9 10 361 https://www.dickenssearch.com/files/original/5/Scenes_and_Characters_No._11_The_New_Year/1836-01-03_Bells_Life_in_London_Scenes_and_Characters_No.11_The_New_Year.pdf e3025186ba171ddf836b5f8dde8be24e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) Bell's Life in London Pseudonym The name under which the item was published TIBBS Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18360103 TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1836-01-03_Bells_Life_in_London_Scenes_and_Characters_No11_The_New_Year.xml" target="_blank" rel="noopener">'Scenes and Characters, No. 11, The New Year.' Bell's Life in London (3 January 1836).</a> 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. Next to Christmas-day, the most pleasant annual epoch in existence is the advent of the New Year. There are a lachrymose set of people who usher in the New Year with watching and fasting, as if they were bound to attend as chief mourners at the obsequies of the old one. Now, we cannot but think it a great deal more complimentary, both to the old year that has rolled away, and to the new year that is just beginning to dawn upon us, to see the old fellow out, and the new one in, with gaiety and glee. There must have been some few occurrences in the past year to which we can look back, with a smile of cheerful recollection, if not with a feeling of heartfelt thankfulness; and we are bound by every rule of justice and equity to give the new year credit for being a good one, until he proves himself unworthy the confidence we repose in him. This is our view of the matter; and entertaining it, notwithstanding our respect for the old year, one of the few remaining moments of whose existence passes away with every word we write, here we are, seated by our fireside on this last night of the old year, one thousand eight hundred and thirty-five, penning this article, and drinking our grog with as jolly a face as if nothing extraordinary had happened, or was about to happen, to disturb our equanimity. Hackney coaches and carriages keep rattling up the street and down the street in rapid succession, conveying, doubtless, smartly-dressed coachfulls to crowded parties; loud and repeated double knocks at the house with green blinds opposite, announce to the whole neighbourhood that there's one large party in the street at all events; and we saw through the window—and through the fog too, till it grew so thick that we rung for candles, and drew our curtains—pastry-cooks' men with green boxes on their heads, and rout furniture—warehouse carts, with cane seats and French lamps, hurrying to the numerous houses where an annual festival is held in honour of the occasion. We can fancy one of these parties, we think, as well as if we were duly dress-coated and pumped, and had just been announced at the drawing-room door. Take the house with the green blinds for instance. We know its a quadrille party, because we saw some men taking up the front drawing-room carpet while we sat at breakfast this morning; and if further evidence be required, and we must tell the truth, we just now saw one of the young ladies "doing" another of the young ladies' hair, near one of the bedroom windows, in an unusual style of splendour, which nothing less than a quadrille party could possibly justify. The master of the house with the green blinds is in a public office—we know the fact by the cut of his coat, the tie of his neckcloth, and the self-satisfaction of his gait—the very green blinds themselves have a Somerset-house air about them. Hark!—a cab! That's a junior clerk in the same office—a tidy sort of young man, with a tendency to cold and corns, who comes with a pair of boots with black cloth fronts, and his shoes in his coat pocket, which shoes he is at this very moment putting on in the hall. Now he is announced by the man in the passage to another man in a blue coat—who is a disguised messenger from the office—on the first landing; and the man on the first landing precedes him to the drawing-room door. "Mr. Winkles!"shouts the messenger. "How are you, Winkles?" says the master of the house, advancing from the fire, before which he has been standing, talking politics and airing himself. "My dear, this is Mr Winkles (a courteous salute from the lady of the house). "Winkles, my eldest daughter Julia, my dear, Mr. Winkles; Mr. Winkles, my other daughters—my son, Sir;" and Winkles rubs his hands very hard, and smiles as if it were all capital fun, and keeps constantly bowing and turning himself round, till the whole family have been introduced, when he glides into a chair at the corner of the sofa, and opens a miscellaneous conversation with the young ladies upon the weather and the theatres, and the old year and its lions—Captain Ross and the silent system—O'Connell and Mr. Balfe—the voluntary principle and the comet—the Jewess and the Orange Lodges. More double knocks! What an extensive party! what an incessant hum of conversation and general sipping of coffee! We see Winkles now in our mind's eye, in the height of his glory. He has just handed that stout old lady's cup to the servant, and now, he dives among the crowd of young men by the door, to intercept the other servant, and secure the muffin-plate for the old lady's daughter, before he leaves the room; and now, as he passes the sofa on his way back, he bestows a glance of recognition and patronage upon the young ladies, as condescending and familiar as if he had known them from infancy. Charming person that Mr. Winkles —perfect ladies' man. Such a delightful companion, too! Laugh!—nobody ever understood Pa's jokes half so well as Mr. Winkles, who laughs himself into convulsions at every fresh burst of facetiousness. Most delightful partner!—talks through the whole set; and although he does seem at first rather gay and frivolous, so romantic and with so much feeling!—quite a love. No great favourite with the young men, certainly, who sneer at, and affect to despise him; but everybody knows that's only envy, and they needn't give themselves the trouble of attempting to depreciate his merits at any rate; for Ma says he shall be asked to every future dinner-party, if it's only to talk to people between the courses, and distract their attention when there's any unexpected delay in the kitchen. At supper, Mr Winkles shows to still greater advantage than he has done throughout the evening, and when Pa requests every one to fill their glasses for the purpose of drinking happiness throughout the year, Mr. Winkles is so droll, insisting on all the young ladies having their glasses filled, notwithstanding their repeated assurances that they never can, by any possibility, think of emptying them and subsequently begging permission to say a few words on the sentiment which has just been uttered by Pa, when he makes one of the most brilliant and poetical speeches that can possibly be imagined, about the old year and the new one. After the toast has been drunk, and when the ladies have retired, Mr. Winkles requests that every gentleman will do him the favour of filling his glass, for he has a toast to propose; on which all the gentlemen cry "hear! hear!" and pass the decanters accordingly, and Mr. Winkles being informed by the master of the house that they are all charged, and waiting for his toast, rises, and begs to remind the gentlemen present how much they have been delighted by the dazzling array of elegance and beauty which the drawing-room has exhibited that night, and how their senses have been charmed, and their hearts captivated by the bewitching concentration of female loveliness which that very room has so recently displayed [loud cries of hear!]. Much as he (Winkles) would be disposed to deplore the absence of the ladies, on other grounds, he cannot but derive some consolation from the reflection that the very circumstance of their not being present enables him to propose a toast which he would have otherwise been prevented from giving—that toast he begs to say is—"The Ladies!'"[great applause].—The ladies, among whom the fascinating daughters of their excellent host are alike conspicuous for their beauty, their accomplishments, and their elegance. He begs them to drain a bumper to "The Ladies," and a happy new year to them [prolonged approbation, above which the noise of the ladies dancing the Spanish dance among themselves, over head, is distinctly audible]. The applause consequent on this toast has scarcely subsided when a young gentleman in a pink under waistcoat, towards the bottom of the table, is observed to grow very restless and fidgetty, and to evince strong indications of some latent desire to give vent to his feelings in a speech, which the wary Winkles at once perceiving determines to forestal by speaking himself. He, therefore, rises again, with an air of solemn importance, and trusts he may be permitted to propose another toast [unqualified approbation, and Mr. Winkles proceeds]. He is sure they must all be deeply impressed with the hospitality—he may say the splendour—with which they have been that night received by their worthy host and hostess [unbounded applause]. Although this is the first occasion on which he has had the pleasure and delight of sitting at that board, he has known his friend Dobble long and intimately; he has been connected with him in business—he wishes everybody present knew Dobble as well as he does [a cough from the host]. He (Winkles) can lay his hand upon his (Winkles) heart, and declare his confident belief that a better man, a better husband, a better father, a better brother, a better son, a better relation in any relation of life, than Dobble, never existed [loud cries of "Hear!"]. They have seen him to-night in the peaceful bosom of his family; they should see him in the morning, in the trying duties of his office. Calm in the perusal of the Morning Paper, uncompromising in the signature of his name, dignified in his replies to the inquiries of stranger applicants, deferential in his behaviour to his superiors—majestic in his deportment to the messengers [cheers]. When he bears this merited testimony to the excellent qualities of his friend Dobble, what can he say in approaching such a subject as Mrs Dobble? Is it requisite for him to expatiate on the qualities of that amiable woman? No; he will spare his friend Dobble's feelings; he will spare the feelings of his friend—if he will allow him to have the honour of calling him so—Mr Dobble, Junior. [Here Mr Dobble Junior, who has been previously distending his mouth to a considerable width, by thrusting a particularly fine orange into that feature, suspends operations, and assumes a proper appearance of intense melancholy]. He will simply say—and he is quite certain it is a sentiment in which all who hear him will readily concur—that his friend Dobble is as superior to any man he ever knew, as Mrs. Dobble is far beyond any woman he ever saw (except her daughters), and he will conclude by proposing their "worthy host and hostess, and may they live to enjoy many more new years." The toast is drunk with acclamation—Dobble returns thanks—and the whole party rejoin the ladies in the drawing-room. Young men who were too bashful to dance before supper, find tongues and partners; the musicians exhibit unequivocal symptoms of having drunk the new year in, while the company were out; and dancing is kept up until far in the first morning of the new year. We have scarcely written the last word of the previous sentence, when the first stroke of twelve peals from the neighbouring churches; there is something awful in the sound. Strictly speaking, it may not be more impressive now than at any other time, for the hours steal as swiftly on at other periods, and their flight is little heeded. But, we measure man's life by years, and it is a solemn knell that warns us we have passed another of the boundaries which stand between us and the grave; disguise it as we may, the reflection will force itself on our minds that when next that bell announces the arrival of a new year, we may be insensible alike of the timely warning we have so often neglected, and of all the warm feelings that glow within us now. But twelve has struck, and the bells ring merrily out which welcome the new year. Away with all gloomy reflections. We were happy and merry in the last one, and will be, please God, in this. So as we are alone, and can neither dance it in, nor sing it in, here goes our glass to our lips, and a hearty welcome to the year one thousand eight hundred and thirty-six say we. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'Scenes and Characters, No. 11, The New Year' Description An account of the resource Published in Bell's Life in London (3 January 1836). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/BL/0000355/18360103/001/0001" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/BL/0000355/18360103/001/0001</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1836-01-03 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 1836-01-03_Bells_Life_in_London_Scenes_and_Characters_No11_The_New_Year Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Scenes and Characters, No.11, The New Year' (3 January 1836). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/short-stories/1836-01-03_Bells_Life_in_London_Scenes_and_Characters_No11_The_New_Year">https://dickenssearch.com/short-stories/1836-01-03_Bells_Life_in_London_Scenes_and_Characters_No11_The_New_Year</a>. Scripto Transcription A written representation of a document. Next to Christmas-day, the most pleasant annual epoch in existence is the advent of the New Year. There are a lachrymose set of people who usher in the New Year with watching and fasting, as if they were bound to attend as chief mourners at the obsequies of the old one. Now, we cannot but think it a great deal more complimentary, both to the old year that has rolled away, and to the new year that is just beginning to dawn upon us, to see the old fellow out, and the new one in, with gaiety and glee. There must have been some few occurrences in the past year to which we can look back, with a smile of cheerful recollection, if not with a feeling of heartfelt thankfulness; and we are bound by every rule of justice and equity to give the new year credit for being a good one, until he proves himself unworthy the confidence we repose in him. This is our view of the matter; and entertaining it, notwithstanding our respect for the old year, one of the few remaining moments of whose existence passes away with every word we write, here we are, seated by our fireside on this last night of the old year, one thousand eight hundred and thirty-five, penning this article, and drinking our grog with as jolly a face as if nothing extraordinary had happened, or was about to happen, to disturb our equanimity. Hackney coaches and carriages keep rattling up the street and down the street in rapid succession, conveying, doubtless, smartly-dressed coachfulls to crowded parties; loud and repeated double knocks at the house with green blinds opposite, announce to the whole neighbourhood that there's one large party in the street at all events; and we saw through the window—and through the fog too, till it grew so thick that we rung for candles, and drew our curtains—pastry-cooks' men with green boxes on their heads, and rout furniture—warehouse carts, with cane seats and French lamps, hurrying to the numerous houses where an annual festival is held in honour of the occasion. We can fancy one of these parties, we think, as well as if we were duly dress-coated and pumped, and had just been announced at the drawing-room door. Take the house with the green blinds for instance. We know its a quadrille party, because we saw some men taking up the front drawing-room carpet while we sat at breakfast this morning; and if further evidence be required, and we must tell the truth, we just now saw one of the young ladies "doing" another of the young ladies' hair, near one of the bedroom windows, in an unusual style of splendour, which nothing less than a quadrille party could possibly justify. The master of the house with the green blinds is in a public office—we know the fact by the cut of his coat, the tie of his neckcloth, and the self-satisfaction of his gait—the very green blinds themselves have a Somerset-house air about them. Hark!—a cab! That's a junior clerk in the same office—a tidy sort of young man, with a tendency to cold and corns, who comes with a pair of boots with black cloth fronts, and his shoes in his coat pocket, which shoes he is at this very moment putting on in the hall. Now he is announced by the man in the passage to another man in a blue coat—who is a disguised messenger from the office—on the first landing; and the man on the first landing precedes him to the drawing-room door. "Mr. Winkles!"shouts the messenger. "How are you, Winkles?" says the master of the house, advancing from the fire, before which he has been standing, talking politics and airing himself. "My dear, this is Mr Winkles (a courteous salute from the lady of the house). "Winkles, my eldest daughter Julia, my dear, Mr. Winkles; Mr. Winkles, my other daughters—my son, Sir;" and Winkles rubs his hands very hard, and smiles as if it were all capital fun, and keeps constantly bowing and turning himself round, till the whole family have been introduced, when he glides into a chair at the corner of the sofa, and opens a miscellaneous conversation with the young ladies upon the weather and the theatres, and the old year and its lions—Captain Ross and the silent system—O'Connell and Mr. Balfe—the voluntary principle and the comet—the Jewess and the Orange Lodges. More double knocks! What an extensive party! what an incessant hum of conversation and general sipping of coffee! We see Winkles now in our mind's eye, in the height of his glory. He has just handed that stout old lady's cup to the servant, and now, he dives among the crowd of young men by the door, to intercept the other servant, and secure the muffin-plate for the old lady's daughter, before he leaves the room; and now, as he passes the sofa on his way back, he bestows a glance of recognition and patronage upon the young ladies, as condescending and familiar as if he had known them from infancy. Charming person that Mr. Winkles —perfect ladies' man. Such a delightful companion, too! Laugh!—nobody ever understood Pa's jokes half so well as Mr. Winkles, who laughs himself into convulsions at every fresh burst of facetiousness. Most delightful partner!—talks through the whole set; and although he does seem at first rather gay and frivolous, so romantic and with so much feeling!—quite a love. No great favourite with the young men, certainly, who sneer at, and affect to despise him; but everybody knows that's only envy, and they needn't give themselves the trouble of attempting to depreciate his merits at any rate; for Ma says he shall be asked to every future dinner-party, if it's only to talk to people between the courses, and distract their attention when there's any unexpected delay in the kitchen. At supper, Mr Winkles shows to still greater advantage than he has done throughout the evening, and when Pa requests every one to fill their glasses for the purpose of drinking happiness throughout the year, Mr. Winkles is so droll, insisting on all the young ladies having their glasses filled, notwithstanding their repeated assurances that they never can, by any possibility, think of emptying them and subsequently begging permission to say a few words on the sentiment which has just been uttered by Pa, when he makes one of the most brilliant and poetical speeches that can possibly be imagined, about the old year and the new one. After the toast has been drunk, and when the ladies have retired, Mr. Winkles requests that every gentleman will do him the favour of filling his glass, for he has a toast to propose; on which all the gentlemen cry "hear! hear!" and pass the decanters accordingly, and Mr. Winkles being informed by the master of the house that they are all charged, and waiting for his toast, rises, and begs to remind the gentlemen present how much they have been delighted by the dazzling array of elegance and beauty which the drawing-room has exhibited that night, and how their senses have been charmed, and their hearts captivated by the bewitching concentration of female loveliness which that very room has so recently displayed [loud cries of hear!]. Much as he (Winkles) would be disposed to deplore the absence of the ladies, on other grounds, he cannot but derive some consolation from the reflection that the very circumstance of their not being present enables him to propose a toast which he would have otherwise been prevented from giving—that toast he begs to say is—"The Ladies!'"[great applause].—The ladies, among whom the fascinating daughters of their excellent host are alike conspicuous for their beauty, their accomplishments, and their elegance. He begs them to drain a bumper to "The Ladies," and a happy new year to them [prolonged approbation, above which the noise of the ladies dancing the Spanish dance among themselves, over head, is distinctly audible]. The applause consequent on this toast has scarcely subsided when a young gentleman in a pink under waistcoat, towards the bottom of the table, is observed to grow very restless and fidgetty, and to evince strong indications of some latent desire to give vent to his feelings in a speech, which the wary Winkles at once perceiving determines to forestal by speaking himself. He, therefore, rises again, with an air of solemn importance, and trusts he may be permitted to propose another toast [unqualified approbation, and Mr. Winkles proceeds]. He is sure they must all be deeply impressed with the hospitality—he may say the splendour—with which they have been that night received by their worthy host and hostess [unbounded applause]. Although this is the first occasion on which he has had the pleasure and delight of sitting at that board, he has known his friend Dobble long and intimately; he has been connected with him in business—he wishes everybody present knew Dobble as well as he does [a cough from the host]. He (Winkles) can lay his hand upon his (Winkles) heart, and declare his confident belief that a better man, a better husband, a better father, a better brother, a better son, a better relation in any relation of life, than Dobble, never existed [loud cries of "Hear!"]. They have seen him to-night in the peaceful bosom of his family; they should see him in the morning, in the trying duties of his office. Calm in the perusal of the Morning Paper, uncompromising in the signature of his name, dignified in his replies to the inquiries of stranger applicants, deferential in his behaviour to his superiors—majestic in his deportment to the messengers [cheers]. When he bears this merited testimony to the excellent qualities of his friend Dobble, what can he say in approaching such a subject as Mrs Dobble? Is it requisite for him to expatiate on the qualities of that amiable woman? No; he will spare his friend Dobble's feelings; he will spare the feelings of his friend—if he will allow him to have the honour of calling him so—Mr Dobble, Junior. [Here Mr Dobble Junior, who has been previously distending his mouth to a considerable width, by thrusting a particularly fine orange into that feature, suspends operations, and assumes a proper appearance of intense melancholy]. He will simply say—and he is quite certain it is a sentiment in which all who hear him will readily concur—that his friend Dobble is as superior to any man he ever knew, as Mrs. Dobble is far beyond any woman he ever saw (except her daughters), and he will conclude by proposing their "worthy host and hostess, and may they live to enjoy many more new years." The toast is drunk with acclamation—Dobble returns thanks—and the whole party rejoin the ladies in the drawing-room. Young men who were too bashful to dance before supper, find tongues and partners; the musicians exhibit unequivocal symptoms of having drunk the new year in, while the company were out; and dancing is kept up until far in the first morning of the new year. We have scarcely written the last word of the previous sentence, when the first stroke of twelve peals from the neighbouring churches; there is something awful in the sound. Strictly speaking, it may not be more impressive now than at any other time, for the hours steal as swiftly on at other periods, and their flight is little heeded. But, we measure man's life by years, and it is a solemn knell that warns us we have passed another of the boundaries which stand between us and the grave; disguise it as we may, the reflection will force itself on our minds that when next that bell announces the arrival of a new year, we may be insensible alike of the timely warning we have so often neglected, and of all the warm feelings that glow within us now. But twelve has struck, and the bells ring merrily out which welcome the new year. Away with all gloomy reflections. We were happy and merry in the last one, and will be, please God, in this. So as we are alone, and can neither dance it in, nor sing it in, here goes our glass to our lips, and a hearty welcome to the year one thousand eight hundred and thirty-six say we. https://www.dickenssearch.com/files/original/5/Scenes_and_Characters_No._12_The_Streets_at_Night/1836-01-17_Bells_Life_in_London_Scenes_and_Characters_No12_The_Streets_at_Night.pdf af4d77d5f077dfdd2117e36c029089b6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) Bell's Life in London Pseudonym The name under which the item was published TIBBS Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18360117 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 streets of London, to be beheld in the very height of their glory, should be seen on a dark, dull, murky, winter’s night, when there is just enough damp gently stealing down to make the pavement greasy, without cleaning it of any of its impurities, and when the heavy lazy mist, which hangs over every object around makes the gas lamps look brighter, and the brilliantly lighted shops more splendid, from the contrast they present. Everybody who is in-doors on such a night as this, seem disposed to make themselves as snug and comfortable as possible. In the larger and better kind of streets dining parlour curtains are closely drawn, kitchen fires blaze brightly up, and savoury steams of hot dinners salute the nostrils of the hungry wayfarer, as he plods wearily by the area railings. In the suburbs, the muffin-boy rings his way down the little street much more slowly than he is wont to do, for Mrs. Macklin at number four has no sooner opened her little street-door and screamed out "Muffins!" with all her might, than Mrs. Walker at number five puts her head out of the parlour window, and screams "Muffins!" too, and Mrs. Walker has scarcely got the word out of her lips, than Mrs. Peplow over the way lets loose Master Peplow, who darts down the street with a velocity which nothing but buttered muffins in perspective could possibly inspire, and drags the boy back by main force, whereupon Mrs. Macklin and Mrs. Walker, just to save the boy trouble, and to say a few neighbourly words to Mrs. Peplow at the same time, run over the way and buy their muffins at Mrs. Peplow’s door, when it appears from the voluntary statement of Mrs. Walker, that her kittle’s just a-biling, and the cups and sarsers ready laid, and that, as it was such a wretched night out o’ doors, she’d made up her mind to have a nice hot comfortable cup o’ tea—a determination at which, by the most singular coincidence, the other two ladies had simultaneously arrived. After a little conversation about the wretchedness of the weather and the merits of tea, with a digression relative to the viciousness of boys as a rule, and the amiability of Master Peplow as an exception, Mrs. Walker sees her husband coming down the street, and as he must want his tea, poor man, after his dirty walk from the docks, she instantly runs across, muffins in hand, and Mrs. Macklin does the same, and after a few words to Mrs. Walker, they all pop into their little houses, and slam their little street-doors, which are not opened again for the remainder of the evening, except to the nine o’clock beer, who comes round with a lantern in front of his tray, and says, as he lends Mrs. Walker "yesterday’s 'Tiser," that he’s blessed if he can hardly hold the pot, much less feel the paper, for it’s one of the bitterest nights he ever felt, ’cept the night when the man was frozen to death in the Brick-field. After a little prophetic conversation with the policeman at the street-corner, touching a probable change in the weather, and the setting-in of a hard frost, the nine o’clock beer returns to his master’s house, and employs himself for the remainder of the evening, in assiduously stirring the tap-room fire, and deferentially taking part in the conversation of the worthies assembled round it. The streets in the vicinity of the Marsh-gate and Victoria Theatre present an appearance of dirt and discomfort on such a night, which the groups who lounge about them in no degree tend to diminish. Even the little block-tin temple sacred to "baked 'taturs," surmounted by a splendid design in variegated lamp, looks less gay than usual; and as to the kidney-pie stand, its glory has quite departed, for the candle in the transparent lamp, manufactured of oiled paper, embellished with "characters," has been blown out fifty times, so the kidney-pie merchant, tired with running backwards and forwards to the next wine-vaults to get a light, has given up the idea of illumination in despair, and the only signs of his whereabout are the bright sparks, of which, a long irregular train is whirled down the street every time he opens his portable oven to hand a hot kidney-pie to a customer. Flat-fish, oyster, and fruit-vendors linger hopelessly in the kennel, in vain endeavouring to attract customers; and the ragged boys who usually disport themselves about the streets, stand crouched in little knots in some projecting door-way, or under the canvass window-blind of a cheesemonger’s, where great flaring gas lights, unshaded by any glass, display huge piles of bright red, and pale yellow cheeses, mingled with little fivepenny dabs of dingy bacon, various tubs of weekly Dorset, and cloudy rolls of "best fresh." Here they amuse themselves with theatrical converse arising out of their last half-price visit to the Victoria gallery, admire the terrific combat which is nightly encored, and expatiate on the inimitable manner in which Bill Thompson can come the double monkey, or go through the mysterious involutions of a sailor’s hornpipe. It is nearly eleven o’clock, and the cold thin rain which has been drizzling so long, is beginning to pour down in good earnest; the baked-'tatur man has departed—the kidney-pie man has just taken his warehouse on his arm with the same object—the cheesemonger has drawn in his blind—& the boys have dispersed. The constant clicking of pattens on the slippy and uneven pavement, & the rustling of umbrellas as the wind blows against the shop windows, bear testimony to the inclemency of the night; and the policeman, with his oil skin cape butoned closely round him, seems, as he holds his hat on his head, and turns round to avoid the gust of wind and rain which drives against him at the street corner, to be very far from congratulating himself on the prospect before him. The little chandler’s shop, with the cracked bell behind the door, whose melancholy tinkling has been regulated by the demand for quarterns of sugar, and half ounces of coffee, is shutting up; the crowds which have been passing to and fro during the whole day, are rapidly dwindling away; and the noise of shouting and quarrelling which issues from the public-houses, is almost the only sound that breaks the melancholy stillness. There was another, but it has ceased. That wretched woman with the infant in her arms, round whose meagre form the remnant of her own scanty shawl is carefully wrapped, has been attempting to sing some popular ballad, in the hope of wringing a few pence from the compassionate passer by—a brutal laugh at her weak voice is all she has gained. The tears fall thick and fast down her worn pale face; the child is cold and hungry, and its low half-stifled wailing adds to the misery of its wretched mother, as she moans aloud, and sinks despairingly down on a cold damp door-step. Singing! How few of those who pass such a miserable creature as this think of the anguish of heart, the sinking of soul and spirit, which the very effort of singing produces. What a bitter mockery! Disease, neglect, and starvation, faintly articulating the words of the joyous ditty that has enlivened your hours of feasting and merriment, God knows how often! It is no subject for jeering. The weak tremulous voice tells a fearful tale of want and famishing, and the feeble singer of this roaring song may turn away only to die of cold and hunger. One o’clock! Parties returning from the different theatres foot it through the muddy streets; cabs, hackney coaches, carriages, and theatre-omnibuses, roll swiftly by; watermen, with dim dirty lanterns in their hands, and large brass plates upon their breasts, who have been shouting and rushing about for the last two hours, retire to their watering-houses, to solace themselves with the creature comforts of pipes and purl; the half-price pit and box frequenters of the theatres throng to the different houses of refreshment; and chops, kidneys, rabbits, oysters, stout, cigars, and "goes" innumerable, are served up amidst a noise and confusion of smoking, running, knife-clattering, and waiter-chattering, perfectly indescribable. The more musical portion of the play-going community betake themselves to some harmonic meeting; and, as a matter of curiosity, we will follow them thither for a few moments. In a lofty room, of spacious dimensions, sit some eighty or a hundred guests, knocking little pewter measures on the tables, and hammering away with the handles of their knives, as if they were so many trunk makers. They are applauding a glee, which has just been executed by the three "professional gentlemen" at the top of the centre table, one of whom is in the chair—the little pompous man, with the bald head just emerging from the collar of his green coat. The others are seated on either side of him—the stout man with the small voice, and the thin-faced dark man in black. The little man in the chair is a most amusing personage—such condescending grandeur, and such a voice! "Bass!" as the young gentleman near us with the blue stock forcibly remarks to his companion, "bass! I b’lieve you. He can go down lower than any man: so low sometimes that you can’t hear him." And so he does. To hear him growling away, gradually lower and lower down, till he can’t get back again, is the most delightful thing in the world, and it is quite impossible to witness unmoved the impressive solemnity with which he pours forth his soul in "My ’Art’s in the Ilands,"’ or "The Brave Old Hoak." The stout man is also addicted to sentimentality, and warbles "Fly fly from the World, my Bessy with me," or some such song, with lady-like sweetness, and in the most seductive tones imaginable. "Pray give your orders gen’l’m’n—pray give your orders"—says a pale-faced man with a red-head; and demands for "goes" of gin, and "goes" of brandy, and pints of stout, and cigars of peculiar mildness, are vociferously made from all parts of the room. The "professional gentlemen" are in the very height of their glory, and bestow condescending nods, or even a word or two of recognition on the better-known frequenters of the room, in the most bland and patronising manner possible. The little round-faced man with the small brown surtout, white stockings, and shoes, is in the comic line; the mixed air of self denial, and mental consciousness of his own powers with which he acknowledges the call of the chair, is particularly gratifying.—"Gentlemen," says the little pompous man, accompanying the word with a knock of the president’s hammer on the table—"‘Gentlemen, allow me to claim your attention—Our friend Mr. Smuggins will oblige."— "Bravo!" shout the company; and Smuggins, after a considerable quantity of coughing, by way of symphony, and a most facetious sniff or two, which afford general delight, sings a comic song with a fal-de-ral tol-de-ral chorus at the end of every verse, much longer than the verse itself. It is received with unbounded applause, and after some aspiring genius has volunteered a recitation, and failed dismally therein, the little pompous man gives another knock, and says "Gentlemen, we will attempt a glee, if you please." This announcement calls forth tumultuous applause, and the more energetic spirits express the unqualified approbation it affords them by knocking one or two stout glasses off their legs—a humorous device, but one which frequently occasions some slight altercation when the form of paying the damage is proposed to be gone through by the waiter. Scenes like these are continued until three or four o’clock in the morning; and even when they close, fresh ones open to the inquisitive novice. But as a description of all of them, however slight, would require a volume, we make our bow and drop the curtain. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1836-01-17_Bells_Life_in_London_Scenes_and_Characters_No12_The_Streets_at_Night.xml" target="_blank" rel="noopener">'Scenes and Characters, No. 12, The Streets at Night.' Published in Bell's Life in London (17 January 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 'Scenes and Characters, No. 12, The Streets at Night' Description An account of the resource Published in Bell's Life in London (17 January 1836). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/BL/0000355/18360117/001/0001" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/BL/0000355/18360117/001/0001</a>. Source is faded and illegible in places. Date A point or period of time associated with an event in the lifecycle of the resource 1836-01-17 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 1836-01-17_Bells_Life_in_London_Scenes_and_Characters_No12_The_Streets_at_Night Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Scenes and Characters, No. 12, The Streets at Night' (17 January 1836). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/short-stories/1836-01-17_Bells_Life_in_London_Scenes_and_Characters_No12_The_Streets_at_Night">https://dickenssearch.com/short-stories/1836-01-17_Bells_Life_in_London_Scenes_and_Characters_No12_The_Streets_at_Night</a>. Scripto Transcription A written representation of a document. The streets of London, to be beheld in the very height of their glory, should be seen on a dark, dull, murky, winter’s night, when there is just enough damp gently stealing down to make the pavement greasy, without cleaning it of any of its impurities, and when the heavy lazy mist, which hangs over every object around makes the gas lamps look brighter, and the brilliantly lighted shops more splendid, from the contrast they present. Everybody who is in-doors on such a night as this, seem disposed to make themselves as snug and comfortable as possible. In the larger and better kind of streets dining parlour curtains are closely drawn, kitchen fires blaze brightly up, and savoury steams of hot dinners salute the nostrils of the hungry wayfarer, as he plods wearily by the area railings. In the suburbs, the muffin-boy rings his way down the little street much more slowly than he is wont to do, for Mrs. Macklin at number four has no sooner opened her little street-door and screamed out "Muffins!" with all her might, than Mrs. Walker at number five puts her head out of the parlour window, and screams "Muffins!" too, and Mrs. Walker has scarcely got the word out of her lips, than Mrs. Peplow over the way lets loose Master Peplow, who darts down the street with a velocity which nothing but buttered muffins in perspective could possibly inspire, and drags the boy back by main force, whereupon Mrs. Macklin and Mrs. Walker, just to save the boy trouble, and to say a few neighbourly words to Mrs. Peplow at the same time, run over the way and buy their muffins at Mrs. Peplow’s door, when it appears from the voluntary statement of Mrs. Walker, that her kittle’s just a-biling, and the cups and sarsers ready laid, and that, as it was such a wretched night out o’ doors, she’d made up her mind to have a nice hot comfortable cup o’ tea—a determination at which, by the most singular coincidence, the other two ladies had simultaneously arrived. After a little conversation about the wretchedness of the weather and the merits of tea, with a digression relative to the viciousness of boys as a rule, and the amiability of Master Peplow as an exception, Mrs. Walker sees her husband coming down the street, and as he must want his tea, poor man, after his dirty walk from the docks, she instantly runs across, muffins in hand, and Mrs. Macklin does the same, and after a few words to Mrs. Walker, they all pop into their little houses, and slam their little street-doors, which are not opened again for the remainder of the evening, except to the nine o’clock beer, who comes round with a lantern in front of his tray, and says, as he lends Mrs. Walker "yesterday’s 'Tiser," that he’s blessed if he can hardly hold the pot, much less feel the paper, for it’s one of the bitterest nights he ever felt, ’cept the night when the man was frozen to death in the Brick-field. After a little prophetic conversation with the policeman at the street-corner, touching a probable change in the weather, and the setting-in of a hard frost, the nine o’clock beer returns to his master’s house, and employs himself for the remainder of the evening, in assiduously stirring the tap-room fire, and deferentially taking part in the conversation of the worthies assembled round it. The streets in the vicinity of the Marsh-gate and Victoria Theatre present an appearance of dirt and discomfort on such a night, which the groups who lounge about them in no degree tend to diminish. Even the little block-tin temple sacred to "baked 'taturs," surmounted by a splendid design in variegated lamp, looks less gay than usual; and as to the kidney-pie stand, its glory has quite departed, for the candle in the transparent lamp, manufactured of oiled paper, embellished with "characters," has been blown out fifty times, so the kidney-pie merchant, tired with running backwards and forwards to the next wine-vaults to get a light, has given up the idea of illumination in despair, and the only signs of his whereabout are the bright sparks, of which, a long irregular train is whirled down the street every time he opens his portable oven to hand a hot kidney-pie to a customer. Flat-fish, oyster, and fruit-vendors linger hopelessly in the kennel, in vain endeavouring to attract customers; and the ragged boys who usually disport themselves about the streets, stand crouched in little knots in some projecting door-way, or under the canvass window-blind of a cheesemonger’s, where great flaring gas lights, unshaded by any glass, display huge piles of bright red, and pale yellow cheeses, mingled with little fivepenny dabs of dingy bacon, various tubs of weekly Dorset, and cloudy rolls of "best fresh." Here they amuse themselves with theatrical converse arising out of their last half-price visit to the Victoria gallery, admire the terrific combat which is nightly encored, and expatiate on the inimitable manner in which Bill Thompson can come the double monkey, or go through the mysterious involutions of a sailor’s hornpipe. It is nearly eleven o’clock, and the cold thin rain which has been drizzling so long, is beginning to pour down in good earnest; the baked-'tatur man has departed—the kidney-pie man has just taken his warehouse on his arm with the same object—the cheesemonger has drawn in his blind—& the boys have dispersed. The constant clicking of pattens on the slippy and uneven pavement, & the rustling of umbrellas as the wind blows against the shop windows, bear testimony to the inclemency of the night; and the policeman, with his oil skin cape butoned closely round him, seems, as he holds his hat on his head, and turns round to avoid the gust of wind and rain which drives against him at the street corner, to be very far from congratulating himself on the prospect before him. The little chandler’s shop, with the cracked bell behind the door, whose melancholy tinkling has been regulated by the demand for quarterns of sugar, and half ounces of coffee, is shutting up; the crowds which have been passing to and fro during the whole day, are rapidly dwindling away; and the noise of shouting and quarrelling which issues from the public-houses, is almost the only sound that breaks the melancholy stillness. There was another, but it has ceased. That wretched woman with the infant in her arms, round whose meagre form the remnant of her own scanty shawl is carefully wrapped, has been attempting to sing some popular ballad, in the hope of wringing a few pence from the compassionate passer by—a brutal laugh at her weak voice is all she has gained. The tears fall thick and fast down her worn pale face; the child is cold and hungry, and its low half-stifled wailing adds to the misery of its wretched mother, as she moans aloud, and sinks despairingly down on a cold damp door-step. Singing! How few of those who pass such a miserable creature as this think of the anguish of heart, the sinking of soul and spirit, which the very effort of singing produces. What a bitter mockery! Disease, neglect, and starvation, faintly articulating the words of the joyous ditty that has enlivened your hours of feasting and merriment, God knows how often! It is no subject for jeering. The weak tremulous voice tells a fearful tale of want and famishing, and the feeble singer of this roaring song may turn away only to die of cold and hunger. One o’clock! Parties returning from the different theatres foot it through the muddy streets; cabs, hackney coaches, carriages, and theatre-omnibuses, roll swiftly by; watermen, with dim dirty lanterns in their hands, and large brass plates upon their breasts, who have been shouting and rushing about for the last two hours, retire to their watering-houses, to solace themselves with the creature comforts of pipes and purl; the half-price pit and box frequenters of the theatres throng to the different houses of refreshment; and chops, kidneys, rabbits, oysters, stout, cigars, and "goes" innumerable, are served up amidst a noise and confusion of smoking, running, knife-clattering, and waiter-chattering, perfectly indescribable. The more musical portion of the play-going community betake themselves to some harmonic meeting; and, as a matter of curiosity, we will follow them thither for a few moments. In a lofty room, of spacious dimensions, sit some eighty or a hundred guests, knocking little pewter measures on the tables, and hammering away with the handles of their knives, as if they were so many trunk makers. They are applauding a glee, which has just been executed by the three "professional gentlemen" at the top of the centre table, one of whom is in the chair—the little pompous man, with the bald head just emerging from the collar of his green coat. The others are seated on either side of him—the stout man with the small voice, and the thin-faced dark man in black. The little man in the chair is a most amusing personage—such condescending grandeur, and such a voice! "Bass!" as the young gentleman near us with the blue stock forcibly remarks to his companion, "bass!  I b’lieve you. He can go down lower than any man: so low sometimes that you can’t hear him." And so he does. To hear him growling away, gradually lower and lower down, till he can’t get back again, is the most delightful thing in the world, and it is quite impossible to witness unmoved the impressive solemnity with which he pours forth his soul in "My ’Art’s in the Ilands,"’ or "The Brave Old Hoak." The stout man is also addicted to sentimentality, and warbles "Fly fly from the World, my Bessy with me," or some such song, with lady-like sweetness, and in the most seductive tones imaginable. "Pray give your orders gen’l’m’n—pray give your orders"—says a pale-faced man with a red-head; and demands for "goes" of gin, and "goes" of brandy, and pints of stout, and cigars of peculiar mildness, are vociferously made from all parts of the room. The "professional gentlemen" are in the very height of their glory, and bestow condescending nods, or even a word or two of recognition on the better-known frequenters of the room, in the most bland and patronising manner possible. The little round-faced man with the small brown surtout, white stockings, and shoes, is in the comic line; the mixed air of self denial, and mental consciousness of his own powers with which he acknowledges the call of the chair, is particularly gratifying.—"Gentlemen," says the little pompous man, accompanying the word with a knock of the president’s hammer on the table—"‘Gentlemen, allow me to claim your attention—Our friend Mr. Smuggins will oblige."— "Bravo!" shout the company; and Smuggins, after a considerable quantity of coughing, by way of symphony, and a most facetious sniff or two, which afford general delight, sings a comic song with a fal-de-ral tol-de-ral chorus at the end of every verse, much longer than the verse itself. It is received with unbounded applause, and after some aspiring genius has volunteered a recitation, and failed dismally therein, the little pompous man gives another knock, and says "Gentlemen, we will attempt a glee, if you please." This announcement calls forth tumultuous applause, and the more energetic spirits express the unqualified approbation it affords them by knocking one or two stout glasses off their legs—a humorous device, but one which frequently occasions some slight altercation when the form of paying the damage is proposed to be gone through by the waiter. Scenes like these are continued until three or four o’clock in the morning; and even when they close, fresh ones open to the inquisitive novice.  But as a description of all of them, however slight, would require a volume, we make our bow and drop the curtain. https://www.dickenssearch.com/files/original/5/Our_Next-Door_Neighbours/1836-03-18-Our_NextDoor_Neighbours.pdf 2f1cd6ec26962b6acc838c7d280845a6 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 Morning 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. 18360318 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. We are very fond of speculating as we walk through a street, on the character and pursuits of the people who inhabit it; and nothing so materially assists us in these speculations as the appearance of the house doors. The various expressions of the human countenance afford a beautiful and interesting study; but there is something in the physiognomy of street-door knockers, almost as characteristic, and nearly as infallible. Whenever we visit a man for the first time, we contemplate the features of his knocker with the greatest curiosity, for we well know, that between the man and his knocker, there will inevitably be a greater or less degree of resemblance and sympathy. For instance, there is one description of knocker that used to be common enough, but which is fast passing away—a large round one, with the jolly face of a convivial lion smiling blandly at you, as you twist the sides of your hair into a curl or pull up your shirt-collar while you are waiting for the door to be opened; we never saw that knocker on the door of a churlish man—so far as our experience is concerned, it invariably bespoke hospitality and another bottle. No man ever saw this knocker on the door of a small attorney or bill-broker; they always patronise the other lion; a heavy ferocious-looking fellow, with a countenance expressive of savage stupidity—a sort of grand master among the knockers, and a great favourite with the selfish and brutal. Then there is a little pert Egyptian knocker, with a long thin face, a pinched-up nose, and a very sharp chin; he is most in vogue with your government-office people, in light drabs and starched cravats; little spare, priggish men, who are perfectly satisfied with their own opinions, and consider themselves of paramount importance. We were greatly troubled a few years ago, by the innovation of a new kind of knocker, without any face at all, composed of a wreath depending from a hand or small truncheon. A little trouble and attention, however, enabled us to overcome this difficulty, and to reconcile the new system to our favourite theory. You will invariably find this knocker on the doors of cold and formal people, who always ask you why you don’t come, and never say do. Everybody knows the brass knocker is common to suburban villas, and extensive boarding-schools; and having noticed this genus we have recapitulated all the most prominent and strongly-defined species. Some phrenologists affirm, that the agitation of a man’s brain by different passions, produces corresponding developments in the form of his skull. Do not let us be understood as pushing our theory to the full length of asserting, that any alteration in a man’s disposition would produce a visible effect on the feature of his knocker. Our position merely is, that in such a case, the magnetism which must exist between a man and his knocker, would induce the man to remove, and seek some knocker more congenial to his altered feelings. If you ever find a man changing his habitation without any reasonable pretext, depend upon it, that, although he may not be aware of the fact himself, it is because he and his knocker are at variance. This is a new theory, but we venture to launch it, nevertheless, as being quite as ingenious and infallible as many thousands of the learned speculations which are daily broached for public good and private fortune-making. Entertaining these feelings on the subject of knockers, it will be readily imagined with what consternation we viewed the entire removal of the knocker from the door of the next house to the one we lived in, some time ago, and the substitution of a bell. This was a calamity we had never anticipated. The bare idea of anybody being able to exist without a knocker, appeared so wild and visionary, that it had never for one instant entered our imagination. We sauntered moodily from the spot, and bent our steps towards Eaton-square, then just building. What was our astonishment and indignation to find that bells were fast becoming the rule, and knockers the exception! Our theory trembled beneath the shock. We hastened home; and fancying we foresaw in the swift progress of events, its entire abolition, resolved from that day forward to vent our speculations on our next-door neighbours in person. The house adjoining ours on the left hand was uninhabited, and we had, therefore, plenty of leisure to observe our next-door neighbours on the other side. The house without the knocker was in the occupation of a city clerk, and there was a neatly-written bill in the parlour window intimating that lodgings for a single gentleman were to be let within. It was a neat, dull little house, on the shady side of the way, with new, narrow floorcloth in the passage, and new, narrow stair-carpets up to the first floor. The paper was new, and the paint was new, and the furniture was new; and all three, paper, paint, and furniture, bespoke the limited means of the tenant. There was a little red and black carpet in the drawing-room, with a border of flooring all the way round; a few stained chairs and a pembroke table. A pink shell was displayed on each of the little sideboards, which, with the addition of a tea-tray and caddy, a few more shells on the mantelpiece, and three peacock’s feathers tastefully arranged above them, completed the decorative furniture of the apartment. This was the room destined for the reception of the single gentleman during the day, and a little back room on the same floor was assigned as his sleeping apartment by night. The bill had not been long in the window, when a stout, good-humoured looking gentleman, of about five-and-thirty, appeared as a candidate for the tenancy. Terms were soon arranged, for the bill was taken down immediately after his first visit. In a day or two the single gentleman came in, and shortly afterwards his real character came out. First of all, he displayed a most extraordinary partiality for sitting up till three or four o’clock in the morning, drinking whiskey-and-water, and smoking cigars; then he invited friends home, who used to come at ten o’clock, and begin to get happy about the small hours, when they evinced their perfect contentment by singing songs with half-a-dozen verses of two lines each, and a chorus of ten, which chorus used to be shouted forth by the whole strength of the company, in the most enthusiastic and vociferous manner, to the great annoyance of the neighbours, and the special discomfort of another single gentleman overhead. Now, this was bad enough, occurring as it did three times a week on the average, but this was not all; for when the company did go away, instead of walking quietly down the street, as anybody else’s company would have done, they amused themselves by making alarming and frightful noises, and counterfeiting the shrieks of females in distress; and one night, a red-faced gentleman in a white hat knocked in the most urgent manner at the door of the powdered-headed old gentleman at No. 3, and when the powdered-headed old gentleman, who thought one of his married daughters must have been taken ill prematurely, had groped down-stairs, and after a great deal of unbolting and key-turning, opened the street door, the red-faced man in the white hat said he hoped he’d excuse his giving him so much trouble, but he’d feel obliged if he’d favour him with a glass of cold spring water, and the loan of a shilling for a cab to take him home, on which the old gentleman slammed the door and went up-stairs, and threw the contents of his water jug out of window—very straight, only it went over the wrong man; and the whole street was involved in confusion. A joke’s a joke; and even practical jests are very capital in their way, if you can only get the other party to see the fun of them; but the population of our street were so dull of apprehension, as to be quite lost to a sense of the drollery of this proceeding: and the consequence was, that our next-door neighbour was obliged to tell the single gentleman, that unless he gave up entertaining his friends at home, he really must be compelled to part with him. The single gentleman received the remonstrance with great good-humour, and promised from that time forward, to spend his evenings at a coffee-house—a determination which afforded general and unmixed satisfaction. The next night passed off very well, everybody being delighted with the change; but on the next, the noises were renewed with greater spirit than ever. The single gentleman’s friends being unable to see him in his own house every alternate night, had come to the determination of seeing him home every night; and what with the discordant greetings of the friends at parting, and the noise created by the single gentleman in his passage up-stairs, and his subsequent struggles to get his boots off, the evil was not to be borne. So, our next-door neighbour gave the single gentleman, who was a very good lodger in other respects, notice to quit; and the single gentleman went away, and entertained his friends in other lodgings. The next applicant for the vacant first floor, was of a very different character from the troublesome single gentleman who had just quitted it. He was a tall, thin, young gentleman, with a profusion of brown hair, reddish whiskers, and very slightly developed moustaches. He wore a braided surtout, with frogs behind, light grey trousers, and wash-leather gloves, and had altogether rather a military appearance. So unlike the roystering single gentleman. Such insinuating manners, and such a delightful address! So seriously disposed, too! When he first came to look at the lodgings, he inquired most particularly whether he was sure to be able to get a seat in the parish church; and when he had agreed to take them, he requested to have a list of the different local charities, as he intended to subscribe his mite to the most deserving among them. Our next-door neighbour was now perfectly happy. He had got a lodger at last, of just his own way of thinking—a serious, well-disposed man, who abhorred gaiety, and loved retirement. He took down the bill with a light heart, and pictured in imagination a long series of quiet Sundays, on which he and his lodger would exchange mutual civilities and Sunday papers. The serious man arrived, and his luggage was to arrive from the country next morning. He borrowed a clean shirt, and a prayer-book, from our next-door neighbour, and retired to rest at an early hour, requesting that he might be called punctually at ten o’clock next morning—not before, as he was much fatigued. He was called, and did not answer: he was called again, but there was no reply. Our next-door neighbour became alarmed, and burst the door open. The serious man had left the house mysteriously; carrying with him the shirt, the prayer-book, a teaspoon, and the bedclothes. Whether this occurrence, coupled with the irregularities of his former lodger, gave our next-door neighbour an aversion to single gentlemen, we know not; we only know that the next bill which made its appearance in the parlour window intimated generally, that there were furnished apartments to let on the first floor. The bill was soon removed. The new lodgers at first attracted our curiosity, and afterwards excited our interest. They were a young lad of eighteen or nineteen, and his mother, a lady of about fifty, or it might be less. The mother wore a widow’s weeds, and the boy was also clothed in deep mourning. They were poor—very poor; for their only means of support arose from the pittance the boy earned, by copying writings, and translating for booksellers. They had removed from some country place and settled in London; partly because it afforded better chances of employment for the boy, and partly, perhaps, with the natural desire to leave a place where they had been in better circumstances, and where their poverty was known. They were proud under their reverses, and above revealing their wants and privations to strangers. How bitter those privations were, and how hard the boy worked to remove them, no one ever knew but themselves. Night after night, two, three, four hours after midnight, could we hear the occasional raking up of the scanty fire, or the hollow and half-stifled cough, which indicated his being still at work; and day after day, could we see more plainly that nature had set that unearthly light in his plaintive face, which is the beacon of her worst disease. Actuated, we hope, by a higher feeling than mere curiosity, we contrived to establish, first an acquaintance, and then a close intimacy, with the poor strangers. Our worst fears were realised; the boy was sinking fast. Through a part of the winter, and the whole of the following spring and summer, his labours were unceasingly prolonged: and the mother attempted to procure needle-work, embroidery—anything for bread. A few shillings now and then, were all she could earn. The boy worked steadily on; dying by minutes, but never once giving utterance to complaint or murmur. One beautiful autumn evening we went to pay our customary visit to the invalid. His little remaining strength had been decreasing rapidly for two or three days preceding, and he was lying on the sofa at the open window, gazing at the setting sun. His mother had been reading the Bible to him, for she closed the book as we entered, and advanced to meet us. "I was telling William," she said, "that we must manage to take him into the country somewhere, so that he may get quite well. He is not ill, you know, but he is not very strong, and has exerted himself too much lately." Poor thing! The tears that streamed through her fingers, as she turned aside, as if to adjust her close widow’s cap, too plainly showed how fruitless was the attempt to deceive herself. We sat down by the head of the sofa, but said nothing, for we saw the breath of life was passing gently but rapidly from the young form before us. At every respiration, his heart beat more slowly. The boy placed one hand in ours, grasped his mother’s arm with the other, drew her hastily towards him, and fervently kissed her cheek. There was a pause. He sunk back upon his pillow, and looked long and earnestly in his mother’s face. "William, William!" murmured the mother, after a long interval, "don’t look at me so—speak to me, dear!" The boy smiled languidly, but an instant afterwards his features resolved into the same cold, solemn gaze. "William, dear William! rouse yourself; don’t look at me so, love—pray don’t! Oh, my God! what shall I do!" cried the widow, clasping her hands in agony—"my dear boy! he is dying!" The boy raised himself by a violent effort, and folded his hands together—"Mother! dear, dear mother, bury me in the open fields—anywhere but in these dreadful streets. I should like to be where you can see my grave, but not in these close crowded streets; they have killed me; kiss me again, mother; put your arm round my neck—" He fell back, and a strange expression stole upon his features; not of pain or suffering, but an indescribable fixing of every line and muscle. The boy was dead. 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 'Our Next-Door Neighbours' Description An account of the resource Published in The Morning Chronicle (18 March 1836), p. 3. 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/0000082/18360318/009/0003">https://www.britishnewspaperarchive.co.uk/viewer/BL/0000082/18360318/009/0003</a>. Source is faded and illegible in places. Date A point or period of time associated with an event in the lifecycle of the resource 1836-03-18 Type The nature or genre of the resource Short story Identifier An unambiguous reference to the resource within a given context 1836-03-18-Our_NextDoor_Neighbours 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. 'Our Next-Door Neighbours'. Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1836-03-18-Our_NextDoor_Neighbours">https://www.dickenssearch.com/short-stories/1836-03-18-Our_NextDoor_Neighbours</a>. Scripto Transcription A written representation of a document. We are very fond of speculating as we walk through a street, on the character and pursuits of the people who inhabit it; and nothing so materially assists us in these speculations as the appearance of the house doors. The various expressions of the human countenance afford a beautiful and interesting study; but there is something in the physiognomy of street-door knockers, almost as characteristic, and nearly as infallible. Whenever we visit a man for the first time, we contemplate the features of his knocker with the greatest curiosity, for we well know, that between the man and his knocker, there will inevitably be a greater or less degree of resemblance and sympathy. For instance, there is one description of knocker that used to be common enough, but which is fast passing away—a large round one, with the jolly face of a convivial lion smiling blandly at you, as you twist the sides of your hair into a curl or pull up your shirt-collar while you are waiting for the door to be opened; we never saw that knocker on the door of a churlish man—so far as our experience is concerned, it invariably bespoke hospitality and another bottle. No man ever saw this knocker on the door of a small attorney or bill-broker; they always patronise the other lion; a heavy ferocious-looking fellow, with a countenance expressive of savage stupidity—a sort of grand master among the knockers, and a great favourite with the selfish and brutal. Then there is a little pert Egyptian knocker, with a long thin face, a pinched-up nose, and a very sharp chin; he is most in vogue with your government-office people, in light drabs and starched cravats; little spare, priggish men, who are perfectly satisfied with their own opinions, and consider themselves of paramount importance. We were greatly troubled a few years ago, by the innovation of a new kind of knocker, without any face at all, composed of a wreath depending from a hand or small truncheon. A little trouble and attention, however, enabled us to overcome this difficulty, and to reconcile the new system to our favourite theory. You will invariably find this knocker on the doors of cold and formal people, who always ask you why you don’t come, and never say do. Everybody knows the brass knocker is common to suburban villas, and extensive boarding-schools; and having noticed this genus we have recapitulated all the most prominent and strongly-defined species. Some phrenologists affirm, that the agitation of a man’s brain by different passions, produces corresponding developments in the form of his skull. Do not let us be understood as pushing our theory to the full length of asserting, that any alteration in a man’s disposition would produce a visible effect on the feature of his knocker. Our position merely is, that in such a case, the magnetism which must exist between a man and his knocker, would induce the man to remove, and seek some knocker more congenial to his altered feelings. If you ever find a man changing his habitation without any reasonable pretext, depend upon it, that, although he may not be aware of the fact himself, it is because he and his knocker are at variance. This is a new theory, but we venture to launch it, nevertheless, as being quite as ingenious and infallible as many thousands of the learned speculations which are daily broached for public good and private fortune-making. Entertaining these feelings on the subject of knockers, it will be readily imagined with what consternation we viewed the entire removal of the knocker from the door of the next house to the one we lived in, some time ago, and the substitution of a bell. This was a calamity we had never anticipated. The bare idea of anybody being able to exist without a knocker, appeared so wild and visionary, that it had never for one instant entered our imagination. We sauntered moodily from the spot, and bent our steps towards Eaton-square, then just building. What was our astonishment and indignation to find that bells were fast becoming the rule, and knockers the exception! Our theory trembled beneath the shock. We hastened home; and fancying we foresaw in the swift progress of events, its entire abolition, resolved from that day forward to vent our speculations on our next-door neighbours in person. The house adjoining ours on the left hand was uninhabited, and we had, therefore, plenty of leisure to observe our next-door neighbours on the other side. The house without the knocker was in the occupation of a city clerk, and there was a neatly-written bill in the parlour window intimating that lodgings for a single gentleman were to be let within. It was a neat, dull little house, on the shady side of the way, with new, narrow floorcloth in the passage, and new, narrow stair-carpets up to the first floor. The paper was new, and the paint was new, and the furniture was new; and all three, paper, paint, and furniture, bespoke the limited means of the tenant. There was a little red and black carpet in the drawing-room, with a border of flooring all the way round; a few stained chairs and a pembroke table. A pink shell was displayed on each of the little sideboards, which, with the addition of a tea-tray and caddy, a few more shells on the mantelpiece, and three peacock’s feathers tastefully arranged above them, completed the decorative furniture of the apartment. This was the room destined for the reception of the single gentleman during the day, and a little back room on the same floor was assigned as his sleeping apartment by night. The bill had not been long in the window, when a stout, good-humoured looking gentleman, of about five-and-thirty, appeared as a candidate for the tenancy. Terms were soon arranged, for the bill was taken down immediately after his first visit. In a day or two the single gentleman came in, and shortly afterwards his real character came out. First of all, he displayed a most extraordinary partiality for sitting up till three or four o’clock in the morning, drinking whiskey-and-water, and smoking cigars; then he invited friends home, who used to come at ten o’clock, and begin to get happy about the small hours, when they evinced their perfect contentment by singing songs with half-a-dozen verses of two lines each, and a chorus of ten, which chorus used to be shouted forth by the whole strength of the company, in the most enthusiastic and vociferous manner, to the great annoyance of the neighbours, and the special discomfort of another single gentleman overhead. Now, this was bad enough, occurring as it did three times a week on the average, but this was not all; for when the company did go away, instead of walking quietly down the street, as anybody else’s company would have done, they amused themselves by making alarming and frightful noises, and counterfeiting the shrieks of females in distress; and one night, a red-faced gentleman in a white hat knocked in the most urgent manner at the door of the powdered-headed old gentleman at No. 3, and when the powdered-headed old gentleman, who thought one of his married daughters must have been taken ill prematurely, had groped down-stairs, and after a great deal of unbolting and key-turning, opened the street door, the red-faced man in the white hat said he hoped he’d excuse his giving him so much trouble, but he’d feel obliged if he’d favour him with a glass of cold spring water, and the loan of a shilling for a cab to take him home, on which the old gentleman slammed the door and went up-stairs, and threw the contents of his water jug out of window—very straight, only it went over the wrong man; and the whole street was involved in confusion. A joke’s a joke; and even practical jests are very capital in their way, if you can only get the other party to see the fun of them; but the population of our street were so dull of apprehension, as to be quite lost to a sense of the drollery of this proceeding: and the consequence was, that our next-door neighbour was obliged to tell the single gentleman, that unless he gave up entertaining his friends at home, he really must be compelled to part with him. The single gentleman received the remonstrance with great good-humour, and promised from that time forward, to spend his evenings at a coffee-house—a determination which afforded general and unmixed satisfaction. The next night passed off very well, everybody being delighted with the change; but on the next, the noises were renewed with greater spirit than ever. The single gentleman’s friends being unable to see him in his own house every alternate night, had come to the determination of seeing him home every night; and what with the discordant greetings of the friends at parting, and the noise created by the single gentleman in his passage up-stairs, and his subsequent struggles to get his boots off, the evil was not to be borne. So, our next-door neighbour gave the single gentleman, who was a very good lodger in other respects, notice to quit; and the single gentleman went away, and entertained his friends in other lodgings. The next applicant for the vacant first floor, was of a very different character from the troublesome single gentleman who had just quitted it. He was a tall, thin, young gentleman, with a profusion of brown hair, reddish whiskers, and very slightly developed moustaches. He wore a braided surtout, with frogs behind, light grey trousers, and wash-leather gloves, and had altogether rather a military appearance. So unlike the roystering single gentleman. Such insinuating manners, and such a delightful address! So seriously disposed, too! When he first came to look at the lodgings, he inquired most particularly whether he was sure to be able to get a seat in the parish church; and when he had agreed to take them, he requested to have a list of the different local charities, as he intended to subscribe his mite to the most deserving among them. Our next-door neighbour was now perfectly happy. He had got a lodger at last, of just his own way of thinking—a serious, well-disposed man, who abhorred gaiety, and loved retirement. He took down the bill with a light heart, and pictured in imagination a long series of quiet Sundays, on which he and his lodger would exchange mutual civilities and Sunday papers. The serious man arrived, and his luggage was to arrive from the country next morning. He borrowed a clean shirt, and a prayer-book, from our next-door neighbour, and retired to rest at an early hour, requesting that he might be called punctually at ten o’clock next morning—not before, as he was much fatigued. He was called, and did not answer: he was called again, but there was no reply. Our next-door neighbour became alarmed, and burst the door open. The serious man had left the house mysteriously; carrying with him the shirt, the prayer-book, a teaspoon, and the bedclothes. Whether this occurrence, coupled with the irregularities of his former lodger, gave our next-door neighbour an aversion to single gentlemen, we know not; we only know that the next bill which made its appearance in the parlour window intimated generally, that there were furnished apartments to let on the first floor. The bill was soon removed. The new lodgers at first attracted our curiosity, and afterwards excited our interest. They were a young lad of eighteen or nineteen, and his mother, a lady of about fifty, or it might be less. The mother wore a widow’s weeds, and the boy was also clothed in deep mourning. They were poor—very poor; for their only means of support arose from the pittance the boy earned, by copying writings, and translating for booksellers. They had removed from some country place and settled in London; partly because it afforded better chances of employment for the boy, and partly, perhaps, with the natural desire to leave a place where they had been in better circumstances, and where their poverty was known. They were proud under their reverses, and above revealing their wants and privations to strangers. How bitter those privations were, and how hard the boy worked to remove them, no one ever knew but themselves. Night after night, two, three, four hours after midnight, could we hear the occasional raking up of the scanty fire, or the hollow and half-stifled cough, which indicated his being still at work; and day after day, could we see more plainly that nature had set that unearthly light in his plaintive face, which is the beacon of her worst disease. Actuated, we hope, by a higher feeling than mere curiosity, we contrived to establish, first an acquaintance, and then a close intimacy, with the poor strangers. Our worst fears were realised; the boy was sinking fast. Through a part of the winter, and the whole of the following spring and summer, his labours were unceasingly prolonged: and the mother attempted to procure needle-work, embroidery—anything for bread. A few shillings now and then, were all she could earn. The boy worked steadily on; dying by minutes, but never once giving utterance to complaint or murmur. One beautiful autumn evening we went to pay our customary visit to the invalid. His little remaining strength had been decreasing rapidly for two or three days preceding, and he was lying on the sofa at the open window, gazing at the setting sun. His mother had been reading the Bible to him, for she closed the book as we entered, and advanced to meet us. "I was telling William," she said, "that we must manage to take him into the country somewhere, so that he may get quite well. He is not ill, you know, but he is not very strong, and has exerted himself too much lately." Poor thing! The tears that streamed through her fingers, as she turned aside, as if to adjust her close widow’s cap, too plainly showed how fruitless was the attempt to deceive herself. We sat down by the head of the sofa, but said nothing, for we saw the breath of life was passing gently but rapidly from the young form before us. At every respiration, his heart beat more slowly. The boy placed one hand in ours, grasped his mother’s arm with the other, drew her hastily towards him, and fervently kissed her cheek. There was a pause. He sunk back upon his pillow, and looked long and earnestly in his mother’s face. "William, William!" murmured the mother, after a long interval, "don’t look at me so—speak to me, dear!" The boy smiled languidly, but an instant afterwards his features resolved into the same cold, solemn gaze. "William, dear William! rouse yourself; don’t look at me so, love—pray don’t! Oh, my God! what shall I do!" cried the widow, clasping her hands in agony—"my dear boy! he is dying!" The boy raised himself by a violent effort, and folded his hands together—"Mother! dear, dear mother, bury me in the open fields—anywhere but in these dreadful streets. I should like to be where you can see my grave, but not in these close crowded streets; they have killed me; kiss me again, mother; put your arm round my neck—" He fell back, and a strange expression stole upon his features; not of pain or suffering, but an indescribable fixing of every line and muscle. The boy was dead. https://www.dickenssearch.com/files/original/3/The_Ivy_Green/1836-05_Pickwick_Papers_The_Ivy_Green.pdf 97b5547e472f158fad633f922f6748db 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 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. 18360501 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, a dainty plant is the Ivy green, That creepeth o’er ruins old! Of right choice food are his meals, I ween, In his cell so lone and cold. The wall must be crumbled, the stone decayed, To pleasure his dainty whim: And the mouldering dust that years have made Is a merry meal for him. Creeping where no life is seen, A rare old plant is the Ivy green. Fast he stealeth on, though he wears no wings, And a staunch old heart has he. How closely he twineth, how tight he clings, To his friend the huge Oak Tree! And slily he traileth along the ground, And his leaves he gently waves, As he joyously hugs and crawleth round The rich mould of dead men’s graves. Creeping where grim death hath been, A rare old plant is the Ivy green. Whole ages have fled and their works decayed, And nations have scattered been; But the stout old Ivy shall never fade, From its hale and hearty green. The brave old plant, in its lonely days, Shall fatten upon the past: For the stateliest building man can raise Is the Ivy’s food at last. Creeping on, where time has been, A rare old plant is the Ivy green. Publication Type E.g. newspaper/serial Serial Publication The title of the newspaper/serial (if applicable) The Pickwick Papers TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1836-05_Pickwick_Papers_The_Ivy_Green.xml" target="_blank" rel="noopener">'The Ivy Green.' The Posthumous Papers of the Pickwick Club. Issue 3, Chapter 6 (May 1836): p. 55.</a> Pseudonym The name under which the item was published Boz Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'The Ivy Green' Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The Posthumous Papers of the Pickwick Club, Chapter 6. Number 3 (May 1836), p. 55. UVic Libraries, <a href="https://vault.library.uvic.ca/concern/generic_works/d9b13cdd-9d78-4f71-947e-5ad5fb7d50e4?">https://vault.library.uvic.ca/concern/generic_works/d9b13cdd-9d78-4f71-947e-5ad5fb7d50e4?</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1836-05 Rights Information about rights held in and over the resource UVic Libraries, Creative Commons Attribution-NonCommercial, <a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank" rel="noopener">https://creativecommons.org/licenses/by-nc/4.0/</a>. Type The nature or genre of the resource Poem Identifier An unambiguous reference to the resource within a given context 1836-05_Pickwick_Papers_The_Ivy_Green Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'The Ivy Green' from The Posthumous Papers of the Pickwick Club. Issue 3, Chapter 6 (May 1836), p. 55. Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/verse/1836-05_Pickwick_Papers_The_Ivy_Green">https://dickenssearch.com/verse/1836-05_Pickwick_Papers_The_Ivy_Green</a>. Publisher An entity responsible for making the resource available Chapman and Hall Description An account of the resource From The Pickwick Papers, ch. 6, number 3 (May 1836). Scripto Transcription A written representation of a document. Oh, a dainty plant is the Ivy green, That creepeth o’er ruins old!  Of right choice food are his meals, I ween, In his cell so lone and cold. The wall must be crumbled, the stone decayed, To pleasure his dainty whim: And the mouldering dust that years have made Is a merry meal for him. Creeping where no life is seen, A rare old plant is the Ivy green. Fast he stealeth on, though he wears no wings, And a staunch old heart has he. How closely he twineth, how tight he clings, To his friend the huge Oak Tree!  And slily he traileth along the ground, And his leaves he gently waves, As he joyously hugs and crawleth round The rich mould of dead men’s graves. Creeping where grim death hath been, A rare old plant is the Ivy green.  Whole ages have fled and their works decayed, And nations have scattered been; But the stout old Ivy shall never fade, From its hale and hearty green. The brave old plant, in its lonely days, Shall fatten upon the past: For the stateliest building man can raise Is the Ivy’s food at last. Creeping on, where time has been, A rare old plant is the Ivy green. https://www.dickenssearch.com/files/original/3/Ode_to_an_Expiring_Frog/1836-08-Pickwick_Papers_Ode_to_an_Expiring_Frog.pdf 72cc92997f3d84e3cc3bbf630dab9de6 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 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. 18360801 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. Can I view thee panting, lying On thy stomach, without sighing? Can I unmoved see thee dying On a log, Expiring frog? Say, have fiends in shape of boys, With wild halloo and brutal noise, Hunted thee from marshy joys, With a dog, Expiring frog? Publication Type E.g. newspaper/serial Serial Publication The title of the newspaper/serial (if applicable) The Pickwick Papers TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1836-08_Pickwick_Papers_Ode_to_an_Expiring_Frog.xml" target="_blank" rel="noopener">'Ode to an Expiring Frog. The Posthumous Papers of the Pickwick Club. Issue 6, Chapter 15 (August 1836): p. 148.</a> Pseudonym The name under which the item was published Boz 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 'Ode to an Expiring Frog' Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The Posthumous Papers of the Pickwick Club, Chapter 15, Number 6 (August 1836), p.148. UVic Libraries, <a href="https://vault.library.uvic.ca/concern/file_sets/070f8b17-ceef-4687-9ce5-e81bb81c1ac3?locale=en" target="_blank" rel="noopener">https://vault.library.uvic.ca/concern/file_sets/070f8b17-ceef-4687-9ce5-e81bb81c1ac3?locale=en</a>. Publisher An entity responsible for making the resource available Chapman and Hall Date A point or period of time associated with an event in the lifecycle of the resource 1836-08 Rights Information about rights held in and over the resource UVic Libraries, Creative Commons Attribution NonCommercial, <a href="https://creativecommons.org/lice%20nses/by-nc/4.0/ " target="_blank" rel="noopener">https://creativecommons.org/lice nses/by-nc/4.0/</a>. Type The nature or genre of the resource Poem Identifier An unambiguous reference to the resource within a given context 1836-08-Pickwick_Papers_Ode_to_an_Expiring_Frog 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. 'Ode to an Expiring Frog' from The Posthumous Papers of the Pickwick Club. Issue 6, Chapter 15 (August 1836), p. 148. Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/verse/1836-08-Pickwick_Papers_Ode_to_an_Expiring_Frog">https://dickenssearch.com/verse/1836-08-Pickwick_Papers_Ode_to_an_Expiring_Frog</a>. Description An account of the resource From The Pickwick Papers issue 6, ch. 15 (August 1836). Scripto Transcription A written representation of a document. Can I view thee panting, lying On thy stomach, without sighing? Can I unmoved see thee dying On a log, Expiring frog? Say, have fiends in shape of boys, With wild halloo and brutal noise, Hunted thee from marshy joys, With a dog, Expiring frog? https://www.dickenssearch.com/files/original/5/The_Hospital_Patient/1836-08-06-The_Hospital_Patient.pdf d3c78ac353a70e855ed4468cc8bbf419 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 Carlton 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. 18360806 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. In my rambles through the streets of London after evening has set in, I have often paused beneath the windows of some public hospital, and picture to myself the gloomy and mournful scenes that were passing within. The sudden moving of a taper as its feeble ray shot from window after window, until its light gradually disappeared, as if it were carried further back into the room to the bedside of some suffering patient, has been enough to awaken a whole crowd of reflections; the mere glimmering of the low-burning lamps which when all other habitations are wrapped in darkness and slumber, denote the chamber where so many forms are writhing with pain, or wasting with disease, has been sufficient to check the most boisterous merriment. Who can tell the anguish of those weary hours, when the only sound the sick man hears, is the disjointed wanderings of some feverish slumberer near him, the low moan of pain, or perhaps the muttered, long-forgotten prayer of a dying man? Who, but they who have felt it, can imagine the sense of loneliness and desolation which must be the portion of those who in the hour of dangerous illness are left to be tended by strangers,—what hands, be they ever so gentle, can wipe the clammy brow, or smooth the restless bed, like those of mother, wife, or child? Impressed with these thoughts, I have turned away through the nearly-deserted streets; and the sight of the few miserable creatures still hovering about them, has not tended to lessen the pain which such meditations awaken. The hospital is a refuge and resting-place for hundreds, who but for such institutions must die in the streets and doorways; but what can be the feelings of outcasts like these, when they are stretched on the bed of sickness with scarcely a hope of recovery? The wretched woman who lingers about the pavement, hours after midnight, and the miserable shadow of a man—the ghastly remnant that want and drunkenness have left—which crouches beneath a window-ledge, to sleep where there is some shelter from the rain, have little to bind them to life, but what have they to look back upon, in death? What are the unwonted comforts of a roof and a bed to them, when the recollections of a whole life of debasement, stalk before them; when repentance seems a mockery, and sorrow comes too late? About a twelvemonth ago, as I was strolling through Covent Garden (I had been thinking about these things overnight), I was attracted by the very prepossessing appearance of a pickpocket, who having declined to take the trouble of walking to the Police Office, on the ground that he hadn't the slightest wish to go there at all, was being conveyed thither in a wheelbarrow, to the huge delight of a crowd, but apparently not very much to his own individual gratification. Somehow, I never can resist joining a crowd—nature certainly intended me for a vagabond—so I turned back with the mob, and entered the office, in company with my friend the pickpocket, a couple of policemen, and as many dirty-faced spectators as could squeeze their way in. There was a powerful, ill-looking young fellow at the bar, who was undergoing an examination on the very common charge of having, on the previous night, ill-treated a woman with whom he lived in some court hard by. Several witnesses bore testimony to acts of the grossest brutality, and a certificate was read from the house-surgeon of a neighbouring hospital, describing the nature of the injuries the woman had received, and intimating that her recovery was extremely doubtful. Some question appeared to have been raised about the identity of the prisoner; for when it was agreed that the two magistrates should visit the hospital at eight o'clock that evening, to take her deposition, it was settled that the man should be taken there also. He turned deadly pale at this, and I saw him clench the bar very hard when the order was given. He was removed directly afterwards, and he spoke not a word. I felt an irrepressible curiosity to witness this interview, although I can hardly tell why, at this instant, for I knew it must be a painful one. It was no very difficult matter for me to gain permission, and I obtained it. The prisoner, and the officer who had him in custody, were already at the hospital when I reached it, and waiting the arrival of the magistrates in a small room below stairs. The man was handcuffed, and his hat was pulled forward over his eyes. I could tell though, by the livid whiteness of his countenance, and the constant twitching of the muscles of his face, that he dreaded what was to come. After a short interval, the magistrates and clerk were bowed in, by the house-surgeon, and a couple of young men who smelt very strongly of tobacco-smoke—"dressers" I think they call them"—and after one magistrate had complained bitterly of the cold, and the other of the absence of any news in the evening paper, it was announced that the patient was prepared, and we were conducted to the "casualty ward" in which she was lying. The dim light which burnt in the spacious room, increased rather than diminished the ghastly appearance of the hapless creatures in the beds, which were ranged in two long rows on either side. In one bed, lay a child enveloped in bandages, with its body half-consumed by fire; in another, a female, rendered hideous by some dreadful accident, was wildly beating her clenched fists on the coverlet, in an agony of pain; on a third, there lay stretched a young girl, apparently in the heavy stupor which is sometimes the immediate precursor of death: her face was stained with blood, and her breast and arms were bound up in folds of linen. Two or three of the beds were empty, and their recent occupants were sitting beside them, but with faces so wan, and eyes so bright and glassy, that it was fearful to meet their gaze. On every face was stamped the expression of anguish and suffering. The object of the visit was lying at the upper end of the room. She was a fine young woman of about two or three and twenty. Her long black hair had been hastily cut from about the wounds on her head, and streamed over the pillow in jagged and matted locks. Her face bore frightful marks of the ill-usage she had received: her hand was pressed upon her side, as if her chief pain was there, her breathing was short and heavy, and it was plain to see that she was dying fast. She murmured a few words in reply to the magistrate's inquiry, whether she was in great pain: and having been raised on the pillow by the nurse, looked anxiously into the strange countenances that surrounded her bed. The magistrate nodded to the officer, to bring the man forward. He did so, and stationed him at the bedside. The girl looked on with a wild and troubled expression of face, but her sight was dim, and she did not know him. "Take off his hat," said the magistrate. The officer did as he was desired, and the man's features were fully disclosed. The girl started up with an energy quite preternatural; the fire gleamed in her heavy eyes, and the blood rushed to her pale and sunken cheeks. It was a convulsive effort. She fell back upon her pillow, and covering her scarred and bruised face with her hands, burst into tears. The man cast an anxious look towards her, but otherwise appeared wholly unmoved. After a brief pause the nature of the errand was explained, and the oath tendered. "Oh, no, gentlemen," said the girl, raising herself once more, and folding her hands together; "no, gentlemen, for God's sake! I did it myself, it was nobody's fault, it was an accident. He didn't hurt me; he wouldn't for all the world. Jack, dear Jack, you know you wouldn't." Her sight was fast failing her, and her hand groped over the bedclothes in search of his, in vain. Brute as the man was, he was not prepared for this. He turned his face from the bed, and sobbed aloud. The girl's colour changed, and her breathing grew more difficult. She was evidently dying. "We respect the feelings which prompt you to this," said the gentleman who had spoken first "but let me warn you, not to persist in what you know to be untrue, until it is too late. It cannot save him." "Jack," murmured the girl, laying her hand upon his arm. "They shall not persuade me to swear your life away. He didn't do it, gentlemen He never hurt me." She grasped his arm tightly, and added, in a broken whisper, "I hope God Almighty will forgive me all the wrong I have done, and the life I have led. God bless you, Jack. Some kind gentleman take my love to my poor old father. Five years ago, he said he wished I had died a child. Oh, I wish I had! I wish I had!" We turned away; it was no sight for strangers to look upon. The nurse bent over the girl for a few seconds, and then drew the sheet over her face. It covered a corpse. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'The Hospital Patient' Description An account of the resource Published in The Carlton Chronicle, 6 August 1836, pp. 11. Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived Newspaper Archive, <a href="https://newspaperarchive.com/carlton-chronicle-aug-06-1836-p-11/">https://newspaperarchive.com/carlton-chronicle-aug-06-1836-p-11/</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1836-08-06 Type The nature or genre of the resource Short story Identifier An unambiguous reference to the resource within a given context 1836-08-06-The_Hospital_Patient Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'The Hospital Patient' (6 August 1836). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1836-08-06-The_Hospital_Patient">https://www.dickenssearch.com/short-stories/1836-08-06-The_Hospital_Patient</a>. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. A brief preface states, 'LEAVES from an unpublished volume. By "BOZ," (which will be torn out once a fortnight). Scripto Transcription A written representation of a document. In my rambles through the streets of London after evening has set in, I have often paused beneath the windows of some public hospital, and picture to myself the gloomy and mournful scenes that were passing within. The sudden moving of a taper as its feeble ray shot from window after window, until its light gradually disappeared, as if it were carried further back into the room to the bedside of some suffering patient, has been enough to awaken a whole crowd of reflections; the mere glimmering of the low-burning lamps which when all other habitations are wrapped in darkness and slumber, denote the chamber where so many forms are writhing with pain, or wasting with disease, has been sufficient to check the most boisterous merriment. Who can tell the anguish of those weary hours, when the only sound the sick man hears, is the disjointed wanderings of some feverish slumberer near him, the low moan of pain, or perhaps the muttered, long-forgotten prayer of a dying man? Who, but they who have felt it, can imagine the sense of loneliness and desolation which must be the portion of those who in the hour of dangerous illness are left to be tended by strangers,—what hands, be they ever so gentle, can wipe the clammy brow, or smooth the restless bed, like those of mother, wife, or child? Impressed with these thoughts, I have turned away through the nearly-deserted streets; and the sight of the few miserable creatures still hovering about them, has not tended to lessen the pain which such meditations awaken. The hospital is a refuge and resting-place for hundreds, who but for such institutions must die in the streets and doorways; but what can be the feelings of outcasts like these, when they are stretched on the bed of sickness with scarcely a hope of recovery? The wretched woman who lingers about the pavement, hours after midnight, and the miserable shadow of a man—the ghastly remnant that want and drunkenness have left—which crouches beneath a window-ledge, to sleep where there is some shelter from the rain, have little to bind them to life, but what have they to look back upon, in death? What are the unwonted comforts of a roof and a bed to them, when the recollections of a whole life of debasement, stalk before them; when repentance seems a mockery, and sorrow comes too late? About a twelvemonth ago, as I was strolling through Covent Garden (I had been thinking about these things overnight), I was attracted by the very prepossessing appearance of a pickpocket, who having declined to take the trouble of walking to the Police Office, on the ground that he hadn't the slightest wish to go there at all, was being conveyed thither in a wheelbarrow, to the huge delight of a crowd, but apparently not very much to his own individual gratification. Somehow, I never can resist joining a crowd—nature certainly intended me for a vagabond—so I turned back with the mob, and entered the office, in company with my friend the pickpocket, a couple of policemen, and as many dirty-faced spectators as could squeeze their way in. There was a powerful, ill-looking young fellow at the bar, who was undergoing an examination on the very common charge of having, on the previous night, ill-treated a woman with whom he lived in some court hard by. Several witnesses bore testimony to acts of the grossest brutality, and a certificate was read from the house-surgeon of a neighbouring hospital, describing the nature of the injuries the woman had received, and intimating that her recovery was extremely doubtful. Some question appeared to have been raised about the identity of the prisoner; for when it was agreed that the two magistrates should visit the hospital at eight o'clock that evening, to take her deposition, it was settled that the man should be taken there also. He turned deadly pale at this, and I saw him clench the bar very hard when the order was given. He was removed directly afterwards, and he spoke not a word. I felt an irrepressible curiosity to witness this interview, although I can hardly tell why, at this instant, for I knew it must be a painful one. It was no very difficult matter for me to gain permission, and I obtained it. The prisoner, and the officer who had him in custody, were already at the hospital when I reached it, and waiting the arrival of the magistrates in a small room below stairs. The man was handcuffed, and his hat was pulled forward over his eyes. I could tell though, by the livid whiteness of his countenance, and the constant twitching of the muscles of his face, that he dreaded what was to come. After a short interval, the magistrates and clerk were bowed in, by the house-surgeon, and a couple of young men who smelt very strongly of tobacco-smoke—"dressers" I think they call them"—and after one magistrate had complained bitterly of the cold, and the other of the absence of any news in the evening paper, it was announced that the patient was prepared, and we were conducted to the "casualty ward" in which she was lying. The dim light which burnt in the spacious room, increased rather than diminished the ghastly appearance of the hapless creatures in the beds, which were ranged in two long rows on either side. In one bed, lay a child enveloped in bandages, with its body half-consumed by fire; in another, a female, rendered hideous by some dreadful accident, was wildly beating her clenched fists on the coverlet, in an agony of pain; on a third, there lay stretched a young girl, apparently in the heavy stupor which is sometimes the immediate precursor of death: her face was stained with blood, and her breast and arms were bound up in folds of linen. Two or three of the beds were empty, and their recent occupants were sitting beside them, but with faces so wan, and eyes so bright and glassy, that it was fearful to meet their gaze. On every face was stamped the expression of anguish and suffering. The object of the visit was lying at the upper end of the room. She was a fine young woman of about two or three and twenty. Her long black hair had been hastily cut from about the wounds on her head, and streamed over the pillow in jagged and matted locks. Her face bore frightful marks of the ill-usage she had received: her hand was pressed upon her side, as if her chief pain was there, her breathing was short and heavy, and it was plain to see that she was dying fast. She murmured a few words in reply to the magistrate's inquiry, whether she was in great pain: and having been raised on the pillow by the nurse, looked anxiously into the strange countenances that surrounded her bed. The magistrate nodded to the officer, to bring the man forward. He did so, and stationed him at the bedside. The girl looked on with a wild and troubled expression of face, but her sight was dim, and she did not know him. "Take off his hat," said the magistrate. The officer did as he was desired, and the man's features were fully disclosed. The girl started up with an energy quite preternatural; the fire gleamed in her heavy eyes, and the blood rushed to her pale and sunken cheeks. It was a convulsive effort. She fell back upon her pillow, and covering her scarred and bruised face with her hands, burst into tears. The man cast an anxious look towards her, but otherwise appeared wholly unmoved. After a brief pause the nature of the errand was explained, and the oath tendered. "Oh, no, gentlemen," said the girl, raising herself once more, and folding her hands together; "no, gentlemen, for God's sake! I did it myself, it was nobody's fault, it was an accident. He didn't hurt me; he wouldn't for all the world. Jack, dear Jack, you know you wouldn't." Her sight was fast failing her, and her hand groped over the bedclothes in search of his, in vain. Brute as the man was, he was not prepared for this. He turned his face from the bed, and sobbed aloud. The girl's colour changed, and her breathing grew more difficult. She was evidently dying. "We respect the feelings which prompt you to this," said the gentleman who had spoken first "but let me warn you, not to persist in what you know to be untrue, until it is too late. It cannot save him." "Jack," murmured the girl, laying her hand upon his arm. "They shall not persuade me to swear your life away. He didn't do it, gentlemen He never hurt me." She grasped his arm tightly, and added, in a broken whisper, "I hope God Almighty will forgive me all the wrong I have done, and the life I have led. God bless you, Jack. Some kind gentleman take my love to my poor old father. Five years ago, he said he wished I had died a child. Oh, I wish I had! I wish I had!" We turned away; it was no sight for strangers to look upon. The nurse bent over the girl for a few seconds, and then drew the sheet over her face. It covered a corpse. 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. https://www.dickenssearch.com/files/original/5/New_Series_No._1_Meditations_in_Monmouth-Street/1836-09-24-The-Morning_Chronicle_New_Series_I_Meditations_in_Monmouth_Street.pdf 0283afd9432754132796355f3d28ebf5 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 Morning 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. 18360924 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. We have always entertained a particular attachment towards Monmouth-street, as the only true and real emporium for second-hand wearing apparel. Monmouth-street is venerable from its antiquity, and respectable from its usefulness. Holywell-street we despise; the red-headed and red-whiskered Jews who forcibly haul you into their squalid houses, and thrust you into a suit of clothes whether you will or not, we detest. The inhabitants of Monmouth-street are a distinct class; a peaceable and retiring race, who immure themselves for the most part in deep cellars or small back parlours, and who seldom come forth into the world, except in the dusk and coolness of evening, when they may be seen seated in chairs on the pavement, smoking their pipes or watching the gambols of their engaging children as they revel in the gutter, a happy troop of infantine scavengers. Their countenances bear a thoughtful and dirty cast—certain indications of their love of traffic; and their habitations are distinguished by that disregard of outward appearances, and neglect of personal comfort, so common among people who are constantly immersed in profound speculations, and deeply engaged in sedentary pursuits. We have hinted at the antiquity of our favourite spot. "A Monmouth-street laced coat" was a by-word years and years ago; and still we find Monmouth-street the same. Pilot great coats with wooden buttons, have usurped the place of the ponderous laced coats with full skirts; embroidered waistcoats with large flaps, have yielded to double-breasted checks with roll-collars; and three-cornered hats of quaint appearance have given place to the low crowns and broad brims of the coachman school; but it is the times that have changed, not Monmouth-street. Through every alteration and every change, Monmouth-street has still remained the burial-place of the fashions; and such, to judge from all present appearances, it will remain, until there are no more fashions to bury. We love to walk among these extensive groves of the illustrious dead, and to indulge in the speculations to which they give rise; now fitting a deceased coat, then a dead pair of trousers, and anon the mortal remains of a gaudy waistcoat, upon some being of our own conjuring up, and endeavouring, from the shape and fashion of the garment itself, to bring its former owner before our mind’s eye. We have gone on speculating in this way, until whole rows of coats have started from their pegs, and buttoned up, of their own accord, round the waists of imaginary wearers, lines of trousers have jumped down to meet them, waistcoats have almost burst with anxiety to put themselves on, and half an acre of shoes have suddenly found feet to fit them, and gone stumping down the street with a noise which has fairly awakened us from our pleasant reverie, and driven us slowly away, with a bewildered stare, an object of astonishment to the good people of Monmouth-street, and of no slight suspicion to the policemen at the opposite street corner. We were occupied in this manner the other day, endeavouring to fit a pair of lace-up half boots on an ideal personage, for whom, to say the truth, they were full a couple of sizes too small, when our eyes happened to alight on a few suits of clothes, ranged outside a shop-window, which it immediately struck us, must at different periods have all belonged to, and been worn by, the same individual, and had now, by one of those strange conjunctions of circumstances which will occur sometimes, come to be exposed together for sale in the same shop. The idea seemed a fantastic one, and we looked at the clothes again with a firm determination not to be easily led away. No, we were right, the more we looked the more we were convinced of the accuracy of our previous impression. There was the man’s whole life written as legibly on those clothes as if we had his autobiography engrossed on parchment before us. The first was a patched and much-soiled skeleton suit—one of those straight blue cloth cases in which small boys used to be confined, before belts and tunics had come in, and old notions had gone out: an ingenious contrivance for displaying the full symmetry of a boy’s figure, by fastening him into a very tight jacket, with an ornamental row of buttons over each shoulder, and then buttoning his trousers over it, so as to give his legs the appearance of being hooked on just under the armpits. This was the boy’s dress. It had belonged to a town boy, we could see; there was a shortness about the legs and arms of the suit, and a bagging at the knees, peculiar to the rising youth of London streets. A small day-school he had been at, evidently. If it had been a regular boys’ school they wouldn’t have let him play on the floor so much, and rub his knees so white. He had had an indulgent mother too, and plenty of halfpence, as the numerous smears of some sticky substance about the pockets, and just below the chin, which even the salesman’s skill could not succeed in disguising, sufficiently betokened. They were decent people, but not overburdened with riches, or he would not have so far outgrown the suit when he passed into those corduroys with the round jacket; in which he went to a boys’ school, however, and learnt to write—and in ink of pretty tolerable blackness too, if the place where he used to wipe his pen might be taken as evidence. A black suit, and the jacket changed into a diminutive coat. His father had died, and the mother had got the boy a message-lad’s place in some office. A long-worn suit that one; rusty and threadbare before it was laid aside, but clean and free from soil to the last. Poor woman! We could imagine her assumed cheerfulness over the scanty meal, and the refusal of her own small portion, that her hungry boy might have enough. Her constant anxiety for his welfare, her pride in his growth mingled sometimes with the thought, almost too acute to bear, that as he grew to be a man his old affection might cool, old kindnesses fade from his mind, and old promises be forgotten—the sharp pain that even then a careless word or a cold look would give her—all crowded on our thoughts as vividly as if the very scene were passing before us. These things happen every hour, and we all know it; and yet we felt as much sorrow when we saw, or fancied we saw—it makes no difference which—the change that began to take place now, as if we had just conceived the bare possibility of such a thing for the first time. The next suit, smart but slovenly; meant to be gay, and yet not half so decent as the threadbare apparel; redolent of the idle lounge, and the blackguard companions, told us, we thought, that the widow’s comfort had rapidly faded away. We could imagine that coat—imagine! we could see it; we had seen it a hundred times—sauntering in company with three or four other coats of the same cut, about some place of profligate resort at night. We dressed, from the same shop-window in an instant, half a dozen boys of from fifteen to twenty; and putting cigars into their mouths, and their hands into their pockets, watched them as they sauntered down the street, and lingered at the corner with the obscene jest, and the often-repeated oath. We never lost sight of them, till they had cocked their hats a little more on one side, and swaggered into the public-house; and then we entered the desolate house, where the mother sat, late in the night, alone; we watched her, as she paced the room in feverish anxiety, and every now and then opened the door, looked wistfully into the dark and empty street, and again returned, to be again and again disappointed. We beheld the look of patience with which she bore the brutish threat, and the drunken blow; and we heard the agony of tears that gushed from her very heart as she sunk upon her knees in her solitary and wretched chamber. A long period had elapsed, and a greater change had taken place by the time of casting off the suit that hung above. It was that of a stout, broad-shouldered, sturdy-chested man; and we knew at once, as anybody would who glanced at that broad-skirted green coat, with the large metal buttons, that its wearer seldom walked forth without a dog at his heels, and some idle ruffian, the very counterpart of himself, at his side. The vices of the boy had grown with the man, and we fancied his home then—if such a place deserved the name. The bare and miserable room, destitute of furniture, crowded with his wife and children, pale, hungry, and emaciated; the man cursing their lamentations, staggering to the tap-room, from whence he had just returned, followed by his wife and a sickly infant, clamouring for bread; and heard the street wrangle and noisy recrimination that his striking her occasioned. And then imagination led us to some metropolitan workhouse, situated in the midst of crowded streets and alleys, filled with noxious vapours, and ringing with boisterous cries, where an old and feeble woman, imploring pardon for her son, lay dying in a close dark room, with no child to clasp her hand, and no pure air from Heaven to fan her brow. A stranger closed the eyes that settled into a cold unmeaning glare, and strange ears received the words that murmured from the white and half-closed lips. A coarse round frock, with a worn cotton neckerchief, and other articles of clothing of the commonest description, completed the history. A prison, and the sentence— banishment or the gallows. What would the man have given then to be once again the contented humble drudge of his boyish years—to have been restored to life, but for a week, a day, an hour, a minute—only for so long a time as would enable him to say one word of passionate regret to, and hear one sound of heartfelt forgiveness from—the cold and ghastly form that lay rotting in the pauper’s grave? The children wild in the streets, the mother a destitute widow; both deeply tainted with the deep disgrace of the husband and father’s name, and impelled, by sheer necessity, down the precipice that had led him to a lingering death, possibly of many years’ duration, thousands of miles away. We had no clue to the end of the tale; but it was easy to guess its termination. We took a step or two further on, and by way of restoring the naturally cheerful tone of our thoughts, began fitting visionary feet and legs into a cellar-board full of boots and shoes, with a speed and accuracy that would have astonished the most expert artist in leather, living. There was one pair of boots in particular—a jolly, good-tempered, hearty-looking pair of tops—that excited our warmest regard, and we had got a fine, red-faced jovial fellow of a market-gardener into them, before we had made their acquaintance half a minute. They were just the very thing for him. There was his huge fat legs bulging over the tops, and fitting them too tight to admit of his tucking in the loops he had pulled them on by, and his knee-cords with an interval of stocking, and his blue apron tucked up round his waist, and his red neckerchief and blue coat, and a white hat stuck on one side of his head; and there he stood with a broad grin on his great red face, whistling away as if any other idea but that of being happy and comfortable had never entered his brain. This was the very man after our own heart—we knew all about him—we had seen him coming up to Covent-garden in his green chaise-cart, with the fat, tubby little horse, half a thousand times; and even while we cast an affectionate look upon his boots at that instant, the form of a coquettish servant-maid suddenly sprung into a pair of Denmark satin-shoes that stood beside them, and we at once recognised the very girl that accepted his offer of a ride, just on this side the Hammersmith suspension-bridge, the very last Tuesday morning we rode into town from Richmond. A very smart female, in a showy bonnet, stepped into a pair of grey cloth boots with black fringe and binding, that were studiously pointing out their toes on the other side of the top-boots, and seemed very anxious to engage his attention, but we didn’t observe that our friend the market-gardener appeared at all captivated with these blandishments, for beyond giving a knowing wink when they first began, as if to imply that he quite understood their end and object, he took no further notice of them. His indifference, however, was amply recompensed by the excessive gallantry of a very old gentleman with a silver-headed stick, who tottered into a pair of large list shoes, that were standing in one corner of the board, and indulged in a variety of gestures expressive of his admiration of the lady in the cloth boots, to the immeasurable amusement of a young fellow we put into a pair of long-quartered pumps, who we thought would have split the coat that slid down to meet him with laughing. We had been looking on at this little pantomime with great satisfaction for some time, when, to our unspeakable astonishment, we perceived that the whole of the characters, including a numerous corps de ballet of boots and shoes in the back-ground, into which we had been hastily thrusting as many feet as we could press into the service, were arranging themselves in order for dancing; and some music striking up at the moment, to it they went without delay. It was perfectly delightful to witness the agility of the market-gardener. Out went the boots, first on one side, then on the other, then cutting, then shuffling, then setting to the Denmark satins, then advancing, then retreating, then going round, and then repeating the whole of the evolutions again, without appearing to suffer in the least from the violence of the exercise. Nor were the Denmark satins a bit behind-hand, for they jumped and bounded about in all directions; and though they were neither so regular, nor so true to the time as the cloth boots, still, as they seemed to do it from the heart, and to enjoy it more, we candidly confess that we preferred their style of dancing to the other. But the old gentleman in the list shoes was the most amusing object in the whole party; for, besides his grotesque attempts to appear youthful, and amorous, which were sufficiently entertaining in themselves, the young fellow in the pumps managed so artfully that every time the old gentleman advanced to salute the lady in the cloth boots, he trod with his whole weight on the old fellow’s toes, which made him roar with anguish, and rendered all the others like to die of laughing. We were in the full enjoyment of these festivities when we heard a shrill, and by no means musical voice, exclaim, "Hope you’ll know me agin, imperence;" and on looking intently forward to see from whence the sound came, we found that it proceeded, not from the young lady in the cloth boots, as we had at first been inclined to suppose, but from a bulky lady of elderly appearance who was seated in a chair at the head of the cellar-steps, apparently for the purpose of superintending the sale of the articles arranged there. A barrel-organ, which had been in full force close behind us, ceased playing; the people we had been fitting into the shoes and boots took to flight at the interruption; and as we were conscious that in the depth of our meditations we might have been rudely staring at the old lady for half an hour without knowing it, we took to flight too, and were soon immersed in the deepest obscurity of the adjacent "Dials." 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 'New Series, No. 1, Meditations in Monmouth-Street' Description An account of the resource Published in The Morning Chronicle (24 September 1836), p. 3. 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/0000082/18360924/009/0003">https://www.britishnewspaperarchive.co.uk/viewer/BL/0000082/18360924/009/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1836-09-24 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 1836-09-24-Meditations_in_Monmouth_Street 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. 'New Series, No. 1, Meditations in Monmouth-Street' (24 September 1836). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1836-09-24-Meditations_in_Monmouth_Street">https://www.dickenssearch.com/short-stories/1836-09-24-Meditations_in_Monmouth_Street</a>. Scripto Transcription A written representation of a document. We have always entertained a particular attachment towards Monmouth-street, as the only true and real emporium for second-hand wearing apparel. Monmouth-street is venerable from its antiquity, and respectable from its usefulness. Holywell-street we despise; the red-headed and red-whiskered Jews who forcibly haul you into their squalid houses, and thrust you into a suit of clothes whether you will or not, we detest. The inhabitants of Monmouth-street are a distinct class; a peaceable and retiring race, who immure themselves for the most part in deep cellars or small back parlours, and who seldom come forth into the world, except in the dusk and coolness of evening, when they may be seen seated in chairs on the pavement, smoking their pipes or watching the gambols of their engaging children as they revel in the gutter, a happy troop of infantine scavengers. Their countenances bear a thoughtful and dirty cast—certain indications of their love of traffic; and their habitations are distinguished by that disregard of outward appearances, and neglect of personal comfort, so common among people who are constantly immersed in profound speculations, and deeply engaged in sedentary pursuits. We have hinted at the antiquity of our favourite spot. "A Monmouth-street laced coat" was a by-word years and years ago; and still we find Monmouth-street the same. Pilot great coats with wooden buttons, have usurped the place of the ponderous laced coats with full skirts; embroidered waistcoats with large flaps, have yielded to double-breasted checks with roll-collars; and three-cornered hats of quaint appearance have given place to the low crowns and broad brims of the coachman school; but it is the times that have changed, not Monmouth-street. Through every alteration and every change, Monmouth-street has still remained the burial-place of the fashions; and such, to judge from all present appearances, it will remain, until there are no more fashions to bury. We love to walk among these extensive groves of the illustrious dead, and to indulge in the speculations to which they give rise; now fitting a deceased coat, then a dead pair of trousers, and anon the mortal remains of a gaudy waistcoat, upon some being of our own conjuring up, and endeavouring, from the shape and fashion of the garment itself, to bring its former owner before our mind’s eye. We have gone on speculating in this way, until whole rows of coats have started from their pegs, and buttoned up, of their own accord, round the waists of imaginary wearers, lines of trousers have jumped down to meet them, waistcoats have almost burst with anxiety to put themselves on, and half an acre of shoes have suddenly found feet to fit them, and gone stumping down the street with a noise which has fairly awakened us from our pleasant reverie, and driven us slowly away, with a bewildered stare, an object of astonishment to the good people of Monmouth-street, and of no slight suspicion to the policemen at the opposite street corner. We were occupied in this manner the other day, endeavouring to fit a pair of lace-up half boots on an ideal personage, for whom, to say the truth, they were full a couple of sizes too small, when our eyes happened to alight on a few suits of clothes, ranged outside a shop-window, which it immediately struck us, must at different periods have all belonged to, and been worn by, the same individual, and had now, by one of those strange conjunctions of circumstances which will occur sometimes, come to be exposed together for sale in the same shop. The idea seemed a fantastic one, and we looked at the clothes again with a firm determination not to be easily led away. No, we were right, the more we looked the more we were convinced of the accuracy of our previous impression. There was the man’s whole life written as legibly on those clothes as if we had his autobiography engrossed on parchment before us. The first was a patched and much-soiled skeleton suit—one of those straight blue cloth cases in which small boys used to be confined, before belts and tunics had come in, and old notions had gone out: an ingenious contrivance for displaying the full symmetry of a boy’s figure, by fastening him into a very tight jacket, with an ornamental row of buttons over each shoulder, and then buttoning his trousers over it, so as to give his legs the appearance of being hooked on just under the armpits. This was the boy’s dress. It had belonged to a town boy, we could see; there was a shortness about the legs and arms of the suit, and a bagging at the knees, peculiar to the rising youth of London streets. A small day-school he had been at, evidently. If it had been a regular boys’ school they wouldn’t have let him play on the floor so much, and rub his knees so white. He had had an indulgent mother too, and plenty of halfpence, as the numerous smears of some sticky substance about the pockets, and just below the chin, which even the salesman’s skill could not succeed in disguising, sufficiently betokened. They were decent people, but not overburdened with riches, or he would not have so far outgrown the suit when he passed into those corduroys with the round jacket; in which he went to a boys’ school, however, and learnt to write—and in ink of pretty tolerable blackness too, if the place where he used to wipe his pen might be taken as evidence. A black suit, and the jacket changed into a diminutive coat. His father had died, and the mother had got the boy a message-lad’s place in some office. A long-worn suit that one; rusty and threadbare before it was laid aside, but clean and free from soil to the last. Poor woman! We could imagine her assumed cheerfulness over the scanty meal, and the refusal of her own small portion, that her hungry boy might have enough. Her constant anxiety for his welfare, her pride in his growth mingled sometimes with the thought, almost too acute to bear, that as he grew to be a man his old affection might cool, old kindnesses fade from his mind, and old promises be forgotten—the sharp pain that even then a careless word or a cold look would give her—all crowded on our thoughts as vividly as if the very scene were passing before us. These things happen every hour, and we all know it; and yet we felt as much sorrow when we saw, or fancied we saw—it makes no difference which—the change that began to take place now, as if we had just conceived the bare possibility of such a thing for the first time. The next suit, smart but slovenly; meant to be gay, and yet not half so decent as the threadbare apparel; redolent of the idle lounge, and the blackguard companions, told us, we thought, that the widow’s comfort had rapidly faded away. We could imagine that coat—imagine! we could see it; we had seen it a hundred times—sauntering in company with three or four other coats of the same cut, about some place of profligate resort at night. We dressed, from the same shop-window in an instant, half a dozen boys of from fifteen to twenty; and putting cigars into their mouths, and their hands into their pockets, watched them as they sauntered down the street, and lingered at the corner with the obscene jest, and the often-repeated oath. We never lost sight of them, till they had cocked their hats a little more on one side, and swaggered into the public-house; and then we entered the desolate house, where the mother sat, late in the night, alone; we watched her, as she paced the room in feverish anxiety, and every now and then opened the door, looked wistfully into the dark and empty street, and again returned, to be again and again disappointed. We beheld the look of patience with which she bore the brutish threat, and the drunken blow; and we heard the agony of tears that gushed from her very heart as she sunk upon her knees in her solitary and wretched chamber. A long period had elapsed, and a greater change had taken place by the time of casting off the suit that hung above. It was that of a stout, broad-shouldered, sturdy-chested man; and we knew at once, as anybody would who glanced at that broad-skirted green coat, with the large metal buttons, that its wearer seldom walked forth without a dog at his heels, and some idle ruffian, the very counterpart of himself, at his side. The vices of the boy had grown with the man, and we fancied his home then—if such a place deserved the name. The bare and miserable room, destitute of furniture, crowded with his wife and children, pale, hungry, and emaciated; the man cursing their lamentations, staggering to the tap-room, from whence he had just returned, followed by his wife and a sickly infant, clamouring for bread; and heard the street wrangle and noisy recrimination that his striking her occasioned. And then imagination led us to some metropolitan workhouse, situated in the midst of crowded streets and alleys, filled with noxious vapours, and ringing with boisterous cries, where an old and feeble woman, imploring pardon for her son, lay dying in a close dark room, with no child to clasp her hand, and no pure air from Heaven to fan her brow. A stranger closed the eyes that settled into a cold unmeaning glare, and strange ears received the words that murmured from the white and half-closed lips. A coarse round frock, with a worn cotton neckerchief, and other articles of clothing of the commonest description, completed the history. A prison, and the sentence— banishment or the gallows. What would the man have given then to be once again the contented humble drudge of his boyish years—to have been restored to life, but for a week, a day, an hour, a minute—only for so long a time as would enable him to say one word of passionate regret to, and hear one sound of heartfelt forgiveness from—the cold and ghastly form that lay rotting in the pauper’s grave? The children wild in the streets, the mother a destitute widow; both deeply tainted with the deep disgrace of the husband and father’s name, and impelled, by sheer necessity, down the precipice that had led him to a lingering death, possibly of many years’ duration, thousands of miles away. We had no clue to the end of the tale; but it was easy to guess its termination. We took a step or two further on, and by way of restoring the naturally cheerful tone of our thoughts, began fitting visionary feet and legs into a cellar-board full of boots and shoes, with a speed and accuracy that would have astonished the most expert artist in leather, living. There was one pair of boots in particular—a jolly, good-tempered, hearty-looking pair of tops—that excited our warmest regard, and we had got a fine, red-faced jovial fellow of a market-gardener into them, before we had made their acquaintance half a minute. They were just the very thing for him. There was his huge fat legs bulging over the tops, and fitting them too tight to admit of his tucking in the loops he had pulled them on by, and his knee-cords with an interval of stocking, and his blue apron tucked up round his waist, and his red neckerchief and blue coat, and a white hat stuck on one side of his head; and there he stood with a broad grin on his great red face, whistling away as if any other idea but that of being happy and comfortable had never entered his brain. This was the very man after our own heart—we knew all about him—we had seen him coming up to Covent-garden in his green chaise-cart, with the fat, tubby little horse, half a thousand times; and even while we cast an affectionate look upon his boots at that instant, the form of a coquettish servant-maid suddenly sprung into a pair of Denmark satin-shoes that stood beside them, and we at once recognised the very girl that accepted his offer of a ride, just on this side the Hammersmith suspension-bridge, the very last Tuesday morning we rode into town from Richmond. A very smart female, in a showy bonnet, stepped into a pair of grey cloth boots with black fringe and binding, that were studiously pointing out their toes on the other side of the top-boots, and seemed very anxious to engage his attention, but we didn’t observe that our friend the market-gardener appeared at all captivated with these blandishments, for beyond giving a knowing wink when they first began, as if to imply that he quite understood their end and object, he took no further notice of them. His indifference, however, was amply recompensed by the excessive gallantry of a very old gentleman with a silver-headed stick, who tottered into a pair of large list shoes, that were standing in one corner of the board, and indulged in a variety of gestures expressive of his admiration of the lady in the cloth boots, to the immeasurable amusement of a young fellow we put into a pair of long-quartered pumps, who we thought would have split the coat that slid down to meet him with laughing. We had been looking on at this little pantomime with great satisfaction for some time, when, to our unspeakable astonishment, we perceived that the whole of the characters, including a numerous corps de ballet of boots and shoes in the back-ground, into which we had been hastily thrusting as many feet as we could press into the service, were arranging themselves in order for dancing; and some music striking up at the moment, to it they went without delay. It was perfectly delightful to witness the agility of the market-gardener. Out went the boots, first on one side, then on the other, then cutting, then shuffling, then setting to the Denmark satins, then advancing, then retreating, then going round, and then repeating the whole of the evolutions again, without appearing to suffer in the least from the violence of the exercise. Nor were the Denmark satins a bit behind-hand, for they jumped and bounded about in all directions; and though they were neither so regular, nor so true to the time as the cloth boots, still, as they seemed to do it from the heart, and to enjoy it more, we candidly confess that we preferred their style of dancing to the other. But the old gentleman in the list shoes was the most amusing object in the whole party; for, besides his grotesque attempts to appear youthful, and amorous, which were sufficiently entertaining in themselves, the young fellow in the pumps managed so artfully that every time the old gentleman advanced to salute the lady in the cloth boots, he trod with his whole weight on the old fellow’s toes, which made him roar with anguish, and rendered all the others like to die of laughing. We were in the full enjoyment of these festivities when we heard a shrill, and by no means musical voice, exclaim, "Hope you’ll know me agin, imperence;" and on looking intently forward to see from whence the sound came, we found that it proceeded, not from the young lady in the cloth boots, as we had at first been inclined to suppose, but from a bulky lady of elderly appearance who was seated in a chair at the head of the cellar-steps, apparently for the purpose of superintending the sale of the articles arranged there. A barrel-organ, which had been in full force close behind us, ceased playing; the people we had been fitting into the shoes and boots took to flight at the interruption; and as we were conscious that in the depth of our meditations we might have been rudely staring at the old lady for half an hour without knowing it, we took to flight too, and were soon immersed in the deepest obscurity of the adjacent "Dials." https://www.dickenssearch.com/files/original/5/New_Series_No._2_Scotland_Yard/1836-10-04-The-Morning_Chronicle__New_Series_No2_Scotland_Yard.pdf 8d4e9701d9bde9b3056231599ec57120 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 Morning 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. 18361004 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. If our recollection serves us, we have more than once hinted, confidentially, to our readers that we entertain a strong partiality for the queer little old streets which yet remain in some parts of London, and that we infinitely prefer them to the modern innovations, the wide streets with broad pavements, which are every day springing up around us. The old Exeter 'Change, for instance, and the narrow and dirty part of the Strand immediatley adjoining, we were warmly attached to. The death of the elephant was a great shock to us; we knew him well; and, having enjoyed the honour of his intimate acquaintance for some years, felt grieved—deeply grieved—that in a paroxysm of insanity he should have so far forgotten all his estimable and companionable qualities as to exhibit a sanguinary desire to scrunch his faithful valet, and pulverize even Mrs. Cross herself, who for a long period had evinced towards him that pure and touching attachment which woman alone can feel. This was a sad blow to us. The constitution of the beef-eater at the door sunk beneath the loss of the elephant; this was another. They pulled down Exeter 'Change itself; this was a greater trial than either but we got over it in time. And since that period the rage for improvement has exposed us to so many melancholy trials of a similar description, that we have grown callous to suffering, and the only effect of our persecutions is to render us more attached than ever to the few old spots that are yet left us. Of these, there is no one which, having a peculiar character of its own, preserved it so tenaciously, or took an honest pride in it so long, as Scotland-yard. It is so thoroughly a little colony of itself, it is so utterly unlike any other part of London, that a slight account of its progress and history has always seemed to us to be imperatively called for. None has as yet appeared, however, and we now take pen in hand, more with the view of throwing out a few slight hints for the guidance of future historians, than with any idea of developing with the ability which such an empire demands, the past and present state of this little empire. Scotland-yard, then, is a small—a very small—tract of land, bounded on one side by the river Thames, on the other by the gardens of Northumberland-house: abutting at one end on the bottom of Northumberland-street, at the other on the back of Whitehall-place. When this territory was first accidentally discovered by a country gentleman who lost his way in the Strand some years ago, the original settlers were found to be a tailor, a publican, two eating-house-keepers, and a fruit-pie-maker; and it was also found to contain a race of strong and bulky men, who repaired to the wharfs in Scotland-yard regularly every morning about five or six o’clock, to fill heavy waggons with coal, with which they proceeded to distant places up the country, and supplied the inhabitants with fuel. When they had emptied their waggons they again returned for a fresh supply, and this trade was continued throughout the year. As the settlers derived their subsistence from ministering to the wants of these primitive traders, the articles exposed for sale, and the places where they were sold, bore strong outward marks of being expressly adapted to their tastes and wishes. The tailor displayed in his window a Lilliputian pair of leather gaiters, and a diminutive round frock, while each doorpost was appropriately garnished with a model of a coal sack. The two eating-house-keepers exhibited joints of a magnitude and puddings of a solidity which coal-heavers alone could appreciate; and the fruit-pie-maker displayed on his well-scrubbed window-board large white compositions of flour and dripping ornamented with pink stains giving rich promise of the fruit within, which made their huge mouths water, as they lingered past. But the choicest spot in all Scotland-yard, was the old public-house in the corner. Here, in a dark, wainscotted room of ancient appearance, cheered by the glow of a mighty fire, and decorated with an enormous clock, whereof the face was white, and the figures black, sat the lusty coal-heavers, quaffing large draughts of Barclay’s best, and puffing forth volumes of smoke, which wreathed heavily above their heads, and involved the room in a thick dark cloud. From this apartment might their voices be heard on a winter’s night, penetrating to the very bank of the river, as they shouted out some sturdy chorus, or roared forth the burden of a popular song; dwelling upon the last few words with a strength and length of emphasis which made the very roof tremble above them. Here, too, would they tell old legends of what the Thames was in ancient times, when the Patent Shot Manufactory wasn’t built, and Waterloo-bridge had never been thought of; and then they would shake their heads with portentous looks, to the deep edification of the rising generation of heavers, who crowded round them, and wondered where all this would end, whereat the tailor would take his pipe solemnly from his mouth, and say, how that he hoped it might end well, but he very much doubted whether it would or not, and couldn’t rightly tell what to make of it—a mysterious expression of opinion, delivered with a semi-prophetic air, which never failed to elicit the fullest concurrence of the assembled company, and so they would go on drinking and wondering till ten o’clock came, and with it the tailor’s wife to fetch him home, when the little party broke up, to meet again in the same room, and say and do precisely the same things, on the following evening, at the same hour. About this time the barges that came up the river began to bring vague rumours to Scotland-yard of somebody in the city having been heard to say, that the Lord Mayor had threatened in so many words to pull down the old London-bridge and build up a new one. At first these rumours were disregarded as idle tales, wholly destitute of foundation, for nobody in Scotland-yard doubted that if the Lord Mayor contemplated any such dark design, he would just be clapped up in the Tower for a week or two, and then killed off for high treason. By degrees, however, the reports grew stronger, and more frequent, and at last a barge laden with numerous chaldrons of the best Wallsend brought up the positive intelligence that several of the arches of the old bridge were 'stopped, and that preparations were actually in progress for constructing the new one. What an excitement was visible in the old tap-room on that memorable night! Each man looked into his neighbour’s face, pale with alarm and astonishment, and read therein an echo of the sentiments which filled his own breast. The oldest heaver present proved to demonstration that the moment the piers were removed all the water in the Thames would run clean off, and leave a dry gulley in its place. What was to become of the coal-barges, - of the trade of Scotland-yard,—of the very existence of its population? The tailor shook his head more sagely than usual, and grimly pointing to a knife on the table, bid them wait and see what happened. He said nothing—not he; but if the Lord Mayor didn’t fall a victim to popular indignation, why he would be rather astonished; that was all. They did wait; barge after barge arrived, and still no tidings of the assassination of the Lord Mayor. The first stone was laid: it was done by a Duke—the King’s brother. Years passed away, and the bridge was opened by the King himself. In course of time, the piers were removed; and when the people in Scotland-yard got up next morning in the confident expectation of being able to step over to Pedlar’s-acre without wetting the soles of their shoes, they found to their unspeakable astonishment that the water was just where it used to be. A result so different from that which they had anticipated from this first improvement produced its full effect upon the inhabitants of Scotland-yard. One of the eating-house-keepers began to court public opinion, and to look for customers among a new class of people. He covered his little dining-tables with white cloths, and got a painter’s apprentice to inscribe something about hot joints from twelve till two in one of the little panes of his shop window. Improvement began to march with rapid strides to the very threshold of Scotland-yard. A new market sprung up at Hungerford, and the Police Commissioners established their office in Whitehall-place. The traffic in Scotland-yard increased; fresh Members were added to the House of Commons, the Metropolitan Representatives found it a near cut, and many other foot passengers followed their example. We marked the advance of civilization, and beheld it with a sigh. The eating-house-keeper who manfully resisted the innovation of table-cloth, was losing ground every day, as his opponent gained it; a deadly feud sprung up between them, and the genteel one no longer took his evening’s pint in Scotland-yard, but drank gin and water at a "parlour" in Parliament-street. The fruit-pie maker still continued to visit the old room, but he took to smoking cigars, and began to call himself a pastry-cook, and to read the papers. The old heavers still assembled round the ancient fireplace, but their talk was mournful; and the loud song and the joyous shout were heard no more. And what is Scotland-yard now? How have its old customs changed; and how has the ancient simplicity of its inhabitants faded away! The old tottering public-house is converted into a spacious and lofty "wine-vaults;" gold leaf has been used in the construction of the letters which emblazon its exterior, and the poet’s art has been called into requisition to intimate that if you drink a certain description of ale you must hold fast by the rail. The tailor exhibits in his window the pattern of a foreign-looking brown surtout, with silk buttons, a fur collar, and fur cuffs. He wears a stripe down the outside of each leg of his trousers, and we have detected his assistants (for he has assistants now) in the act of sitting on the shop-board in the same uniform. At the other end of the little row of houses a boot-maker has established himself in a brick box, with the additional innovation of a first floor; and here he exposes for sale, boots—real Wellington boots—an article which a few years ago, none of the original inhabitants had ever seen or heard of. It was but the other day, that a dress-maker opened another little box in the middle of the row; and, when we thought that the spirit of change could produce no alteration beyond that, a jeweller appeared, and not content with exposing gilt rings and copper bracelets out of number, put up an announcement, which still sticks in his window, that ladies’ ears may be pierced, within. The dress-maker employs a young lady who wears pockets in her apron, and the tailor informs the public that gentlemen may have their own materials made up. Amidst all this change, and restlessness, and innovation, there remains but one old man who seems to mourn the downfall of this ancient place. He holds no converse with human kind, but, seated on a wooden bench at the angle of the wall which fronts the crossing from Whitehall-place, watches in silence the gambols of his sleek and well-fed dogs. He is the presiding genius of Scotland-yard. Years and years have rolled over his head; but, in fine weather or in foul, hot or cold, wet or dry, hail, rain, or snow, he is still in his accustomed spot. Misery and want are depicted in his countenance; his form is bent by age, his head is grey with length of trial, but there he sits from day to day, brooding over the past, and thither he will continue to drag his feeble limbs, until his eyes have closed upon Scotland-yard and upon the world together. A few years hence, and the antiquary of another generation, looking into some mouldy record of the strife and passions that agitated the world in these times, may glance his eye over the column we have just filled: and not all his knowledge of the history of the past—not the dry studies of a whole life—may help him to the whereabout either of Scotland-yard, or any one of the land marks we have mentioned in describing it. 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 'New Series, No. 2, 'Scotland Yard' Description An account of the resource Published in The Morning Chronicle (4 October 1836), p.3. 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/0000082/18361004/009/0003">https://www.britishnewspaperarchive.co.uk/viewer/bl/0000082/18361004/009/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1836-10-04 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1836-10-04-The-Morning_Chronicle__New_Series_No2_Scotland_Yard 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. 'New Series, No. II, Scotland Yard' (4 October 1836). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date].<a href="1836-10-04-The-Morning_Chronicle__New_Series_No2_Scotland_Yard">1836-10-04-The-Morning_Chronicle__New_Series_No2_Scotland_Yard</a>. Scripto Transcription A written representation of a document. If our recollection serves us, we have more than once hinted, confidentially, to our readers that we entertain a strong partiality for the queer little old streets which yet remain in some parts of London, and that we infinitely prefer them to the modern innovations, the wide streets with broad pavements, which are every day springing up around us. The old Exeter 'Change, for instance, and the narrow and dirty part of the Strand immediatley adjoining, we were warmly attached to. The death of the elephant was a great shock to us; we knew him well; and, having enjoyed the honour of his intimate acquaintance for some years, felt grieved—deeply grieved—that in a paroxysm of insanity he should have so far forgotten all his estimable and companionable qualities as to exhibit a sanguinary desire to scrunch his faithful valet, and pulverize even Mrs. Cross herself, who for a long period had evinced towards him that pure and touching attachment which woman alone can feel. This was a sad blow to us. The constitution of the beef-eater at the door sunk beneath the loss of the elephant; this was another. They pulled down Exeter 'Change itself; this was a greater trial than either but we got over it in time. And since that period the rage for improvement has exposed us to so many melancholy trials of a similar description, that we have grown callous to suffering, and the only effect of our persecutions is to render us more attached than ever to the few old spots that are yet left us.  Of these, there is no one which, having a peculiar character of its own, preserved it so tenaciously, or took an honest pride in it so long, as Scotland-yard. It is so thoroughly a little colony of itself, it is so utterly unlike any other part of London, that a slight account of its progress and history has always seemed to us to be imperatively called for. None has as yet appeared, however, and we now take pen in hand, more with the view of throwing out a few slight hints for the guidance of future historians, than with any idea of developing with the ability which such an empire demands, the past and present state of this little empire. Scotland-yard, then, is a small—a very small—tract of land, bounded on one side by the river Thames, on the other by the gardens of Northumberland-house: abutting at one end on the bottom of Northumberland-street, at the other on the back of Whitehall-place. When this territory was first accidentally discovered by a country gentleman who lost his way in the Strand some years ago, the original settlers were found to be a tailor, a publican, two eating-house-keepers, and a fruit-pie-maker; and it was also found to contain a race of strong and bulky men, who repaired to the wharfs in Scotland-yard regularly every morning about five or six o’clock, to fill heavy waggons with coal, with which they proceeded to distant places up the country, and supplied the inhabitants with fuel. When they had emptied their waggons they again returned for a fresh supply, and this trade was continued throughout the year. As the settlers derived their subsistence from ministering to the wants of these primitive traders, the articles exposed for sale, and the places where they were sold, bore strong outward marks of being expressly adapted to their tastes and wishes. The tailor displayed in his window a Lilliputian pair of leather gaiters, and a diminutive round frock, while each doorpost was appropriately garnished with a model of a coal sack. The two eating-house-keepers exhibited joints of a magnitude and puddings of a solidity which coal-heavers alone could appreciate; and the fruit-pie-maker displayed on his well-scrubbed window-board large white compositions of flour and dripping ornamented with pink stains giving rich promise of the fruit within, which made their huge mouths water, as they lingered past. But the choicest spot in all Scotland-yard, was the old public-house in the corner. Here, in a dark, wainscotted room of ancient appearance, cheered by the glow of a mighty fire, and decorated with an enormous clock, whereof the face was white, and the figures black, sat the lusty coal-heavers, quaffing large draughts of Barclay’s best, and puffing forth volumes of smoke, which wreathed heavily above their heads, and involved the room in a thick dark cloud. From this apartment might their voices be heard on a winter’s night, penetrating to the very bank of the river, as they shouted out some sturdy chorus, or roared forth the burden of a popular song; dwelling upon the last few words with a strength and length of emphasis which made the very roof tremble above them. Here, too, would they tell old legends of what the Thames was in ancient times, when the Patent Shot Manufactory wasn’t built, and Waterloo-bridge had never been thought of; and then they would shake their heads with portentous looks, to the deep edification of the rising generation of heavers, who crowded round them, and wondered where all this would end, whereat the tailor would take his pipe solemnly from his mouth, and say, how that he hoped it might end well, but he very much doubted whether it would or not, and couldn’t rightly tell what to make of it—a mysterious expression of opinion, delivered with a semi-prophetic air, which never failed to elicit the fullest concurrence of the assembled company, and so they would go on drinking and wondering till ten o’clock came, and with it the tailor’s wife to fetch him home, when the little party broke up, to meet again in the same room, and say and do precisely the same things, on the following evening, at the same hour. About this time the barges that came up the river began to bring vague rumours to Scotland-yard of somebody in the city having been heard to say, that the Lord Mayor had threatened in so many words to pull down the old London-bridge and build up a new one. At first these rumours were disregarded as idle tales, wholly destitute of foundation, for nobody in Scotland-yard doubted that if the Lord Mayor contemplated any such dark design, he would just be clapped up in the Tower for a week or two, and then killed off for high treason. By degrees, however, the reports grew stronger, and more frequent, and at last a barge laden with numerous chaldrons of the best Wallsend brought up the positive intelligence that several of the arches of the old bridge were 'stopped, and that preparations were actually in progress for constructing the new one. What an excitement was visible in the old tap-room on that memorable night! Each man looked into his neighbour’s face, pale with alarm and astonishment, and read therein an echo of the sentiments which filled his own breast. The oldest heaver present proved to demonstration that the moment the piers were removed all the water in the Thames would run clean off, and leave a dry gulley in its place. What was to become of the coal-barges, - of the trade of Scotland-yard,—of the very existence of its population? The tailor shook his head more sagely than usual, and grimly pointing to a knife on the table, bid them wait and see what happened. He said nothing—not he; but if the Lord Mayor didn’t fall a victim to popular indignation, why he would be rather astonished; that was all. They did wait; barge after barge arrived, and still no tidings of the assassination of the Lord Mayor. The first stone was laid: it was done by a Duke—the King’s brother. Years passed away, and the bridge was opened by the King himself. In course of time, the piers were removed; and when the people in Scotland-yard got up next morning in the confident expectation of being able to step over to Pedlar’s-acre without wetting the soles of their shoes, they found to their unspeakable astonishment that the water was just where it used to be. A result so different from that which they had anticipated from this first improvement produced its full effect upon the inhabitants of Scotland-yard. One of the eating-house-keepers began to court public opinion, and to look for customers among a new class of people. He covered his little dining-tables with white cloths, and got a painter’s apprentice to inscribe something about hot joints from twelve till two in one of the little panes of his shop window. Improvement began to march with rapid strides to the very threshold of Scotland-yard. A new market sprung up at Hungerford, and the Police Commissioners established their office in Whitehall-place. The traffic in Scotland-yard increased; fresh Members were added to the House of Commons, the Metropolitan Representatives found it a near cut, and many other foot passengers followed their example. We marked the advance of civilization, and beheld it with a sigh. The eating-house-keeper who manfully resisted the innovation of table-cloth, was losing ground every day, as his opponent gained it; a deadly feud sprung up between them, and the genteel one no longer took his evening’s pint in Scotland-yard, but drank gin and water at a "parlour" in Parliament-street. The fruit-pie maker still continued to visit the old room, but he took to smoking cigars, and began to call himself a pastry-cook, and to read the papers. The old heavers still assembled round the ancient fireplace, but their talk was mournful; and the loud song and the joyous shout were heard no more. And what is Scotland-yard now? How have its old customs changed; and how has the ancient simplicity of its inhabitants faded away! The old tottering public-house is converted into a spacious and lofty "wine-vaults;" gold leaf has been used in the construction of the letters which emblazon its exterior, and the poet’s art has been called into requisition to intimate that if you drink a certain description of ale you must hold fast by the rail. The tailor exhibits in his window the pattern of a foreign-looking brown surtout, with silk buttons, a fur collar, and fur cuffs. He wears a stripe down the outside of each leg of his trousers, and we have detected his assistants (for he has assistants now) in the act of sitting on the shop-board in the same uniform. At the other end of the little row of houses a boot-maker has established himself in a brick box, with the additional innovation of a first floor; and here he exposes for sale, boots—real Wellington boots—an article which a few years ago, none of the original inhabitants had ever seen or heard of. It was but the other day, that a dress-maker opened another little box in the middle of the row; and, when we thought that the spirit of change could produce no alteration beyond that, a jeweller appeared, and not content with exposing gilt rings and copper bracelets out of number, put up an announcement, which still sticks in his window, that ladies’ ears may be pierced, within. The dress-maker employs a young lady who wears pockets in her apron, and the tailor informs the public that gentlemen may have their own materials made up. Amidst all this change, and restlessness, and innovation, there remains but one old man who seems to mourn the downfall of this ancient place. He holds no converse with human kind, but, seated on a wooden bench at the angle of the wall which fronts the crossing from Whitehall-place, watches in silence the gambols of his sleek and well-fed dogs. He is the presiding genius of Scotland-yard. Years and years have rolled over his head; but, in fine weather or in foul, hot or cold, wet or dry, hail, rain, or snow, he is still in his accustomed spot. Misery and want are depicted in his countenance; his form is bent by age, his head is grey with length of trial, but there he sits from day to day, brooding over the past, and thither he will continue to drag his feeble limbs, until his eyes have closed upon Scotland-yard and upon the world together. A few years hence, and the antiquary of another generation, looking into some mouldy record of the strife and passions that agitated the world in these times, may glance his eye over the column we have just filled: and not all his knowledge of the history of the past—not the dry studies of a whole life—may help him to the whereabout either of Scotland-yard, or any one of the land marks we have mentioned in describing it. https://www.dickenssearch.com/files/original/5/New_Series_No._3_Doctors_Commons/1836-10-11-The_Morning_Chronicle_New_Series_No3_Doctors_Commons.pdf c4d5fcd6f804115944721feb556db2e8 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 Morning 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. 18361011 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. Walking, without any definite object, through St. Paul’s Church-yard, a little while ago, we happened to turn down a street entitled "Paul’s-chain," and keeping straight forward for a few hundred yards, found ourself, as a natural consequence, in Doctors’ Commons. Now, Doctors’ Commons being familiar by name to everybody as the place where they grant marriage-licenses to love-sick couples, and divorces to unfaithful ones; register the wills of people who have any property to leave, and punish hasty gentlemen who call ladies by unpleasant names; we no sooner discovered that we were really within its precincts, than we felt a laudable desire to become better acquainted therewith; and as the first object of our curiosity was the Court whose decrees can even unloose the bonds of matrimony, we procured a direction to it, and bent our steps thither without delay. Crossing a quiet and shady court-yard, paved with stone, and frowned upon by old red-brick houses, on the doors of which were painted the names of sundry learned civilians, we paused before a small, green-baized, brass-headed-nailed door, which, yielding to our gentle push, at once admitted us into an old quaint-looking apartment, with sunken windows, and black carved wainscoting, at the upper end of which, seated on a raised platform, of semicircular shape, were about a dozen solemn-looking gentlemen, in crimson gowns and wigs. At a more elevated desk, in the centre, sat a very fat and red-faced gentleman, in tortoise-shell spectacles, whose dignified appearance announced the judge; and round a long green-baized table below, something like a billiard-table without the cushions and pockets, were a number of very self-important-looking personages, in stiff neckcloths and black gowns with white fur collars, whom we at once set down as proctors. At the lower end of the billiard-table was an individual in an arm-chair, and a wig, whom we afterwards discovered to be the registrar; and seated behind a little desk, near the door, were a respectable-looking man in black, of about twenty stone weight or thereabouts, and a fat-faced, smirking, civil-looking body, in a black gown, black kid gloves, knee shorts, and silks, with a shirt-frill in his bosom, curls on his head, and a silver staff in his hand, whom we had no difficulty in recognising as the officers of the Court. The latter, indeed, speedily set our mind at rest upon this point, for advancing to our elbow, and opening a conversation forthwith, he had communicated to us in less than five minutes that he was the apparitor, and the other the court-keeper; that this was the Arches Court, and therefore the counsel wore red gowns, and the proctors fur collars; and that when the other Courts sat there, they didn’t wear red gowns or fur collars either; with many other scraps of intelligence equally interesting. Besides these two officers, there was a little thin old man, with long grizzly hair, crouched in a remote corner, whose duty our communicative friend informed us was to ring a large hand-bell when the Court opened in the morning, and who, for aught his appearance betokened to the contrary, might have been similarly employed for the last two centuries at least. The red-faced gentleman in the tortoise-shell spectacles had got all the talk to himself just then, and very well he was doing it, too, only he spoke very fast, but that was habit; and rather thick, but that was good-living. So we had plenty of time to look about us. There was one individual amused us mightily. This was one of the bewigged gentlemen in the red robes, who was straddling before the fire in the centre of the Court, in the attitude of the brazen colossus, to the complete exclusion of everybody else. He had gathered up his robe behind, in much the same manner as a slovenly woman would her petticoats on a very dirty day, in order that he might feel the full warmth of the fire. His wig was put on all awry, with the tail straggling about his neck, his scanty gray trowsers and short black gaiters, made in the worst possible style, imported an additional inelegant appearance to his uncouth person; and his limp, badly-starched shirt-collar almost obscured his eyes. We shall never be able to claim any credit as a physiognomist again, for, after a careful scrutiny of this gentleman’s countenance, we had come to the conclusion that it bespoke nothing but conceit and silliness, when our friend with the silver staff whispered in our ear that he was no other than a doctor of law, an ecclesiastical dignitary in the cinque ports, a not very distant relation to a commissioner of lunacy, and heaven knows what besides. So of course we were mistaken, and he must be a very talented man. He conceals it so well though—perhaps with the merciful view of not astonishing ordinary people too much—that you would suppose him to be one of the stupidest dogs alive. The gentleman in the spectacles having concluded his judgment, and a few minutes having been allowed to elapse, to afford time for the buzz of the court to subside, the registrar called on the next cause, which was "the office of the Judge promoted by Bumple against Sludberry." A general movement was visible in the court at this announcement, and the obliging functionary with silver staff whispered us that "there would be some fun now, for this was a brawling case." We were not rendered much the wiser by this piece of information till we found by the opening speech of the counsel for their promoter that, under a half-obsolete statute of one of the Edwards, the court was empowered to visit with the penalty of excommunication any person who should be proved guilty of the crime of "brawling" or "smiting" in any church, or vestry adjoining thereto; and it appeared, by some eight-and-twenty affidavits, which were duly referred to, that on a certain night, at a certain vestry, meeting in a certain parish particularly set forth, Thomas Sludberry, the party appeared against in that suit, had made use of and applied to Michael Bumple, the reporter, the words "You be blowed;" and that on the said Michael Bumple and others remonstrating with the said Thomas Sludberry on the impropriety of his conduct, the said Thomas Sludberry repeated the aforesaid expression, "You be blowed;" and furthermore desired and requested to know, whether the said Michael Bumple "wanted anything for himself;" adding, ‘that if the said Michael Bumple did want anything for himself, he the said Thomas Sludberry "was the man to give it him;" at the same time making use of other heinous and sinful expressions, all of which, Bumple submitted, came within the intent and meaning of the Act; and therefore he, for the soul’s health and chastening of Sludberry, prayed for sentence of excommunication against him accordingly. Upon these facts a long argument was entered into on both sides, to the great edification of a number of persons interested in the parochial squabbles, who crowded the court; and when some very long and grave speeches had been made pro and con, the red-faced gentleman in the tortoise-shell spectacles took a review of the case, which occupied half an hour more, and then pronounced upon Sludberry the awful sentence of excommunication for a fortnight, and payment of the costs of the suit. Upon this, Sludberry, who was a little, red-faced, sly-looking, ginger-beer seller, addressed the Court, and said, if they’d be good enough to take off the costs, and excommunicate him for the term of his natural life instead, it would be much more convenient to him; for he never went to church at all. To this appeal the gentleman in the spectacles made no other reply than a look of virtuous propriety; and Sludberry and his friends retired. As the man with the silver staff informed us that the Court was on the point of rising, we retired too—pondering, as we walked away, upon the beautiful spirit of these ancient ecclesiastical laws, the kind and neighbourly feelings they are calculated to awaken, and the strong attachment to religious institutions which they cannot fail to engender. We were so lost in these meditations, that we had turned into the street and run up against a door-post, before we recollected where we were walking. On looking upwards to see what house we had stumbled upon, the words "Prerogative-office," written in large characters, met our eye; and as we were in a sight-seeing humour, and the place was a public one, we walked in, without more ado. The room into which we walked, was a long, busy-looking place, partitioned off, on either side, into a variety of little boxes, in which a few clerks were engaged in copying or examining deeds. Down the centre of the room were several desks, nearly breast high, at each of which three or four people were standing, poring over large volumes. As we knew that they were searching for wills, they attracted our attention at once. It was curious to contrast the lazy indifference of the attorneys’ clerks, who were making a search for some legal purpose, with the air of earnestness and interest which distinguished the strangers to the place, who were looking up the will of some deceased relative; the former pausing every now and then with an impatient yawn, or raising their heads to look at the people who passed up and down the room; the latter stooping over the book, and running down column after column of names in the deepest abstraction. There was one little dirty-faced man in a blue apron, who after a whole morning’s search, extending some fifty years back, had just found the will to which he wished to refer, which one of the officials was reading to him in a low hurried voice from a thick vellum book with large clasps. It was perfectly evident that the more the clerk read, the less the man with the blue apron understood about the matter. When the volume was first brought down, he took off his hat, smoothed down his hair, smiled with great self-satisfaction, and looked up in the reader’s face with the air of a man who had made up his mind to recollect every word he heard. The first two or three lines were intelligible enough; but then the technicalities began, and the little man began to look rather dubious. Then came a whole string of complicated trusts, and he was regularly at sea. As the reader proceeded, it was quite apparent that it was a hopeless case, and the little man, with his mouth open and his eyes fixed upon his face, looked on with an expression of bewilderment and perplexity irresistibly ludicrous. A little further on, a hard-featured old man with a deeply-wrinkled face, was intently perusing a lengthy will with the aid of a pair of horn spectacles, occasionally pausing from his task, and slily noting down some brief memorandum of the bequests contained in it. Every wrinkle about his toothless mouth, and sharp keen eyes, told of avarice and cunning. As he leisurely closed the register, put up his spectacles, and folded his scraps of paper in a large leathern pocket-book, we thought what a nice hard bargain he was driving with some poverty-stricken legatee, who, tired of waiting year after year, until some life-interest should fall in, was selling his chance, just as it began to grow most valuable, for a twelfth part of its worth. It was a good speculation—a very safe one. The old man stowed away his pocket-book in the breast of his great-coat, and hobbled away with a leer of anticipation. That will had made him ten years younger at least. Having commenced our observations, we should certainly have extended them to another dozen of people at least, had not a sudden shutting up, and putting away of the worm-eaten old books, warned us that the time for closing the office had arrived, and thus deprived us of a pleasure, and spared our readers an infliction. We naturally fell into a train of reflection as we walked homewards upon the curious old records of likings and dislikings; of jealousies and revenges; of affection defying the power of death, and hatred pursued beyond the grave, which these depositories contain; silent but striking tokens, some of them, of excellence of heart, and nobleness of soul; melancholy examples, others, of the worst passions of human nature. In short, the subject obtained such complete possession of us, that if we fail to write a whole paper about it one of these days we shall be rather surprised. 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 'New Series, No. 3, Doctors' Commons' Description An account of the resource Published in The Morning Chronicle (11 October 1836), p.3. Creator An entity primarily responsible for making the resource Dickens, Charles Publisher An entity responsible for making the resource available The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/BL/0000082/18361011/005/0003">https://www.britishnewspaperarchive.co.uk/viewer/BL/0000082/18361011/005/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1836-10-11 Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1836-10-11-The_Morning_Chronicle_New_Series_No3_Doctors_Commons 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. 'New Series, No. III, Doctors' Commons' (11 October 1836). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="1836-10-11-The_Morning_Chronicle_New_Series_No3_Doctors_Commons">1836-10-11-The_Morning_Chronicle_New_Series_No3_Doctors_Commons</a>. 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. Scripto Transcription A written representation of a document. Walking, without any definite object, through St. Paul’s Church-yard, a little while ago, we happened to turn down a street entitled "Paul’s-chain," and keeping straight forward for a few hundred yards, found ourself, as a natural consequence, in Doctors’ Commons. Now, Doctors’ Commons being familiar by name to everybody as the place where they grant marriage-licenses to love-sick couples, and divorces to unfaithful ones; register the wills of people who have any property to leave, and punish hasty gentlemen who call ladies by unpleasant names; we no sooner discovered that we were really within its precincts, than we felt a laudable desire to become better acquainted therewith; and as the first object of our curiosity was the Court whose decrees can even unloose the bonds of matrimony, we procured a direction to it, and bent our steps thither without delay. Crossing a quiet and shady court-yard, paved with stone, and frowned upon by old red-brick houses, on the doors of which were painted the names of sundry learned civilians, we paused before a small, green-baized, brass-headed-nailed door, which, yielding to our gentle push, at once admitted us into an old quaint-looking apartment, with sunken windows, and black carved wainscoting, at the upper end of which, seated on a raised platform, of semicircular shape, were about a dozen solemn-looking gentlemen, in crimson gowns and wigs. At a more elevated desk, in the centre, sat a very fat and red-faced gentleman, in tortoise-shell spectacles, whose dignified appearance announced the judge; and round a long green-baized table below, something like a billiard-table without the cushions and pockets, were a number of very self-important-looking personages, in stiff neckcloths and black gowns with white fur collars, whom we at once set down as proctors. At the lower end of the billiard-table was an individual in an arm-chair, and a wig, whom we afterwards discovered to be the registrar; and seated behind a little desk, near the door, were a respectable-looking man in black, of about twenty stone weight or thereabouts, and a fat-faced, smirking, civil-looking body, in a black gown, black kid gloves, knee shorts, and silks, with a shirt-frill in his bosom, curls on his head, and a silver staff in his hand, whom we had no difficulty in recognising as the officers of the Court. The latter, indeed, speedily set our mind at rest upon this point, for advancing to our elbow, and opening a conversation forthwith, he had communicated to us in less than five minutes that he was the apparitor, and the other the court-keeper; that this was the Arches Court, and therefore the counsel wore red gowns, and the proctors fur collars; and that when the other Courts sat there, they didn’t wear red gowns or fur collars either; with many other scraps of intelligence equally interesting. Besides these two officers, there was a little thin old man, with long grizzly hair, crouched in a remote corner, whose duty our communicative friend informed us was to ring a large hand-bell when the Court opened in the morning, and who, for aught his appearance betokened to the contrary, might have been similarly employed for the last two centuries at least. The red-faced gentleman in the tortoise-shell spectacles had got all the talk to himself just then, and very well he was doing it, too, only he spoke very fast, but that was habit; and rather thick, but that was good-living. So we had plenty of time to look about us. There was one individual amused us mightily. This was one of the bewigged gentlemen in the red robes, who was straddling before the fire in the centre of the Court, in the attitude of the brazen colossus, to the complete exclusion of everybody else. He had gathered up his robe behind, in much the same manner as a slovenly woman would her petticoats on a very dirty day, in order that he might feel the full warmth of the fire. His wig was put on all awry, with the tail straggling about his neck, his scanty gray trowsers and short black gaiters, made in the worst possible style, imported an additional inelegant appearance to his uncouth person; and his limp, badly-starched shirt-collar almost obscured his eyes. We shall never be able to claim any credit as a physiognomist again, for, after a careful scrutiny of this gentleman’s countenance, we had come to the conclusion that it bespoke nothing but conceit and silliness, when our friend with the silver staff whispered in our ear that he was no other than a doctor of law, an ecclesiastical dignitary in the cinque ports, a not very distant relation to a commissioner of lunacy, and heaven knows what besides. So of course we were mistaken, and he must be a very talented man. He conceals it so well though—perhaps with the merciful view of not astonishing ordinary people too much—that you would suppose him to be one of the stupidest dogs alive. The gentleman in the spectacles having concluded his judgment, and a few minutes having been allowed to elapse, to afford time for the buzz of the court to subside, the registrar called on the next cause, which was "the office of the Judge promoted by Bumple against Sludberry." A general movement was visible in the court at this announcement, and the obliging functionary with silver staff whispered us that "there would be some fun now, for this was a brawling case." We were not rendered much the wiser by this piece of information till we found by the opening speech of the counsel for their promoter that, under a half-obsolete statute of one of the Edwards, the court was empowered to visit with the penalty of excommunication any person who should be proved guilty of the crime of "brawling" or "smiting" in any church, or vestry adjoining thereto; and it appeared, by some eight-and-twenty affidavits, which were duly referred to, that on a certain night, at a certain vestry, meeting in a certain parish particularly set forth, Thomas Sludberry, the party appeared against in that suit, had made use of and applied to Michael Bumple, the reporter, the words "You be blowed;" and that on the said Michael Bumple and others remonstrating with the said Thomas Sludberry on the impropriety of his conduct, the said Thomas Sludberry repeated the aforesaid expression, "You be blowed;" and furthermore desired and requested to know, whether the said Michael Bumple "wanted anything for himself;" adding, ‘that if the said Michael Bumple did want anything for himself, he the said Thomas Sludberry "was the man to give it him;" at the same time making use of other heinous and sinful expressions, all of which, Bumple submitted, came within the intent and meaning of the Act; and therefore he, for the soul’s health and chastening of Sludberry, prayed for sentence of excommunication against him accordingly. Upon these facts a long argument was entered into on both sides, to the great edification of a number of persons interested in the parochial squabbles, who crowded the court; and when some very long and grave speeches had been made pro and con, the red-faced gentleman in the tortoise-shell spectacles took a review of the case, which occupied half an hour more, and then pronounced upon Sludberry the awful sentence of excommunication for a fortnight, and payment of the costs of the suit. Upon this, Sludberry, who was a little, red-faced, sly-looking, ginger-beer seller, addressed the Court, and said, if they’d be good enough to take off the costs, and excommunicate him for the term of his natural life instead, it would be much more convenient to him; for he never went to church at all. To this appeal the gentleman in the spectacles made no other reply than a look of virtuous propriety; and Sludberry and his friends retired. As the man with the silver staff informed us that the Court was on the point of rising, we retired too—pondering, as we walked away, upon the beautiful spirit of these ancient ecclesiastical laws, the kind and neighbourly feelings they are calculated to awaken, and the strong attachment to religious institutions which they cannot fail to engender. We were so lost in these meditations, that we had turned into the street and run up against a door-post, before we recollected where we were walking. On looking upwards to see what house we had stumbled upon, the words "Prerogative-office," written in large characters, met our eye; and as we were in a sight-seeing humour, and the place was a public one, we walked in, without more ado. The room into which we walked, was a long, busy-looking place, partitioned off, on either side, into a variety of little boxes, in which a few clerks were engaged in copying or examining deeds. Down the centre of the room were several desks, nearly breast high, at each of which three or four people were standing, poring over large volumes. As we knew that they were searching for wills, they attracted our attention at once. It was curious to contrast the lazy indifference of the attorneys’ clerks, who were making a search for some legal purpose, with the air of earnestness and interest which distinguished the strangers to the place, who were looking up the will of some deceased relative; the former pausing every now and then with an impatient yawn, or raising their heads to look at the people who passed up and down the room; the latter stooping over the book, and running down column after column of names in the deepest abstraction. There was one little dirty-faced man in a blue apron, who after a whole morning’s search, extending some fifty years back, had just found the will to which he wished to refer, which one of the officials was reading to him in a low hurried voice from a thick vellum book with large clasps. It was perfectly evident that the more the clerk read, the less the man with the blue apron understood about the matter. When the volume was first brought down, he took off his hat, smoothed down his hair, smiled with great self-satisfaction, and looked up in the reader’s face with the air of a man who had made up his mind to recollect every word he heard. The first two or three lines were intelligible enough; but then the technicalities began, and the little man began to look rather dubious. Then came a whole string of complicated trusts, and he was regularly at sea. As the reader proceeded, it was quite apparent that it was a hopeless case, and the little man, with his mouth open and his eyes fixed upon his face, looked on with an expression of bewilderment and perplexity irresistibly ludicrous. A little further on, a hard-featured old man with a deeply-wrinkled face, was intently perusing a lengthy will with the aid of a pair of horn spectacles, occasionally pausing from his task, and slily noting down some brief memorandum of the bequests contained in it. Every wrinkle about his toothless mouth, and sharp keen eyes, told of avarice and cunning. As he leisurely closed the register, put up his spectacles, and folded his scraps of paper in a large leathern pocket-book, we thought what a nice hard bargain he was driving with some poverty-stricken legatee, who, tired of waiting year after year, until some life-interest should fall in, was selling his chance, just as it began to grow most valuable, for a twelfth part of its worth. It was a good speculation—a very safe one. The old man stowed away his pocket-book in the breast of his great-coat, and hobbled away with a leer of anticipation. That will had made him ten years younger at least. Having commenced our observations, we should certainly have extended them to another dozen of people at least, had not a sudden shutting up, and putting away of the worm-eaten old books, warned us that the time for closing the office had arrived, and thus deprived us of a pleasure, and spared our readers an infliction. We naturally fell into a train of reflection as we walked homewards upon the curious old records of likings and dislikings; of jealousies and revenges; of affection defying the power of death, and hatred pursued beyond the grave, which these depositories contain; silent but striking tokens, some of them, of excellence of heart, and nobleness of soul; melancholy examples, others, of the worst passions of human nature. In short, the subject obtained such complete possession of us, that if we fail to write a whole paper about it one of these days we shall be rather surprised.