a bill for abolition of finishing schools!" Some time has elapsed since this passionate declaration. Mr. and Mrs. Butler are at present rusticating in a small cottage at Ball's Pond, pleasantly situated in the immediate vicinity of a brick-field. They have no family. Mr. Theodosius looks very important and writes incessantly, but in consequence of some gross combination on the part of publishers, none of his productions appear in print. His young wife begins to think that ideal misery is preferable to real unhappiness; and that a marriage contracted in haste, and repented at leisure, is the cause of more substantial wretchedness, than she ever anticipated. On cool reflection, Cornelius Brook Dingwall, Esq. M.P., was reluctantly compelled to admit that the untoward result of his admirable arrangements, was attributable, not to the Miss Crumptons', but his own diplomacy. He, however, consoles himself, like some other small diplomatists, by satisfactorily proving that if his plans did not succeed, they ought to have done so. Minerva House is in statu quo, and "The Misses Crumpton" remain in the peaceable and undisturbed enjoyment of all the advantages resulting from their Finishing-school. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1836-09-01_The_Magazine_of_the_Beau_Monde_Sentiment.xml" target="_blank" rel="noopener">'Sentiment.' The Magazine of the Beau Monde (1 September 1836).</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'Sentiment' Description An account of the resource Published in The Magazine of the Beau Monde (1 September 1836), pp. 122-126. Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The Magazine of the Beau Monde, <a href="https://www.google.com/books/edition/The_Magazine_of_the_beau_monde_or_Monthl/piYGAAAAQAAJ" target="_blank" rel="noopener">https://www.google.com/books/edition/The_Magazine_of_the_beau_monde_or_Monthl/piYGAAAAQAAJ.</a> Date A point or period of time associated with an event in the lifecycle of the resource 1836-09-01 Rights Information about rights held in and over the resource Digitised materials on Google Books published before 1922 are in the public domain. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1836-09-01_The_Magazine_of_the_Beau_Monde_Sentiment Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Sentiment' (1 September 1836). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/short-stories/1836-09-01_The_Magazine_of_the_Beau_Monde_Sentiment">https://dickenssearch.com/short-stories/1836-09-01_The_Magazine_of_the_Beau_Monde_Sentiment</a>. Scripto Transcription A written representation of a document. The Miss Crumptons, or to quote the authority of the inscription on the garden-gate of Minerva House, Hammersmith—"The Misses Crumpton" were two unusually tall, particularly thin, and exceedingly skinny personages— very upright and very yellow. Miss Amelia Crumpton owned to thirty-eight, and Miss Maria Crumpton admitted she was forty—an admission which was rendered perfectly unnecessary by the self-evident fact of her being fifty at least. They dressed in the most interesting manner—like twins, and looks about as happy and comfortable as a couple of marigolds run to seed. They were very precise, had the strictest possible ideas of propriety, wore false hair, and always smelt very strongly of lavender.  Minerva House, conducted under the auspices of the two sisters, was a "finishing establishment for young ladies," where some twenty girls of the ages of from thirteen to nineteen inclusive, acquired a smattering of everything, and a knowledge of nothing; instruction in French and Italian, dancing lessons twice a week, and other necessaries of life. The house was a white one, a little removed from the road side, with close palings in front. The bed-room windows were always left partly open to afford a bird's eye view of numerous little bedsteads, with very white dimity furniture, and thereby impress the passer-by with a due sense of the luxuries of the establishment; and there was a front parlour hung round with highly varnished maps, which nobody ever looked at, and filled with books which no one ever read, appropriated exclusively to the reception of parents, who whenever they called, could not fail to be struck with the very knowledge-imparting appearance of the place.  "Amelia, my dear," said Miss Maria Crumpton, entering the school room, with her false hair in papers, as she occasionally did, in order to impress the young ladies with a conviction of its reality—"Amelia, my dear, here's a most gratifying note I have just received. You needn't mind reading it aloud." Miss Amelia thus advised, proceeded to read the following note, with an air of great triumph. "Cornelius Brook Dingwall, Esq. M.P. presents his compliments to Miss Crumpton, and will feel much obliged by Miss Crumpton's calling on him, if she conveniently can, to morrow morning at one o'clock, as Cornelius Brook Dingall, Esq. M.P. is anxious to see Miss Crumpton on the subject of placing Miss Brook Dingwall under her charge.  "Adelphi.     "Monday morning." "A Member of Parliament's daughter!" ejaculated Amelia in an ecstatic tone. "A Member of Parliament's daughter!" repeated Miss Maria with a smile of delight, which of course, forthwith elicited a concurrent titter of pleasure from all the young ladies. "Its exceedingly delightful," said Miss Amelia, whereupon all the young ladies murmured their admiration again. Courtiers are but schoolboys multiplied by fifty. So important an announcement at once superseded the business of the day. A holiday was declared in commemoration of the greatevent: the Miss Crumptons retired to their private apartment to talk it over; the smaller girls discussed the probable manners and customs of the daughter of a Member of Parliament, and the young ladies verging on eighteen, wondered whether she was engaged, whether she was pretty, whether she wore much bustle, and many other whethers of equal importance.  The two Miss Crumptons proceeded to the Adelphi at the appointed time next day, dressed, of course, in their best style, and looking as amiable as they possibly could—which, by-the-bye, is not saying much for them. Having sent in their cards through the medium of a red-hot looking footman in bright livery, they were ushered into the august presence of the profound Dingwall. Cornelius Brook Dingwall, Esq., M.P. was very haughty, solemn, and portentous. He had naturally a somewhat spasmodic expression of countenance, which was not rendered the less remarkable by his wearing an extremely stiff cravat. He was wonderfully proud of the "M.P.," attached to his name, and never lost an opportunity of reminding people of his dignity. He had a great idea of his own abilities, which must have been a great comfort to him, as no one else had; and in diplomacy, on a small scale in his own family arrangements, he considered himself unrivalled. He was a country magistrate, and discharged the duties of his station with all due justice and impartiality, frequently committing poachers, and occasionally committing himself. Miss Brook Dingwall was one of that numerous class of young ladies, who, like adverbs may be known by their answering to a common-place question, and doing nothing else.  On the present occasion this talented individual was seated in a small library at a table covered with papers, doing nothing; but trying to look busy—playing at shop. Acts of Parliament, and letters directed to "Cornelius Brook Dingwall, Esq. M.P.," were ostentatiously scattered over the table, at a little distance from which, Mrs. Brook Dingwall was seated at work. One of those public nuisances, a spoiled child, was playing about the room, dressed after the most approved fashion, in a blue tunic with a black belt a quarter of a yard wide, fastened with an immense buckle, and looking like a robber in a Melo-Drama, seen through a diminishing glass.  After a little pleasantry from the sweet child, who amused himself by running away with Miss Maria Crumpton's chair as fast as it was placed for her, the visitors were seated, and Cornelius Brook Dingwall Esq. opened the conversation. He had sent for Miss Crumpton, he said, in consequence of the high character he had received of her establishment from his friend Sir Alfred Muggs.  Miss Crumpton murmured her acknowledgments to him (Muggs) and Cornelius proceeded. "One of my principal reasons Miss Crumpton for parting with my daughter is, that she has lately acquired some false sentimental sort of ideas which it is most desirable to eradicate from her young mind." (Here the little innocent before-noticed, fell out of an arm chair with an awful crash.) "Naughty boy," said his mamma, who appeared more surprised at his taking the liberty of falling down, than at anything else, "I'll ring the bell for James to take him away." "Pray don't check him, my love," said the diplomatist, as soon as he could make himself heard amidst the unearthly howling, consequent upon the threat and the tumble. "It all arises from his great flow of spirits." This last explanation was addressed to Miss Crumpton.  "Certainly, Sir," replied the antique Maria, not exactly seeing, however, the connection between a flow of animal spirits, and a fall from an arm chair.  Silence was restored, and the M.P. resumed: "Now I know nothing so likely to effect this object, Miss Crumpton, as her mixing constantly in the society of girls of her own age; and as I know that in your establishment she will meet such as are not likely to contaminate her young mind, I propose to send her to you." The youngest Miss Crumpton expressed the acknowledgements of the establishment generally. Maria was rendered perfectly speechless by bodily pain—the dear little fellow having recovered his spirits, was standing upon her most tender foot, by way of getting his face (which looked like a capital O in a red-lettered play-bill) on a level with the writing-table.  "Of course Lavinia will be a parlour boarder," continued the enviable father; "and on one point I wish my directions to be strictly observed. The fact is, that some ridiculous love affair with a person much her inferior in life has been the case of her present state of mind. Knowing that of course under your care she can have no opportunity of meeting this person, I do not object to—indeed, I should rather prefer—her joining in such society as you see yourself," The important statement was again interrupted by the high-spirited little creature, in the excess of his joyousness, breaking a pane of glass, and nearly precipitating himself into an adjacent area. James was rung for; considerable confusion and screaming succeeded, two little blue legs, about the size of hoopsticks, were seen to kick violently in the air, as the man left the room, and the child was gone.  "Mr. Brook Dingwall would like Miss Brook Dingwall to learn everything," said Mrs. Brook Dingwall, who hardly ever said any thing at all. "Certainly." said both the Miss Crumptons together. "And as I trust the plan I have devised will be effectual in weaning my daughter from this absurd idea, Miss Crumpton," continued the legislator, "I hope you will have the goodness to comply in all respects with any request I may forward to you." The promise was of course made, and after a lengthened discussion, conducted on behalf of the Dingwall's with the most becoming diplomatic gravity, and on that of the Crumpton's with profound respect, it was finally arranged that Miss Lavinia should be forwarded to Hammersmith on the next day but one; on which occasion the half-yearly ball given at the establishment was to take place. It might divert the dear girl's mind. This, by the way, was another bit of diplomacy. Miss Lavinia was forthwith introduced to her future governesses, and both the Miss Crumpton's pronounced her "a most charming girl," an opinion which, by a singular coincidence, they always entertained of any new pupil.  Curtsies were made, acknowledgements expressed, condescension exhibited; and the interview terminated. Preparations, to make use of theatrical phraseology, "on a scale of magnitude never before attempted," were incessantly made at Minerva House, to give every effect to the forthcoming ball. The largest room in the house was pleasingly ornamented with blue calico roses, plaid tulips, and other equally natural-looking artificial flowers, the work of the young ladies themselves. The carpet was taken up; the folding-doors were taken door; the furniture was taken out, and rout seats taken in. The linen-drapers of Hammersmith were astounded at the sudden demand for blue sarsnet ribbon, and long white gloves. Dozens of geraniums were purchased for bouquets, and a harp and two violins were bespoke from town, in addition to the grand-piano already on the premises. The young ladies who were selected to show off "on the occasion," and do credit to the establishment, practised unceasingly, much to their own satisfaction, and greatly to the annoyance of the lame old gentleman over the way; and a constant correspondence was kept up with the Misses Crumpton and the Hammersmith pastry cook. The evening came: and then there was such a lacing of stays, and tying of sandals, and dressing of hair, as never can take place with a proper degree of bustle out of a boarding-school. The smaller girls managed to be in everybody's way, and were pushed about accordingly, and the elder ones dressed, and tied, and flattered, and envied one another as earnestly and sincerely as if they had actually come out.  "How do I look, dear?" enquired Miss Emily Smithers, the belle of the house, of Miss Caroline Wilson, who was her bosom friend because she was the ugliest girl in Hammersmith, or out of it. "Oh, charming dear. How do I?" "Delightful—you never looked so handsome," returned the belle, adjusting her own dress, and not bestowing a glance on her poor companion.  "I hope young Hilton will come early," said another young lady to Miss somebody else, in a fever of expectation. "I'm sure he'd be highly flattered if he knew it," returned the other, who was practicing l'eté for effect. "Oh! he's so handsome," said the first. "Such a charming person," added a second.  "Such a distingue air," said a third.  "Oh what do you think?" said another girl running into the room; Miss Crumpton says that her cousin's coming." "What! Theodosius Butler?" said everybody, in raptures. "Is he handsome," enquired a novice. "No, not particularly handsome," was the general reply; but oh, so clever!" Mr. Theodosius Butler was one of those immortal geniuses who are to be met with in almost every circle. They have usually very deep monotonous voices. They always persuade themselves that they are wonderful persons, and that they ought to be very miserable. They dont exactly know why. They are very conceited, and usually possess exactly half an idea: but with enthusiastic young ladies and silly young gentlemen, they are something wonderfully superior. The individual in question, Mr. Theodosius, had written a phamphlet containing some very weighty considerations on the expediency of doing something or other; and as every sentence contained at least fifty words of four syllables, his admirers took it for granted that he meant a good deal.  "Perhaps that's he," exclaimed several young ladies, as the first pull of the evening threatened destruction to the bell at the gate.  An awful pause ensued. Some boxes arrived, and a young lady—it was Miss Brook Dingwall, in full ball costumes, with an immense gold chain round her neck, and her dress looped up with a single rose. An ivory fan in her hand, and a most interesting expression of despair in her face. The Miss Crumptons enquired after the family with the most excruciating anxiety, and Miss Brook Dingwall was formally introduced to her future companions. The Miss Crumptons conversed with the young ladies in the most mellifluous tones, in order that Miss Brook Dingwall might be properly impressed with their amiable treatment.  Another pull at the bell. Mr. Dadson, the writing master and his wife. The wife in green silk, with shoes and cap trimmings to correspond, and the writing master in a white waistcoat, black knee shorts, and ditto silk stockings, displaying a leg large enough for two writing masters, at least. The young ladies whispered one another, and the writing master and his wife flattered the Miss Crumptons who were dressed in amber, with long sashes, like dolls.  Repeated pulls at the bell, and arrivals too numerous to particularize: Papas and Mammas, and aunts and uncles, the owners and guardians of the different pupils; the singing master Signor Lobskini, in a black wig; the pianoforte player and the violins, the harp in a state of intoxication, and some twenty young men who stood near the door, and talked to one another, occasionally bursting into a giggle. A general hum of conversation.—Coffee handed round, and plentifully partaken of by fat mamma's, looking like the stout people who come on in pantomimes for the sole purpose of being knocked down.  The popular Mr. Hilton was the next arrival, and having, at the request of the Miss Crumptons, undertaken the office of Master of Ceremonies, the quadrilles commenced with considerable spirit. The young men by the door gradually advanced into the middle of the room, and in time became sufficiently at ease to consent to be introduced to partners. The writing master danced every set, springing about with the most fearful agility, and his wife played a rubber in the back parlour—a little room with five book shelves dignified by the name of the study. Setting her down to whist was a half-yearly piece of generalship on the part of the Miss Crumptons, as it was necessary to hide her somewhere on account of her being a fright.  The interesting Lavinia Brook Dingwall was the only girl present who appeared to take no interest in the proceedings of the evening. In vain was she solicited to dance, in vain was the universal homage paid to her as the daughter of a member of parliament. She was equally unmoved by the splendid tenor of the inimitable Lobskini, and the brilliant execution of Miss Letitia Parsons, who performance of "The Recollections of Ireland," was universally declared to be almost equal to Moscheles himself. Not even the announcement of the arrival of Mr. Theodosius Butler could induce her to leave the corner of the back drawing room in which she was seated. "Now, Theodosius," said Miss Maria Crumpton, after that enlightened pamphleteer had nearly run the gauntlet of he whole company, "I must introduce you to our new pupil." Theodosius looked as if he cared for nothing earthly.  "She's the daughter of a member of parliament," said Maria - Theodosius started. "And her name is—?" he enquired. "Miss Brook Dingwall." "Great Heaven!" poetically exclaimed Theodosius in a low tone. Miss Crumpton commenced the introduction in due form. Miss Brook Dingwall languidly raised her head.  "Edward!" she exclaimed with a half shriek, on seeing the well known nankeen legs.  Fortunately, as Miss Maria Crumpton possessed no remarkable share of penetration, and as it was one of the diplomatic arrangements that no attention was to be paid to Miss Lavinia's incoherent exclamations, she was perfectly unconscious of the mutual agitation of the parties; and therefore, seeing that the offer of his hand for the next quadrille was accepted, she left him by the side of Miss Brook Dingwall. "Oh, Edward," exclaimed that most romantic of all romantic young ladies, as that light of science seated himself beside her, "Oh, Edward is it you?" Mr. Theodosius assured the dear creature in the most impassioned manner that he was not conscious of being anybody but himself.  "Then why—why—this disguise? oh, Edward McNeville Walter, what have I not suffered on your account." "Lavinia, hear me," replied the hero in his most poetic strain "Do not condemn me unheard. If anything that emanates from the soul of such a wretch as I, can occupy a place in your recollection—if any being so vile deserve your notice—you may remember that I once published a pamphlet (and paid for its publication) entitled "Considerations on the policy of removing the duty on bee's wax."  "I do—I do—" sobbed Lavinia. "That," continued the lover "was a subject to which your father was devoted heart and soul." "He was—he was," reiterated the sentimentalist. "I knew it" continued Theodosius tragically, "I knew it—I forwarded him a copy. He wished to know me. Could I disclose my real name? Never! no, I assumed that name which you have so often pronounced in tones of endearment. As McNeville Walter I devoted myself to the stirring cause; as McNeville Walter I gained your heart; in the same character i was ejected from your house by your father's domestics, and in no character at all, have I since been enabled to see you. We now meet again, and I proudly own that I am—Theodosius Butler. The young lady appeared perfectly satisfied with this very argumentative address, and bestowed a look of the most ardent affection on the immortal advocate of bees wax.  "May I hope," said he, "that the promise, your father's violent behaviour interrupted, may be renewed?" "Let us join this set," replied Lavinia coquetishly—for girls of nineteen can coquette. "No," ejaculated he of the nankeens. "I stir not from this spot writhing under this torture of suspense. May I—may I hope?"  "You may." "The promise is renewed?" "It is." "I have your permission?" "You have." "To the fullest extent?" "You know it," returned Lavinia, affecting to blush. The contortions of the interesting Butler's visage expressed his raptures. We could dilate upon the occurrences of the evening. How Mr. Theodosius and Miss Lavinia danced and talked, and sighed for the remainder of the evening. How the Miss Crumpton's were delighted thereat. How the writing master continued to frisk about with one-horse power, and how his wife, from some unaccountable freak, left the whist table in the little back parlour, and persisted in displaying her green head dress in the most conspicuous part of the drawing-room. How the supper consisted of small triangular sandwiches in trays, with a tart here and there, by way of variety, and how the visitors consumed warm water disguised with lemon, and dotted with nutmeg, under the denomination of negus. These, and other matters of as much interest, however, we pass over, for the purpose of describing a scene of even more importance.  A fortnight after the date of the ball, Cornelius Brook Dingwall, Esq. M.P. was seated at the same library table, and in the same room as we have before described. He was alone, and his face bore an expression of deep thought and solemn gravity—he was drawing up a bill for the better observance of Easter Monday. The footman tapped at the door. The legislator started from his reverie, and "Miss Crumpton" was announced. Permission was given for Miss Crumption to enter the sanctum; Maria came sidling in, and having taken her seat with a due portion of affectation, the footman retired, and the governess was left alone with the M.P. Oh! how she longed for the presence of a third party—even the facetious young gentleman would have been a relief. Miss Crumpton began the duet. She hoped Mrs. Brook Dingwall, and the handsome little boy were in good health.  They were. Mrs. Brook Dingwall and little Frederick were at Brighton.  "Much obliged to you Miss Crumpton," said Cornelius in his dignified manner, "for your attention to calling this morning. I should have driven down to Hammersmith to see Lavinia, but your account was so very satisfactory, and my duties in the House occupy me so much that I determined to postpone it for a week. How has she gone on."  "Very well, indeed, Sir," returned Maria, dreading to inform the father she had gone off. "Ah, I thought the plan on which I proceeded would be a match for her." "Here was a favourable opportunity to say that somebody else had been a match for her. The unfortunate governess was unequal to the task. "You have persevered strictly in the line of conduct I prescribed Miss Crumpton?" "Strictly, Sir." "You tell me in your note that her spirits gradually improved." "Very much, indeed, sir." "To be sure, I was convinced they would." "But I fear, sir," said Miss Crumpton, with visible emotion. "I fear the plan has not succeeded so well as we could have wished." "No!" exclaimed the prophet, "God bless me, Miss Crumpton, you look alarmed. What has happened?" "Miss Brook Dingwall, Sir—" "Yes, Ma'am." "Has gone, Sir"—said Maria, exhibiting a strong inclination to faint. "Gone!"  "Eloped, Sir." "Eloped!—Who wish—when—where—how?" almost shrieked the agitated diplomatist.  The natural yellow of the unfortunate Maria's face, changed to all the hues of the rainbow, as she laid a small packet upon the member's table. He hurriedly opened it. A letter from his daughter and another from Theodosius. He glanced over their contents - "ere this reaches you, far distant—appeal to feelings—love to distraction—bee's wax—slavery," &c., &c. He dashed his hand to his forehead, and paced the room with fearfully long strides, to the great alarm of the precise Maria. "Now mind; from this time forward," said the Brook Dingwall, suddenly stopping at the table, and beating time upon it with his hand "from this time forward, I never will, under any circumstances whatever, allow a man who writes pamphlets to enter any room of this house but the kitchen—I'll allow my daughter and her husband one hundred and fifty pounds a year, and never see their faces again—and damme, ma'am, I'll bring in a bill for abolition of finishing schools!" Some time has elapsed since this passionate declaration. Mr. and Mrs. Butler are at present rusticating in a small cottage at Ball's Pond, pleasantly situated in the immediate vicinity of a brick-field. They have no family. Mr. Theodosius looks very important and writes incessantly, but in consequence of some gross combination on the part of publishers, none of his productions appear in print. His young wife begins to think that ideal misery is preferable to real unhappiness; and that a marriage contracted in haste, and repented at leisure, is the cause of more substantial wretchedness, than she ever anticipated. On cool reflection, Cornelius Brook Dingwall, Esq. M.P., was reluctantly compelled to admit that the untoward result of his admirable arrangements, was attributable, not to the Miss Crumptons', but his own diplomacy. He, however, consoles himself, like some other small diplomatists, by satisfactorily proving that if his plans did not succeed, they ought to have done so. Minerva House is in statu quo, and "The Misses Crumpton" remain in the peaceable and undisturbed enjoyment of all the advantages resulting from their Finishing-school. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Verse Description An account of the resource <h4>This collection brings together the most complete set of Dickens's verse to date, supplementing the work of existing editions with previously uncollected poems Dickens contributed to albums, or wrote anonymously.</h4> Though such productions receive scant attention from scholars interested in his fiction and journalism, Dickens composed a surprising amount of verse. It was a genre in which he evidently felt much less at home (and financially rewarded) than when writing in prose. However, several poems gained popular favour during his lifetime; that so many were <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Song">written to be set to music</a> indicates the permeable boundary between metered verse functioning as poem or song in the nineteenth century, and may explain why some of Dickens’s poems were more enduringly popular than others. Notably, <a href="https://dickenssearch.com/verse/1836-05_Pickwick_Papers_The_Ivy_Green">'The Ivy Green'</a> from Pickwick Papers (1837), a story of time’s inexorable passing, was frequently republished in newspapers. Several poems written to young ladies of Dickens’s acquaintance are released on Dickens Search as part of the author’s poetic output for the first time, testifying to the author’s ability to write impromptu poetry and gallantly turn a phrase. Since keeping <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Autograph+Album&collection=&type=&tags=&date_search_term=&submit_search=Search+For+Items">autograph albums</a> was a popular pastime for women in the Victorian era, it is possible that further examples of such activity remain to be discovered in various archives and private collections. When writing <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Letter&collection=3&type=&tags=&date_search_term=&submit_search=Search+For+Items">letters</a> to friends, Dickens occasionally included comedic poems for the recipient. Several of these are included. Considering the enormity of Dickens’s correspondence, likely more instances of this sort of poetic humour will result over time. <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Epitaph">Epitaphs</a> Dickens wrote for friends and family, whether used or not, are included with Dickens's other verse for the first time. Users can also browse <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Play">verse from Dickens's plays</a>, including songs removed from The Strange Gentleman and Is She His Wife? Or, Something Singular! before performance. Care is necessary when verifying the accuracy of these poems, as some are misattributed to Dickens. Widespread reprintings of 'Dickens poems' in nineteenth-century newspapers are insufficient evidence for authorial attribution, owing to the mistakes intentionally or inadvertently made in ascribing authorship. An unusual example of a poem that is and is not by Dickens, the lines of 'Little Nell’s Funeral' are taken, with minimal alterations, from Chapter 72 of The Old Curiosity Shop. An instance of the strikingly lyrical quality of Dickens’s sentimental prose, they were divided into metered, unrhymed verse by M.A.H. for the 1849 collection Echoes of Infant Voices. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of Dickens Search. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens didn't write.</a> Occasionally, Dickens will quote a poem by another author, as in his burlesque Is She his Wife? Or, Something Singular! (1836). The character Mr Felix Tapkins launches into a short hunting song beginning 'The wife around her husband throws/Her arms to make him stay'. As William Chappell noted in 1840, this is a well-known variant of 'A Hunting We Will Go' (1777), by Thomas Arne, though he misattributes its composition to Henry Fielding. Previous notable collections of some of Dickens's poetry include The Plays and Poems of Charles Dickens (1882) edited by Richard Herne Shepherd and The Poems and Verses of Charles Dickens (1903) edited by Frederic G. Kitton. In 2025, we published <a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> (Edinburgh University Press), which includes an introduction and editorial apparatus for this verse.  Caution has been taken when ascertaining that each poem is indeed by Dickens. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or other poems written by Dickens. 1. The Verse of Charles Dickens. Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' The Dickensian 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' Dickens Quarterly 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. Dickens Studies Annual 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Publication Type E.g. newspaper/serial Letter Pseudonym The name under which the item was published Revolver Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18380901 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. Oh Mr. Groves If so be you approves Of writings in rhyme Knocked off in quick time And set down at once By an indolent dunce Who to Alum bay runs - Read these lines Mr. Groves. For those same twenty heads Who are coming for beds From Cowes or from Rhyde, Or from some hole beside, Don’t fit up that “Tent” Which in our room is meant For some very small child Of years meek and mild, Because I’ve a wife And I swear on my life It would our blushes bring To have that sort of thing, -So no stranger coves If you please Mr. Groves And when people repair Here, to dine in the air Just give ‘em their grub On some barrel or tub In the cow-yard or garden; - I’ll bet a brass farden They’ll eat as much cheese, And cough spit and sneeze And make as much shindy As outside our windy; So there put their loaves If you please Mr. Groves. And as Ann is a maid By no means afraid Of doing what’s right By day or by night, And perfectly able To wait well at table, If she’s wrong here and there Don’t bluster and swear But of slight faults absolve her. Yours Truly - Revolver. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1838-09_Letter_To_John_Groves_Poem.xml" target="_blank" rel="noopener">'To John Groves' (1 September 1838).</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'To John Groves' Description An account of the resource From a letter to John Groves (1 September 1838). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived 'To John Groves.' Letter to John Groves (Early September 1838). The Letters of Charles Dickens. The Pilgrim Edition. Edited by Madeline House and Graham Storey. Volume 1 (1820-1839), pp. 432-433. Oxford University Press, 1988. Date A point or period of time associated with an event in the lifecycle of the resource 1838-09 Type The nature or genre of the resource Poem Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'To John Groves' (September 1838). Dickens Search. Eds. Emily Middleton and Lydia Craig. <a href="https://dickenssearch.com/verse/1838-09_Letter_To_John_Groves_Poem">https://dickenssearch.com/verse/1838-09_Letter_To_John_Groves_Poem</a>. Identifier An unambiguous reference to the resource within a given context 1838-09_Letter_To_John_Groves_Poem Scripto Transcription A written representation of a document. Oh Mr. Groves If so be you approves Of writings in rhyme Knocked off in quick time And set down at once By an indolent dunce Who to Alum bay runs -  Read these lines Mr. Groves. For those same twenty heads Who are coming for beds From Cowes or from Rhyde, Or from some hole beside, Don’t fit up that “Tent” Which in our room is meant For some very small child Of years meek and mild, Because I’ve a wife And I swear on my life It would our blushes bring To have that sort of thing, -  So no stranger coves If you please Mr. Groves And when people repair  Here, to dine in the air Just give ‘em their grub On some barrel or tub In the cow-yard or garden; -  I’ll bet a brass farden They’ll eat as much cheese, And cough spit and sneeze And make as much shindy As outside our windy; So there put their loaves If you please Mr. Groves. And as Ann is a maid By no means afraid Of doing what’s right By day or by night, And perfectly able To wait well at table, If she’s wrong here and there Don’t bluster and swear But of slight faults absolve her. Yours Truly - Revolver.