17 10 361 https://www.dickenssearch.com/files/original/5/Hunted_Down_Part_III/1859-09-03-Hunted_Down_Part3.pdf e54b7e8cda8abf0a3dec6e77a79cb6c8 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 New York Ledger 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. 18590903 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. V. I had a very particular engagement to breakfast in the Temple. It was a bitter north-easterly morning, and the sleet and slush lay inches deep, in the streets. I could get no conveyance, and was soon wet to the knees; but I should have been true to that appointment though I had had to wade to it, up to my neck in the same impediments. The appointment took me to some chambers in the Temple. They were at the top of a lonely corner house overlooking the river. The name, MR. ALFRED BECKWITH was painted on the outer door. On the door opposite, on the same landing, the name MR. JULIUS SLINKTON. The doors of both sets of chambers stood open, so that anything said aloud in one set, could be heard in the other. I had never been in those chambers before. They were dismal, close, unwholesome, and oppressive; the furniture, originally good, and not yet old, was faded and dirty—the rooms were in great disorder; there was a strong prevailing smell of opium, brandy and tobacco; the grate and fire-irons were splashed all over, with unsightly blotches of rust; and on a sofa by the fire, in the room where breakfast had been prepared, lay the host, Mr. Beckwith, a man with all the appearances of the worst kind of drunkard, very far advanced upon his shameful way to death. "Slinkton is not come yet," said this creature, staggering up when I went in; "I’ll call him. Halloa! Julius Cæsar! Come and drink!" As he hoarsely roared this out, he beat the poker and tongs together in a mad way, as if that were his usual manner of summoning his associate. The voice of Mr. Slinkton was heard through the clatter from the opposite side of the staircase, and he came in. He had not expected the pleasure of meeting me. I have seen several artful men brought to a stand, but I never saw a man so aghast as he was when his eyes rested on mine. "Julius Cæsar," cried Beckwith, staggering between us, "Mist’ Sampson! Mist’ Sampson, Julius Cæsar! Julius, Mist’ Sampson, is the friend of my soul. Julius keeps me plied with liquor, morning, noon, and night. Julius is a real benefactor. Julius threw the tea and coffee out of window when I used to have any. Julius empties all the water-jugs of their contents, and fills ’em with spirits. Julius winds me up and keeps me going.—Boil the brandy, Julius!" There was a rusty and furred saucepan in the ashes,—the ashes looked like the accumulation of weeks—and Beckwith, rolling and staggering between us as if he were going to plunge headlong into the fire, got the saucepan out, and tried to force it into Slinkton’s hand. "Boil the brandy, Julius Cæsar! Come! Do your usual office. Boil the brandy!" He became so fierce in his gesticulations with the saucepan, that I expected to see him lay open Slinkton’s head with it. I therefore put out my hand to check him. He reeled back to the sofa, and sat there, panting, shaking, and red-eyed, in his rags of dressing-gown, looking at us both. I noticed then, that there was nothing to drink on the table but brandy, and nothing to eat but salted herrings, and a hot, sickly, highly peppered stew." "At all events, Mr. Sampson," said Slinkton, offering me the smooth gravel path for the last time, "I thank you for interfering between me and this unfortunate man’s violence. However you came here, Mr. Sampson, or with whatever motive you came here, at least I thank you for that." "Boil the brandy," muttered Beckwith. Without gratifying his desire to know how I came there, I said, quietly: "How is your niece, Mr. Slinkton?" He looked hard at me, and I looked hard at him. "I am sorry to say, Mr. Sampson, that my niece has proved treacherous and ungrateful to her best friend. She left me without a word of notice or explanation. She was misled, no doubt, by some designing rascal. Perhaps you may have heard of it." "I did hear that she was misled by a designing rascal. In fact, I have proof of it." "Are you sure of that?" said he. "Quite." "Boil the brandy," muttered Beckwith. "Company to breakfast, Julius Cæsar. Do your usual office—provide the usual breakfast, dinner, tea, and supper.—Boil the brandy!" The eyes of Slinkton looked from him to me, and he said, after a moment’s consideration: "Mr. Sampson, you are a man of the world, and so am I. I will be plain with you." "Oh, no, you won’t," said I, shaking my head. "I tell you, sir, I will be plain with you." "And I tell you you will not," said I. "I know all about you. You plain with any one? Nonsense, nonsense!" "I plainly tell you, Mr. Sampson," he went on, with a manner almost composed, "that I understand your object. You want to save your funds, and escape from your liabilities; these are old tricks of trade with you Office-gentlemen. But you will not do it, sir; you will not succeed. You have not an easy adversary to play against, when you play against me. We shall have to inquire, in due time, when and how Mr. Beckwith fell into his present habits. With that remark, sir, I put this poor creature and his incoherent wanderings of speech, aside, and wish you a good morning and a better case next time." While he was saying this, Beckwith had filled a half pint glass with brandy. At this moment, he threw the brandy at his face, and threw the glass after it. Slinkton put his hands up, half blinded with the spirit, and cut with the glass across the forehead. At the sound of the breakage, a fourth person came into the room, closed the door, and stood at it; he was a very quiet but very keen-looking man, with iron-grey hair, and slightly lame. Slinkton pulled out his handkerchief, assuaged the pain in his smarting eyes, and dabbled the blood on his forehead. He was a long time about it, and I saw that, in the doing of it, a tremendous change came over him, occasioned by the change in Beckwith—who ceased to pant and tremble, sat upright, and never took his eyes off him. I never in my life saw a face in which abhorrence and determination were so forcibly painted, as in Beckwith’s then. "Look at me, you villain," said Beckwith, "and see me as I really am. I took these rooms, to make them a trap for you. I came into them as a drunkard, to bait the trap for you. You fell into the trap, and you will never leave it alive. On the morning when you last went to Mr. Sampson’s office, I had seen him first. Your plot has been known to both of us, all along, and you have been counterplotted all along. What? Having been cajoled into putting that prize of two thousand pounds in your power, I was to be done to death with brandy, and, brandy not proving quick enough, with something quicker? Have I never seen you, when you thought my senses gone, pouring from your little bottle into my glass? Why, you Murderer and Forger, alone here with you in the dead of night, as I have so often been, I have had my hand upon the trigger of a pistol, twenty times, to blow your brains out!" This sudden starting up of the thing that he had supposed to be his imbecile victim into a determined man, with a settled resolution to hunt him down and be the death of him, mercilessly expressed from head to foot, was, in the first shock, too much for him. Without any figure of speech, he staggered under it. But, there is no greater mistake than to suppose that a man who is a calculating criminal, is, in any phase of his guilt, otherwise than true to himself and perfectly consistent with his whole character. Such a man commits murder, and murder is the natural culmination of his course; such a man has to outface murder, and will do it with hardihood and effrontery. It is a sort of fashion to express surprise that any notorious criminal, having such crime upon his conscience, can so brave it out. Do you think that if he had it on his conscience at all, or had a conscience to have it upon, he would ever have committed the crime? Perfectly consistent with himself, as I believe all such monsters to be, this Slinkton recovered himself, and showed a defiance that was sufficiently cold and quiet. He was white, he was haggard, he was changed; but, only as a sharper who had played for a great stake and had been outwitted and had lost the game. "Listen to me, you villain," said Beckwith, "and let every word you hear me say, be a stab in your wicked heart. When I took these rooms, to throw myself in your way and lead you on to the scheme that I knew my appearance and supposed character and habits would suggest to such a devil, how did I know that? Because you were no stranger to me. I knew you well. And I knew you to be the cruel wretch who, for so much money, had killed one innocent girl while she trusted him implicitly, and who was by inches, killing another." Slinkton took out a snuff-box, took a pinch of snuff, and laughed. "But, see here," said Beckwith, never looking away, never raising his voice, never relaxing his face, never unclenching his hand. "See what a dull wolf you have been, after all! The infatuated drunkard who never drank a fiftieth part of the liquor you plied him with, but poured it away, here, there, everywhere—almost before your eyes; who bought over the fellow you set to watch him and to ply him, by outbidding you in his bribe, before he had been at his work three days—with whom you have observed no caution, yet who was so bent on ridding the earth of you as a wild beast, that he would have defeated you if you had been ever so prudent—that drunkard whom you have, many a time, left on the floor of this room, and who has even let you go out of it, alive and undeceived, when you have turned him over with your foot—has, almost as often, on the same night, within an hour, within a few minutes, watched you awake, had his hand at your pillow when you were asleep, turned over your papers, taken samples from your bottles and packets of powder, changed their contents, rifled every secret of your life!" He had had another pinch of snuff in his hand, but had gradually let it drop from between his fingers to the floor: where he now smoothed it out with his foot, looking down at it the while. "That drunkard," said Beckwith, "who had free access to your rooms at all times, that he might drink the strong drinks that you left in his way and be the sooner ended, holding no more terms with you than he would hold with a tiger, has had his master-key for all your locks, his test for all your poisons, his clue to your cipher writing. He can tell you, as well as you can tell him, how long it took to complete that deed, what doses there were, what intervals, what signs of gradual decay upon mind and body; what distempered fancies were produced, what observable changes, what physical pain. He can tell you, as well as you can tell him, that all this was recorded day by day, as a lesson of experience for future service. He can tell you, better than you can tell him, where that journal is at this moment." Slinkton stopped the action of his foot, and looked at Beckwith. "No," said the latter, as if answering a question from him. "Not in the drawer of the writing-desk that opens with a spring; it is not there, and it never will be there again." "Then you are a thief!" said Slinkton. Without any change whatever in the inflexible purpose which it was quite terrific even to me to contemplate, and from the power of which I had always felt convinced it was impossible for this wretch to escape, Beckwith returned: "And I am your niece’s shadow, too." With an imprecation, Slinkton put his hand to his head, tore out some hair, and flung it to the ground. It was the end of the smooth walk; he destroyed it in the action, and it will soon be seen that his use for it was past. Beckwith went on: ‘Whenever you left here, I left here. Although I understood that you found it necessary to pause in the completion of that purpose, to avert suspicion, still I watched you close, with the poor confiding girl. When I had the diary, and could read it word by word—it was only about the night before your last visit to Scarborough—you remember the night? you slept with a small flat vial tied to your wrist—I sent to Mr. Sampson, who was kept out of view. This is Mr. Sampson’s trusty servant standing by the door. We three saved your niece among us." Slinkton looked at us all, took an uncertain step or two from the place where he had stood, returned to it, and glanced about him in a very curious way—as one of the meaner reptiles might, looking for a hole to hide in. I noticed at the same time, that a singular change took place in the figure of the man—as if it collapsed within his clothes, and they consequently became ill-shapen and ill-fitting. "You shall know," said Beckwith, "for I hope the knowledge will be bitter and terrible to you, why you have been pursued by one man, and why, when the whole interest that Mr. Sampson represents would have expended any money in hunting you down, you have been tracked to death at a single individual’s charge. I hear you have had the name of Meltham on your lips sometimes?" I saw, in addition to those other changes, a sudden stoppage come upon his breathing. "When you sent the sweet girl whom you murdered (you know with what artfully made-out surroundings and probabilities you sent her), to Meltham’s office, before taking her abroad to originate the transaction that doomed her to the grave, it fell to Meltham’s lot to see her and to speak with her. It did not fall to his lot to save her, though I know he would freely give his own life to have done it. He admired her;—I would say he loved her deeply, if I thought it possible that you could understand the word. When she was sacrificed, he was thoroughly assured of your guilt. Having lost her, he had but one object left in life, and that was to avenge her and destroy you." I saw the villain’s nostrils rise and fall, convulsively; but I saw no moving at his mouth. "That man Meltham," Beckwith steadily pursued, "was as absolutely certain that you could never elude him in this world, if he devoted himself to your destruction with his utmost fidelity and earnestness, and if he divided the sacred duty with no other duty in life, as he was certain that in achieving it he would be a poor instrument in the hands of Providence, and would do well before Heaven in striking you out from among living men. I am that man, and I thank GOD that I have done my work!" If Slinkton had been running for his life from swift-footed savages, a dozen miles, he could not have shown more emphatic signs of being oppressed at heart and labouring for breath, than he showed now, when he looked at the pursuer who had so relentlessly hunted him down. "You never saw me under my right name before; you see me under my right name now. You shall see me once again in the body, when you are tried for your life. You shall see me once again, in the spirit, when the cord is round your neck, and the crowd are crying against you!" When Meltham had spoken these last words, the miscreant suddenly turned away his face, and seemed to strike his mouth with his open hand. At the same instant, the room was filled with a new and powerful odor, and, almost at the same instant, he broke into a crooked run, leap, start,—I have no name for the spasm,—and fell, with a dull weight that shook the heavy old doors and windows in their frames. That was the fitting end of him. When we saw that he was dead, we drew away from the room, and Meltham, giving me his hand, said, with a weary air: "I have no more work on earth, my friend. But I shall see her again, elsewhere." It was in vain that I tried to rally him. He might have saved her, he said; he had not saved her, and he reproached himself; he had lost her, and he was broken-hearted. "The purpose that sustained me is over, Sampson, and there is nothing now to hold me to life. I am not fit for life; I am weak and spiritless; I have no hope and no object; my day is done." In truth, I could hardly have believed that the broken man who then spoke to me was the man who had so strongly and so differently impressed me when his purpose was before him. I used such entreaties with him, as I could; but, he still said, and always said, in a patient, undemonstrative way—nothing could avail him—he was broken-hearted. He died early in the next spring. He was buried by the side of the poor young lady for whom he had cherished those tender and unhappy regrets; and he left all he had, to her sister. She lived to be a happy wife and mother; she married my sister’s son, who succeeded poor Meltham; she is living now, and her children ride about the garden on my walking-stick when I go to see her. 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 'Hunted Down', Part III Creator An entity primarily responsible for making the resource Dickens, Charles Date A point or period of time associated with an event in the lifecycle of the resource 1859-03-09 Type The nature or genre of the resource Short story Identifier An unambiguous reference to the resource within a given context 1859-09-03-Hunted_Down_Part3 Source A related resource from which the described resource is derived The New York Public Library Digital Collections, <a href="https://digitalcollections.nypl.org/collections/the-new-york-ledger?filters%5Bname%5D=Dickens%2C+Charles%2C+1812-1870&keywords=#/?tab=navigation">https://digitalcollections.nypl.org/collections/the-new-york-ledger?filters%5Bname%5D=Dickens%2C+Charles%2C+1812-1870&keywords=#/?tab=navigation</a>. Rights Information about rights held in and over the resource All images remain the physical property of NYPL and the intellectual property of the copyright holder, if applicable. 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. 'Hunted Down', Part III (3 September 1859). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1859-09-03-Hunted_Down_Part3">https://www.dickenssearch.com/short-stories/1859-09-03-Hunted_Down_Part3</a>.  Scripto Transcription A written representation of a document. V. I had a very particular engagement to breakfast in the Temple. It was a bitter north-easterly morning, and the sleet and slush lay inches deep, in the streets. I could get no conveyance, and was soon wet to the knees; but I should have been true to that appointment though I had had to wade to it, up to my neck in the same impediments. The appointment took me to some chambers in the Temple. They were at the top of a lonely corner house overlooking the river. The name, MR. ALFRED BECKWITH was painted on the outer door. On the door opposite, on the same landing, the name MR. JULIUS SLINKTON. The doors of both sets of chambers stood open, so that anything said aloud in one set, could be heard in the other. I had never been in those chambers before. They were dismal, close, unwholesome, and oppressive; the furniture, originally good, and not yet old, was faded and dirty—the rooms were in great disorder; there was a strong prevailing smell of opium, brandy and tobacco; the grate and fire-irons were splashed all over, with unsightly blotches of rust; and on a sofa by the fire, in the room where breakfast had been prepared, lay the host, Mr. Beckwith, a man with all the appearances of the worst kind of drunkard, very far advanced upon his shameful way to death. "Slinkton is not come yet," said this creature, staggering up when I went in; "I’ll call him. Halloa!  Julius Cæsar! Come and drink!" As he hoarsely roared this out, he beat the poker and tongs together in a mad way, as if that were his usual manner of summoning his associate. The voice of Mr. Slinkton was heard through the clatter from the opposite side of the staircase, and he came in. He had not expected the pleasure of meeting me. I have seen several artful men brought to a stand, but I never saw a man so aghast as he was when his eyes rested on mine. "Julius Cæsar," cried Beckwith, staggering between us, "Mist’ Sampson! Mist’ Sampson, Julius Cæsar!  Julius, Mist’ Sampson, is the friend of my soul. Julius keeps me plied with liquor, morning, noon, and night. Julius is a real benefactor. Julius threw the tea and coffee out of window when I used to have any. Julius empties all the water-jugs of their contents, and fills ’em with spirits. Julius winds me up and keeps me going.—Boil the brandy, Julius!" There was a rusty and furred saucepan in the ashes,—the ashes looked like the accumulation of weeks—and Beckwith, rolling and staggering between us as if he were going to plunge headlong into the fire, got the saucepan out, and tried to force it into Slinkton’s hand. "Boil the brandy, Julius Cæsar! Come! Do your usual office. Boil the brandy!" He became so fierce in his gesticulations with the saucepan, that I expected to see him lay open Slinkton’s head with it. I therefore put out my hand to check him. He reeled back to the sofa, and sat there, panting, shaking, and red-eyed, in his rags of dressing-gown, looking at us both. I noticed then, that there was nothing to drink on the table but brandy, and nothing to eat but salted herrings, and a hot, sickly, highly peppered stew." "At all events, Mr. Sampson," said Slinkton, offering me the smooth gravel path for the last time, "I thank you for interfering between me and this unfortunate man’s violence. However you came here, Mr. Sampson, or with whatever motive you came here, at least I thank you for that." "Boil the brandy," muttered Beckwith. Without gratifying his desire to know how I came there, I said, quietly: "How is your niece, Mr. Slinkton?" He looked hard at me, and I looked hard at him. "I am sorry to say, Mr. Sampson, that my niece has proved treacherous and ungrateful to her best friend. She left me without a word of notice or explanation. She was misled, no doubt, by some designing rascal. Perhaps you may have heard of it." "I did hear that she was misled by a designing rascal. In fact, I have proof of it." "Are you sure of that?" said he. "Quite." "Boil the brandy," muttered Beckwith. "Company to breakfast, Julius Cæsar. Do your usual office—provide the usual breakfast, dinner, tea, and supper.—Boil the brandy!" The eyes of Slinkton looked from him to me, and he said, after a moment’s consideration: "Mr. Sampson, you are a man of the world, and so am I. I will be plain with you." "Oh, no, you won’t," said I, shaking my head. "I tell you, sir, I will be plain with you." "And I tell you you will not," said I. "I know all about you. You plain with any one? Nonsense, nonsense!" "I plainly tell you, Mr. Sampson," he went on, with a manner almost composed, "that I understand your object. You want to save your funds, and escape from your liabilities; these are old tricks of trade with you Office-gentlemen. But you will not do it, sir; you will not succeed. You have not an easy adversary to play against, when you play against me. We shall have to inquire, in due time, when and how Mr. Beckwith fell into his present habits. With that remark, sir, I put this poor creature and his incoherent wanderings of speech, aside, and wish you a good morning and a better case next time." While he was saying this, Beckwith had filled a half pint glass with brandy. At this moment, he threw the brandy at his face, and threw the glass after it. Slinkton put his hands up, half blinded with the spirit, and cut with the glass across the forehead. At the sound of the breakage, a fourth person came into the room, closed the door, and stood at it; he was a very quiet but very keen-looking man, with iron-grey hair, and slightly lame. Slinkton pulled out his handkerchief, assuaged the pain in his smarting eyes, and dabbled the blood on his forehead. He was a long time about it, and I saw that, in the doing of it, a tremendous change came over him, occasioned by the change in Beckwith—who ceased to pant and tremble, sat upright, and never took his eyes off him. I never in my life saw a face in which abhorrence and determination were so forcibly painted, as in Beckwith’s then. "Look at me, you villain," said Beckwith, "and see me as I really am. I took these rooms, to make them a trap for you. I came into them as a drunkard, to bait the trap for you. You fell into the trap, and you will never leave it alive. On the morning when you last went to Mr. Sampson’s office, I had seen him first. Your plot has been known to both of us, all along, and you have been counterplotted all along. What? Having been cajoled into putting that prize of two thousand pounds in your power, I was to be done to death with brandy, and, brandy not proving quick enough, with something quicker? Have I never seen you, when you thought my senses gone, pouring from your little bottle into my glass? Why, you Murderer and Forger, alone here with you in the dead of night, as I have so often been, I have had my hand upon the trigger of a pistol, twenty times, to blow your brains out!" This sudden starting up of the thing that he had supposed to be his imbecile victim into a determined man, with a settled resolution to hunt him down and be the death of him, mercilessly expressed from head to foot, was, in the first shock, too much for him. Without any figure of speech, he staggered under it. But, there is no greater mistake than to suppose that a man who is a calculating criminal, is, in any phase of his guilt, otherwise than true to himself and perfectly consistent with his whole character. Such a man commits murder, and murder is the natural culmination of his course; such a man has to outface murder, and will do it with hardihood and effrontery. It is a sort of fashion to express surprise that any notorious criminal, having such crime upon his conscience, can so brave it out. Do you think that if he had it on his conscience at all, or had a conscience to have it upon, he would ever have committed the crime? Perfectly consistent with himself, as I believe all such monsters to be, this Slinkton recovered himself, and showed a defiance that was sufficiently cold and quiet. He was white, he was haggard, he was changed; but, only as a sharper who had played for a great stake and had been outwitted and had lost the game. "Listen to me, you villain," said Beckwith, "and let every word you hear me say, be a stab in your wicked heart. When I took these rooms, to throw myself in your way and lead you on to the scheme that I knew my appearance and supposed character and habits would suggest to such a devil, how did I know that? Because you were no stranger to me.  I knew you well. And I knew you to be the cruel wretch who, for so much money, had killed one innocent girl while she trusted him implicitly, and who was by inches, killing another." Slinkton took out a snuff-box, took a pinch of snuff, and laughed. "But, see here," said Beckwith, never looking away, never raising his voice, never relaxing his face, never unclenching his hand. "See what a dull wolf you have been, after all! The infatuated drunkard who never drank a fiftieth part of the liquor you plied him with, but poured it away, here, there, everywhere—almost before your eyes; who bought over the fellow you set to watch him and to ply him, by outbidding you in his bribe, before he had been at his work three days—with whom you have observed no caution, yet who was so bent on ridding the earth of you as a wild beast, that he would have defeated you if you had been ever so prudent—that drunkard whom you have, many a time, left on the floor of this room, and who has even let you go out of it, alive and undeceived, when you have turned him over with your foot—has, almost as often, on the same night, within an hour, within a few minutes, watched you awake, had his hand at your pillow when you were asleep, turned over your papers, taken samples from your bottles and packets of powder, changed their contents, rifled every secret of your life!" He had had another pinch of snuff in his hand, but had gradually let it drop from between his fingers to the floor: where he now smoothed it out with his foot, looking down at it the while. "That drunkard," said Beckwith, "who had free access to your rooms at all times, that he might drink the strong drinks that you left in his way and be the sooner ended, holding no more terms with you than he would hold with a tiger, has had his master-key for all your locks, his test for all your poisons, his clue to your cipher writing. He can tell you, as well as you can tell him, how long it took to complete that deed, what doses there were, what intervals, what signs of gradual decay upon mind and body; what distempered fancies were produced, what observable changes, what physical pain. He can tell you, as well as you can tell him, that all this was recorded day by day, as a lesson of experience for future service. He can tell you, better than you can tell him, where that journal is at this moment." Slinkton stopped the action of his foot, and looked at Beckwith. "No," said the latter, as if answering a question from him. "Not in the drawer of the writing-desk that opens with a spring; it is not there, and it never will be there again." "Then you are a thief!" said Slinkton. Without any change whatever in the inflexible purpose which it was quite terrific even to me to contemplate, and from the power of which I had always felt convinced it was impossible for this wretch to escape, Beckwith returned: "And I am your niece’s shadow, too." With an imprecation, Slinkton put his hand to his head, tore out some hair, and flung it to the ground. It was the end of the smooth walk; he destroyed it in the action, and it will soon be seen that his use for it was past. Beckwith went on: ‘Whenever you left here, I left here. Although I understood that you found it necessary to pause in the completion of that purpose, to avert suspicion, still I watched you close, with the poor confiding girl. When I had the diary, and could read it word by word—it was only about the night before your last visit to Scarborough—you remember the night? you slept with a small flat vial tied to your wrist—I sent to Mr. Sampson, who was kept out of view. This is Mr. Sampson’s trusty servant standing by the door. We three saved your niece among us." Slinkton looked at us all, took an uncertain step or two from the place where he had stood, returned to it, and glanced about him in a very curious way—as one of the meaner reptiles might, looking for a hole to hide in. I noticed at the same time, that a singular change took place in the figure of the man—as if it collapsed within his clothes, and they consequently became ill-shapen and ill-fitting. "You shall know," said Beckwith, "for I hope the knowledge will be bitter and terrible to you, why you have been pursued by one man, and why, when the whole interest that Mr. Sampson represents would have expended any money in hunting you down, you have been tracked to death at a single individual’s charge. I hear you have had the name of Meltham on your lips sometimes?" I saw, in addition to those other changes, a sudden stoppage come upon his breathing. "When you sent the sweet girl whom you murdered (you know with what artfully made-out surroundings and probabilities you sent her), to Meltham’s office, before taking her abroad to originate the transaction that doomed her to the grave, it fell to Meltham’s lot to see her and to speak with her. It did not fall to his lot to save her, though I know he would freely give his own life to have done it. He admired her;—I would say he loved her deeply, if I thought it possible that you could understand the word. When she was sacrificed, he was thoroughly assured of your guilt.  Having lost her, he had but one object left in life, and that was to avenge her and destroy you." I saw the villain’s nostrils rise and fall, convulsively; but I saw no moving at his mouth. "That man Meltham," Beckwith steadily pursued, "was as absolutely certain that you could never elude him in this world, if he devoted himself to your destruction with his utmost fidelity and earnestness, and if he divided the sacred duty with no other duty in life, as he was certain that in achieving it he would be a poor instrument in the hands of Providence, and would do well before Heaven in striking you out from among living men.  I am that man, and I thank GOD that I have done my work!" If Slinkton had been running for his life from swift-footed savages, a dozen miles, he could not have shown more emphatic signs of being oppressed at heart and labouring for breath, than he showed now, when he looked at the pursuer who had so relentlessly hunted him down. "You never saw me under my right name before; you see me under my right name now. You shall see me once again in the body, when you are tried for your life.  You shall see me once again, in the spirit, when the cord is round your neck, and the crowd are crying against you!" When Meltham had spoken these last words, the miscreant suddenly turned away his face, and seemed to strike his mouth with his open hand. At the same instant, the room was filled with a new and powerful odor, and, almost at the same instant, he broke into a crooked run, leap, start,—I have no name for the spasm,—and fell, with a dull weight that shook the heavy old doors and windows in their frames. That was the fitting end of him. When we saw that he was dead, we drew away from the room, and Meltham, giving me his hand, said, with a weary air: "I have no more work on earth, my friend. But I shall see her again, elsewhere." It was in vain that I tried to rally him. He might have saved her, he said; he had not saved her, and he reproached himself; he had lost her, and he was broken-hearted. "The purpose that sustained me is over, Sampson, and there is nothing now to hold me to life. I am not fit for life; I am weak and spiritless; I have no hope and no object; my day is done." In truth, I could hardly have believed that the broken man who then spoke to me was the man who had so strongly and so differently impressed me when his purpose was before him. I used such entreaties with him, as I could; but, he still said, and always said, in a patient, undemonstrative way—nothing could avail him—he was broken-hearted. He died early in the next spring. He was buried by the side of the poor young lady for whom he had cherished those tender and unhappy regrets; and he left all he had, to her sister. She lived to be a happy wife and mother; she married my sister’s son, who succeeded poor Meltham; she is living now, and her children ride about the garden on my walking-stick when I go to see her. https://www.dickenssearch.com/files/original/5/The_Tuggs_s_at_Ramsgate/1836-The_Tuggss_at_Ramsgate.pdf 2095fa4e97f462d567da6106e90d1c56 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 Book 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. 18360101 Publication The title of the newspaper/serial (if applicable) The Library of Fiction 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. Once upon a time, there dwelt, in a narrow street on the Surrey side of the water, within three minutes’ walk of old London Bridge, Mr. Joseph Tuggs—a little, dark-faced man, with shiny hair, twinkling eyes, short legs, and a body of very considerable thickness, measuring from the centre button of his waistcoat in front, to the ornamental buttons of his coat behind. The figure of the amiable Mrs. Tuggs, if not perfectly symmetrical was decidedly comfortable; and the form of her only daughter, the accomplished Miss Charlotte Tuggs, was fast ripening into that state of luxuriant plumpness, which had enchanted the eyes, and captivated the heart, of Mr. Joseph Tuggs in his earlier days. Mr. Simon Tuggs, his only son, and Miss Charlotte Tuggs’s only brother, was as differently formed in body, as he was differently constituted in mind, from the remainder of his family. There was that elongation in his thoughtful face, and that tendency to weakness in his interesting legs, which tell so forcibly of a great mind and romantic disposition. The slightest traits of character in such a being, possess no mean interest to speculative minds. He usually appeared in public, in capacious shoes with black cotton stockings; and was observed to be particularly attached to a black glazed stock, without tie or ornament of any description. There is perhaps no profession, however useful, no pursuit, however meritorious, which can escape the petty attacks of vulgar minds. Mr. Joseph Tuggs was a grocer. It might be supposed that a grocer was beyond the breath of calumny; but no,—the neighbours stigmatised him as a chandler; and the poisonous voice of envy distinctly asserted that he dispensed tea and coffee by the quartern, retailed sugar by the ounce, cheese by the slice, tobacco by the screw, and butter by the pat. These taunts, however, were lost upon the Tuggs's. Mr. Tuggs attended to the grocery department, Mrs. Tuggs to the cheesemongery, and Miss Tuggs to her education. Mr. Simon Tuggs kept his father’s books, and his own counsel. One fine spring afternoon, the latter gentleman was seated on a tub of weekly Dorset behind the little red desk with a wooden rail, which ornamented a corner of the counter, when a stranger dismounted from a cab, and hastily entered the shop: he was habited in black cloth, and bore with him a green umbrella and a blue bag. "Mr. Tuggs?" said the stranger, inquiringly. "My name is Tuggs," replied Mr. Simon. "It’s the other Mr. Tuggs," said the stranger, looking towards the glass door which led into the parlour behind the shop, and on the inside of which, the round face of Mr. Tuggs, senior, was distinctly visible, peeping over the curtain. Mr. Simon gracefully waved his pen, as if in intimation of his wish that his father would advance, and Mr. Joseph Tuggs with considerable celerity removed his face from the curtain, and placed it before the stranger. "I come from the Temple," said the man with the bag. "From the Temple!" said Mrs. Tuggs, flinging open the door of the little parlour, and disclosing Miss Tuggs in perspective. "From the Temple!" said Miss Tuggs and Mr. Simon Tuggs at the same moment. "From the Temple!" said Mr. Joseph Tuggs, turning as pale as a Dutch cheese. "From the Temple," repeated the man with the bag; "from Mr. Cower’s, the solicitor’s. Mr. Tuggs, I congratulate you, sir. Ladies, I wish you joy of your prosperity! We have been successful." And the man with the bag, leisurely divested himself of his umbrella and glove, as a preliminary to shaking hands with Mr. Joseph Tuggs. Now the words "we have been successful," had no sooner issued from the mouth of the man with the bag, than Mr. Simon Tuggs rose from the tub of weekly Dorset, opened his eyes very wide, gasped for breath, made figures of eight in the air with his pen, and finally fell into the arms of his anxious mother, and fainted away, without the slightest ostensible cause or pretence. "Water!" screamed Mrs. Tuggs. "Look up, my son," exclaimed Mr. Tuggs. "Simon! Dear Simon!" shrieked Miss Tuggs. "I’m better now," said Mr. Simon Tuggs. "What! successful!" And then, as corroborative evidence of his being better, he fainted away again, and was borne into the little parlour by the united efforts of the remainder of the family and the man with the bag. To a casual spectator, or to any one unacquainted with the position of the family, this fainting would have been unaccountable. To those who understood the mission of the man with the bag, and were moreover acquainted with the excitability of the nerves of Mr. Simon Tuggs, it was quite comprehensible. A long-pending lawsuit respecting the validity of a will, had been unexpectedly decided; and Mr. Joseph Tuggs was the possessor of twenty thousand pounds. A prolonged consultation took place that night in the little parlour—a consultation that was to settle the future destinies of the Tuggs's. The shop was shut up at an unusually early hour; and many were the unavailing kicks bestowed upon the closed door by applicants for quarterns of sugar, or half-quarterns of bread, or penn’orths of pepper, which were to have been "left till Saturday," but which fortune had decreed were to be left alone altogether. "We must certainly give up business," said Miss Tuggs. "Oh, decidedly," said Mrs. Tuggs. "Simon shall go to the bar," said Mr. Joseph Tuggs. "And I shall always sign myself 'Cymon' in future," said his son. "And I shall call myself Charlotta," said Miss Tuggs. "And you must always call me 'Ma,' and father 'Pa,’" said Mrs. Tuggs. "Yes, and Pa must leave off all his vulgar habits," interposed Miss Tuggs. "I’ll take care o' all that," responded Mr. Joseph Tuggs, complacently.—He was at that very moment eating pickled salmon with a pocket-knife. "We must leave town immediately," said Mr. Cymon Tuggs. Everybody concurred that this was an indispensable preliminary to being genteel. The question then arose—Where should they go? "Gravesend," mildly suggested Mr. Joseph Tuggs. The idea was unanimously scouted. Gravesend was low. "Margate," insinuated Mrs. Tuggs. Worse and worse—nobody there, but tradespeople. "Brighton?" Mr. Cymon Tuggs opposed an insurmountable objection. All the coaches had been upset, in turn, within the last three weeks; each coach had averaged two passengers killed, and six wounded; and, in every case, the newspapers had distinctly understood that "no blame whatever was attributable to the coachman." "Ramsgate!" ejaculated Mr. Cymon, thoughtfully.—To be sure; how stupid they must have been not to have thought of that before. Ramsgate was just the place of all others that they ought to go to. Two months after this conversation, the City of London Ramsgate steamer was running gaily down the river. Her flag was flying, her band was playing, her passengers were conversing; everything about her seemed gay and lively.—No wonder, the Tuggs's were on board. "Charming, a'nt it?" said Mr. Joseph Tuggs, in a bottle-green great-coat, with a velvet collar of the same, and a blue travelling cap with a gold band. "Soul-inspiring," replied Mr. Cymon Tuggs—he was entered at the bar.—"Soul-inspiring!" "Delightful morning, sir," said a stoutish, military-looking gentleman in a blue surtout, buttoned up to his chin, and white trousers chained down to the soles of his boots. Mr. Cymon Tuggs took upon himself the responsibility of answering the observation. "Heavenly!" he replied. "You are an enthusiastic admirer of the beauties of Nature, sir?" said the military gentleman, deferentially. "I am, sir," replied Mr. Cymon Tuggs. "Travelled much, sir?" inquired the military gentleman. "Not much," replied Mr. Cymon Tuggs. "You’ve been on the continent, of course?" inquired the military gentleman. "Not exactly," replied Mr. Cymon Tuggs, in a qualified tone, as if he wished it to be implied that he had gone half way and come back again. "You of course intend your son to make the grand tour, sir?" said the military gentleman, addressing Mr. Joseph Tuggs. As Mr. Joseph Tuggs did not precisely understand what the grand tour was, or how such an article was manufactured, he replied, "Of course." Just as he said the word, there came tripping up, from her seat at the stern of the vessel, a young lady in a puce-coloured silk cloak, and boots of the same, with long black ringlets, large black eyes, brief petticoats, and unexceptionable ankles. "Walter, my dear," said the young lady to the military gentleman. "Yes, Belinda, my love," responded the military gentleman to the black-eyed young lady. "What have you left me alone so long for?" said the young lady. "I have been stared out of countenance by those rude young men." "What! stared at?" exclaimed the military gentleman, with an emphasis which made Mr. Cymon Tuggs withdraw his eyes from the young lady’s face with inconceivable rapidity. "Which young men—where?" and the military gentleman clenched his fist, and glared fearfully on the cigar-smokers around. "Be calm, Walter, I entreat," said the young lady. "I won’t," said the military gentleman. "Do, sir," interposed Mr. Cymon Tuggs. "They a'nt worth your notice." "No—no—they are not indeed," urged the young lady. "I will be calm," said the military gentleman. "You speak truly, sir. I thank you for a timely remonstrance, which may have spared me the guilt of manslaughter;" and calming his wrath, the military gentleman wrung Mr. Cymon Tuggs by the hand. "My sister, sir," said Mr. Cymon Tuggs: seeing that the military gentleman was casting an admiring look towards Miss Charlotta. "My wife, ma’am—Mrs. Captain Waters," said the military gentleman, presenting the black-eyed young lady. "My mother, ma’am—Mrs. Tuggs," said Mr. Cymon. The military gentleman and his wife murmured enchanting courtesies; and the Tuggses looked as unembarrassed as they could. "Walter, my dear," said the black-eyed young lady, after they had sat chatting with the Tuggs's some half hour. "Yes, my love," said the military gentleman. "Don’t you think this gentleman (with an inclination of the head towards Mr. Cymon Tuggs) is very much like the Marquis Carriwini." "God bless me, very!" said the military gentleman. "It struck me, the moment I saw him," said the young lady, gazing intently, and with a melancholy air, on the scarlet countenance of Mr. Cymon Tuggs. Mr. Cymon Tuggs looked at every body; and finding that every body was looking at him, appeared to feel some temporary difficulty in disposing of his eyesight. "So exactly the air of the marquis," said the military gentleman. "Quite extraordinary!" sighed the military gentleman’s lady. "You don’t know the marquis, sir?" inquired the military gentleman. Mr. Cymon Tuggs stammered a negative. "If you did," continued Captain Walter Waters, "you would feel how much reason you have to be proud of the resemblance—a most elegant man, with a most prepossessing appearance." "He is—he is indeed!" exclaimed Belinda Waters energetically: and as her eye caught that of Mr. Cymon Tuggs, she withdrew it from his features in bashful confusion. All this was highly gratifying to the feelings of the Tuggs's; and when in the course of further conversation, it was discovered that Miss Charlotta Tuggs was the fac simile of a titled relative of Mrs. Belinda Waters; and that Mrs. Tuggs herself was the very picture of the Dowager Duchess of Dobbleton; their delight in the acquisition of so genteel and friendly an acquaintance, knew no bounds. Even the dignity of Captain Walter Waters relaxed to such a degree, that he suffered himself to be prevailed upon by Mr. Joseph Tuggs, to partake of cold pigeon-pie and sherry on deck; and a most delightful conversation, aided by these agreeable stimulants, was prolonged until they ran alongside Ramsgate Pier. "Good by'e, dear!" said Mrs. Captain Waters to Miss Charlotta Tuggs, just before the bustle of landing commenced; "we shall see you on the sands in the morning: and, as we are sure to have found lodgings before then, I hope we shall be inseparables for many weeks to come." "Oh! I hope so," said Miss Charlotta Tuggs, emphatically. "Tickets, ladies and gen’lm’n," said the man on the paddle-box. "Want a porter, sir?" inquired a dozen men in smock-frocks. "Now, my dear—" said Captain Waters. "Good by'e," said Mrs. Captain Waters—"good by'e! Mr. Cymon!" and with a pressure of the hand which threw the amiable young man’s nerves into a state of considerable derangement, Mrs. Captain Waters disappeared among the crowd. A pair of puce-coloured boots were seen ascending the steps, a white handkerchief fluttered, a black eye gleamed:  the Waters's were gone, and Mr. Cymon Tuggs was alone indeed. Silently and abstractedly did that too sensitive youth follow his revered parents, and a train of smock-frocks and wheel-barrows, along the pier, until the bustle of the scene around, recalled him to himself. The sun was shining brightly—the sea, dancing to its own music, rolled merrily in; crowds of people promenaded to and fro; young ladies tittered; old ladies talked, nursemaids displayed their charms to the greatest possible advantage, and their little charges ran up and down, and to and fro, and in and out, under the feet, and between the legs of the assembled concourse, in the most playful and exhilarating manner. There were old gentlemen, trying to make out objects through long telescopes, and young ones making objects of themselves in open shirt-collars; ladies, carrying about portable chairs, and portable chairs carrying about invalids. Parties were waiting on the pier for parties who had come by the steam-boat; and nothing was to be heard but talking, laughing, welcoming, and merriment. "Fly, sir?" exclaimed a chorus of fourteen men and six boys, the moment Mr. Joseph Tuggs, at the head of his little party, set foot in the street. "Here’s the gen’lm’n at last!" said one, touching his hat with mock politeness. "Werry glad to see you, sir,—been a-waitin’ for you these six weeks. Jump in, if you please, sir." "Nice light fly and a fast trotter, sir," said another: "fourteen mile a hour, and surroundin’ objects rendered inwisible by hextreme welocity!" "Large fly for your luggage, sir," cried a third. "Werry large fly here, sir—reg’lar bluebottle!" "Here’s your fly, sir!" shouted another aspiring charioteer, mounting the box, and inducing an old grey horse to indulge in some imperfect reminiscences of a canter. "Look at him, sir!—temper of a lamb and haction of a steam-ingin!" Resisting even the temptation of securing the services of so valuable a quadruped as the last named, Mr. Joseph Tuggs beckoned to the proprietor of a dingy conveyance of a greenish hue, lined with faded striped calico; and the luggage and the family having been deposited therein, the animal in the shafts, after describing circles in the road for a quarter of an hour, at last consented to depart in quest of lodgings. "How many beds have you got?" screamed Mrs. Tuggs out of the fly, to the woman who opened the door of the first house, which displayed a bill, intimating that apartments were to be let within. "How many did you want, ma’am?" was of course the reply. "Three." "Will you step in, ma’am?" Down got Mrs. Tuggs. The family were delighted. Splendid view of the sea from the front windows—charming! A short pause. Back came Mrs. Tuggs again.—One parlour and a mattress. "Why the devil didn’t they say so at first?" inquired Mr. Joseph Tuggs, rather pettishly. "Don’t know," said Mrs. Tuggs. "Wretches!" exclaimed the nervous Cymon. Another bill—another stoppage. Same question—same answer—similar result. "What do they mean by this?" inquired Mr. Joseph Tuggs, thoroughly out of temper. "Don’t know," said the placid Mrs. Tuggs. "Orvis the vay here, sir," said the driver, by way of accounting for the circumstance in a satisfactory manner; and off they went again, to make fresh inquiries, and encounter fresh disappointments. It had grown dusk when the "fly"—the rate of whose progress greatly belied its name—after climbing up four or five perpendicular hills, stopped before the door of a dusty house, with a bay window, from which you could obtain a beautiful glimpse of the sea—if you thrust half of your body out of it, at the imminent peril of falling into the area. Mrs. Tuggs alighted. One ground-floor sitting-room, and three cells with beds in them up stairs—a double-house—family on the opposite side—five children milk-and-watering in the parlour, and one little boy, expelled for bad behaviour, screaming on his back in the passage. "What’s the terms?" said Mrs. Tuggs. The mistress of the house was considering the expediency of putting on an extra guinea; so she coughed slightly, and affected not to hear the question. "What’s the terms?" said Mrs. Tuggs, in a louder key. "Five guineas a week, ma’am, with attendance," replied the lodging-house keeper. (Attendance means the privilege of ringing the bell as often as you like, for your own personal amusement.) "Rather dear," said Mrs. Tuggs. "Oh dear, no, ma’am," replied the mistress of the house, with a benign smile of pity at the ignorance of manners and customs, which the observation betrayed. "Very cheap." "Such an authority was indisputable. Mrs. Tuggs paid a week’s rent in advance, and took the lodgings for a month. In an hour’s time, the family were seated at tea in their new abode. "Capital srimps!" said Mr. Joseph Tuggs. Mr. Cymon eyed his father with a rebellious scowl, as he emphatically said "Shrimps." "Well, then, shrimps," said Mr. Joseph Tuggs. "Srimps or shrimps, don’t much matter." There was pity, blended with malignity, in Mr. Cymon’s eye, as he replied, "Don’t matter, father! What would Captain Waters say, if he heard such vulgarity?" "Or what would dear Mrs. Captain Waters say," added Charlotta, "if she saw mother—ma, I mean—eating them whole, heads and all!" "It won’t bear thinking of!" ejaculated Mr. Cymon, with a shudder. "How different," he thought, "from the Dowager Duchess of Dobbleton!" "Very pretty woman, Mrs. Captain Waters, is she not, Cymon?" inquired Miss Charlotta. A glow of nervous excitement passed over the countenance of Mr. Cymon Tuggs, as he replied, "An angel of beauty!" "Hallo!" said Mr. Joseph Tuggs. "Hallo, Cymon, my boy, take care—married lady, you know;" and he winked one of his twinkling eyes, knowingly. "Why," exclaimed Cymon, starting up with an ebullition of fury, as unexpected as alarming, "Why am I to be reminded of that blight of my happiness, and ruin of my hopes? Why am I to be taunted with the miseries which are heaped upon my head! Is it not enough to—to—to—!" and the orator paused; but whether for want of words, or lack of breath, was never distinctly ascertained. There was an impressive solemnity in the tone of this address, and in the air with which the romantic Cymon at its conclusion, rang the bell, and demanded a flat candlestick, which effectually forbade a reply. He stalked dramatically to bed, and the Tuggs's went to bed too, half an hour afterwards, in a state of considerable mystification and perplexity. If the pier had presented a scene of life and bustle to the Tuggs's on their first landing at Ramsgate, it was far surpassed by the appearance of the sands on the morning after their arrival. It was a fine, bright, clear day, with a light breeze from the sea. There were the same ladies and gentlemen, the same children, the same nursemaids, the same telescopes, the same portable chairs; the ladies were employed in needle-work, or watch-guard making, or knitting, or reading novels: the gentlemen were reading newspapers and magazines, the children were digging holes in the sand with wooden spades, and collecting water therein: the nursemaids with their youngest charges in arms, were running in after the waves, and then running back with the waves after them: and now and then a little sailing-boat either departed with a gay and talkative cargo of passengers, or returned with a very silent and particularly uncomfortable-looking one. "Well, I never!" exclaimed Mrs. Tuggs, as she and Mr. Joseph Tuggs, and Miss Charlotta Tuggs, and Mr. Cymon Tuggs, with their eight feet in a corresponding number of yellow shoes, seated themselves on four rush-bottomed chairs, which, being placed in a soft part of the sand, forthwith sunk down some two feet and a half.—"Well, I never!" Mr. Cymon, by an exertion of great personal strength, uprooted the chairs, and removed them further back. "Why, I’m blessed if there a'nt some ladies a-going in!" exclaimed Mr. Joseph Tuggs, with intense astonishment. "Lor, pa!" exclaimed Miss Charlotta. "There is! my dear," said Mr. Joseph Tuggs. And, sure enough, four young ladies, each furnished with a towel, tripped up the steps of a bathing machine; in went the horse, floundering about in the water: round turned the machine, down sat the driver, and presently out burst the young ladies aforesaid, with four distinct splashes. "Well, that’s sing’ler, too!" ejaculated Mr. Joseph Tuggs, after an awkward pause. Mr. Cymon coughed slightly. "Why, here’s some gentlemen a-going in on this side," exclaimed Mrs. Tuggs, in a tone of horror. Three machines—three horses—three flounderings—three turnings round—three splashes—three gentlemen, disporting themselves in the water, like so many dolphins. "Well, that’s sing’ler!" said Mr. Joseph Tuggs again. Miss Charlotta coughed this time, and another pause ensued. It was agreeably broken. "How d’ye do, dear? We have been looking for you, all the morning," said a voice to Miss Charlotta Tuggs. Mrs. Captain Waters was the owner of it. "How d’ye do?" said Captain Walter Waters, all suavity; and a most cordial interchange of greetings ensued. "Belinda, my love," said Captain Walter Waters, applying his glass to his eye, and looking in the direction of the sea. "Yes, my dear," replied Mrs. Captain Waters. "There’s Harry Thompson." "Where?" said Belinda, applying her glass to her eye. "Bathing." "Lor, so it is! He don’t see us, does he?" "No, I don’t think he does," replied the captain.—"Bless my soul, how very singular!" "What?" inquired Belinda. "There’s Mary Golding, too." "Lor!—where?" (Up went the glass again.) "There," said the captain, pointing to one of the young ladies before noticed, who, in her bathing costume, looked as if she was enveloped in a patent Mackintosh, of scanty dimensions. "So it is, I declare!" exclaimed Mrs. Captain Waters.—"How very curious we should see them both!" "Very," said the captain, with perfect coolness. "It’s the reg’lar thing here, you see," whispered Mr. Cymon Tuggs to his father. "I see it is," whispered Mr. Joseph Tuggs in reply. "Queer, though—an't it?" Mr. Cymon Tuggs nodded assent. "What do you think of doing with yourself this morning?" inquired the captain.—"Shall we lunch at Pegwell?" "I should like that very much indeed," interposed Mrs. Tuggs. She had never heard of Pegwell before; but the word "lunch" had reached her ears, and it sounded very agreeably. "How shall we go?" inquired the captain; "it’s too warm to walk." "A chay?" suggested Mr. Joseph Tuggs. "Chaise," whispered Mr. Cymon. "I should think one would be enough," said Mr. Joseph Tuggs aloud, quite unconscious of the meaning of the correction. "However, two chays, if you like." "I should like a donkey so much," said Belinda. "Oh, so should I!" echoed Charlotta Tuggs. "Well, we can have a fly," suggested the captain, "and you can have a couple of donkeys." A fresh difficulty arose. Mrs. Captain Waters declared it would be decidedly improper for two ladies to ride alone. The remedy was obvious. Perhaps young Mr. Tuggs would be gallant enough to accompany them. Mr. Cymon Tuggs blushed, smiled, looked vacant, and faintly protested he was no horseman. The objection was at once overruled. A fly was speedily found; and three donkeys—which the proprietor declared on his solemn asseveration to be "three parts blood, and the other corn"—were engaged in the service. "Kum up!" shouted one of the two boys who followed behind to propel the donkeys, when Belinda Waters and Charlotta Tuggs had been hoisted, and pushed, and pulled, into their respective saddles. "Hi—hi—hi!" groaned the other boy behind Mr. Cymon Tuggs. Away went the donkey, with the stirrups jingling against the heels of Cymon’s boots, and Cymon’s boots nearly scraping the ground. "Way—way! Wo—o—o—o—!" cried Mr. Cymon Tuggs as well as he could, in the midst of the jolting. "Don’t make it gallop!" screamed Mrs. Captain Waters, behind. "My donkey will go into the public-house!" shrieked Miss Tuggs in the rear. "Hi—hi—hi!" groaned both the boys together; and on went the donkeys as if nothing would ever stop them. Everything has an end, however; and even the galloping of donkeys will cease in time. The animal which Mr. Cymon Tuggs bestrode, feeling sundry uncomfortable tugs at the bit, the intent of which he could by no means understand, abruptly sidled against a brick wall, and expressed his uneasiness by grinding Mr. Cymon Tuggs’s leg on the rough surface. Mrs. Captain Waters’s donkey, apparently under the influence of some playfulness of spirit, rushed suddenly, head first, into a hedge, and declined to come out again: and the quadruped on which Miss Tuggs was mounted expressed his delight at this humorous proceeding by firmly planting his fore-feet against the ground, and kicking up his hind-legs in a very agile, but somewhat alarming manner. This abrupt termination to the rapidity of the ride, naturally occasioned some confusion. Both the ladies indulged in vehement screaming for several minutes; and Mr. Cymon Tuggs, besides sustaining intense bodily pain, had the additional mental anguish of witnessing their distressing situation, without having the power to rescue them, by reason of his leg being firmly screwed in, between the animal and the wall. The efforts of the boys, however, assisted by the ingenious expedient of twisting the tail of the most rebellious donkey, restored order in a much shorter time than could have reasonably been expected, and the little party jogged slowly on together. "Now let ’em walk," said Mr. Cymon Tuggs. "It’s cruel to over-drive ’em." "Werry well, sir," replied the boy, with a grin at his companion, as if he understood Mr. Cymon to mean that the cruelty applied less to the animals than to their riders. "What a lovely day, dear!" said Charlotta. "Charming; enchanting, dear!" responded Mrs. Captain Waters. "What a beautiful prospect, Mr. Tuggs!" Cymon looked full in Belinda’s face, as he responded—"Beautiful, indeed!" The lady cast down her eyes, and suffered the animal she was riding to fall a little back. Cymon Tuggs instinctively did the same. There was a brief silence, broken only by a sigh from Mr. Cymon Tuggs. "Mr. Cymon," said the lady suddenly, in a low tone, "Mr. Cymon—I am another’s." Mr. Cymon expressed his perfect concurrence in a statement which it was impossible to controvert. "If I had not been—" resumed Belinda; and there she stopped. "What—what?" said Mr. Cymon earnestly. "Do not torture me. What would you say?" "If I had not been"—continued Mrs. Captain Waters—"If in earlier life, it had been my fate to have known, and been beloved by, a noble youth—a kindred soul—a congenial spirit—one capable of feeling and appreciating the sentiments which—" "Heavens! what do I hear?" exclaimed Mr. Cymon Tuggs. "Is it possible! can I believe my—Come up." (This last unsentimental parenthesis was addressed to the donkey, who with his head between his fore-legs, appeared to be examining the state of his shoes with great anxiety.) "Hi—hi—hi," said the boys behind. "Come up, expostulated Cymon Tuggs again. "Hi—hi—hi," repeated the boys: and whether it was that the animal felt indignant at the tone of Mr. Tuggs’s command, or felt alarmed by the noise of the deputy proprietor’s boots running behind him, or whether he burned with a noble emulation to outstrip the other donkeys, certain it is that he no sooner heard the second series of "hi—hi's," than he started away with a celerity of pace which jerked Mr. Cymon’s hat off instantaneously, and carried him to the Pegwell Bay hotel in no time, where he deposited his rider without giving him the trouble of dismounting, by sagaciously pitching him over his head, into the very door of the tavern. Great was the confusion of Mr. Cymon Tuggs, when he was put right end uppermost by two waiters; considerable was the alarm of Mrs. Tuggs in behalf of her son; and agonizing were the apprehensions of Mrs. Captain Waters on his account. It was speedily discovered, however, that he had not sustained much more injury than the donkey—he was grazed, and the animal was grazing—and then it was a delightful party to be sure! Mr. and Mrs. Tuggs, and the captain, had ordered lunch in the little garden behind:—small saucers of large shrimps, dabs of butter, crusty loaves, and bottled ale. The sky was without a cloud, there were flower-pots and turf before them; and the sea at the foot of the cliff, stretching away as far as the eye could discern any thing at all, and vessels in the distance with sails as white, and as small, as nicely-got-up cambric handkerchiefs. The shrimps were delightful, the ale better, and the captain even more pleasant than either. Mrs. Captain Waters was in such spirits after lunch; chasing, first the captain across the turf, and among the flower-pots, and then Mr. Cymon Tuggs, and then Miss Tuggs, laughing, too, quite boisterously. But as the captain said, it didn’t matter; who knew what they were, there? For all the people of the house knew, they might be common people. To which Mr. Joseph Tuggs responded, "To be sure," and then they went down the steep wooden steps a little further on, which lead to the bottom of the cliff; and looked at the crabs, and the seaweed, and the eels, 'till it was more than fully time to go back to Ramsgate again, and finally, Mr. Cymon Tuggs ascended the steps last, and Mrs. Captain Waters last but one: and Mr. Cymon Tuggs discovered that the foot and ankle of Mrs. Captain Waters, were even more unexceptionable than he had at first supposed. Taking a donkey towards his ordinary place of residence, is a very different thing, and a feat much more easily to be accomplished, than taking him from it: it requires a great deal of foresight and presence of mind in the one case, to anticipate the numerous flights of his discursive imagination; while in the other, all you have to do is to hold on, and place a blind confidence in the animal. Mr. Cymon Tuggs adopted the latter expedient on his return; and his nerves were so little discomposed by the journey, that he distinctly understood they were all to meet again at the library in the evening. The library was crowded. There were the same ladies, and the same gentlemen, who had been on the sands in the morning, and on the pier the day before. There were young ladies in maroon-coloured gowns and black velvet bracelets, dispensing fancy articles in the shop, and presiding over games of chance in the concert-room. There were marriageable daughters, and marriage-making mammas, gaming, and promenading, and turning over music, and flirting. There were some male beaux doing the sentimental in whispers, and others doing the ferocious in moustache. There were Mrs. Tuggs in amber, Miss Tuggs in sky-blue, and Mrs. Captain Waters in pink. There was Captain Waters in a braided surtout: there was Mr. Cymon Tuggs in pumps, and a gilt waistcoat; and moreover there was Mr. Joseph Tuggs in a blue coat, and a shirt-frill. "Number three, eight, and eleven," cried one of the young ladies in maroon-coloured gowns. "Number three, eight, and eleven," echoed another young lady in the same uniform. "Number three’s gone," said the first young lady. "Number eight and eleven." "Number eight and eleven," echoed the second young lady. "Number eight’s gone, Mary Ann," said the first young lady. "Number eleven," screamed the second. "The numbers are all taken now, Ladies, if you please," said the first; and the representatives of numbers three, eight, and eleven, and the rest of the numbers, crowded round the table. "Will you throw, ma’am?" said the presiding goddess, handing the dice-box to the eldest daughter of a stout lady, with four girls. There was a profound silence among the lookers-on. "Throw, Jane, my dear," said the stout lady—an interesting display of bashfulness—a little blushing in a cambric handkerchief—a whispering to a younger sister. "Amelia, my dear, throw for your sister," said the stout lady; and then she turned to a walking advertisement of Rowland’s Macassar, who stood next her, and said, "Jane is so very modest and retiring; but I can’t be angry with her for it. An artless and unsophisticated girl is so truly amiable, that I often wish Amelia was more like her sister!" The gentleman with the whiskers, whispered his admiring approval; and the artless young lady glances across, to observe the effect of her most unqualified simplicity. "Now, my dear!" said the stout lady. Miss Amelia threw—eight for her sister, ten for herself. "Nice figure, Amelia," whispered the stout lady to a thin youth beside her. "Beautiful!" "And such a spirit! I am like you in that respect. I can not help admiring that life and vivacity. Ah! (a sigh) I wish I could make poor Jane a little more like my dear Amelia!" The young gentleman cordially acquiesced in the sentiment; both he, and the individual first addressed, were perfectly contented. "Who’s this?" inquired Mr. Cymon Tuggs of Mrs. Captain Waters, as a short female, in a blue velvet hat and feathers, was led into the orchestra, by a fat man in black tights, and cloudy Berlins. "Mrs. Tippin, of the London theatres," replied Belinda, referring to the programme of the concert. The talented Tippin having condescendingly acknowledged the clapping of hands, and shouts of "bravo!" which greeted her appearance, proceeded to sing the popular cavatina of "Bid me discourse," accompanied on the piano by Mr. Tippin; after which Mr. Tippin sang a comic song, accompanied on the piano by Mrs. Tippin, the applause consequent upon which was only to be exceeded by the enthusiastic approbation bestowed upon an air with variations on the guitar, by Miss Tippin, accompanied on the chin by Master Tippin. Thus passed the evening: and thus passed the days and evenings of the Tuggs's, and the Waters's, for six weeks afterwards. Sands in the morning—donkeys at noon: pier in the afternoon—library at night; and the same people every where. On that very night six weeks, the moon was shining brightly over the calm sea, which dashed against the feet of the tall gaunt cliffs with just enough noise to lull the old fish to sleep, without disturbing the young ones, when two figures were discernible—or would have been, if any body had looked for them—seated on one of the wooden benches which are stationed near the verge of the western cliff. The moon had climbed higher into the heavens, by two hours’ journeying, since those figures first sat down, and yet they had moved not. The crowd of loungers had thinned and dispersed; the noise of itinerant musicians had died away; light after light had appeared in the windows of the different houses in the distance; blockade-man after blockade-man had passed the spot, wending his way towards his solitary post, and yet those figures had remained stationary. Some portions of the two forms were in deep shadow, but the light of the moon fell strongly on a puce-coloured boot and a glazed stock. Mr. Cymon Tuggs, and Mrs. Captain Waters, were seated on that bench. They spoke not, but were silently gazing on the sea. "Walter will return to-morrow," said Mrs. Captain Waters, mournfully breaking silence. Mr. Cymon Tuggs sighed like a gust of wind through a forest of gooseberry bushes, as he replied—"Alas! he will." "Oh, Cymon!" resumed Belinda, "the chaste delight, the calm happiness, of this one week of Platonic love, is too much for me." Cymon was about to suggest that it was too little for him, but he stopped himself, and murmured unintelligibly. "And to think that even this gleam of happiness, innocent as it is," exclaimed Belinda, "is now to be lost for ever!" "Oh, do not say for ever! Belinda," exclaimed the excitable Cymon, as two strongly-defined tears chased each other down his pale face—it was so long that there was plenty of room for a chase.—"Do not say for ever!" "I must," replied Belinda. ‘Why?’ urged Cymon, "oh why? Such Platonic acquaintance as ours is so harmless, that even your husband can never object to it." "My husband!" exclaimed Belinda. "You little know him. Jealous and revengeful; ferocious in his revenge—a maniac in his jealousy! Would you be assassinated before my eyes?" Mr. Cymon Tuggs, in a voice broken by emotion, expressed his disinclination to undergo the process of assassination before the eyes of any body. "Then leave me," said Mrs. Captain Waters. "Leave me, this night, for ever. It is late; let us return." Mr. Cymon Tuggs sadly offered the lady his arm, and escorted her to her lodgings. He paused at the door—he felt a Platonic pressure of his hand. "Good night," he said, hesitating. "Good night," sobbed the lady. Mr. Cymon Tuggs paused again. "Won’t you walk in, sir?" said the servant. Mr. Tuggs hesitated. Oh, that hesitation! He did walk in. "Good night," said Mr. Cymon Tuggs again, when he reached the drawing-room. "Good night!’ replied Belinda; "and, if at any period of my life, I— Hush!" The lady paused, and stared, with a steady gaze of horror, on the ashy countenance of Mr. Cymon Tuggs. There was a double knock at the street-door. "It is my husband!" said Belinda, as the captain’s voice was heard below. "And my family!" added Cymon Tuggs, as the voices of his relatives floated up the staircase. "The curtain! The curtain!" gasped Mrs. Captain Waters, pointing to the window, before which some chintz hangings were closely drawn. "But I have done nothing wrong," said the hesitating Cymon. "The curtain!" reiterated the lady, franticly: "you will be murdered." This last appeal to his feelings was irresistible. The dismayed Cymon concealed himself behind the curtain, with pantomimic suddenness. Enter the captain, Joseph Tuggs, Mrs. Tuggs, and Charlotta. "My dear," said the captain, "Lieutenant, Slaughter.' Two iron-shod boots and one gruff voice were heard by Mr. Cymon to advance, and acknowledge the honour of the introduction. The sabre of the lieutenant rattled heavily upon the floor, as he seated himself at the table. Mr. Cymon’s fears almost overcame his reason. "The brandy, my dear," said the captain. Here was a situation! They were going to make a night of it: and Mr. Cymon Tuggs was pent up behind the curtain, and afraid to breathe. "Slaughter," said the captain, "a cigar?" Now Mr. Cymon Tuggs never could smoke without feeling it indispensably necessary to retire immediately, and never could smell smoke without a strong disposition to cough. The cigars were introduced; the captain was a professed smoker, so was the lieutenant, so was Joseph Tuggs. The apartment was small, the door was closed, the smoke powerful: it hung in heavy wreaths over the room, and at length found its way behind the curtain. Cymon Tuggs held his nose, his mouth, his breath. It was all of no use—out came the cough. "Bless my soul!" said the captain, "I beg your pardon, Miss Tuggs. You dislike smoking?" "Oh, no; I don’t indeed," said Charlotta. "It makes you cough." "Oh dear no." "You coughed just now." "Me, Captain Waters! Lor! how can you say so?" "Somebody coughed," said the captain. "I certainly thought so," said Slaughter. No; every body denied it. "Fancy," said the captain. "Must be," echoed Slaughter. Cigars resumed, more smoke, another cough—smothered, but violent. "Damned odd!" said the captain, staring about him. "Sing’ler!" ejaculated the unconscious Mr. Joseph Tuggs. Lieutenant Slaughter looked first at one person mysteriously, then at another; then, laid down his cigar; then approached the window on tiptoe, and pointed, with his right thumb over his shoulder, in the direction of the curtain. "Slaughter!" ejaculated the captain, rising from table, "what do you mean?" The lieutenant in reply, drew back the curtain, and discovered Mr. Cymon Tuggs behind it; pallid with apprehension, and blue with wanting to cough. "Ah!" exclaimed the captain, furiously. "What do I see? Slaughter, your sabre!" "Cymon!" screamed the Tuggs's. "Mercy!" said Belinda. "Platonic!" gasped Cymon. "Your sabre!' roared the captain, "Slaughter—unhand me—the villain’s life!" "Murder!" screamed the Tuggses. "Hold him fast, sir!" faintly articulated Cymon. "Water!" exclaimed Joseph Tuggs—and Mr. Cymon Tuggs, and all the ladies forthwith fainted away, and formed a tableau. Most willingly would we conceal the disastrous termination of the six weeks’ acquaintance. A troublesome form, and an arbitrary custom, however, prescribe that a story should have a conclusion, in addition to a commencement; we have therefore no alternative. Lieutenant Slaughter brought a message—the captain brought an action. Mr. Joseph Tuggs interposed—the lieutenant negotiated. When Mr. Cymon Tuggs recovered from the nervous disorder into which misplaced affection, and exciting circumstances had plunged him, he found that his family had lost their pleasant acquaintance; that his father was minus fifteen hundred pounds; and the captain plus the precise sum. The money was paid to hush the matter up, but it got abroad notwithstanding; and there are not wanting those who affirm that three designing impostors never found more easy dupes, than did Captain Waters, Mrs. Waters, and Lieutenant Slaughter, in the Tuggs's at Ramsgate. 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 Tuggs's at Ramsgate' Description An account of the resource Published in The Library of Fiction, vol. 1. London: Chapman and Hall, 1836, pp. 1-17. Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived Internet Archive, <a href="https://archive.org/details/libraryoffiction01dick/page/n9/mode/2up">https://archive.org/details/libraryoffiction01dick/page/n9/mode/2up</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1836 Contributor An entity responsible for making contributions to the resource Illustrated by Robert Seymour Type The nature or genre of the resource Short story Identifier An unambiguous reference to the resource within a given context 1836-The_Tuggss_at_Ramgate Rights Information about rights held in and over the resource Internet Archive, <a href="https://archive.org/about.terms.php">https://archive.org/about.terms.php</a>. Access to the Archive's Collections is granted for scholarship and research purposes only. 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 Tuggs's at Ramsgate'. Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1836-The_Tuggss_at_Ramgate">https://www.dickenssearch.com/short-stories/1836-The_Tuggss_at_Ramgate</a>. Scripto Transcription A written representation of a document. Once upon a time, there dwelt, in a narrow street on the Surrey side of the water, within three minutes’ walk of old London Bridge, Mr. Joseph Tuggs—a little, dark-faced man, with shiny hair, twinkling eyes, short legs, and a body of very considerable thickness, measuring from the centre button of his waistcoat in front, to the ornamental buttons of his coat behind. The figure of the amiable Mrs. Tuggs, if not perfectly symmetrical was decidedly comfortable; and the form of her only daughter, the accomplished Miss Charlotte Tuggs, was fast ripening into that state of luxuriant plumpness, which had enchanted the eyes, and captivated the heart, of Mr. Joseph Tuggs in his earlier days. Mr. Simon Tuggs, his only son, and Miss Charlotte Tuggs’s only brother, was as differently formed in body, as he was differently constituted in mind, from the remainder of his family. There was that elongation in his thoughtful face, and that tendency to weakness in his interesting legs, which tell so forcibly of a great mind and romantic disposition. The slightest traits of character in such a being, possess no mean interest to speculative minds. He usually appeared in public, in capacious shoes with black cotton stockings; and was observed to be particularly attached to a black glazed stock, without tie or ornament of any description. There is perhaps no profession, however useful, no pursuit, however meritorious, which can escape the petty attacks of vulgar minds. Mr. Joseph Tuggs was a grocer. It might be supposed that a grocer was beyond the breath of calumny; but no,—the neighbours stigmatised him as a chandler; and the poisonous voice of envy distinctly asserted that he dispensed tea and coffee by the quartern, retailed sugar by the ounce, cheese by the slice, tobacco by the screw, and butter by the pat. These taunts, however, were lost upon the Tuggs's. Mr. Tuggs attended to the grocery department, Mrs. Tuggs to the cheesemongery, and Miss Tuggs to her education. Mr. Simon Tuggs kept his father’s books, and his own counsel. One fine spring afternoon, the latter gentleman was seated on a tub of weekly Dorset behind the little red desk with a wooden rail, which ornamented a corner of the counter, when a stranger dismounted from a cab, and hastily entered the shop: he was habited in black cloth, and bore with him a green umbrella and a blue bag. "Mr. Tuggs?" said the stranger, inquiringly. "My name is Tuggs," replied Mr. Simon. "It’s the other Mr. Tuggs," said the stranger, looking towards the glass door which led into the parlour behind the shop, and on the inside of which, the round face of Mr. Tuggs, senior, was distinctly visible, peeping over the curtain. Mr. Simon gracefully waved his pen, as if in intimation of his wish that his father would advance, and Mr. Joseph Tuggs with considerable celerity removed his face from the curtain, and placed it before the stranger. "I come from the Temple," said the man with the bag. "From the Temple!" said Mrs. Tuggs, flinging open the door of the little parlour, and disclosing Miss Tuggs in perspective. "From the Temple!" said Miss Tuggs and Mr. Simon Tuggs at the same moment. "From the Temple!" said Mr. Joseph Tuggs, turning as pale as a Dutch cheese. "From the Temple," repeated the man with the bag; "from Mr. Cower’s, the solicitor’s. Mr. Tuggs, I congratulate you, sir. Ladies, I wish you joy of your prosperity! We have been successful." And the man with the bag, leisurely divested himself of his umbrella and glove, as a preliminary to shaking hands with Mr. Joseph Tuggs. Now the words "we have been successful," had no sooner issued from the mouth of the man with the bag, than Mr. Simon Tuggs rose from the tub of weekly Dorset, opened his eyes very wide, gasped for breath, made figures of eight in the air with his pen, and finally fell into the arms of his anxious mother, and fainted away, without the slightest ostensible cause or pretence. "Water!" screamed Mrs. Tuggs. "Look up, my son," exclaimed Mr. Tuggs. "Simon! Dear Simon!" shrieked Miss Tuggs. "I’m better now," said Mr. Simon Tuggs. "What! successful!" And then, as corroborative evidence of his being better, he fainted away again, and was borne into the little parlour by the united efforts of the remainder of the family and the man with the bag. To a casual spectator, or to any one unacquainted with the position of the family, this fainting would have been unaccountable. To those who understood the mission of the man with the bag, and were moreover acquainted with the excitability of the nerves of Mr. Simon Tuggs, it was quite comprehensible. A long-pending lawsuit respecting the validity of a will, had been unexpectedly decided; and Mr. Joseph Tuggs was the possessor of twenty thousand pounds. A prolonged consultation took place that night in the little parlour—a consultation that was to settle the future destinies of the Tuggs's. The shop was shut up at an unusually early hour; and many were the unavailing kicks bestowed upon the closed door by applicants for quarterns of sugar, or half-quarterns of bread, or penn’orths of pepper, which were to have been "left till Saturday," but which fortune had decreed were to be left alone altogether. "We must certainly give up business," said Miss Tuggs. "Oh, decidedly," said Mrs. Tuggs. "Simon shall go to the bar," said Mr. Joseph Tuggs. "And I shall always sign myself 'Cymon' in future," said his son. "And I shall call myself Charlotta," said Miss Tuggs. "And you must always call me 'Ma,' and father 'Pa,’" said Mrs. Tuggs. "Yes, and Pa must leave off all his vulgar habits," interposed Miss Tuggs. "I’ll take care o' all that," responded Mr. Joseph Tuggs, complacently.—He was at that very moment eating pickled salmon with a pocket-knife. "We must leave town immediately," said Mr. Cymon Tuggs. Everybody concurred that this was an indispensable preliminary to being genteel. The question then arose—Where should they go? "Gravesend," mildly suggested Mr. Joseph Tuggs. The idea was unanimously scouted. Gravesend was low. "Margate," insinuated Mrs. Tuggs. Worse and worse—nobody there, but tradespeople. "Brighton?" Mr. Cymon Tuggs opposed an insurmountable objection. All the coaches had been upset, in turn, within the last three weeks; each coach had averaged two passengers killed, and six wounded; and, in every case, the newspapers had distinctly understood that "no blame whatever was attributable to the coachman." "Ramsgate!" ejaculated Mr. Cymon, thoughtfully.—To be sure; how stupid they must have been not to have thought of that before. Ramsgate was just the place of all others that they ought to go to. Two months after this conversation, the City of London Ramsgate steamer was running gaily down the river. Her flag was flying, her band was playing, her passengers were conversing; everything about her seemed gay and lively.—No wonder, the Tuggs's were on board. "Charming, a'nt it?" said Mr. Joseph Tuggs, in a bottle-green great-coat, with a velvet collar of the same, and a blue travelling cap with a gold band. "Soul-inspiring," replied Mr. Cymon Tuggs—he was entered at the bar.—"Soul-inspiring!" "Delightful morning, sir," said a stoutish, military-looking gentleman in a blue surtout, buttoned up to his chin, and white trousers chained down to the soles of his boots. Mr. Cymon Tuggs took upon himself the responsibility of answering the observation. "Heavenly!" he replied. "You are an enthusiastic admirer of the beauties of Nature, sir?" said the military gentleman, deferentially. "I am, sir," replied Mr. Cymon Tuggs. "Travelled much, sir?" inquired the military gentleman. "Not much," replied Mr. Cymon Tuggs. "You’ve been on the continent, of course?" inquired the military gentleman. "Not exactly," replied Mr. Cymon Tuggs, in a qualified tone, as if he wished it to be implied that he had gone half way and come back again. "You of course intend your son to make the grand tour, sir?" said the military gentleman, addressing Mr. Joseph Tuggs. As Mr. Joseph Tuggs did not precisely understand what the grand tour was, or how such an article was manufactured, he replied, "Of course." Just as he said the word, there came tripping up, from her seat at the stern of the vessel, a young lady in a puce-coloured silk cloak, and boots of the same, with long black ringlets, large black eyes, brief petticoats, and unexceptionable ankles. "Walter, my dear," said the young lady to the military gentleman. "Yes, Belinda, my love," responded the military gentleman to the black-eyed young lady. "What have you left me alone so long for?" said the young lady. "I have been stared out of countenance by those rude young men." "What! stared at?" exclaimed the military gentleman, with an emphasis which made Mr. Cymon Tuggs withdraw his eyes from the young lady’s face with inconceivable rapidity. "Which young men—where?" and the military gentleman clenched his fist, and glared fearfully on the cigar-smokers around. "Be calm, Walter, I entreat," said the young lady. "I won’t," said the military gentleman. "Do, sir," interposed Mr. Cymon Tuggs. "They a'nt worth your notice." "No—no—they are not indeed," urged the young lady. "I will be calm," said the military gentleman. "You speak truly, sir. I thank you for a timely remonstrance, which may have spared me the guilt of manslaughter;" and calming his wrath, the military gentleman wrung Mr. Cymon Tuggs by the hand. "My sister, sir," said Mr. Cymon Tuggs: seeing that the military gentleman was casting an admiring look towards Miss Charlotta. "My wife, ma’am—Mrs. Captain Waters," said the military gentleman, presenting the black-eyed young lady. "My mother, ma’am—Mrs. Tuggs," said Mr. Cymon. The military gentleman and his wife murmured enchanting courtesies; and the Tuggses looked as unembarrassed as they could. "Walter, my dear," said the black-eyed young lady, after they had sat chatting with the Tuggs's some half hour. "Yes, my love," said the military gentleman. "Don’t you think this gentleman (with an inclination of the head towards Mr. Cymon Tuggs) is very much like the Marquis Carriwini." "God bless me, very!" said the military gentleman. "It struck me, the moment I saw him," said the young lady, gazing intently, and with a melancholy air, on the scarlet countenance of Mr. Cymon Tuggs. Mr. Cymon Tuggs looked at every body; and finding that every body was looking at him, appeared to feel some temporary difficulty in disposing of his eyesight. "So exactly the air of the marquis," said the military gentleman. "Quite extraordinary!" sighed the military gentleman’s lady. "You don’t know the marquis, sir?" inquired the military gentleman. Mr. Cymon Tuggs stammered a negative. "If you did," continued Captain Walter Waters, "you would feel how much reason you have to be proud of the resemblance—a most elegant man, with a most prepossessing appearance." "He is—he is indeed!" exclaimed Belinda Waters energetically: and as her eye caught that of Mr. Cymon Tuggs, she withdrew it from his features in bashful confusion. All this was highly gratifying to the feelings of the Tuggs's; and when in the course of further conversation, it was discovered that Miss Charlotta Tuggs was the fac simile of a titled relative of Mrs. Belinda Waters; and that Mrs. Tuggs herself was the very picture of the Dowager Duchess of Dobbleton; their delight in the acquisition of so genteel and friendly an acquaintance, knew no bounds. Even the dignity of Captain Walter Waters relaxed to such a degree, that he suffered himself to be prevailed upon by Mr. Joseph Tuggs, to partake of cold pigeon-pie and sherry on deck; and a most delightful conversation, aided by these agreeable stimulants, was prolonged until they ran alongside Ramsgate Pier. "Good by'e, dear!" said Mrs. Captain Waters to Miss Charlotta Tuggs, just before the bustle of landing commenced; "we shall see you on the sands in the morning: and, as we are sure to have found lodgings before then, I hope we shall be inseparables for many weeks to come." "Oh! I hope so," said Miss Charlotta Tuggs, emphatically. "Tickets, ladies and gen’lm’n," said the man on the paddle-box. "Want a porter, sir?" inquired a dozen men in smock-frocks. "Now, my dear—" said Captain Waters. "Good by'e," said Mrs. Captain Waters—"good by'e! Mr. Cymon!" and with a pressure of the hand which threw the amiable young man’s nerves into a state of considerable derangement, Mrs. Captain Waters disappeared among the crowd. A pair of puce-coloured boots were seen ascending the steps, a white handkerchief fluttered, a black eye gleamed:  the Waters's were gone, and Mr. Cymon Tuggs was alone indeed. Silently and abstractedly did that too sensitive youth follow his revered parents, and a train of smock-frocks and wheel-barrows, along the pier, until the bustle of the scene around, recalled him to himself. The sun was shining brightly—the sea, dancing to its own music, rolled merrily in; crowds of people promenaded to and fro; young ladies tittered; old ladies talked, nursemaids displayed their charms to the greatest possible advantage, and their little charges ran up and down, and to and fro, and in and out, under the feet, and between the legs of the assembled concourse, in the most playful and exhilarating manner. There were old gentlemen, trying to make out objects through long telescopes, and young ones making objects of themselves in open shirt-collars; ladies, carrying about portable chairs, and portable chairs carrying about invalids. Parties were waiting on the pier for parties who had come by the steam-boat; and nothing was to be heard but talking, laughing, welcoming, and merriment. "Fly, sir?" exclaimed a chorus of fourteen men and six boys, the moment Mr. Joseph Tuggs, at the head of his little party, set foot in the street. "Here’s the gen’lm’n at last!" said one, touching his hat with mock politeness. "Werry glad to see you, sir,—been a-waitin’ for you these six weeks. Jump in, if you please, sir." "Nice light fly and a fast trotter, sir," said another: "fourteen mile a hour, and surroundin’ objects rendered inwisible by hextreme welocity!" "Large fly for your luggage, sir," cried a third. "Werry large fly here, sir—reg’lar bluebottle!" "Here’s your fly, sir!" shouted another aspiring charioteer, mounting the box, and inducing an old grey horse to indulge in some imperfect reminiscences of a canter. "Look at him, sir!—temper of a lamb and haction of a steam-ingin!" Resisting even the temptation of securing the services of so valuable a quadruped as the last named, Mr. Joseph Tuggs beckoned to the proprietor of a dingy conveyance of a greenish hue, lined with faded striped calico; and the luggage and the family having been deposited therein, the animal in the shafts, after describing circles in the road for a quarter of an hour, at last consented to depart in quest of lodgings. "How many beds have you got?" screamed Mrs. Tuggs out of the fly, to the woman who opened the door of the first house, which displayed a bill, intimating that apartments were to be let within. "How many did you want, ma’am?" was of course the reply. "Three." "Will you step in, ma’am?" Down got Mrs. Tuggs. The family were delighted. Splendid view of the sea from the front windows—charming! A short pause. Back came Mrs. Tuggs again.—One parlour and a mattress. "Why the devil didn’t they say so at first?" inquired Mr. Joseph Tuggs, rather pettishly. "Don’t know," said Mrs. Tuggs. "Wretches!" exclaimed the nervous Cymon. Another bill—another stoppage. Same question—same answer—similar result. "What do they mean by this?" inquired Mr. Joseph Tuggs, thoroughly out of temper. "Don’t know," said the placid Mrs. Tuggs. "Orvis the vay here, sir," said the driver, by way of accounting for the circumstance in a satisfactory manner; and off they went again, to make fresh inquiries, and encounter fresh disappointments. It had grown dusk when the "fly"—the rate of whose progress greatly belied its name—after climbing up four or five perpendicular hills, stopped before the door of a dusty house, with a bay window, from which you could obtain a beautiful glimpse of the sea—if you thrust half of your body out of it, at the imminent peril of falling into the area. Mrs. Tuggs alighted. One ground-floor sitting-room, and three cells with beds in them up stairs—a double-house—family on the opposite side—five children milk-and-watering in the parlour, and one little boy, expelled for bad behaviour, screaming on his back in the passage. "What’s the terms?" said Mrs. Tuggs. The mistress of the house was considering the expediency of putting on an extra guinea; so she coughed slightly, and affected not to hear the question. "What’s the terms?" said Mrs. Tuggs, in a louder key. "Five guineas a week, ma’am, with attendance," replied the lodging-house keeper. (Attendance means the privilege of ringing the bell as often as you like, for your own personal amusement.) "Rather dear," said Mrs. Tuggs. "Oh dear, no, ma’am," replied the mistress of the house, with a benign smile of pity at the ignorance of manners and customs, which the observation betrayed. "Very cheap." "Such an authority was indisputable. Mrs. Tuggs paid a week’s rent in advance, and took the lodgings for a month. In an hour’s time, the family were seated at tea in their new abode. "Capital srimps!" said Mr. Joseph Tuggs. Mr. Cymon eyed his father with a rebellious scowl, as he emphatically said "Shrimps." "Well, then, shrimps," said Mr. Joseph Tuggs. "Srimps or shrimps, don’t much matter." There was pity, blended with malignity, in Mr. Cymon’s eye, as he replied, "Don’t matter, father! What would Captain Waters say, if he heard such vulgarity?" "Or what would dear Mrs. Captain Waters say," added Charlotta, "if she saw mother—ma, I mean—eating them whole, heads and all!" "It won’t bear thinking of!" ejaculated Mr. Cymon, with a shudder. "How different," he thought, "from the Dowager Duchess of Dobbleton!" "Very pretty woman, Mrs. Captain Waters, is she not, Cymon?" inquired Miss Charlotta. A glow of nervous excitement passed over the countenance of Mr. Cymon Tuggs, as he replied, "An angel of beauty!" "Hallo!" said Mr. Joseph Tuggs. "Hallo, Cymon, my boy, take care—married lady, you know;" and he winked one of his twinkling eyes, knowingly. "Why," exclaimed Cymon, starting up with an ebullition of fury, as unexpected as alarming, "Why am I to be reminded of that blight of my happiness, and ruin of my hopes? Why am I to be taunted with the miseries which are heaped upon my head! Is it not enough to—to—to—!" and the orator paused; but whether for want of words, or lack of breath, was never distinctly ascertained. There was an impressive solemnity in the tone of this address, and in the air with which the romantic Cymon at its conclusion, rang the bell, and demanded a flat candlestick, which effectually forbade a reply. He stalked dramatically to bed, and the Tuggs's went to bed too, half an hour afterwards, in a state of considerable mystification and perplexity. If the pier had presented a scene of life and bustle to the Tuggs's on their first landing at Ramsgate, it was far surpassed by the appearance of the sands on the morning after their arrival. It was a fine, bright, clear day, with a light breeze from the sea. There were the same ladies and gentlemen, the same children, the same nursemaids, the same telescopes, the same portable chairs; the ladies were employed in needle-work, or watch-guard making, or knitting, or reading novels: the gentlemen were reading newspapers and magazines, the children were digging holes in the sand with wooden spades, and collecting water therein: the nursemaids with their youngest charges in arms, were running in after the waves, and then running back with the waves after them: and now and then a little sailing-boat either departed with a gay and talkative cargo of passengers, or returned with a very silent and particularly uncomfortable-looking one. "Well, I never!" exclaimed Mrs. Tuggs, as she and Mr. Joseph Tuggs, and Miss Charlotta Tuggs, and Mr. Cymon Tuggs, with their eight feet in a corresponding number of yellow shoes, seated themselves on four rush-bottomed chairs, which, being placed in a soft part of the sand, forthwith sunk down some two feet and a half.—"Well, I never!" Mr. Cymon, by an exertion of great personal strength, uprooted the chairs, and removed them further back. "Why, I’m blessed if there a'nt some ladies a-going in!" exclaimed Mr. Joseph Tuggs, with intense astonishment. "Lor, pa!" exclaimed Miss Charlotta. "There is! my dear," said Mr. Joseph Tuggs. And, sure enough, four young ladies, each furnished with a towel, tripped up the steps of a bathing machine; in went the horse, floundering about in the water: round turned the machine, down sat the driver, and presently out burst the young ladies aforesaid, with four distinct splashes. "Well, that’s sing’ler, too!" ejaculated Mr. Joseph Tuggs, after an awkward pause. Mr. Cymon coughed slightly. "Why, here’s some gentlemen a-going in on this side," exclaimed Mrs. Tuggs, in a tone of horror. Three machines—three horses—three flounderings—three turnings round—three splashes—three gentlemen, disporting themselves in the water, like so many dolphins. "Well, that’s sing’ler!" said Mr. Joseph Tuggs again. Miss Charlotta coughed this time, and another pause ensued. It was agreeably broken. "How d’ye do, dear? We have been looking for you, all the morning," said a voice to Miss Charlotta Tuggs. Mrs. Captain Waters was the owner of it. "How d’ye do?" said Captain Walter Waters, all suavity; and a most cordial interchange of greetings ensued. "Belinda, my love," said Captain Walter Waters, applying his glass to his eye, and looking in the direction of the sea. "Yes, my dear," replied Mrs. Captain Waters. "There’s Harry Thompson." "Where?" said Belinda, applying her glass to her eye. "Bathing." "Lor, so it is! He don’t see us, does he?" "No, I don’t think he does," replied the captain.—"Bless my soul, how very singular!" "What?" inquired Belinda. "There’s Mary Golding, too." "Lor!—where?" (Up went the glass again.) "There," said the captain, pointing to one of the young ladies before noticed, who, in her bathing costume, looked as if she was enveloped in a patent Mackintosh, of scanty dimensions. "So it is, I declare!" exclaimed Mrs. Captain Waters.—"How very curious we should see them both!" "Very," said the captain, with perfect coolness. "It’s the reg’lar thing here, you see," whispered Mr. Cymon Tuggs to his father. "I see it is," whispered Mr. Joseph Tuggs in reply. "Queer, though—an't it?" Mr. Cymon Tuggs nodded assent. "What do you think of doing with yourself this morning?" inquired the captain.—"Shall we lunch at Pegwell?" "I should like that very much indeed," interposed Mrs. Tuggs. She had never heard of Pegwell before; but the word "lunch" had reached her ears, and it sounded very agreeably. "How shall we go?" inquired the captain; "it’s too warm to walk." "A chay?" suggested Mr. Joseph Tuggs. "Chaise," whispered Mr. Cymon. "I should think one would be enough," said Mr. Joseph Tuggs aloud, quite unconscious of the meaning of the correction. "However, two chays, if you like." "I should like a donkey so much," said Belinda. "Oh, so should I!" echoed Charlotta Tuggs. "Well, we can have a fly," suggested the captain, "and you can have a couple of donkeys." A fresh difficulty arose. Mrs. Captain Waters declared it would be decidedly improper for two ladies to ride alone. The remedy was obvious. Perhaps young Mr. Tuggs would be gallant enough to accompany them. Mr. Cymon Tuggs blushed, smiled, looked vacant, and faintly protested he was no horseman. The objection was at once overruled. A fly was speedily found; and three donkeys—which the proprietor declared on his solemn asseveration to be "three parts blood, and the other corn"—were engaged in the service. "Kum up!" shouted one of the two boys who followed behind to propel the donkeys, when Belinda Waters and Charlotta Tuggs had been hoisted, and pushed, and pulled, into their respective saddles. "Hi—hi—hi!" groaned the other boy behind Mr. Cymon Tuggs. Away went the donkey, with the stirrups jingling against the heels of Cymon’s boots, and Cymon’s boots nearly scraping the ground. "Way—way! Wo—o—o—o—!" cried Mr. Cymon Tuggs as well as he could, in the midst of the jolting. "Don’t make it gallop!" screamed Mrs. Captain Waters, behind. "My donkey will go into the public-house!" shrieked Miss Tuggs in the rear. "Hi—hi—hi!" groaned both the boys together; and on went the donkeys as if nothing would ever stop them. Everything has an end, however; and even the galloping of donkeys will cease in time. The animal which Mr. Cymon Tuggs bestrode, feeling sundry uncomfortable tugs at the bit, the intent of which he could by no means understand, abruptly sidled against a brick wall, and expressed his uneasiness by grinding Mr. Cymon Tuggs’s leg on the rough surface. Mrs. Captain Waters’s donkey, apparently under the influence of some playfulness of spirit, rushed suddenly, head first, into a hedge, and declined to come out again: and the quadruped on which Miss Tuggs was mounted expressed his delight at this humorous proceeding by firmly planting his fore-feet against the ground, and kicking up his hind-legs in a very agile, but somewhat alarming manner. This abrupt termination to the rapidity of the ride, naturally occasioned some confusion. Both the ladies indulged in vehement screaming for several minutes; and Mr. Cymon Tuggs, besides sustaining intense bodily pain, had the additional mental anguish of witnessing their distressing situation, without having the power to rescue them, by reason of his leg being firmly screwed in, between the animal and the wall. The efforts of the boys, however, assisted by the ingenious expedient of twisting the tail of the most rebellious donkey, restored order in a much shorter time than could have reasonably been expected, and the little party jogged slowly on together. "Now let ’em walk," said Mr. Cymon Tuggs. "It’s cruel to over-drive ’em." "Werry well, sir," replied the boy, with a grin at his companion, as if he understood Mr. Cymon to mean that the cruelty applied less to the animals than to their riders. "What a lovely day, dear!" said Charlotta. "Charming; enchanting, dear!" responded Mrs. Captain Waters. "What a beautiful prospect, Mr. Tuggs!" Cymon looked full in Belinda’s face, as he responded—"Beautiful, indeed!" The lady cast down her eyes, and suffered the animal she was riding to fall a little back. Cymon Tuggs instinctively did the same. There was a brief silence, broken only by a sigh from Mr. Cymon Tuggs. "Mr. Cymon," said the lady suddenly, in a low tone, "Mr. Cymon—I am another’s." Mr. Cymon expressed his perfect concurrence in a statement which it was impossible to controvert. "If I had not been—" resumed Belinda; and there she stopped. "What—what?" said Mr. Cymon earnestly. "Do not torture me. What would you say?" "If I had not been"—continued Mrs. Captain Waters—"If in earlier life, it had been my fate to have known, and been beloved by, a noble youth—a kindred soul—a congenial spirit—one capable of feeling and appreciating the sentiments which—" "Heavens! what do I hear?" exclaimed Mr. Cymon Tuggs. "Is it possible! can I believe my—Come up." (This last unsentimental parenthesis was addressed to the donkey, who with his head between his fore-legs, appeared to be examining the state of his shoes with great anxiety.) "Hi—hi—hi," said the boys behind. "Come up, expostulated Cymon Tuggs again. "Hi—hi—hi," repeated the boys: and whether it was that the animal felt indignant at the tone of Mr. Tuggs’s command, or felt alarmed by the noise of the deputy proprietor’s boots running behind him, or whether he burned with a noble emulation to outstrip the other donkeys, certain it is that he no sooner heard the second series of "hi—hi's," than he started away with a celerity of pace which jerked Mr. Cymon’s hat off instantaneously, and carried him to the Pegwell Bay hotel in no time, where he deposited his rider without giving him the trouble of dismounting, by sagaciously pitching him over his head, into the very door of the tavern. Great was the confusion of Mr. Cymon Tuggs, when he was put right end uppermost by two waiters; considerable was the alarm of Mrs. Tuggs in behalf of her son; and agonizing were the apprehensions of Mrs. Captain Waters on his account. It was speedily discovered, however, that he had not sustained much more injury than the donkey—he was grazed, and the animal was grazing—and then it was a delightful party to be sure! Mr. and Mrs. Tuggs, and the captain, had ordered lunch in the little garden behind:—small saucers of large shrimps, dabs of butter, crusty loaves, and bottled ale. The sky was without a cloud, there were flower-pots and turf before them; and the sea at the foot of the cliff, stretching away as far as the eye could discern any thing at all, and vessels in the distance with sails as white, and as small, as nicely-got-up cambric handkerchiefs. The shrimps were delightful, the ale better, and the captain even more pleasant than either. Mrs. Captain Waters was in such spirits after lunch; chasing, first the captain across the turf, and among the flower-pots, and then Mr. Cymon Tuggs, and then Miss Tuggs, laughing, too, quite boisterously. But as the captain said, it didn’t matter; who knew what they were, there? For all the people of the house knew, they might be common people. To which Mr. Joseph Tuggs responded, "To be sure," and then they went down the steep wooden steps a little further on, which lead to the bottom of the cliff; and looked at the crabs, and the seaweed, and the eels, 'till it was more than fully time to go back to Ramsgate again, and finally, Mr. Cymon Tuggs ascended the steps last, and Mrs. Captain Waters last but one: and Mr. Cymon Tuggs discovered that the foot and ankle of Mrs. Captain Waters, were even more unexceptionable than he had at first supposed. Taking a donkey towards his ordinary place of residence, is a very different thing, and a feat much more easily to be accomplished, than taking him from it: it requires a great deal of foresight and presence of mind in the one case, to anticipate the numerous flights of his discursive imagination; while in the other, all you have to do is to hold on, and place a blind confidence in the animal. Mr. Cymon Tuggs adopted the latter expedient on his return; and his nerves were so little discomposed by the journey, that he distinctly understood they were all to meet again at the library in the evening. The library was crowded. There were the same ladies, and the same gentlemen, who had been on the sands in the morning, and on the pier the day before. There were young ladies in maroon-coloured gowns and black velvet bracelets, dispensing fancy articles in the shop, and presiding over games of chance in the concert-room. There were marriageable daughters, and marriage-making mammas, gaming, and promenading, and turning over music, and flirting. There were some male beaux doing the sentimental in whispers, and others doing the ferocious in moustache. There were Mrs. Tuggs in amber, Miss Tuggs in sky-blue, and Mrs. Captain Waters in pink. There was Captain Waters in a braided surtout: there was Mr. Cymon Tuggs in pumps, and a gilt waistcoat; and moreover there was Mr. Joseph Tuggs in a blue coat, and a shirt-frill. "Number three, eight, and eleven," cried one of the young ladies in maroon-coloured gowns. "Number three, eight, and eleven," echoed another young lady in the same uniform. "Number three’s gone," said the first young lady. "Number eight and eleven." "Number eight and eleven," echoed the second young lady. "Number eight’s gone, Mary Ann," said the first young lady. "Number eleven," screamed the second. "The numbers are all taken now, Ladies, if you please," said the first; and the representatives of numbers three, eight, and eleven, and the rest of the numbers, crowded round the table. "Will you throw, ma’am?" said the presiding goddess, handing the dice-box to the eldest daughter of a stout lady, with four girls. There was a profound silence among the lookers-on. "Throw, Jane, my dear," said the stout lady—an interesting display of bashfulness—a little blushing in a cambric handkerchief—a whispering to a younger sister. "Amelia, my dear, throw for your sister," said the stout lady; and then she turned to a walking advertisement of Rowland’s Macassar, who stood next her, and said, "Jane is so very modest and retiring; but I can’t be angry with her for it. An artless and unsophisticated girl is so truly amiable, that I often wish Amelia was more like her sister!" The gentleman with the whiskers, whispered his admiring approval; and the artless young lady glances across, to observe the effect of her most unqualified simplicity. "Now, my dear!" said the stout lady. Miss Amelia threw—eight for her sister, ten for herself. "Nice figure, Amelia," whispered the stout lady to a thin youth beside her. "Beautiful!" "And such a spirit! I am like you in that respect. I can not help admiring that life and vivacity. Ah! (a sigh) I wish I could make poor Jane a little more like my dear Amelia!" The young gentleman cordially acquiesced in the sentiment; both he, and the individual first addressed, were perfectly contented. "Who’s this?" inquired Mr. Cymon Tuggs of Mrs. Captain Waters, as a short female, in a blue velvet hat and feathers, was led into the orchestra, by a fat man in black tights, and cloudy Berlins. "Mrs. Tippin, of the London theatres," replied Belinda, referring to the programme of the concert. The talented Tippin having condescendingly acknowledged the clapping of hands, and shouts of "bravo!" which greeted her appearance, proceeded to sing the popular cavatina of "Bid me discourse," accompanied on the piano by Mr. Tippin; after which Mr. Tippin sang a comic song, accompanied on the piano by Mrs. Tippin, the applause consequent upon which was only to be exceeded by the enthusiastic approbation bestowed upon an air with variations on the guitar, by Miss Tippin, accompanied on the chin by Master Tippin. Thus passed the evening: and thus passed the days and evenings of the Tuggs's, and the Waters's, for six weeks afterwards. Sands in the morning—donkeys at noon: pier in the afternoon—library at night; and the same people every where. On that very night six weeks, the moon was shining brightly over the calm sea, which dashed against the feet of the tall gaunt cliffs with just enough noise to lull the old fish to sleep, without disturbing the young ones, when two figures were discernible—or would have been, if any body had looked for them—seated on one of the wooden benches which are stationed near the verge of the western cliff. The moon had climbed higher into the heavens, by two hours’ journeying, since those figures first sat down, and yet they had moved not. The crowd of loungers had thinned and dispersed; the noise of itinerant musicians had died away; light after light had appeared in the windows of the different houses in the distance; blockade-man after blockade-man had passed the spot, wending his way towards his solitary post, and yet those figures had remained stationary. Some portions of the two forms were in deep shadow, but the light of the moon fell strongly on a puce-coloured boot and a glazed stock. Mr. Cymon Tuggs, and Mrs. Captain Waters, were seated on that bench. They spoke not, but were silently gazing on the sea. "Walter will return to-morrow," said Mrs. Captain Waters, mournfully breaking silence. Mr. Cymon Tuggs sighed like a gust of wind through a forest of gooseberry bushes, as he replied—"Alas! he will." "Oh, Cymon!" resumed Belinda, "the chaste delight, the calm happiness, of this one week of Platonic love, is too much for me." Cymon was about to suggest that it was too little for him, but he stopped himself, and murmured unintelligibly. "And to think that even this gleam of happiness, innocent as it is," exclaimed Belinda, "is now to be lost for ever!" "Oh, do not say for ever! Belinda," exclaimed the excitable Cymon, as two strongly-defined tears chased each other down his pale face—it was so long that there was plenty of room for a chase.—"Do not say for ever!" "I must," replied Belinda. ‘Why?’ urged Cymon, "oh why? Such Platonic acquaintance as ours is so harmless, that even your husband can never object to it." "My husband!" exclaimed Belinda. "You little know him. Jealous and revengeful; ferocious in his revenge—a maniac in his jealousy! Would you be assassinated before my eyes?" Mr. Cymon Tuggs, in a voice broken by emotion, expressed his disinclination to undergo the process of assassination before the eyes of any body. "Then leave me," said Mrs. Captain Waters. "Leave me, this night, for ever. It is late; let us return." Mr. Cymon Tuggs sadly offered the lady his arm, and escorted her to her lodgings. He paused at the door—he felt a Platonic pressure of his hand. "Good night," he said, hesitating. "Good night," sobbed the lady. Mr. Cymon Tuggs paused again. "Won’t you walk in, sir?" said the servant. Mr. Tuggs hesitated. Oh, that hesitation! He did walk in. "Good night," said Mr. Cymon Tuggs again, when he reached the drawing-room. "Good night!’ replied Belinda; "and, if at any period of my life, I— Hush!" The lady paused, and stared, with a steady gaze of horror, on the ashy countenance of Mr. Cymon Tuggs. There was a double knock at the street-door. "It is my husband!" said Belinda, as the captain’s voice was heard below. "And my family!" added Cymon Tuggs, as the voices of his relatives floated up the staircase. "The curtain! The curtain!" gasped Mrs. Captain Waters, pointing to the window, before which some chintz hangings were closely drawn. "But I have done nothing wrong," said the hesitating Cymon. "The curtain!" reiterated the lady, franticly: "you will be murdered." This last appeal to his feelings was irresistible. The dismayed Cymon concealed himself behind the curtain, with pantomimic suddenness. Enter the captain, Joseph Tuggs, Mrs. Tuggs, and Charlotta. "My dear," said the captain, "Lieutenant, Slaughter.' Two iron-shod boots and one gruff voice were heard by Mr. Cymon to advance, and acknowledge the honour of the introduction. The sabre of the lieutenant rattled heavily upon the floor, as he seated himself at the table. Mr. Cymon’s fears almost overcame his reason. "The brandy, my dear," said the captain. Here was a situation! They were going to make a night of it: and Mr. Cymon Tuggs was pent up behind the curtain, and afraid to breathe. "Slaughter," said the captain, "a cigar?" Now Mr. Cymon Tuggs never could smoke without feeling it indispensably necessary to retire immediately, and never could smell smoke without a strong disposition to cough. The cigars were introduced; the captain was a professed smoker, so was the lieutenant, so was Joseph Tuggs. The apartment was small, the door was closed, the smoke powerful: it hung in heavy wreaths over the room, and at length found its way behind the curtain. Cymon Tuggs held his nose, his mouth, his breath. It was all of no use—out came the cough. "Bless my soul!" said the captain, "I beg your pardon, Miss Tuggs. You dislike smoking?" "Oh, no; I don’t indeed," said Charlotta. "It makes you cough." "Oh dear no." "You coughed just now." "Me, Captain Waters! Lor! how can you say so?" "Somebody coughed," said the captain. "I certainly thought so," said Slaughter. No; every body denied it. "Fancy," said the captain. "Must be," echoed Slaughter. Cigars resumed, more smoke, another cough—smothered, but violent. "Damned odd!" said the captain, staring about him. "Sing’ler!" ejaculated the unconscious Mr. Joseph Tuggs. Lieutenant Slaughter looked first at one person mysteriously, then at another; then, laid down his cigar; then approached the window on tiptoe, and pointed, with his right thumb over his shoulder, in the direction of the curtain. "Slaughter!" ejaculated the captain, rising from table, "what do you mean?" The lieutenant in reply, drew back the curtain, and discovered Mr. Cymon Tuggs behind it; pallid with apprehension, and blue with wanting to cough. "Ah!" exclaimed the captain, furiously. "What do I see? Slaughter, your sabre!" "Cymon!" screamed the Tuggs's. "Mercy!" said Belinda. "Platonic!" gasped Cymon. "Your sabre!' roared the captain, "Slaughter—unhand me—the villain’s life!" "Murder!" screamed the Tuggses. "Hold him fast, sir!" faintly articulated Cymon. "Water!" exclaimed Joseph Tuggs—and Mr. Cymon Tuggs, and all the ladies forthwith fainted away, and formed a tableau. Most willingly would we conceal the disastrous termination of the six weeks’ acquaintance. A troublesome form, and an arbitrary custom, however, prescribe that a story should have a conclusion, in addition to a commencement; we have therefore no alternative. Lieutenant Slaughter brought a message—the captain brought an action. Mr. Joseph Tuggs interposed—the lieutenant negotiated. When Mr. Cymon Tuggs recovered from the nervous disorder into which misplaced affection, and exciting circumstances had plunged him, he found that his family had lost their pleasant acquaintance; that his father was minus fifteen hundred pounds; and the captain plus the precise sum. The money was paid to hush the matter up, but it got abroad notwithstanding; and there are not wanting those who affirm that three designing impostors never found more easy dupes, than did Captain Waters, Mrs. Waters, and Lieutenant Slaughter, in the Tuggs's at Ramsgate. https://www.dickenssearch.com/files/original/5/A_Little_Talk_about_Spring_and_the_Sweeps/1836-A_little_Talk_about_Spring_Sweeps.pdf 51d6cedcc3bf7e1ae3cf15670c5aee15 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 Book 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. 18360101 Publication The title of the newspaper/serial (if applicable) The Library of Fiction 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. "Now ladies, up in the sky-parlour: only once a year, if you please." YOUNG LADY WITH BRASS LADLE. "Sweep-sweep-sue-e-ep." ILLEGAL WATCHWORD. The first of May! There is a merry freshness in the sound, calling to our minds a thousand thoughts of all that is pleasant and beautiful in nature, in her sweetest and most delightful form. What man is there, over whose mind a bright spring morning does not exercise a magic influence? carrying him back to the days of his childish sports, and conjuring up before him the old green field, with its gently-waving trees, where the birds sang as he has never heard them since—where the butterfly fluttered far more gaily than he ever sees him now in all his ramblings—where the sky seemed bluer, and the sun shone more brightly—where the air blew more freshly over greener grass, and sweeter smelling flowers—where every thing wore a richer and more brilliant hue than it is ever dressed in now! Such are the deep feelings of childhood, and such are the impressions which every lovely object stamps upon its heart. The hardy traveller wanders through the maze of thick and pathless woods, where the sun’s rays never shone, and heaven’s pure air never played: he stands on the brink of the roaring waterfall, and, giddy and bewildered, watches the foaming mass as it leaps from stone to stone, and from crag to crag; he lingers in the fertile plains of a land of perpetual sunshine, and revels in the luxury of their balmy breath. But what are the deep forests, or the thundering waters, or the richest landscapes that bounteous nature ever spread, to charm the eyes and captivate the senses of man, compared with the recollection of the old scenes of his early youth— magic scenes indeed; for the fairy thoughts of infancy dressed them in colours brighter than the rainbow, and almost as fleeting: colours which are the reflection only of the sparkling sunbeams of childhood, and can never be called into existence, in the dark and cloudy days of after-life! In former times, spring brought with it not only such associations as these, connected with the past, but sports and games for the present—merry dances round rustic pillars, adorned with emblems of the season, and reared in honour of its coming. Where are they now! Pillars we have, but they are no longer rustic ones; and as to dancers, they are used to rooms, and lights, and would not show well in the open air. Think of the immorality, too! What would your sabbath enthusiasts say, to an aristocratic ring encircling the Duke of York’s column in Carlton-terrace—a grand poussette of the middle classes, round Alderman Waithman’s monument in Fleet-street—or a general hands-four-round of ten-pound householders, at the foot of the Obelisk in St. George’s-fields? Alas! romance can make no head against the riot act; and pastoral simplicity is not understood by the police. Well; many years ago we began to get a steady and matter-of-fact sort of people; and dancing in spring, being beneath our dignity, we gave it up, and in course of time it descended to the sweeps—a fall certainly; because, though sweeps are very good fellows in their way, and moreover very useful in a civilized community, they are not exactly the sort of people to give the tone to the little elegances of society. The sweeps, however, got the dancing to themselves, and they kept it up, and handed it down. This was a severe blow to the romance of spring-time, but, it did not entirely destroy it, either; for a portion of it descended to the sweeps with the dancing, and rendered them objects of great interest. A mystery hung over the sweeps in those days. Legends were in existence of wealthy gentlemen who had lost children, and who, after many years of sorrow and suffering, had found them in the character of sweeps. Stories were related of a young gentleman who having been stolen from his parents in his infancy, and devoted to the occupation of chimney-sweeping, was sent, in the course of his professional career, to sweep the chimney of his mamma's bedroom; and how, being hot and tired when he came out of the chimney, he got into the bed he had so often slept in as an infant, and was discovered and recognised therein by his mother, who once every year of her life, thereafter requested the pleasure of the company of every London sweep, at half-past one o’clock, to roast beef, plum-pudding, porter, and sixpence. Such stories as these, and there were many such, threw an air of mystery round the sweeps, and produced for them some of those good effects, which animals derive from the doctrine of the transmigration of souls. No one, except the masters, thought of ill-treating a sweep, because no one knew who he might be, or what nobleman’s or gentleman’s son he might turn out. Chimney sweeping was, by many believers in the marvellous, considered as a sort of probationary term, at an earlier or later period of which, divers young noblemen were to come into possession of their rank and titles: and the profession was held by them in great respect accordingly. We remember, in our young days, a little sweep, about our own age, with curly hair and white teeth, whom we devoutly and sincerely believed to be the lost son and heir of some illustrious personage—an impression which was resolved into an unchangeable conviction on our infant mind, by the subject of our speculations informing us one day, in reply to our question, propounded a few moments before his ascent to the summit of the kitchen chimney, "that he believed he’d been born in the vurkis, but he’d never know’d his father." We felt certain, from that time forth, that he would one day be owned by a lord at least: and we never heard the church bells ring, or saw a flag hoisted in the neighbourhood, without thinking that the happy event had at last occurred, and that his long lost parent had arrived in a coach and six, to take him home to Grosvenor Square. He never came, however; and, at the present moment, the young gentleman in question is settled down as a master sweep in the neighbourhood of Battle Bridge, his distinguishing characteristics being a decided antipathy to washing himself, and the possession of a pair of legs very inadequate to the support of his unwieldy and corpulent body. Now the romance of spring having gone out before our time, we were fain to console ourselves as we best could with the uncertainty that enveloped the birth and parentage of its attendant dancers, the sweeps; and we did console ourselves with it, for many years. But, even this wicked source of comfort received a shock, from which it has never recovered—a shock, which was in reality its death-blow. We could not disguise from ourselves the fact, that whole families of sweeps were regularly born of sweeps, in the rural districts of Somers' Town and Camden Town—that the eldest son succeeded to the father’s business, that the other branches assisted him therein, and commenced on their own account; that their children again were educated to the profession; and that about their identity there could be no mistake whatever. We could not be blind, we say, to this melancholy truth, but we could not bring ourselves to admit it nevertheless, and we lived on for some years in a state of voluntary ignorance. We were roused from our pleasant slumber, by certain dark insinuations thrown out by a friend of ours, to the effect that children in the lower ranks of life, were beginning to choose chimney-sweeping as their particular walk, that applications had been made by various boys to the constituted authorities to allow them to pursue the object of their ambition, with the full concurrence and sanction of the law; that the affair, in short, was becoming one of mere legal contract. We turned a deaf ear to these rumours at first, but slowly and surely they stole upon us. Month after month, week after week, nay, day after day, at last, did we meet with accounts of similar applications. The veil was removed, all mystery was at an end, chimney-sweeping  became a favourite and chosen pursuit: there is no longer any occasion to steal boys, for boys flock in crowds to bind themselves. The romance of the trade has fled, and the chimney sweeper of the present day is no more like unto him of thirty years ago, than is a Fleet Street pickpocket to a Spanish brigand, or Paul Pry to Caleb Williams. This gradual decay and disuse of the practice of leading noble youths into captivity, and compelling them to ascend chimneys, was a severe blow, if we may so speak, to the romance of chimney sweeping, and to the romance of spring at the same time; but even this was not all; for some few years ago, the dancing on May-day began to decline; small sweeps were observed to congregate in twos or threes, unsupported by a "green," with no "My Lord" to act as master of the ceremonies, and no "My Lady" to preside over the exchequer. Even in companies where there was a green it was an absolute nothing—a mere sprout; and the instrumental accompaniments rarely extended beyond the shovels and a set of Pan pipes, better known to the many, as a "mouth organ." These were signs of the times, portentous omens of a coming change: and what was the result which they shadowed forth? Why, the master sweeps, influenced by a restless spirit of innovation, actually interposed their authority, in opposition to the dancing, and substituted a dinner—an anniversary dinner at White Conduit House—where clean faces appeared in lieu of black ones smeared with rose pink; and knee cords and tops, superseded nankeen drawers and rosetted shoes. Gentlemen who were in the habit of riding shy horses, and steady-going people, who have no vagrancy in their souls, lauded this alteration to the skies, and the conduct of the master sweeps was described as beyond the reach of praise. But how stands the real fact? Let any man deny, if he can, that when the cloth had been removed, fresh pots and pipes laid upon the table, and the customary loyal and patriotic toasts proposed, the celebrated Mr. Sluffen, of Adam and Eve Court, whose authority not the most malignant of our opponents can call in question, expressed himself in manner following: "That now he’d cotcht the cheerman’s hi, he vished he might be jolly vell blessed, if he worn’t a goin’ to have his innins, vich he vould say these here obserwashuns—that how some mischeevus coves as know’d nuffin about the con-sarn, had tried to sit people agin the mas’r swips, and take the shine out o’ their bis’nes, and the bread out o’ the traps o’ their preshus kids, by a makin’ o’ this here remark, as chimblies could be as vel svept by ‘cheenery as by boys, and that the makin’ use o’ boys for that there purpuss vos barbareous; vereas he ’ad been a chummy—he begged the cheerman’s pard'n for usin’ such a wulgar hexpression—more nor thirty year, he might say he’d been born in a chimbley, and he know’d uncommon vel as ‘cheenery vos vus nor o’ no use: and as to ker-hewelty to the boys, every body in the chimbley line know’d as vel as he did, that they liked the climbin’ better nor nuffin as vos." From this day, we date the total fall of the last lingering remnant of May-day dancing, among the élite of the profession: and from this period we commence a new era in that portion of our spring associations, which relates to the 1st of May. We are aware that the unthinking part of the population will meet us here, with the assertion, that dancing on May-day still continues—that "greens" are annually seen to roll along the streets—that sportive youths, in the garb of clowns, precede them, giving vent to the ebullitions of their sportive fancies; and that lords and ladies follow in their wake. Granted. We are ready to acknowledge that in outward show these processions have greatly improved: we do not deny the introduction of solos on the drum: we will even go so far as to admit an occasional fantasia on the triangle, but here our admissions end. We positively deny that the sweeps have act or part in these proceedings. We distinctly charge the dustmen with throwing what they ought to clear away, into the eyes of the public. We accuse scavengers, brick-makers, and gentlemen who devote their energies to the costermongering line, with obtaining money once a-year, under false pretences. We cling with peculiar fondness to the customs of days gone by, and have shut out conviction as long as we could, but it has forced itself upon us; and we now proclaim to a deluded public that the May-day dancers are not sweeps. The size of them alone is sufficient to repudiate the idea. It is a notorious fact that the widely spread taste for register-stoves has materially increased the demand for small boys; whereas the men, who under a fictitious character, dance about the streets on the first of May now-a-days, would be a tight fit in a kitchen flue, to say nothing of the parlour. This is strong presumptive evidence, but we have positive proof—the evidence of our own senses, and here is our testimony:— Upon the morning of the second of this present month of May, one thousand eight hundred and thirty-six, we went out for a stroll, with a kind of forlorn hope of seeing something or other which might induce us to believe that it was really spring, and not Christmas; and after wandering as far as Copenhagen House, without meeting anything calculated to dispel our impression that there was a mistake in the almanacks, we turned back down Maiden-lane, with the intention of passing through the extensive colony lying between it and Battle-bridge, which is inhabited by proprietors of donkey-carts, boilers of horse-flesh, and sifters of cinders: and through this colony we should have passed, without stoppage or interruption, if a little crowd gathered round a shed had not attracted our attention, and induced us to pause. When we say a "shed," we do not mean the conservatory sort of building, which, according to the old song, Love tenanted when he was a young man; but a wooden house with windows stuffed with rags and paper, and a small yard at the side, with one dust-cart, two baskets, a few shovels, and little heaps of cinders, and fragments of China and tiles, scattered about it. Before this inviting spot we paused; and the longer we looked, the more we wondered what exciting circumstance it could be, that induced the foremost members of the crowd to flatten their noses against the parlour window, in the vain hope of catching a glimpse of what was going on inside. After staring vacantly about us for some minutes, we appealed, touching the cause of this assemblage, to a gentleman in a suit of tarpaulin, who was smoking his pipe on our right hand; but as the only answer we obtained, was a playful inquiry whether our maternal parent had disposed of her mangle, we determined to await the issue in silence. Judge of our virtuous indignation, when the street-door of the shed opened, and a party emerged therefrom, clad in the costume and emulating the appearance of May-day sweeps! The first person who appeared was "my lord," habited in a blue coat and bright buttons, with gilt paper tacked over the seams, yellow knee-breeches, pink cotton stockings, and shoes, a cocked hat ornamented with shreds of various coloured paper on his head, a bouquet the size of a prize cauliflower in his button-hole, a long Belcher handkerchief in his right hand, and a thin cane in his left. A murmur of applause ran through the crowd (which was chiefly composed of his personal friends) when this graceful figure made his appearance, which swelled into a burst of applause as his fair partner in the dance bounded forth to join him. Her ladyship was attired in pink crape over bed-furniture, with a low body and short sleeves. The symmetry of her ankles was partially concealed by a very perceptible pair of frilled trousers; and the inconvenience which might have resulted from the circumstance of her white satin shoes being a few sizes too large, was obviated by their being firmly attached to her legs with strong tape sandals. Her head was ornamented with a profusion of artificial flowers, and in her hand she bore a large brass ladle, wherein to receive what she figuratively denominated "the tin." The other characters were a young gentleman in girl’s clothes and a widow’s cap; two clowns who walked upon their hands in the mud, to the immeasurable delight of all the spectators, a man with a drum, another man with a flageolet, a dirty woman in a large shawl, with a box under her arm for the money,—and last, though not least, the Green, animated by no less a personage than our identical friend in the tarpaulin suit. The man hammered away at the drum, the flageolet squeaked, the shovels rattled, the Green rolled about, pitching first on one side and then on the other,—my lady threw her right foot over her left ankle, and her left foot over her right ankle alternately; my lord ran a few paces forward and butted at the Green, and then a few paces backward upon the toes of the crowd, and then went to the right, and then to the left, and then dodged my lady round the Green, and finally drew her arm through his, and called upon the boys to shout, which they did lustily—for this was the dancing. We passed the same group accidentally in the evening. We never saw a green so drunk, a lord so quarrelsome (except in the house of peers after dinner), a pair of clowns so melancholy, a lady so muddy, or a party so miserable. How has May-day decayed! thought we. How many merry sports, such as dancing round the Maypole, have fallen into desuetude! And, apparently trifling as their loss may appear, with how many profligate and vicious customs have they been replaced! How much of cheerfulness and simplicity of character have they carried away with them; and how much of degradation and discontent have they left behind! 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 'A Little Talk about Spring and the Sweeps' Description An account of the resource Published in The Library of Fiction, vol. 1. London: Chapman and Hall, 1836, pp. 113-119. Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived Internet Archive, <a href="https://archive.org/details/libraryoffiction01dick/page/112/mode/2up">https://archive.org/details/libraryoffiction01dick/page/112/mode/2up</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1836 Contributor An entity responsible for making contributions to the resource Illustrated by Robert Seymour Type The nature or genre of the resource Short story Identifier An unambiguous reference to the resource within a given context 1836-A_Little_Talk_about_Spring_Sweeps 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. 'A Little Talk About Spring and the Sweeps'. Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1836-A_Little_Talk_about_Spring_Sweeps">https://www.dickenssearch.com/short-stories/1836-A_Little_Talk_about_Spring_Sweeps</a>. Rights Information about rights held in and over the resource Internet Archive, <a href="https://archive.org/about.terms.php">https://archive.org/about.terms.php</a>. Access to the Archive's Collections is granted for scholarship and research purposes only. Scripto Transcription A written representation of a document. "Now ladies, up in the sky-parlour: only once a year, if you please."  YOUNG LADY WITH BRASS LADLE. "Sweep-sweep-sue-e-ep." ILLEGAL WATCHWORD. The first of May! There is a merry freshness in the sound, calling to our minds a thousand thoughts of all that is pleasant and beautiful in nature, in her sweetest and most delightful form. What man is there, over whose mind a bright spring morning does not exercise a magic influence? carrying him back to the days of his childish sports, and conjuring up before him the old green field, with its gently-waving trees, where the birds sang as he has never heard them since—where the butterfly fluttered far more gaily than he ever sees him now in all his ramblings—where the sky seemed bluer, and the sun shone more brightly—where the air blew more freshly over greener grass, and sweeter smelling flowers—where every thing wore a richer and more brilliant hue than it is ever dressed in now! Such are the deep feelings of childhood, and such are the impressions which every lovely object stamps upon its heart. The hardy traveller wanders through the maze of thick and pathless woods, where the sun’s rays never shone, and heaven’s pure air never played: he stands on the brink of the roaring waterfall, and, giddy and bewildered, watches the foaming mass as it leaps from stone to stone, and from crag to crag; he lingers in the fertile plains of a land of perpetual sunshine, and revels in the luxury of their balmy breath. But what are the deep forests, or the thundering waters, or the richest landscapes that bounteous nature ever spread, to charm the eyes and captivate the senses of man, compared with the recollection of the old scenes of his early youth— magic scenes indeed; for the fairy thoughts of infancy dressed them in colours brighter than the rainbow, and almost as fleeting: colours which are the reflection only of the sparkling sunbeams of childhood, and can never be called into existence, in the dark and cloudy days of after-life! In former times, spring brought with it not only such associations as these, connected with the past, but sports and games for the present—merry dances round rustic pillars, adorned with emblems of the season, and reared in honour of its coming. Where are they now! Pillars we have, but they are no longer rustic ones; and as to dancers, they are used to rooms, and lights, and would not show well in the open air. Think of the immorality, too! What would your sabbath enthusiasts say, to an aristocratic ring encircling the Duke of York’s column in Carlton-terrace—a grand poussette of the middle classes, round Alderman Waithman’s monument in Fleet-street—or a general hands-four-round of ten-pound householders, at the foot of the Obelisk in St. George’s-fields? Alas! romance can make no head against the riot act; and pastoral simplicity is not understood by the police. Well; many years ago we began to get a steady and matter-of-fact sort of people; and dancing in spring, being beneath our dignity, we gave it up, and in course of time it descended to the sweeps—a fall certainly; because, though sweeps are very good fellows in their way, and moreover very useful in a civilized community, they are not exactly the sort of people to give the tone to the little elegances of society. The sweeps, however, got the dancing to themselves, and they kept it up, and handed it down. This was a severe blow to the romance of spring-time, but, it did not entirely destroy it, either; for a portion of it descended to the sweeps with the dancing, and rendered them objects of great interest. A mystery hung over the sweeps in those days. Legends were in existence of wealthy gentlemen who had lost children, and who, after many years of sorrow and suffering, had found them in the character of sweeps. Stories were related of a young gentleman who having been stolen from his parents in his infancy, and devoted to the occupation of chimney-sweeping, was sent, in the course of his professional career, to sweep the chimney of his mamma's bedroom; and how, being hot and tired when he came out of the chimney, he got into the bed he had so often slept in as an infant, and was discovered and recognised therein by his mother, who once every year of her life, thereafter requested the pleasure of the company of every London sweep, at half-past one o’clock, to roast beef, plum-pudding, porter, and sixpence. Such stories as these, and there were many such, threw an air of mystery round the sweeps, and produced for them some of those good effects, which animals derive from the doctrine of the transmigration of souls. No one, except the masters, thought of ill-treating a sweep, because no one knew who he might be, or what nobleman’s or gentleman’s son he might turn out. Chimney sweeping was, by many believers in the marvellous, considered as a sort of probationary term, at an earlier or later period of which, divers young noblemen were to come into possession of their rank and titles: and the profession was held by them in great respect accordingly. We remember, in our young days, a little sweep, about our own age, with curly hair and white teeth, whom we devoutly and sincerely believed to be the lost son and heir of some illustrious personage—an impression which was resolved into an unchangeable conviction on our infant mind, by the subject of our speculations informing us one day, in reply to our question, propounded a few moments before his ascent to the summit of the kitchen chimney, "that he believed he’d been born in the vurkis, but he’d never know’d his father." We felt certain, from that time forth, that he would one day be owned by a lord at least: and we never heard the church bells ring, or saw a flag hoisted in the neighbourhood, without thinking that the happy event had at last occurred, and that his long lost parent had arrived in a coach and six, to take him home to Grosvenor Square. He never came, however; and, at the present moment, the young gentleman in question is settled down as a master sweep in the neighbourhood of Battle Bridge, his distinguishing characteristics being a decided antipathy to washing himself, and the possession of a pair of legs very inadequate to the support of his unwieldy and corpulent body. Now the romance of spring having gone out before our time, we were fain to console ourselves as we best could with the uncertainty that enveloped the birth and parentage of its attendant dancers, the sweeps; and we did console ourselves with it, for many years. But, even this wicked source of comfort received a shock, from which it has never recovered—a shock, which was in reality its death-blow. We could not disguise from ourselves the fact, that whole families of sweeps were regularly born of sweeps, in the rural districts of Somers' Town and Camden Town—that the eldest son succeeded to the father’s business, that the other branches assisted him therein, and commenced on their own account; that their children again were educated to the profession; and that about their identity there could be no mistake whatever. We could not be blind, we say, to this melancholy truth, but we could not bring ourselves to admit it nevertheless, and we lived on for some years in a state of voluntary ignorance. We were roused from our pleasant slumber, by certain dark insinuations thrown out by a friend of ours, to the effect that children in the lower ranks of life, were beginning to choose chimney-sweeping as their particular walk, that applications had been made by various boys to the constituted authorities to allow them to pursue the object of their ambition, with the full concurrence and sanction of the law; that the affair, in short, was becoming one of mere legal contract. We turned a deaf ear to these rumours at first, but slowly and surely they stole upon us. Month after month, week after week, nay, day after day, at last, did we meet with accounts of similar applications. The veil was removed, all mystery was at an end, chimney-sweeping  became a favourite and chosen pursuit: there is no longer any occasion to steal boys, for boys flock in crowds to bind themselves. The romance of the trade has fled, and the chimney sweeper of the present day is no more like unto him of thirty years ago, than is a Fleet Street pickpocket to a Spanish brigand, or Paul Pry to Caleb Williams. This gradual decay and disuse of the practice of leading noble youths into captivity, and compelling them to ascend chimneys, was a severe blow, if we may so speak, to the romance of chimney sweeping, and to the romance of spring at the same time; but even this was not all; for some few years ago, the dancing on May-day began to decline; small sweeps were observed to congregate in twos or threes, unsupported by a "green," with no "My Lord" to act as master of the ceremonies, and no "My Lady" to preside over the exchequer. Even in companies where there was a green it was an absolute nothing—a mere sprout; and the instrumental accompaniments rarely extended beyond the shovels and a set of Pan pipes, better known to the many, as a "mouth organ." These were signs of the times, portentous omens of a coming change: and what was the result which they shadowed forth? Why, the master sweeps, influenced by a restless spirit of innovation, actually interposed their authority, in opposition to the dancing, and substituted a dinner—an anniversary dinner at White Conduit House—where clean faces appeared in lieu of black ones smeared with rose pink; and knee cords and tops, superseded nankeen drawers and rosetted shoes. Gentlemen who were in the habit of riding shy horses, and steady-going people, who have no vagrancy in their souls, lauded this alteration to the skies, and the conduct of the master sweeps was described as beyond the reach of praise. But how stands the real fact? Let any man deny, if he can, that when the cloth had been removed, fresh pots and pipes laid upon the table, and the customary loyal and patriotic toasts proposed, the celebrated Mr. Sluffen, of Adam and Eve Court, whose authority not the most malignant of our opponents can call in question, expressed himself in manner following: "That now he’d cotcht the cheerman’s hi, he vished he might be jolly vell blessed, if he worn’t a goin’ to have his innins, vich he vould say these here obserwashuns—that how some mischeevus coves as know’d nuffin about the con-sarn, had tried to sit people agin the mas’r swips, and take the shine out o’ their bis’nes, and the bread out o’ the traps o’ their preshus kids, by a makin’ o’ this here remark, as chimblies could be as vel svept by ‘cheenery as by boys, and that the makin’ use o’ boys for that there purpuss vos barbareous; vereas he ’ad been a chummy—he begged the cheerman’s pard'n for usin’ such a wulgar hexpression—more nor thirty year, he might say he’d been born in a chimbley, and he know’d uncommon vel as ‘cheenery vos vus nor o’ no use: and as to ker-hewelty to the boys, every body in the chimbley line know’d as vel as he did, that they liked the climbin’ better nor nuffin as vos." From this day, we date the total fall of the last lingering remnant of May-day dancing, among the élite of the profession: and from this period we commence a new era in that portion of our spring associations, which relates to the 1st of May. We are aware that the unthinking part of the population will meet us here, with the assertion, that dancing on May-day still continues—that "greens" are annually seen to roll along the streets—that sportive youths, in the garb of clowns, precede them, giving vent to the ebullitions of their sportive fancies; and that lords and ladies follow in their wake. Granted. We are ready to acknowledge that in outward show these processions have greatly improved: we do not deny the introduction of solos on the drum: we will even go so far as to admit an occasional fantasia on the triangle, but here our admissions end. We positively deny that the sweeps have act or part in these proceedings. We distinctly charge the dustmen with throwing what they ought to clear away, into the eyes of the public. We accuse scavengers, brick-makers, and gentlemen who devote their energies to the costermongering line, with obtaining money once a-year, under false pretences. We cling with peculiar fondness to the customs of days gone by, and have shut out conviction as long as we could, but it has forced itself upon us; and we now proclaim to a deluded public that the May-day dancers are not sweeps. The size of them alone is sufficient to repudiate the idea. It is a notorious fact that the widely spread taste for register-stoves has materially increased the demand for small boys; whereas the men, who under a fictitious character, dance about the streets on the first of May now-a-days, would be a tight fit in a kitchen flue, to say nothing of the parlour. This is strong presumptive evidence, but we have positive proof—the evidence of our own senses, and here is our testimony:— Upon the morning of the second of this present month of May, one thousand eight hundred and thirty-six, we went out for a stroll, with a kind of forlorn hope of seeing something or other which might induce us to believe that it was really spring, and not Christmas; and after wandering as far as Copenhagen House, without meeting anything calculated to dispel our impression that there was a mistake in the almanacks, we turned back down Maiden-lane, with the intention of passing through the extensive colony lying between it and Battle-bridge, which is inhabited by proprietors of donkey-carts, boilers of horse-flesh, and sifters of cinders: and through this colony we should have passed, without stoppage or interruption, if a little crowd gathered round a shed had not attracted our attention, and induced us to pause. When we say a "shed," we do not mean the conservatory sort of building, which, according to the old song, Love tenanted when he was a young man; but a wooden house with windows stuffed with rags and paper, and a small yard at the side, with one dust-cart, two baskets, a few shovels, and little heaps of cinders, and fragments of China and tiles, scattered about it. Before this inviting spot we paused; and the longer we looked, the more we wondered what exciting circumstance it could be, that induced the foremost members of the crowd to flatten their noses against the parlour window, in the vain hope of catching a glimpse of what was going on inside. After staring vacantly about us for some minutes, we appealed, touching the cause of this assemblage, to a gentleman in a suit of tarpaulin, who was smoking his pipe on our right hand; but as the only answer we obtained, was a playful inquiry whether our maternal parent had disposed of her mangle, we determined to await the issue in silence. Judge of our virtuous indignation, when the street-door of the shed opened, and a party emerged therefrom, clad in the costume and emulating the appearance of May-day sweeps! The first person who appeared was "my lord," habited in a blue coat and bright buttons, with gilt paper tacked over the seams, yellow knee-breeches, pink cotton stockings, and shoes, a cocked hat ornamented with shreds of various coloured paper on his head, a bouquet the size of a prize cauliflower in his button-hole, a long Belcher handkerchief in his right hand, and a thin cane in his left. A murmur of applause ran through the crowd (which was chiefly composed of his personal friends) when this graceful figure made his appearance, which swelled into a burst of applause as his fair partner in the dance bounded forth to join him. Her ladyship was attired in pink crape over bed-furniture, with a low body and short sleeves. The symmetry of her ankles was partially concealed by a very perceptible pair of frilled trousers; and the inconvenience which might have resulted from the circumstance of her white satin shoes being a few sizes too large, was obviated by their being firmly attached to her legs with strong tape sandals. Her head was ornamented with a profusion of artificial flowers, and in her hand she bore a large brass ladle, wherein to receive what she figuratively denominated "the tin." The other characters were a young gentleman in girl’s clothes and a widow’s cap; two clowns who walked upon their hands in the mud, to the immeasurable delight of all the spectators, a man with a drum, another man with a flageolet, a dirty woman in a large shawl, with a box under her arm for the money,—and last, though not least, the Green, animated by no less a personage than our identical friend in the tarpaulin suit. The man hammered away at the drum, the flageolet squeaked, the shovels rattled, the Green rolled about, pitching first on one side and then on the other,—my lady threw her right foot over her left ankle, and her left foot over her right ankle alternately; my lord ran a few paces forward and butted at the Green, and then a few paces backward upon the toes of the crowd, and then went to the right, and then to the left, and then dodged my lady round the Green, and finally drew her arm through his, and called upon the boys to shout, which they did lustily—for this was the dancing. We passed the same group accidentally in the evening. We never saw a green so drunk, a lord so quarrelsome (except in the house of peers after dinner), a pair of clowns so melancholy, a lady so muddy, or a party so miserable. How has May-day decayed! thought we. How many merry sports, such as dancing round the Maypole, have fallen into desuetude! And, apparently trifling as their loss may appear, with how many profligate and vicious customs have they been replaced! How much of cheerfulness and simplicity of character have they carried away with them; and how much of degradation and discontent have they left behind! https://www.dickenssearch.com/files/original/5/New_Series_No._4_Vauxhall-Gardens_by_Day/1836-10-26-VauxhallGardens_by_Day.pdf a89910bac14d85392f0a702410b8870c 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. 18361026 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. There was a time when if a man ventured to wonder how Vauxhall-gardens would look by day, he was hailed with a shout of derision at the absurdity of the idea. Vauxhall by day-light! A porter pot without porter, the House of Commons without the Speaker, a gas lamp without the gas—pooh, nonsense, the thing was not to be thought of. It was rumoured, too, in those times, that Vauxhall-gardens by day were the scene of secret and hidden experiments; that there, carvers were exercised in the mystic art of cutting a moderate sized ham into slices thin enough to pave the whole of the grounds; that beneath the shade of the tall trees, studious men were constantly engaged in chemical experiments, with the view of discovering how much water a bowl of negus could possibly bear; and that in some retired nooks, appropriated to the study of ornithology, other sage and learned men were, by a process known only to themselves, incessantly employed in reducing fowls to a mere combination of skin and bone. Vague rumours of this kind, together with many others of a similar nature, cast over Vauxhall-gardens an air of deep mystery; and as there is a great deal in the mysterious, there is no doubt that to a good many people, at all events, the pleasure they afforded was not a little enhanced by this very circumstance. Of this class of people we confess to having made one. We loved to wander among these illuminated groves, thinking of the patient and laborious researches which had been carried on there during the day, and witnessing their results in the suppers which were served up, beneath the light of lamps, and to the sound of music at night. The temples and saloons and cosmoramas and fountains glittered and sparkled before our eyes; the beauty of the lady singers and the elegant deportment of the gentlemen captivated our hearts; a few hundred thousand of additional lamps dazzled our senses; a bowl or two of reeking punch bewildered our brains; and we were happy. In an evil hour, the proprietors of Vauxhall-gardens took to opening them by day. We regretted this as rudely and harshly disturbing that veil of mystery which had hung about the property for many years, and which none but the noon-day Sun and the late Mr. Simpson had ever penetrated. We shrunk from going; at this moment we scarcely know why. Perhaps a morbid consciousness of approaching disappointment—perhaps a fatal presentiment—perhaps the weather; whatever it was, we did not go until the second or third announcement of a race between two balloons tempted us, and we went. We paid our shilling at the gate, and then we saw, for the first time, that the entrance, if there had been any magic about it at all, was now decidedly disenchanted, being, in fact, nothing more nor less than a combination of very roughly-painted boards and saw-dust. We glanced at the orchestra and supper-room as we hurried past—we just recognised them, and that was all. We bent our steps to the firework-ground; there, at least, we should not be disappointed. We reached it, and stood rooted to the spot with mortification and astonishment. That the Moorish tower—that wooden shed with a door in the centre, and daubs of crimson and yellow all round, like a gigantic watch-case! That the place where night after night we had beheld the undaunted Mr. Blackmore make his terrific ascent, surrounded by flames of fire, and peals of artillery, and where the white garments of Madame Somebody or other, who nobly devoted her life to the manufacture of fireworks, had so often been seen fluttering in the wind, as she called up a red, blue, or party-coloured light to illumine her temple! That the—but at this moment the bell rung—the people scampered away, pell-mell, to the spot from whence the sound proceeded, and we, from the mere force of habit, found ourself running among the first, as if for very life. It was for the concert in the orchestra. A small party of dismal men in cocked hats were "executing" the overture to Tancredi, and a numerous assemblage of ladies and gentlemen, with their families, had rushed from their half-emptied stout mugs in the supper boxes, and crowded to the spot. Intense was the low murmur of admiration when a particularly small gentleman, in a dress coat, led on a particularly tall lady in a blue sarcenet pelisse and bonnet of the same, ornamented with large white feathers, and forthwith commenced a plaintive duet. We knew the small gentleman well; we had seen a lithographed semblance of him on many a piece of music, with his mouth wide open as if in the act of singing; a wine glass in his hand, and a table with two decanters and four pine-apples on it in the background. The tall lady, too, we had gazed on, lost in raptures of admiration, many and many a time—how different people do look by daylight and without punch, to be sure! It was a beautiful duet: first the small gentleman asked a question, and then the tall lady answered it; then the small gentleman and the tall lady sang together most melodiously; then the small gentleman went through a little piece of vehemence by himself, and got very tenor indeed in the excitement of his feelings, to which the tall lady responded in a similar manner; then the small gentleman had a shake or two, after which the tall lady had the same, and then they both merged imperceptibly into the original air, and the band wound themselves up to a pitch of fury and the small gentleman handed the tall lady out, and the applause was rapturous. The comic singer, however, was the especial favourite; we really thought that a gentleman with his dinner in a pocket handkerchief, who stood near us, would have fainted with excess of joy. A fearfully facetious old man that comic singer is; his distinguishing characteristics are, a wig approaching to the flaxen, and an aged countenance, and he bears the name of one of the English counties, if we recollect right. He sang a song about the seven ages, the first half hour of which seemed to afford the assembly the purest delight; of the rest we can make no report, as we did not stay to hear any more. We walked about, and met with a disappointment at every turn; our favourite views were mere patches of paint; the fountain that had sparkled so showily by lamp-light, presented very much the appearance of a water-pipe that had burst; all the ornaments were dingy, and all the walks gloomy. There was a spectral attempt at rope-dancing in the little open theatre; the sun shone upon the spangled dresses of the performers, and their evolutions were about as inspiriting and appropriate as a country dance in a family vault. So we retraced our steps to the firework-ground, and mingled with the little crowd of people who were contemplating Mr. Green. Some half-dozen men were restraining the impetuosity of one of the balloons, which was completely filled, and had the car already attached; and as rumours had gone abroad that a lord was "going up," the crowd were more than usually anxious and talkative. There was one little man in faded black, with a dirty face and a rusty black neckerchief with a red border, tied in a narrow wisp round his neck, who entered into conversation with everybody, and had something to say upon every remark that was made within his hearing. He was standing with his arms folded, staring up at the balloon, and every now and then vented his feelings of reverence for the aeronaut, by saying, as he looked round to catch somebody’s eye, "He’s a rum ’un is Green; think o’ this here being up’ards of his two hundredth ascent; by God, the man as is ekal to Green never had the tooth-ache yet, nor wo'nt have within this hundred year, and that’s all about it. Wen you meets with real talent, and native, too, encourage it, that’s wot I say;" and when he had delivered himself to this effect, he would fold his arms with more determination than ever, and stare at the balloon with a sort of admiring defiance of any other man alive, beyond himself and Green, that impressed the crowd with the opinion that he was an oracle. "Ah, you’re very right, sir," said another gentleman, with his wife, and children, and mother, and wife’s sister, and a host of female friends, in all the gentility of white pocket-handkerchiefs, frills, and spencers, "Mr. Green is a steady hand, sir, and there’s no fear about him." "Fear!" said the little man: "ain't it a lovely thing to see him and his wife a going up in one balloon, and his own son and his wife a jostling up agin 'em in another, and all of 'em going twenty or thirty mile in three hours or so, and then coming back in po-chayses? I don’t know where this here science is to stop, mind you; that’s what bothers me." Here there was a considerable talking among the females in the spencers. "What’s the ladies a laughing at, sir?" inquired the little man, condescendingly. "It’s only my sister Mary," said one of the girls, "as says she hopes his Lordship won’t be frightened when he’s in the car, and want to come out agin." "Make yourself easy about that there, my dear," replied the little man. "If he was so much as to move a inch without leave, Green would jist fetch him a crack over the head with the telescope, as vid send him into the bottom of the basket in no time, and stun him till they come down again." "Would he, though?" inquired the other man. "Yes, by God, would he," replied the little one, 'and think nothing of it, neither, if he was the king himself. Green’s presence of mind is wonderful." Just at this moment all eyes were directed to the preparations which were being made for starting. The car was attached to the second balloon, the two were brought pretty close together, and a military band commenced playing with a zeal and fervour which would render the most timid man in existence but too happy to accept any means of quitting that particular spot of earth on which they were stationed. Then Mr. Green, sen., and his noble companion entered one car, and Mr. Green, jun., and his companion the other; and then the balloons went up, and the aerial travellers stood up, and the crowd outside roared with delight, and the two gentlemen who had never ascended before, tried to wave their flags, as if they were not nervous, but held on very fast all the while, and the balloons were wafted gently away, our little friend solemnly protesting, long after they were reduced to mere specks in the air, that he could still distinguish the white hat of Mr. Green; the gardens disgorged their multitudes, boys ran up and down screaming "bal-loon," and in all the crowded thoroughfares people rushed out of their shops into the middle of the road, and having stared up in the air at two little black objects till they almost dislocated their necks, walked slowly in again, perfectly satisfied. The next day there was a grand account of the ascent in the morning papers, and the public were informed how it was the finest day but four in Mr. Green’s remembrance; how they retained sight of the earth till they lost it behind the clouds; and how the reflection of the balloon on the undulating masses of vapour was gorgeously picturesque; together with a little science about the refraction of the sun’s rays, and some mysterious hints respecting atmospheric heat and eddying currents of air. There was also an interesting account how a man in a boat was distinctly heard by Mr. Green, jun., to exclaim, "My eye!" which Mr. Green, jun., attributed to his voice rising to the balloon, and the sound being thrown back from its surface into the car; and the whole concluded with a slight allusion to another ascent next Wednesday, all of which was very instructive and very amusing, as our readers will see if they look to the papers. If we have forgotten to mention the date, they have only to wait till next summer and take the account of the first ascent, and it will answer the purpose equally well. 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. 4, Vauxhall-Gardens by Day' Description An account of the resource Published in The Morning Chronicle (26 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/0000082/18361026/006/0003">https://www.britishnewspaperarchive.co.uk/viewer/BL/0000082/18361026/006/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1836-10-26 Type The nature or genre of the resource Short story Identifier An unambiguous reference to the resource within a given context 1836-10-26-VauxhallGardens_by_Day 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. 4, 'Vauxhall-Gardens by Day' (26 October 1836). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1836-10-26-VauxhallGardens_by_Day">https://www.dickenssearch.com/short-stories/1836-10-26-VauxhallGardens_by_Day</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. There was a time when if a man ventured to wonder how Vauxhall-gardens would look by day, he was hailed with a shout of derision at the absurdity of the idea. Vauxhall by day-light! A porter pot without porter, the House of Commons without the Speaker, a gas lamp without the gas—pooh, nonsense, the thing was not to be thought of. It was rumoured, too, in those times, that Vauxhall-gardens by day were the scene of secret and hidden experiments; that there, carvers were exercised in the mystic art of cutting a moderate sized ham into slices thin enough to pave the whole of the grounds; that beneath the shade of the tall trees, studious men were constantly engaged in chemical experiments, with the view of discovering how much water a bowl of negus could possibly bear; and that in some retired nooks, appropriated to the study of ornithology, other sage and learned men were, by a process known only to themselves, incessantly employed in reducing fowls to a mere combination of skin and bone. Vague rumours of this kind, together with many others of a similar nature, cast over Vauxhall-gardens an air of deep mystery; and as there is a great deal in the mysterious, there is no doubt that to a good many people, at all events, the pleasure they afforded was not a little enhanced by this very circumstance. Of this class of people we confess to having made one. We loved to wander among these illuminated groves, thinking of the patient and laborious researches which had been carried on there during the day, and witnessing their results in the suppers which were served up, beneath the light of lamps, and to the sound of music at night. The temples and saloons and cosmoramas and fountains glittered and sparkled before our eyes; the beauty of the lady singers and the elegant deportment of the gentlemen captivated our hearts; a few hundred thousand of additional lamps dazzled our senses; a bowl or two of reeking punch bewildered our brains; and we were happy. In an evil hour, the proprietors of Vauxhall-gardens took to opening them by day. We regretted this as rudely and harshly disturbing that veil of mystery which had hung about the property for many years, and which none but the noon-day Sun and the late Mr. Simpson had ever penetrated. We shrunk from going; at this moment we scarcely know why. Perhaps a morbid consciousness of approaching disappointment—perhaps a fatal presentiment—perhaps the weather; whatever it was, we did not go until the second or third announcement of a race between two balloons tempted us, and we went. We paid our shilling at the gate, and then we saw, for the first time, that the entrance, if there had been any magic about it at all, was now decidedly disenchanted, being, in fact, nothing more nor less than a combination of very roughly-painted boards and saw-dust. We glanced at the orchestra and supper-room as we hurried past—we just recognised them, and that was all. We bent our steps to the firework-ground; there, at least, we should not be disappointed. We reached it, and stood rooted to the spot with mortification and astonishment. That the Moorish tower—that wooden shed with a door in the centre, and daubs of crimson and yellow all round, like a gigantic watch-case! That the place where night after night we had beheld the undaunted Mr. Blackmore make his terrific ascent, surrounded by flames of fire, and peals of artillery, and where the white garments of Madame Somebody or other, who nobly devoted her life to the manufacture of fireworks, had so often been seen fluttering in the wind, as she called up a red, blue, or party-coloured light to illumine her temple! That the—but at this moment the bell rung—the people scampered away, pell-mell, to the spot from whence the sound proceeded, and we, from the mere force of habit, found ourself running among the first, as if for very life. It was for the concert in the orchestra. A small party of dismal men in cocked hats were "executing" the overture to Tancredi, and a numerous assemblage of ladies and gentlemen, with their families, had rushed from their half-emptied stout mugs in the supper boxes, and crowded to the spot. Intense was the low murmur of admiration when a particularly small gentleman, in a dress coat, led on a particularly tall lady in a blue sarcenet pelisse and bonnet of the same, ornamented with large white feathers, and forthwith commenced a plaintive duet. We knew the small gentleman well; we had seen a lithographed semblance of him on many a piece of music, with his mouth wide open as if in the act of singing; a wine glass in his hand, and a table with two decanters and four pine-apples on it in the background. The tall lady, too, we had gazed on, lost in raptures of admiration, many and many a time—how different people do look by daylight and without punch, to be sure! It was a beautiful duet: first the small gentleman asked a question, and then the tall lady answered it; then the small gentleman and the tall lady sang together most melodiously; then the small gentleman went through a little piece of vehemence by himself, and got very tenor indeed in the excitement of his feelings, to which the tall lady responded in a similar manner; then the small gentleman had a shake or two, after which the tall lady had the same, and then they both merged imperceptibly into the original air, and the band wound themselves up to a pitch of fury and the small gentleman handed the tall lady out, and the applause was rapturous. The comic singer, however, was the especial favourite; we really thought that a gentleman with his dinner in a pocket handkerchief, who stood near us, would have fainted with excess of joy. A fearfully facetious old man that comic singer is; his distinguishing characteristics are, a wig approaching to the flaxen, and an aged countenance, and he bears the name of one of the English counties, if we recollect right. He sang a song about the seven ages, the first half hour of which seemed to afford the assembly the purest delight; of the rest we can make no report, as we did not stay to hear any more. We walked about, and met with a disappointment at every turn; our favourite views were mere patches of paint; the fountain that had sparkled so showily by lamp-light, presented very much the appearance of a water-pipe that had burst; all the ornaments were dingy, and all the walks gloomy. There was a spectral attempt at rope-dancing in the little open theatre; the sun shone upon the spangled dresses of the performers, and their evolutions were about as inspiriting and appropriate as a country dance in a family vault. So we retraced our steps to the firework-ground, and mingled with the little crowd of people who were contemplating Mr. Green. Some half-dozen men were restraining the impetuosity of one of the balloons, which was completely filled, and had the car already attached; and as rumours had gone abroad that a lord was "going up," the crowd were more than usually anxious and talkative. There was one little man in faded black, with a dirty face and a rusty black neckerchief with a red border, tied in a narrow wisp round his neck, who entered into conversation with everybody, and had something to say upon every remark that was made within his hearing. He was standing with his arms folded, staring up at the balloon, and every now and then vented his feelings of reverence for the aëronaut, by saying, as he looked round to catch somebody’s eye, "He’s a rum ’un is Green; think o’ this here being up’ards of his two hundredth ascent; by God, the man as is ekal to Green never had the tooth-ache yet, nor wo'nt have within this hundred year, and that’s all about it. Wen you meets with real talent, and native, too, encourage it, that’s wot I say;" and when he had delivered himself to this effect, he would fold his arms with more determination than ever, and stare at the balloon with a sort of admiring defiance of any other man alive, beyond himself and Green, that impressed the crowd with the opinion that he was an oracle. "Ah, you’re very right, sir," said another gentleman, with his wife, and children, and mother, and wife’s sister, and a host of female friends, in all the gentility of white pocket-handkerchiefs, frills, and spencers, "Mr. Green is a steady hand, sir, and there’s no fear about him." "Fear!" said the little man: "ain't it a lovely thing to see him and his wife a going up in one balloon, and his own son and his wife a jostling up agin 'em in another, and all of 'em going twenty or thirty mile in three hours or so, and then coming back in po-chayses? I don’t know where this here science is to stop, mind you; that’s what bothers me." Here there was a considerable talking among the females in the spencers. "What’s the ladies a laughing at, sir?" inquired the little man, condescendingly. "It’s only my sister Mary," said one of the girls, "as says she hopes his Lordship won’t be frightened when he’s in the car, and want to come out agin." "Make yourself easy about that there, my dear," replied the little man. "If he was so much as to move a inch without leave, Green would jist fetch him a crack over the head with the telescope, as vid send him into the bottom of the basket in no time, and stun him till they come down again." "Would he, though?" inquired the other man. "Yes, by God, would he," replied the little one, 'and think nothing of it, neither, if he was the king himself. Green’s presence of mind is wonderful." Just at this moment all eyes were directed to the preparations which were being made for starting. The car was attached to the second balloon, the two were brought pretty close together, and a military band commenced playing with a zeal and fervour which would render the most timid man in existence but too happy to accept any means of quitting that particular spot of earth on which they were stationed. Then Mr. Green, sen., and his noble companion entered one car, and Mr. Green, jun., and his companion the other; and then the balloons went up, and the aerial travellers stood up, and the crowd outside roared with delight, and the two gentlemen who had never ascended before, tried to wave their flags, as if they were not nervous, but held on very fast all the while, and the balloons were wafted gently away, our little friend solemnly protesting, long after they were reduced to mere specks in the air, that he could still distinguish the white hat of Mr. Green; the gardens disgorged their multitudes, boys ran up and down screaming "bal-loon," and in all the crowded thoroughfares people rushed out of their shops into the middle of the road, and having stared up in the air at two little black objects till they almost dislocated their necks, walked slowly in again, perfectly satisfied. The next day there was a grand account of the ascent in the morning papers, and the public were informed how it was the finest day but four in Mr. Green’s remembrance; how they retained sight of the earth till they lost it behind the clouds; and how the reflection of the balloon on the undulating masses of vapour was gorgeously picturesque; together with a little science about the refraction of the sun’s rays, and some mysterious hints respecting atmospheric heat and eddying currents of air. There was also an interesting account how a man in a boat was distinctly heard by Mr. Green, jun., to exclaim, "My eye!" which Mr. Green, jun., attributed to his voice rising to the balloon, and the sound being thrown back from its surface into the car; and the whole concluded with a slight allusion to another ascent next Wednesday, all of which was very instructive and very amusing, as our readers will see if they look to the papers. If we have forgotten to mention the date, they have only to wait till next summer and take the account of the first ascent, and it will answer the purpose equally well. 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/5/To_Be_Read_at_Dusk/1852-To_Be_Read_at_Dusk.pdf d69c781e8360e6907679511e2f6d2dfc 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 Keepsake Pseudonym The name under which the item was published Charles Dickens 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. 18520101 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. One, two, three, four, five. There were five of them. Five couriers, sitting on a bench outside the convent on the summit of the Great St. Bernard in Switzerland, looking at the remote heights, stained by the setting sun, as if a mighty quantity of red wine had been broached upon the mountain top, and had not yet had time to sink into the snow. This is not my simile. It was made for the occasion by the stoutest courier, who was a German. None of the others took any more notice of it than they took of me, sitting on another bench on the other side of the convent door, smoking my cigar, like them, and—also like them—looking at the reddened snow, and at the lonely shed hard by, where the bodies of belated travellers, dug out of it, slowly wither away, knowing no corruption in that cold region. The wine upon the mountain top soaked in as we looked; the mountain became white; the sky, a very dark blue; the wind rose; and the air turned piercing cold. The five couriers buttoned their rough coats. There being no safer man to imitate in all such proceedings than a courier, I buttoned mine. The mountain in the sunset had stopped the five couriers in a conversation. It is a sublime sight, likely to stop conversation. The mountain being now out of the sunset, they resumed. Not that I had heard any part of their previous discourse; for indeed, I had not then broken away from the American gentleman, in the travellers’ parlour of the convent, who, sitting with his face to the fire, had undertaken to realise to me the whole progress of events which had led to the accumulation by the Honourable Ananias Dodger of one of the largest acquisitions of dollars ever made in our country. "My God!" said the Swiss courier, speaking in French, which I do not hold (as some authors appear to do) to be such an all-sufficient excuse for a naughty word, that I have only to write it in that language to make it innocent; "if you talk of ghosts—" "But I don’t talk of ghosts," said the German. "Of what then?" asked the Swiss. "If I knew of what then," said the German, "I should probably know a great deal more." It was a good answer, I thought, and it made me curious. So, I moved my position to that corner of my bench which was nearest to them, and leaning my back against the convent-wall, heard perfectly, without appearing to attend. "Thunder and lightning!" said the German, warming, "when a certain man is coming to see you, unexpectedly; and, without his own knowledge, sends some invisible messenger, to put the idea of him in your head all day, what do you call that? When you walk along a crowded street—at Frankfort, Milan, London, Paris—and think that a passing stranger is like your friend Heinrich, and then that another passing stranger is like your friend Heinrich, and so begin to have a strange foreknowledge that presently you’ll meet your friend Heinrich—which you do, though you believed him at Trieste—what do you call that?" "It’s not uncommon, either," murmured the Swiss and the other three. "Uncommon!" said the German. "It’s as common as cherries in the Black Forest. It’s as common as maccaroni at Naples. And Naples reminds me! When the old Marchesa Senzanima shrieks at a card-party on the Chiaja—as I heard and saw her, for it happened in a Bavarian family of mine, and I was overlooking the service that evening—I say, when the old Marchesa starts up at the card-table, white through her rouge, and cries, 'My sister in Spain is dead! I felt her cold touch on my back!'—and when that sister is dead at the moment—what do you call that?" "Or when the blood of San Gennaro liquefies at the request of the clergy—as all the world knows that it does regularly once a-year, in my native city," said the Neapolitan courier after a pause, with a comical look, "what do you call that?" "That!" cried the German. "Well! I think I know a name for that." "Miracle?" said the Neapolitan, with the same sly face. The German merely smoked and laughed; and they all smoked and laughed. "Bah!" said the German, presently. "I speak of things that really do happen. When I want to see the conjurer, I pay to see a professed one, and have my money’s worth. Very strange things do happen without ghosts. Ghosts! Giovanni Baptista, tell your story of the English bride. There’s no ghost in that, but something full as strange. Will any man tell me what?" As there was a silence among them, I glanced around. He whom I took to be Baptista was lighting a fresh cigar. He presently went on to speak. He was a Genoese, as I judged. "The story of the English bride?" said he. "Basta! one ought not to call so slight a thing a story. Well, it’s all one. But it’s true. Observe me well, gentlemen, it’s true. That which glitters is not always gold; but what I am going to tell, is true." He repeated this more than once. Ten years ago, I took my credentials to an English gentleman at Long’s Hotel, in Bond Street, London, who was about to travel—it might be for one year, it might be for two. He approved of them; likewise of me. He was pleased to make inquiry. The testimony that he received was favourable. He engaged me by the six months, and my entertainment was generous. He was young, handsome, very happy. He was enamoured of a fair young English lady, with a sufficient fortune, and they were going to be married. It was the wedding-trip, in short, that we were going to take. For three months’ rest in the hot weather (it was early summer then) he had hired an old place on the Riviera, at an easy distance from my city, Genoa, on the road to Nice. Did I know that place? Yes; I told him I knew it well. It was an old palace, with great gardens. It was a little bare, and it was a little dark and gloomy, being close surrounded by trees; but it was spacious, ancient, grand, and on the sea shore. He said it had been so described to him exactly, and he was well pleased that I knew it. For its being a little bare of furniture, all such places were. For its being a little gloomy, he had hired it principally for the gardens, and he and my mistress would pass the summer weather in their shade. "So all goes well, Baptista?" said he. "Indubitably, signor; very well." We had a travelling chariot for our journey, newly built for us, and in all respects complete. All we had was complete; we wanted for nothing. The marriage took place. They were happy. I was happy, seeing all so bright, being so well situated, going to my own city, teaching my language in the rumble to the maid, la bella Carolina, whose heart was gay with laughter: who was young and rosy. The time flew. But I observed—listen to this, I pray! (and here the courier dropped his voice)—I observed my mistress sometimes brooding in a manner very strange; in a frightened manner; in an unhappy manner; with a cloudy, uncertain alarm upon her. I think that I began to notice this when I was walking up hills by the carriage side, and master had gone on in front. At any rate, I remember that it impressed itself upon my mind one evening in the South of France, when she called to me to call master back; and when he came back, and walked for a long way, talking encouragingly and affectionately to her, with his hand upon the open window, and hers in it. Now and then, he laughed in a merry way, as if he were bantering her out of something. By and by, she laughed, and then all went well again. It was curious. I asked la bella Carolina, the pretty little one, Was mistress unwell?—No. Out of spirits?—No. Fearful of bad roads, or brigands?—No. And what made it more mysterious was, the pretty little one would not look at me in giving answer, but would look at the view. But, one day she told me the secret. "If you must know," said Carolina, "I find, from what I have overheard, that mistress is haunted." "How haunted?" "By a dream." "What dream?" "By a dream of a face. For three nights before her marriage, she saw a face in a dream—always the same face, and only One." "A terrible face?" "No. The face of a dark, remarkable-looking man, in black, with black hair and a grey moustache—a handsome man except for a reserved and secret air. Not a face she ever saw, or at all like a face she ever saw. Doing nothing in the dream but looking at her fixedly, out of darkness." "Does the dream come back?" "Never. The recollection of it is all her trouble." "And why does it trouble her?" Carolina shook her head. "That’s master’s question," said la bella. "She don’t know. She wonders why, herself. But I heard her tell him, only last night, that if she was to find a picture of that face in our Italian house (which she is afraid she will) she did not know how she could ever bear it." Upon my word I was fearful after this (said the Genoese courier) of our coming to the old palazzo, lest some such ill-starred picture should happen to be there. I knew there were many there; and, as we got nearer and nearer to the place, I wished the whole gallery in the crater of Vesuvius. To mend the matter, it was a stormy dismal evening when we, at last, approached that part of the Riviera. It thundered; and the thunder of my city and its environs, rolling among the high hills, is very loud. The lizards ran in and out of the chinks in the broken stone wall of the garden, as if they were frightened; the frogs bubbled and croaked their loudest; the sea-wind moaned, and the wet trees dripped; and the lightning—body of San Lorenzo, how it lightened! We all know what an old palace in or near Genoa is—how time and the sea air have blotted it—how the drapery painted on the outer walls has peeled off in great flakes of plaster—how the lower windows are darkened with rusty bars of iron—how the courtyard is overgrown with grass—how the outer buildings are dilapidated—how the whole pile seems devoted to ruin. Our palazzo was one of the true kind. It had been shut up close for months. Months?—years! It had an earthy smell, like a tomb. The scent of the orange-trees on the broad back terrace, and of the lemons ripening on the wall, and of some shrubs that grew around a broken fountain, had got into the house somehow, and had never been able to get out again. There it was, in every room, an aged smell, grown faint with confinement. It pined in all the cupboards and drawers. In the little rooms of communication between great rooms, it was stifling. If you turned a picture—to come back to the pictures—there it still was, clinging to the wall behind the frame, like a sort of bat. The lattice-blinds were close shut, all over the house. There were two ugly grey old women in the house, to take care of it; one of them with a spindle, who stood winding and mumbling in the doorway, and who would as soon have let in the devil as the air. Master, mistress, la bella Carolina, and I, went all through the palazzo. I went first, though I have named myself last, opening the windows and the lattice-blinds, and shaking down on myself splashes of rain, and scraps of mortar, and now and then a dozing mosquito, or a monstrous, fat, blotchy, Genoese spider. When I had let the evening light into a room, master, mistress, and la bella Carolina, entered. Then, we looked round at all the pictures, and I went forward again into another room. Mistress secretly had great fear of meeting with the likeness of that face—we all had; but there was no such thing. The Madonna and Bambino, San Francisco, San Sebastiano, Venus, Santa Caterina, Angels, Brigands, Friars, Temples at Sunset, Battles, White Horses, Forests, Apostles, Doges, all my old acquaintances many times repeated?—yes. Dark handsome man in black, reserved and secret, with black hair and grey moustache, looking fixedly at mistress out of darkness?—no. At last we got through all the rooms and all the pictures, and came out into the gardens. They were pretty well kept, being rented by a gardener, and were large and shady. In one place there was a rustic theatre, open to the sky; the stage a green slope; the coulisses, three entrances upon a side, sweet-smelling leafy screens. Mistress moved her bright eyes, even there, as if she looked to see the face come in upon the scene: but all was well. "Now, Clara," master said, in a low voice, "you see that it is nothing? You are happy." Mistress was much encouraged. She soon accustomed herself to that grim palazzo, and would sing, and play the harp, and copy the old pictures, and stroll with master under the green trees and vines, all day. She was beautiful. He was happy. He would laugh and say to me, mounting his horse for his morning ride before the heat: "All goes well, Baptista!" "Yes, signore, thank God, very well." We kept no company. I took la bella to the Duomo and Annunciata, to the Café, to the Opera, to the village Festa, to the Public Garden, to the Day Theatre, to the Marionetti. The pretty little one was charmed with all she saw. She learnt Italian—heavens! miraculously! Was mistress quite forgetful of that dream? I asked Carolina sometimes. Nearly, said la bella—almost. It was wearing out. One day master received a letter, and called me. "Baptista!" "Signore." "A gentleman who is presented to me will dine here to day. He is called the Signor Dellombra. Let me dine like a prince.’ It was an odd name. I did not know that name. But, there had been many noblemen and gentlemen pursued by Austria on political suspicions, lately, and some names had changed. Perhaps this was one. Altro! Dellombra was as good a name to me as another. When the Signor Dellombra came to dinner (said the Genoese courier in the low voice, into which he had subsided once before), I showed him into the reception-room, the great sala of the old palazzo. Master received him with cordiality, and presented him to mistress. As she rose, her face changed, she gave a cry, and fell upon the marble floor. Then, I turned my head to the Signor Dellombra, and saw that he was dressed in black, and had a reserved and secret air, and was a dark, remarkable-looking man, with black hair and a grey moustache. Master raised mistress in his arms, and carried her to her own room, where I sent la bella Carolina straight. La bella told me afterwards that mistress was nearly terrified to death, and that she wandered in her mind about her dream, all night. Master was vexed and anxious—almost angry, and yet full of solicitude. The Signor Dellombra was a courtly gentleman, and spoke with great respect and sympathy of mistress’s being so ill. The African wind had been blowing for some days (they had told him at his hôtel of the Maltese Cross), and he knew that it was often hurtful. He hoped the beautiful lady would recover soon. He begged permission to retire, and to renew his visit when he should have the happiness of hearing that she was better. Master would not allow of this, and they dined alone. He withdrew early. Next day he called at the gate, on horseback, to inquire for mistress. He did so two or three times in that week. What I observed myself, and what la bella Carolina told me, united to explain to me that master had now set his mind on curing mistress of her fanciful terror. He was all kindness, but he was sensible and firm. He reasoned with her, that to encourage such fancies was to invite melancholy, if not madness. That it rested with herself to be herself. That if she once resisted her strange weakness, so successfully as to receive the Signor Dellombra as an English lady would receive any other guest, it was for ever conquered. To make an end, the Signor came again, and mistress received him without marked distress (though with constraint and apprehension still), and the evening passed serenely. Master was so delighted with this change, and so anxious to confirm it, that the Signor Dellombra became a constant guest. He was accomplished in pictures, books, and music; and his society, in any grim palazzo, would have been welcome. I used to notice, many times, that mistress was not quite recovered. She would cast down her eyes and droop her head, before the Signor Dellombra, or would look at him with a terrified and fascinated glance, as if his presence had some evil influence or power upon her. Turning from her to him, I used to see him in the shaded gardens, or the large half-lighted sala, looking, as I might say, "fixedly upon her out of darkness." But, truly, I had not forgotten la bella Carolina’s words describing the face in the dream. After his second visit I heard master say: "Now, see, my dear Clara, it’s over! Dellombra has come and gone, and your apprehension is broken like glass." "Will he—will he ever come again?" asked mistress. "Again? Why, surely, over and over again! Are you cold?" (she shivered.) "No, dear—but—he terrifies me: are you sure that he need come again?" "The surer for the question, Clara!" replied master, cheerfully. But, he was very hopeful of her complete recovery now, and grew more and more so every day. She was beautiful. He was happy. "All goes well, Baptista?" he would say to me again. "Yes, signore, thank God; very well." We were all (said the Genoese courier, constraining himself to speak a little louder), we were all at Rome for the Carnival. I had been out, all day, with a Sicilian, a friend of mine, and a courier, who was there with an English family. As I returned at night to our hotel, I met the little Carolina, who never stirred from home alone, running distractedly along the Corso. "Carolina! What’s the matter?" "O Baptista! O, for the Lord’s sake! where is my mistress?" "Mistress, Carolina?" "Gone since morning—told me, when master went out on his day’s journey, not to call her, for she was tired with not resting in the night (having been in pain), and would lie in bed until the evening; then get up refreshed. She is gone!—she is gone! Master has come back, broken down the door, and she is gone! My beautiful, my good, my innocent mistress!" The pretty little one so cried, and raved, and tore herself that I could not have held her, but for her swooning on my arm as if she had been shot. Master came up—in manner, face, or voice, no more the master that I knew, than I was he. He took me (I laid the little one upon her bed in the hôtel, and left her with the chamber-women), in a carriage, furiously through the darkness, across the desolate Campagna. When it was day, and we stopped at a miserable posthouse, all the horses had been hired twelve hours ago, and sent away in different directions. Mark me!—iby the Signor Dellombra, who had passed there in a carriage, with a frightened English lady crouching in one corner. I never heard (said the Genoese courier, drawing a long breath) that she was ever traced beyond that spot. All I know is, that she vanished into infamous oblivion, with the dreaded face beside her that she had seen in her dream. "What do you call that?" said the German courier, triumphantly: "Ghosts! There are no ghosts there! What do you call this, that I am going to tell you? Ghosts! There are no ghosts here!" I took an engagement once (pursued the German courier) with an English gentleman, elderly and a bachelor, to travel through my country, my Fatherland. He was a merchant who traded with my country and knew the language, but who had never been there since he was a boy—as I judge, some sixty years before. His name was James, and he had a twin-brother John, also a bachelor. Between these brothers there was a great affection. They were in business together, at Goodman’s Fields, but they did not live together. Mr. James dwelt in Poland Street, turning out of Oxford Street, London. Mr. John resided by Epping Forest. Mr. James and I were to start for Germany in about a week. The exact day depended on business. Mr. John came to Poland Street (where I was staying in the house), to pass that week with Mr. James. But, he said to his brother on the second day, "I don’t feel very well, James. There’s not much the matter with me; but I think I am a little gouty. I’ll go home and put myself under the care of my old housekeeper, who understands my ways. If I get quite better, I’ll come back and see you before you go. If I don’t feel well enough to resume my visit where I leave it off, why you will come and see me before you go." Mr. James, of course, said he would, and they shook hands—both hands, as they always did—and Mr. John ordered out his old-fashioned chariot and rumbled home. It was on the second night after that—that is to say, the fourth in the week—when I was awoke out of my sound sleep by Mr. James coming into my bedroom in his flannel-gown, with a lighted candle. He sat upon the side of my bed, and looking at me, said: "Wilhelm, I have reason to think I have got some strange illness upon me." I then perceived that there was a very unusual expression in his face. "Wilhelm," said he, "I am not afraid or ashamed to tell you what I might be afraid or ashamed to tell another man. You come from a sensible country, where mysterious things are inquired into and are not settled to have been weighed and measured—or to have been unweighable and unmeasurable—or in either case to have been completely disposed of, for all time—ever so many years ago. I have just now seen the phantom of my brother." I confess (said the German courier) that it gave me a little tingling of the blood to hear it. "I have just now seen," Mr. James repeated, looking full at me, that I might see how collected he was, "the phantom of my brother John. I was sitting up in bed, unable to sleep, when it came into my room, in a white dress, and regarding me earnestly, passed up to the end of the room, glanced at some papers on my writing-desk, turned, and, still looking earnestly at me as it passed the bed, went out at the door. Now, I am not in the least mad, and am not in the least disposed to invest that phantom with any external existence out of myself. I think it is a warning to me that I am ill; and I think I had better be bled." I got out of bed directly (said the German courier) and began to get on my clothes, begging him not to be alarmed, and telling him that I would go myself to the doctor. I was just ready, when we heard a loud knocking and ringing at the street door. My room being an attic at the back, and Mr. James’s being the second-floor room in the front, we went down to his room, and put up the window, to see what was the matter. "Is that Mr. James?" said a man below, falling back to the opposite side of the way to look up. "It is," said Mr. James, "and you are my brother’s man, Robert." "Yes, sir. I am sorry to say, sir, that Mr. John is ill. He is very bad, sir. It is even feared that he may be lying at the point of death. He wants to see you, sir. I have a chaise here. Pray come to him. Pray lose no time." Mr. James and I looked at one another. "Wilhelm," said he, "this is strange. I wish you to come with me!" I helped him to dress, partly there and partly in the chaise; and no grass grew under the horses’ iron shoes between Poland Street and the Forest. Now, mind! (said the German courier) I went with Mr. James into his brother’s room, and I saw and heard myself what follows. His brother lay upon his bed, at the upper end of a long bed-chamber. His old housekeeper was there, and others were there: I think three others were there, if not four, and they had been with him since early in the afternoon. He was in white, like the figure—necessarily so, because he had his night-dress on. He looked like the figure—necessarily so, because he looked earnestly at his brother when he saw him come into the room. But, when his brother reached the bed-side, he slowly raised himself in bed, and looking full upon him, said these words: "JAMES, YOU HAVE SEEN ME BEFORE, TO-NIGHT—AND YOU KNOW IT!" And so died! I waited, when the German courier ceased, to hear something said of this strange story. The silence was unbroken. I looked round, and the five couriers were gone: so noiselessly that the ghostly mountain might have absorbed them into its eternal snows. By this time, I was by no means in a mood to sit alone in that awful scene, with the chill air coming solemnly upon me—or, if I may tell the truth, to sit alone anywhere. So I went back into the convent-parlour, and, finding the American gentleman still disposed to relate the biography of the Honourable Ananias Dodger, heard it all out. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'To Be Read at Dusk' Description An account of the resource Published in The Keepsake, Edited by Marguerite Power. Engraved by Frederick A. Heath. London: David Bogue, 1852, pp. 117-131. Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived Google Books, <a href="https://www.google.com/books/edition/The_Keepsake_1852_Edited_by_Miss_Power_w/icKeHrEqFxEC?hl=en&gbpv=1&bsq=read%20at%20dusk">https://www.google.com/books/edition/The_Keepsake_1852_Edited_by_Miss_Power_w/icKeHrEqFxEC?hl=en&gbpv=1&bsq=read%20at%20dusk</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1852 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 1852_To_Be_Read_at_Dusk Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles 'To Be Read at Dusk' (1852). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1852_To_Be_Read_at_Dusk">https://www.dickenssearch.com/short-stories/1852_To_Be_Read_at_Dusk</a>. Scripto Transcription A written representation of a document. One, two, three, four, five.  There were five of them. Five couriers, sitting on a bench outside the convent on the summit of the Great St. Bernard in Switzerland, looking at the remote heights, stained by the setting sun, as if a mighty quantity of red wine had been broached upon the mountain top, and had not yet had time to sink into the snow. This is not my simile. It was made for the occasion by the stoutest courier, who was a German. None of the others took any more notice of it than they took of me, sitting on another bench on the other side of the convent door, smoking my cigar, like them, and—also like them—looking at the reddened snow, and at the lonely shed hard by, where the bodies of belated travellers, dug out of it, slowly wither away, knowing no corruption in that cold region. The wine upon the mountain top soaked in as we looked; the mountain became white; the sky, a very dark blue; the wind rose; and the air turned piercing cold. The five couriers buttoned their rough coats. There being no safer man to imitate in all such proceedings than a courier, I buttoned mine. The mountain in the sunset had stopped the five couriers in a conversation. It is a sublime sight, likely to stop conversation. The mountain being now out of the sunset, they resumed. Not that I had heard any part of their previous discourse; for indeed, I had not then broken away from the American gentleman, in the travellers’ parlour of the convent, who, sitting with his face to the fire, had undertaken to realise to me the whole progress of events which had led to the accumulation by the Honourable Ananias Dodger of one of the largest acquisitions of dollars ever made in our country. "My God!" said the Swiss courier, speaking in French, which I do not hold (as some authors appear to do) to be such an all-sufficient excuse for a naughty word, that I have only to write it in that language to make it innocent; "if you talk of ghosts—" "But I don’t talk of ghosts," said the German. "Of what then?" asked the Swiss. "If I knew of what then," said the German, "I should probably know a great deal more." It was a good answer, I thought, and it made me curious. So, I moved my position to that corner of my bench which was nearest to them, and leaning my back against the convent-wall, heard perfectly, without appearing to attend. "Thunder and lightning!" said the German, warming, "when a certain man is coming to see you, unexpectedly; and, without his own knowledge, sends some invisible messenger, to put the idea of him in your head all day, what do you call that? When you walk along a crowded street—at Frankfort, Milan, London, Paris—and think that a passing stranger is like your friend Heinrich, and then that another passing stranger is like your friend Heinrich, and so begin to have a strange foreknowledge that presently you’ll meet your friend Heinrich—which you do, though you believed him at Trieste—what do you call that?" "It’s not uncommon, either," murmured the Swiss and the other three. "Uncommon!" said the German. "It’s as common as cherries in the Black Forest. It’s as common as maccaroni at Naples. And Naples reminds me! When the old Marchesa Senzanima shrieks at a card-party on the Chiaja—as I heard and saw her, for it happened in a Bavarian family of mine, and I was overlooking the service that evening—I say, when the old Marchesa starts up at the card-table, white through her rouge, and cries, 'My sister in Spain is dead! I felt her cold touch on my back!'—and when that sister is dead at the moment—what do you call that?" "Or when the blood of San Gennaro liquefies at the request of the clergy—as all the world knows that it does regularly once a-year, in my native city," said the Neapolitan courier after a pause, with a comical look, "what do you call that?" "That!" cried the German. "Well! I think I know a name for that." "Miracle?" said the Neapolitan, with the same sly face. The German merely smoked and laughed; and they all smoked and laughed. "Bah!" said the German, presently. "I speak of things that really do happen. When I want to see the conjurer, I pay to see a professed one, and have my money’s worth. Very strange things do happen without ghosts. Ghosts! Giovanni Baptista, tell your story of the English bride. There’s no ghost in that, but something full as strange. Will any man tell me what?" As there was a silence among them, I glanced around. He whom I took to be Baptista was lighting a fresh cigar. He presently went on to speak. He was a Genoese, as I judged. "The story of the English bride?" said he. "Basta! one ought not to call so slight a thing a story. Well, it’s all one. But it’s true. Observe me well, gentlemen, it’s true. That which glitters is not always gold; but what I am going to tell, is true." He repeated this more than once. <div class="gapspace"> Ten years ago, I took my credentials to an English gentleman at Long’s Hotel, in Bond Street, London, who was about to travel—it might be for one year, it might be for two. He approved of them; likewise of me. He was pleased to make inquiry. The testimony that he received was favourable. He engaged me by the six months, and my entertainment was generous.</div> He was young, handsome, very happy. He was enamoured of a fair young English lady, with a sufficient fortune, and they were going to be married. It was the wedding-trip, in short, that we were going to take. For three months’ rest in the hot weather (it was early summer then) he had hired an old place on the Riviera, at an easy distance from my city, Genoa, on the road to Nice. Did I know that place? Yes; I told him I knew it well. It was an old palace, with great gardens. It was a little bare, and it was a little dark and gloomy, being close surrounded by trees; but it was spacious, ancient, grand, and on the sea shore. He said it had been so described to him exactly, and he was well pleased that I knew it. For its being a little bare of furniture, all such places were. For its being a little gloomy, he had hired it principally for the gardens, and he and my mistress would pass the summer weather in their shade. "So all goes well, Baptista?" said he. "Indubitably, signor; very well." We had a travelling chariot for our journey, newly built for us, and in all respects complete. All we had was complete; we wanted for nothing. The marriage took place. They were happy. I was happy, seeing all so bright, being so well situated, going to my own city, teaching my language in the rumble to the maid, la bella Carolina, whose heart was gay with laughter: who was young and rosy. The time flew. But I observed—listen to this, I pray! (and here the courier dropped his voice)—I observed my mistress sometimes brooding in a manner very strange; in a frightened manner; in an unhappy manner; with a cloudy, uncertain alarm upon her. I think that I began to notice this when I was walking up hills by the carriage side, and master had gone on in front. At any rate, I remember that it impressed itself upon my mind one evening in the South of France, when she called to me to call master back; and when he came back, and walked for a long way, talking encouragingly and affectionately to her, with his hand upon the open window, and hers in it. Now and then, he laughed in a merry way, as if he were bantering her out of something. By and by, she laughed, and then all went well again. It was curious. I asked la bella Carolina, the pretty little one, Was mistress unwell?—No. Out of spirits?—No. Fearful of bad roads, or brigands?—No. And what made it more mysterious was, the pretty little one would not look at me in giving answer, but would look at the view. But, one day she told me the secret. "If you must know," said Carolina, "I find, from what I have overheard, that mistress is haunted." "How haunted?" "By a dream." "What dream?" "By a dream of a face. For three nights before her marriage, she saw a face in a dream—always the same face, and only One." "A terrible face?" "No. The face of a dark, remarkable-looking man, in black, with black hair and a grey moustache—a handsome man except for a reserved and secret air. Not a face she ever saw, or at all like a face she ever saw. Doing nothing in the dream but looking at her fixedly, out of darkness." "Does the dream come back?" "Never. The recollection of it is all her trouble." "And why does it trouble her?" Carolina shook her head. "That’s master’s question," said la bella. "She don’t know. She wonders why, herself. But I heard her tell him, only last night, that if she was to find a picture of that face in our Italian house (which she is afraid she will) she did not know how she could ever bear it." Upon my word I was fearful after this (said the Genoese courier) of our coming to the old palazzo, lest some such ill-starred picture should happen to be there. I knew there were many there; and, as we got nearer and nearer to the place, I wished the whole gallery in the crater of Vesuvius. To mend the matter, it was a stormy dismal evening when we, at last, approached that part of the Riviera. It thundered; and the thunder of my city and its environs, rolling among the high hills, is very loud. The lizards ran in and out of the chinks in the broken stone wall of the garden, as if they were frightened; the frogs bubbled and croaked their loudest; the sea-wind moaned, and the wet trees dripped; and the lightning—body of San Lorenzo, how it lightened! We all know what an old palace in or near Genoa is—how time and the sea air have blotted it—how the drapery painted on the outer walls has peeled off in great flakes of plaster—how the lower windows are darkened with rusty bars of iron—how the courtyard is overgrown with grass—how the outer buildings are dilapidated—how the whole pile seems devoted to ruin. Our palazzo was one of the true kind. It had been shut up close for months. Months?—years! It had an earthy smell, like a tomb. The scent of the orange-trees on the broad back terrace, and of the lemons ripening on the wall, and of some shrubs that grew around a broken fountain, had got into the house somehow, and had never been able to get out again. There it was, in every room, an aged smell, grown faint with confinement. It pined in all the cupboards and drawers. In the little rooms of communication between great rooms, it was stifling. If you turned a picture—to come back to the pictures—there it still was, clinging to the wall behind the frame, like a sort of bat. The lattice-blinds were close shut, all over the house. There were two ugly grey old women in the house, to take care of it; one of them with a spindle, who stood winding and mumbling in the doorway, and who would as soon have let in the devil as the air. Master, mistress, la bella Carolina, and I, went all through the palazzo. I went first, though I have named myself last, opening the windows and the lattice-blinds, and shaking down on myself splashes of rain, and scraps of mortar, and now and then a dozing mosquito, or a monstrous, fat, blotchy, Genoese spider. When I had let the evening light into a room, master, mistress, and la bella Carolina, entered. Then, we looked round at all the pictures, and I went forward again into another room. Mistress secretly had great fear of meeting with the likeness of that face—we all had; but there was no such thing. The Madonna and Bambino, San Francisco, San Sebastiano, Venus, Santa Caterina, Angels, Brigands, Friars, Temples at Sunset, Battles, White Horses, Forests, Apostles, Doges, all my old acquaintances many times repeated?—yes. Dark handsome man in black, reserved and secret, with black hair and grey moustache, looking fixedly at mistress out of darkness?—no. At last we got through all the rooms and all the pictures, and came out into the gardens. They were pretty well kept, being rented by a gardener, and were large and shady. In one place there was a rustic theatre, open to the sky; the stage a green slope; the coulisses, three entrances upon a side, sweet-smelling leafy screens. Mistress moved her bright eyes, even there, as if she looked to see the face come in upon the scene: but all was well. "Now, Clara," master said, in a low voice, "you see that it is nothing? You are happy." Mistress was much encouraged. She soon accustomed herself to that grim palazzo, and would sing, and play the harp, and copy the old pictures, and stroll with master under the green trees and vines, all day. She was beautiful. He was happy. He would laugh and say to me, mounting his horse for his morning ride before the heat: "All goes well, Baptista!" "Yes, signore, thank God, very well." We kept no company. I took la bella to the Duomo and Annunciata, to the Café, to the Opera, to the village Festa, to the Public Garden, to the Day Theatre, to the Marionetti. The pretty little one was charmed with all she saw. She learnt Italian—heavens! miraculously! Was mistress quite forgetful of that dream? I asked Carolina sometimes. Nearly, said la bella—almost. It was wearing out. One day master received a letter, and called me. "Baptista!" "Signore." "A gentleman who is presented to me will dine here to day. He is called the Signor Dellombra. Let me dine like a prince.’ It was an odd name. I did not know that name. But, there had been many noblemen and gentlemen pursued by Austria on political suspicions, lately, and some names had changed.  Perhaps this was one. Altro! Dellombra was as good a name to me as another. When the Signor Dellombra came to dinner (said the Genoese courier in the low voice, into which he had subsided once before), I showed him into the reception-room, the great sala of the old palazzo. Master received him with cordiality, and presented him to mistress. As she rose, her face changed, she gave a cry, and fell upon the marble floor. Then, I turned my head to the Signor Dellombra, and saw that he was dressed in black, and had a reserved and secret air, and was a dark, remarkable-looking man, with black hair and a grey moustache. Master raised mistress in his arms, and carried her to her own room, where I sent la bella Carolina straight. La bella told me afterwards that mistress was nearly terrified to death, and that she wandered in her mind about her dream, all night. Master was vexed and anxious—almost angry, and yet full of solicitude. The Signor Dellombra was a courtly gentleman, and spoke with great respect and sympathy of mistress’s being so ill. The African wind had been blowing for some days (they had told him at his hôtel of the Maltese Cross), and he knew that it was often hurtful. He hoped the beautiful lady would recover soon. He begged permission to retire, and to renew his visit when he should have the happiness of hearing that she was better. Master would not allow of this, and they dined alone. He withdrew early. Next day he called at the gate, on horseback, to inquire for mistress. He did so two or three times in that week. What I observed myself, and what la bella Carolina told me, united to explain to me that master had now set his mind on curing mistress of her fanciful terror. He was all kindness, but he was sensible and firm. He reasoned with her, that to encourage such fancies was to invite melancholy, if not madness. That it rested with herself to be herself. That if she once resisted her strange weakness, so successfully as to receive the Signor Dellombra as an English lady would receive any other guest, it was for ever conquered. To make an end, the Signor came again, and mistress received him without marked distress (though with constraint and apprehension still), and the evening passed serenely. Master was so delighted with this change, and so anxious to confirm it, that the Signor Dellombra became a constant guest. He was accomplished in pictures, books, and music; and his society, in any grim palazzo, would have been welcome. I used to notice, many times, that mistress was not quite recovered. She would cast down her eyes and droop her head, before the Signor Dellombra, or would look at him with a terrified and fascinated glance, as if his presence had some evil influence or power upon her. Turning from her to him, I used to see him in the shaded gardens, or the large half-lighted sala, looking, as I might say, "fixedly upon her out of darkness." But, truly, I had not forgotten la bella Carolina’s words describing the face in the dream. After his second visit I heard master say: "Now, see, my dear Clara, it’s over! Dellombra has come and gone, and your apprehension is broken like glass." "Will he—will he ever come again?" asked mistress. "Again? Why, surely, over and over again! Are you cold?" (she shivered.) "No, dear—but—he terrifies me: are you sure that he need come again?" "The surer for the question, Clara!" replied master, cheerfully. But, he was very hopeful of her complete recovery now, and grew more and more so every day. She was beautiful. He was happy. "All goes well, Baptista?" he would say to me again. "Yes, signore, thank God; very well." We were all (said the Genoese courier, constraining himself to speak a little louder), we were all at Rome for the Carnival. I had been out, all day, with a Sicilian, a friend of mine, and a courier, who was there with an English family. As I returned at night to our hotel, I met the little Carolina, who never stirred from home alone, running distractedly along the Corso. "Carolina! What’s the matter?" "O Baptista! O, for the Lord’s sake! where is my mistress?" "Mistress, Carolina?" "Gone since morning—told me, when master went out on his day’s journey, not to call her, for she was tired with not resting in the night (having been in pain), and would lie in bed until the evening; then get up refreshed. She is gone!—she is gone! Master has come back, broken down the door, and she is gone! My beautiful, my good, my innocent mistress!" The pretty little one so cried, and raved, and tore herself that I could not have held her, but for her swooning on my arm as if she had been shot. Master came up—in manner, face, or voice, no more the master that I knew, than I was he. He took me (I laid the little one upon her bed in the hôtel, and left her with the chamber-women), in a carriage, furiously through the darkness, across the desolate Campagna. When it was day, and we stopped at a miserable posthouse, all the horses had been hired twelve hours ago, and sent away in different directions. Mark me!—iby the Signor Dellombra, who had passed there in a carriage, with a frightened English lady crouching in one corner. I never heard (said the Genoese courier, drawing a long breath) that she was ever traced beyond that spot. All I know is, that she vanished into infamous oblivion, with the dreaded face beside her that she had seen in her dream. <div class="gapspace"> "What do you call that?" said the German courier, triumphantly:  "Ghosts! There are no ghosts there! What do you call this, that I am going to tell you? Ghosts! There are no ghosts here!" I took an engagement once (pursued the German courier) with an English gentleman, elderly and a bachelor, to travel through my country, my Fatherland. He was a merchant who traded with my country and knew the language, but who had never been there since he was a boy—as I judge, some sixty years before.</div> His name was James, and he had a twin-brother John, also a bachelor. Between these brothers there was a great affection. They were in business together, at Goodman’s Fields, but they did not live together. Mr. James dwelt in Poland Street, turning out of Oxford Street, London. Mr. John resided by Epping Forest. Mr. James and I were to start for Germany in about a week. The exact day depended on business. Mr. John came to Poland Street (where I was staying in the house), to pass that week with Mr. James. But, he said to his brother on the second day, "I don’t feel very well, James. There’s not much the matter with me; but I think I am a little gouty. I’ll go home and put myself under the care of my old housekeeper, who understands my ways. If I get quite better, I’ll come back and see you before you go. If I don’t feel well enough to resume my visit where I leave it off, why you will come and see me before you go." Mr. James, of course, said he would, and they shook hands—both hands, as they always did—and Mr. John ordered out his old-fashioned chariot and rumbled home. It was on the second night after that—that is to say, the fourth in the week—when I was awoke out of my sound sleep by Mr. James coming into my bedroom in his flannel-gown, with a lighted candle. He sat upon the side of my bed, and looking at me, said: "Wilhelm, I have reason to think I have got some strange illness upon me." I then perceived that there was a very unusual expression in his face. "Wilhelm," said he, "I am not afraid or ashamed to tell you what I might be afraid or ashamed to tell another man. You come from a sensible country, where mysterious things are inquired into and are not settled to have been weighed and measured—or to have been unweighable and unmeasurable—or in either case to have been completely disposed of, for all time—ever so many years ago. I have just now seen the phantom of my brother." I confess (said the German courier) that it gave me a little tingling of the blood to hear it. "I have just now seen," Mr. James repeated, looking full at me, that I might see how collected he was, "the phantom of my brother John. I was sitting up in bed, unable to sleep, when it came into my room, in a white dress, and regarding me earnestly, passed up to the end of the room, glanced at some papers on my writing-desk, turned, and, still looking earnestly at me as it passed the bed, went out at the door. Now, I am not in the least mad, and am not in the least disposed to invest that phantom with any external existence out of myself. I think it is a warning to me that I am ill; and I think I had better be bled." I got out of bed directly (said the German courier) and began to get on my clothes, begging him not to be alarmed, and telling him that I would go myself to the doctor. I was just ready, when we heard a loud knocking and ringing at the street door. My room being an attic at the back, and Mr. James’s being the second-floor room in the front, we went down to his room, and put up the window, to see what was the matter. "Is that Mr. James?" said a man below, falling back to the opposite side of the way to look up. "It is," said Mr. James, "and you are my brother’s man, Robert." "Yes, sir. I am sorry to say, sir, that Mr. John is ill.  He is very bad, sir. It is even feared that he may be lying at the point of death. He wants to see you, sir. I have a chaise here. Pray come to him. Pray lose no time." Mr. James and I looked at one another. "Wilhelm," said he, "this is strange.  I wish you to come with me!" I helped him to dress, partly there and partly in the chaise; and no grass grew under the horses’ iron shoes between Poland Street and the Forest. Now, mind! (said the German courier) I went with Mr. James into his brother’s room, and I saw and heard myself what follows. His brother lay upon his bed, at the upper end of a long bed-chamber. His old housekeeper was there, and others were there: I think three others were there, if not four, and they had been with him since early in the afternoon. He was in white, like the figure—necessarily so, because he had his night-dress on. He looked like the figure—necessarily so, because he looked earnestly at his brother when he saw him come into the room. But, when his brother reached the bed-side, he slowly raised himself in bed, and looking full upon him, said these words: "JAMES, YOU HAVE SEEN ME BEFORE, TO-NIGHT—AND YOU KNOW IT!" And so died! <div class="gapspace">I waited, when the German courier ceased, to hear something said of this strange story. The silence was unbroken. I looked round, and the five couriers were gone: so noiselessly that the ghostly mountain might have absorbed them into its eternal snows. By this time, I was by no means in a mood to sit alone in that awful scene, with the chill air coming solemnly upon me—or, if I may tell the truth, to sit alone anywhere. So I went back into the convent-parlour, and, finding the American gentleman still disposed to relate the biography of the Honourable Ananias Dodger, heard it all out.</div> https://www.dickenssearch.com/files/original/5/The_Lamplighter_s_Story/1851-The_Lamplighters_Story_The_Picnic_Papers.pdf e9184a5c75bf123663b167542207f8ef 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 Book Publication The title of the newspaper/serial (if applicable) The Pic-nic Papers 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. 18510101 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 you talk of Murphy and Francis Moore, gentlemen," said the lamplighter who was in the chair, "I mean to say that neither of 'em ever had any more to do with the stars than Tom Grig had." "And what had he to do with 'em?" asked the lamplighter who officiated as vice. "Nothing at all," replied the other; "just exactly nothing at all." "Do you mean to say you don't believe in Murphy, then?" demanded the lamplighter who had opened the discussion. "I mean to say I believe in Tom Grig," replied the chairman. "Whether I believe in Murphy, or not, is a matter between me and my conscience; and whether Murphy believes in himself or not, is a matter between him and his conscience. Gentlemen, I drink your healths." The lamplighter who did the company this honour, was seated in the chimney corner of a certain tavern, which has been, time out of mind, the Lamplighters' House of Call. He sat in the midst of a circle of lamplighters, and was the cacique, or chief of the tribe. If any of our readers have had the good fortune to behold a lamplighter's funeral, they will not be surprised to learn that lamplighters are a strange and primitive people; that they rigidly adhere to old ceremonies and customs which have been handed down among them from father to son since the first public lamp was lighted out of doors; that they intermarry, and betroth their children in infancy; that they enter into no plots or conspiracies (for who ever heard of a traitorous lamplighter?); that they commit no crimes against the laws of their country (there being no instance of a murderous or burglarious lamplighter); that they are, in short, notwithstanding their apparently volatile and restless character, a highly moral and reflective people: having among themselves as many traditional observances as the Jews, and being, as a body, if not as old as the hills, at least as old as the streets. It is an article of their creed that the first faint glimmering of true civilisation shone in the first street-light maintained at the public expense. They trace their existence and high position in the public esteem, in a direct line to the heathen mythology; and hold that the history of Prometheus himself is but a pleasant fable, whereof the true hero is a lamplighter. "Gentlemen," said the lamplighter in the chair, "I drink your healths." "And perhaps, sir," said the vice, holding up his glass, and rising a little way off his seat and sitting down again, in token that he recognised and returned the compliment, "perhaps you will add to that condescension by telling us who Tom Grig was, and how he came to be connected in your mind with Francis Moore, Physician." "Hear, hear, hear!" cried the lamplighters generally. "Tom Grig, gentlemen," said the chairman, "was one of us; and it happened to him as it don't often happen to a public character in our line, that he had his what-you-may-call-it cast." "His head?" said the vice. "No," replied the chairman, "not his head." "His face, perhaps?" said the vice. "No, not his face." "His legs?" "No, not his legs." Nor yet his arms, nor his hands, nor his feet, nor his chest—all of which were severally suggested. "His nativity, perhaps?" "That's it," said the chairman, awakening from his thoughtful attitude at the suggestion. "His nativity. That's what Tom had cast, gentlemen." "In plaster?" asked the vice. "I don't rightly know how it's done," returned the chairman. "But I suppose it was." And there he stopped as if that were all he had to say; whereupon there arose a murmur among the company, which at length resolved itself into a request, conveyed through the vice, that he would go on. This being exactly what the chairman wanted, he mused for a little time, performed that agreeable ceremony which is popularly termed wetting one's whistle, and went on thus: "Tom Grig, gentlemen, was, as I have said, one of us; and I may go further, and say he was an ornament to us, and such a one as only the good old times of oil and cotton could have produced. Tom's family, gentlemen, were all lamplighters." "Not the ladies, I hope?" asked the vice. "They had talent enough for it, sir," rejoined the chairman, "and would have been, but for the prejudices of society. Let women have their rights, sir, and the females of Tom's family would have been every one of 'em in office. But that emancipation hasn't come yet, and hadn't then, and consequently they confined themselves to the bosoms of their families, cooked the dinners, mended the clothes, minded the children, comforted their husbands, and attended to the housekeeping generally. It's a hard thing upon the women, gentlemen, that they are limited to such a sphere of action as this; very hard." "I happen to know all about Tom, gentlemen, from the circumstance of his uncle by his mother's side having been my particular friend. His (that's Tom's uncle's) fate was a melancholy one. Gas was the death of him. When it was first talked of, he laughed. He wasn't angry; he laughed at the credulity of human nature. 'They might as well talk,' he says, 'of laying on an everlasting succession of glow-worms;' and then he laughed again, partly at his joke, and partly at poor humanity. "In course of time, however, the thing got ground, the experiment was made, and they lighted up Pall Mall. Tom's uncle went to see it. I've heard that he fell off his ladder fourteen times that night, from weakness, and that he would certainly have gone on falling till he killed himself, if his last tumble hadn't been into a wheelbarrow which was going his way, and humanely took him home. 'I foresee in this,' says Tom's uncle faintly, and taking to his bed as he spoke—'I foresee in this,' he says, 'the breaking up of our profession. There's no more going the rounds to trim by daylight, no more dribbling down of the oil on the hats and bonnets of ladies and gentlemen when one feels in spirits. Any low fellow can light a gas-lamp. And it's all up.' In this state of mind, he petitioned the government for—I want a word again, gentlemen—what do you call that which they give to people when it's found out, at last, that they've never been of any use, and have been paid too much for doing nothing?" "Compensation?" suggested the vice. "That's it," said the chairman. "Compensation. They didn't give it him though, and then he got very fond of his country all at once, and went about saying that gas was a death-blow to his native land, and that it was a plot of the radicals to ruin the country and destroy the oil and cotton trade for ever, and that the whales would go and kill themselves privately, out of sheer spite and vexation at not being caught. At last he got right down cracked; called his tobacco-pipe a gas-pipe; thought his tears were lamp-oil; and went on with all manner of nonsense of that sort, till one night he hung himself on a lamp-iron in Saint Martin's Lane, and there was an end of him. "Tom loved him, gentlemen, but he survived it. He shed a tear over his grave, got very drunk, spoke a funeral oration that night in the watch-house, and was fined five shillings for it, in the morning. Some men are none the worse for this sort of thing. Tom was one of 'em. He went that very afternoon on a new beat: as clear in his head, and as free from fever as Father Mathew himself. "Tom's new beat, gentlemen, was—I can't exactly say where, for that he'd never tell; but I know it was in a quiet part of town, where there were some queer old houses. I have always had it in my head that it must have been somewhere near Canonbury Tower in Islington, but that's a matter of opinion. Wherever it was, he went upon it, with a bran new ladder, a white hat, a brown holland jacket and trowsers, a blue neck-kerchief, and a sprig of full-blown double wall-flower in his button-hole. Tom was always genteel in his appearance, and I have heard from the best judges, that if he had left his ladder at home that afternoon, you might have took him for a lord. "He was always merry, was Tom, and such a singer, that if there was any encouragement for native talent, he'd have been at the opera. He was on his ladder, lighting his first lamp, and singing to himself in a manner more easily to be conceived than described, when he hears the clock strike five, and suddenly sees an old gentleman with a telescope in his hand, throw up a window and look at him very hard. "Tom didn't know what could be passing in this old gentleman's mind. He thought it likely enough that he might be saying within himself, 'Here's a new lamplighter—a good-looking young fellow—shall I stand something to drink?' Thinking this possible, he keeps quite still, pretending to be very particular about the wick, and looks at the old gentleman sideways, seeming to take no notice of him. "Gentlemen, he was one of the strangest and most mysterious-looking files that ever Tom clapped his eyes on. He was dressed all slovenly and untidy, in a great gown of a kind of bed-furniture pattern, with a cap of the same on his head; and a long old flapped waistcoat; with no braces, no strings, very few buttons—in short, with hardly any of those artificial contrivances that hold society together. Tom knew by these signs, and by his not being shaved, and by his not being over-clean, and by a sort of wisdom not quite awake, in his face, that he was a scientific old gentleman. He often told me that if he could have conceived the possibility of the whole Royal Society being boiled down into one man, he should have said the old gentleman's body was that Body. "The old gentleman claps the telescope to his eye, looks all round, sees nobody else in sight, stares at Tom again, and cries out very loud: "'Hal-loa!' "'Halloa, Sir,' says Tom from the ladder; 'and halloa again, if you come to that.' "'Here's an extraordinary fulfilment,' says the old gentleman, 'of a prediction of the planets.' "'Is there?' says Tom. 'I'm very glad to hear it.' "'Young man,' says the old gentleman, 'you don't know me.' "'Sir,' says Tom, 'I have not that honour; but I shall be happy to drink your health, notwithstanding.' "'I read,' cries the old gentleman, without taking any notice of this politeness on Tom's part—'I read what's going to happen, in the stars.' "Tom thanked him for the information, and begged to know if anything particular was going to happen in the stars, in the course of a week or so; but the old gentleman, correcting him, explained that he read in the stars what was going to happen on dry land, and that he was acquainted with all the celestial bodies. "'I hope they're all well, sir,' says Tom,—'everybody.' "'Hush!' cries the old gentleman. 'I have consulted the book of Fate with rare and wonderful success. I am versed in the great sciences of astrology and astronomy. In my house here, I have every description of apparatus for observing the course and motion of the planets. Six months ago, I derived from this source the knowledge that precisely as the clock struck five this afternoon a stranger would present himself— the destined husband of my young and lovely niece—in reality of illustrious and high descent, but whose birth would be enveloped in uncertainty and mystery. Don't tell me yours isn't,' says the old gentleman, who was in such a hurry to speak that he couldn't get the words out fast enough, 'for I know better.' "Gentlemen, Tom was so astonished when he heard him say this, that he could hardly keep his footing on the ladder, and found it necessary to hold on by the lamp-post. There was a mystery about his birth. His mother had always admitted it. Tom had never known who was his father, and some people had gone so far as to say that even she was in doubt. "While he was in this state of amazement, the old gentleman leaves the window, bursts out of the house-door, shakes the ladder, and Tom, like a ripe pumpkin, comes sliding down into his arms. "'Let me embrace you,' he says, folding his arms about him, and nearly lighting up his old bed-furniture gown at Tom's link. 'You're a man of noble aspect. Everything combines to prove the accuracy of my observations. You have had mysterious promptings within you,' he says; 'I know you have had whisperings of greatness, eh?' he says. "'I think I have,' says Tom—Tom was one of those who can persuade themselves to anything they like—'I have often thought I wasn't the small beer I was taken for.' "'You were right,' cries the old gentleman, hugging him again. 'Come in. My niece awaits us.' "'Is the young lady tolerable good-looking, sir?' says Tom, hanging fire rather, as he thought of her playing the piano, and knowing French, and being up to all manner of accomplishments. "'She's beautiful!' cries the old gentleman, who was in such a terrible bustle that he was all in a perspiration. 'She has a graceful carriage, an exquisite shape, a sweet voice, a countenance beaming with animation and expression; and the eye,' he says, rubbing his hands, 'of a startled fawn.'" "Tom supposed this might mean, what was called among his circle of acquaintance, 'a game eye;' and, with a view to this defect, inquired whether the young lady had any cash. "'She has five thousand pounds,' cries the old gentleman. 'But what of that? what of that? A word in your ear. I'm in search of the philosopher's stone. I have very nearly found it —not quite. It turns everything to gold; that's its property.' 'Tom naturally thought it must have a deal of property; and said that when the old gentleman did get it, he hoped he'd be careful to keep it in the family. "'Certainly,' he says, 'of course. Five thousand pounds! What's five thousand pounds to us? What's five million?' he says. 'What's five thousand million? Money will be nothing to us. We shall never be able to spend it fast enough.' "'We'll try what we can do, sir,' says Tom. "'We will,' says the old gentleman. 'Your name?' "'Grig,' says Tom. 'The old gentleman embraced him again, very tight; and without speaking another word, dragged him into the house in such an excited manner, that it was as much as Tom could do to take his link and ladder with him, and put them down in the passage. "Gentlemen, if Tom hadn't been always remarkable for his love of truth, I think you would still have believed him when he said that all this was like a dream. There is no better way for a man to find out whether he is really asleep or awake, than calling for something to eat. If he's in a dream, gentlemen, he'll find something wanting in the flavour, depend upon it. "Tom explained his doubts to the old gentleman, and said that if there was any cold meat in the house, it would ease his mind very much to test himself at once. The old gentleman ordered up a venison pie, a small ham, and a bottle of very old Madeira. At the first mouthful of pie, and the first glass of wine, Tom smacks his lips and cries out, 'I'm awake—wide awake;' and to prove that he was so, gentlemen, he made an end of 'em both. "When Tom had finished his meal (which he never spoke of afterwards without tears in his eyes), the old gentleman hugs him again, and says, 'Noble stranger! let us visit my young and lovely niece.' Tom, who was a little elevated with the wine, replies, 'The noble stranger is agreeable!' At which words the old gentleman took him by the hand, and led him to the parlour; crying as he opened the door, 'Here is Mr. Grig, the favourite of the planets!' "I will not attempt a description of female beauty, gentlemen, for every one of us has a model of his own that suits his own taste best. In this parlour that I'm speaking of, there were two young ladies; and if every gentleman present, will imagine two models of his own in their places, and will be kind enough to polish 'em up to the very highest pitch of perfection, he will then have a faint conception of their uncommon radiance. "Besides these two young ladies, there was their waiting-woman, that under any other circumstances Tom would have looked upon as a Venus; and besides her, there was a tall, thin, dismal-faced young gentleman, half man and half boy, dressed in a childish suit of clothes very much too short in the legs and arms, and looking, according to Tom's comparison, like one of the wax juveniles from a tailor's door, grown up and run to seed. Now, this youngster stamped his foot upon the ground and looked very fierce at Tom, and Tom looked fierce at him—for to tell the truth, gentlemen, Tom more than half suspected that when they entered the room he was kissing one of the young ladies; and for anything Tom knew, you observe, it might be his young lady—which was not pleasant. "'Sir,' says Tom, 'before we proceed any further, will you have the goodness to inform me who this young Salamander'— Tom called him that for aggravation, you perceive, gentlemen—'who this young Salamander may be?' "'That, Mr. Grig,' says the old gentleman, 'is my little boy. He was christened Galileo Isaac Newton Flamstead. Don't mind him. He's a mere child.' "'And a very fine child too,' says Tom—still aggravating, you'll observe—'of his age, and as good as fine, I have no doubt. How do you do, my man?' with which kind and patronising expressions, Tom reached up to pat him on the head, and quoted two lines about little boys, from Doctor Watts's Hymns, which he had learnt at a Sunday School. "It was very easy to see, gentlemen, by this youngster's frowning and by the waiting-maid's tossing her head and turning up her nose, and by the young ladies turning their backs and talking together at the other end of the room, that nobody but the old gentleman took very kindly to the noble stranger. Indeed, Tom plainly heard the waiting-woman say of her master, that so far from being able to read the stars as he pretended, she didn't believe he knew his letters in 'em, or at best that he had got further than words in one syllable; but Tom, not minding this (for he was in spirits after the Madeira), looks with an agreeable air towards the young ladies, and, kissing his hand to both, says to the old gentleman, 'Which is which?' "'This,' says the old gentleman, leading out the handsomest, if one of 'em could possibly be said to be handsomer than the other—'this is my niece, Miss Fanny Barker.' "'If you'll permit me, miss,' says Tom, 'being a noble stranger and a favourite of the planets, I will conduct myself as such.' With these words, he kisses the young lady in a very affable way, turns to the old gentleman, slaps him on the back, and says, 'When's it to come off, my buck?' "The young lady coloured so deep, and her lip trembled so much, gentlemen, that Tom really thought she was going to cry. But she kept her feelings down, and turning to the old gentleman, says, 'Dear uncle, though you have the absolute disposal of my hand and fortune, and though you mean well in disposing of 'em thus, I ask you whether you don't think this is a mistake? Don't you think, dear uncle,' she says, 'that the stars must be in error? Is it not possible that the comet may have put 'em out?' "'The stars,' says the old gentleman, 'couldn't make a mistake if they tried. Emma,' he says to the other young lady. "'Yes, papa,' says she. "'The same day that makes your cousin Mrs. Grig will unite you to the gifted Mooney. No remonstrance—no tears. Now, Mr. Grig, let me conduct you to that hallowed ground, that philosophical retreat, where my friend and partner, the gifted Mooney of whom I have just now spoken, is even now pursuing those discoveries which shall enrich us with the precious metal, and make us masters of the world. Come, Mr. Grig,' he says. "'With all my heart, sir,' replies Tom; 'and luck to the gifted Mooney, say I—not so much on his account as for our worthy selves!' With this sentiment, Tom kissed his hand to the ladies again, and followed him out; having the gratification to perceive, as he looked back, that they were all hanging on by the arms and legs of Galileo Isaac Newton Flamstead, to prevent him from following the noble stranger, and tearing him to pieces. "Gentlemen, Tom's father-in-law that was to be, took him by the hand, and having lighted a little lamp, led him across a paved court-yard at the back of the house, into a very large, dark, gloomy room: filled with all manner of bottles, globes, books, telescopes, crocodiles, alligators, and other scientific instruments of every kind. In the centre of this room was a stove or furnace, with what Tom called a pot, but which in my opinion was a crucible, in full boil. In one corner was a sort of ladder leading through the roof; and up this ladder the old gentleman pointed, as he said in a whisper: "'The observatory. Mr. Mooney is even now watching for the precise time at which we are to come into all the riches of the earth. It will be necessary for he and I, alone in that silent place, to cast your nativity before the hour arrives. Put the day and minute of your birth on this piece of paper, and leave the rest to me.' "'You don't mean to say,' says Tom, doing as he was told and giving him back the paper, 'that I'm to wait here long, do you? It's a precious dismal place.' "'Hush!' says the old gentleman. 'it's hallowed ground. Farewell!' "'Stop a minute,' says Tom. 'What a hurry you're in! What's in that large bottle yonder?' "'It's a child with three heads,' says the old gentleman; 'and everything else in proportion.' "'Why don't you throw him away?' says Tom. 'What do you keep such unpleasant things here for?' "'Throw him away!' cries the old gentleman. 'We use him constantly in astrology. He's a charm.' "'I shouldn't have thought it,' says Tom, 'from his appearance. Must you go, I say?' "The old gentleman makes him no answer, but climbs up the ladder in a greater bustle than ever. Tom looked after his legs till there was nothing of him left, and then sat down to wait; feeling (so he used to say) as comfortable as if he was going to be made a freemason, and they were heating the pokers. "Tom waited so long, gentlemen, that he began to think it must be getting on for midnight at least, and felt more dismal and lonely than ever he had done in all his life. He tried every means of wiling away the time, but it never had seemed to move so slow. First, he took a nearer view of the child with three heads, and thought what a comfort it must have been to his parents. Then he looked up a long telescope which was pointed out of the window, but saw nothing particular, in consequence of the stopper being on at the other end. Then he came to a skeleton in a glass case, labelled, 'Skeleton of a Gentleman—prepared by Mr. Mooney,' —which made him hope that Mr. Mooney might not be in the habit of preparing gentlemen that way without their own consent. A hundred times at least, he looked into the pot where they were boiling the philosopher's stone down to the proper consistency, and wondered whether it was nearly done. 'When it is,' thinks Tom, 'I'll send out for sixpenn'orth of sprats, and turn 'em into gold fish for a first experiment.' Besides which, he made up his mind, gentlemen, to have a country-house and a park; and to plant a bit of it with a double row of gas-lamps a mile long, and go out every night with a French-polished mahogany ladder, and two servants in livery behind him, to light 'em for his own pleasure. "At length and at last, the old gentleman's legs appeared upon the steps leading through the roof, and he came slowly down: bringing along with him the gifted Mooney. This Mooney, gentlemen, was even more scientific in appearance than his friend; and had, as Tom often declared upon his word and honour, the dirtiest face we can possibly know of, in this imperfect state of existence. "Gentlemen, you are all aware that if a scientific man isn't absent in his mind, he's of no good at all. Mr. Mooney was so absent, that when the old gentleman said to him, 'Shake hands with Mr. Grig,' he put out his leg. 'Here's a mind, Mr. Grig!' cries the old gentleman in a rapture. 'Here's philosophy! Here's rumination! Don't disturb him,' he says, "'or this is amazing!' "Tom had no wish to disturb him, having nothing particular to say; but he was so uncommonly amazing, that the old gentleman got impatient, and determined to give him an electric shock to bring him to—'for you must know, Mr. Grig,' he says, 'that we always keep a strongly charged battery, ready for that purpose.' These means being resorted to, gentlemen, the gifted Mooney revived with a loud roar, and he no sooner came to himself than both he and the old gentleman looked at Tom with compassion, and shed tears abundantly. "'My dear friend,' says the old gentleman to the Gifted, 'prepare him.' "'I say,' cries Tom, falling back, 'none of that, you know. No preparing by Mr. Mooney if you please.' "'Alas!' replies the old gentleman, 'you don't understand us. My friend, inform him of his fate.—I can't.' "The Gifted mustered up his voice, after many efforts, and informed Tom that his nativity had been carefully cast, and he would expire at exactly thirty-five minutes, twenty-seven seconds, and five-sixths of a second past nine o'clock, A.M., on that day two months. "Gentlemen, I leave you to judge what were Tom's feelings at this announcement, on the eve of matrimony and endless riches. 'I think,' he says in a trembling voice, 'there must be a mistake in the working of that sum. Will you do me the favour to cast it up again?'—'There is no mistake,' replies the old gentleman, 'it is confirmed by Francis Moore, Physician. Here is the prediction for to-morrow two months.' And he showed him the page, where sure enough were these words—'The decease of a great person may be looked for, about this time.' "'Which,' says the old gentleman, 'is clearly you, Mr. Grig.' "'Too clearly,' cries Tom, sinking into a chair, and giving one hand to the old gentleman, and one to the Gifted. 'The orb of day has set on Thomas Grig for ever!' "At this affecting remark, the Gifted shed tears again, and the other two mingled their tears with his, in a kind—if I may use the expression—of Mooney and Co.'s entire. But the old gentleman recovering first, observed that this was only a reason for hastening the marriage, in order that Tom's distinguished race might be transmitted to posterity; and requesting the Gifted to console Mr. Grig during his temporary absence, he withdrew to settle the preliminaries with his niece immediately. "And now, gentlemen, a very extraordinary and remarkable occurrence took place; for as Tom sat in a melancholy way in one chair, and the Gifted sat in a melancholy way in another, a couple of doors were thrown violently open, the two young ladies rushed in, and one knelt down in a loving attitude at Tom's feet, and the other at the Gifted's. So far, perhaps, as Tom was concerned—as he used to say—you will say there was nothing strange in this; but you will be of a different opinion when you understand that Tom's young lady was kneeling to the Gifted, and the Gifted's young lady was kneeling to Tom. "'Halloa! stop a minute!' cries Tom; 'here's a mistake. I need condoling with by sympathising woman, under my afflicting circumstances; but we're out in the figure. Change partners, Mooney.' "'Monster!' cries Tom's young lady, clinging to the Gifted. "'Miss!' says Tom. 'Is that your manners?' "'I abjure thee!' cries Tom's young lady. 'I renounce thee. I never will be thine. Thou,' she says to the Gifted, 'art the object of my first and all-engrossing passion. Wrapt in thy sublime visions, thou hast not perceived my love; but, driven to despair, I now shake off the woman and avow it. Oh, cruel, cruel man!' With which reproach she laid her head upon the Gifted's breast, and put her arms about him in the tenderest manner possible, gentlemen. "'And I,' says the other young lady, in a sort of ecstasy, that made Tom start—'I hereby abjure my chosen husband too. Hear me, Goblin!'—this was to the Gifted—'Hear me! I hold thee in the deepest detestation. The maddening interview of this one night has filled my soul with love—but not for thee. It is for thee, for thee, young man,' she cries to Tom. 'As Monk Lewis finely observes, Thomas, Thomas, I am thine, Thomas, Thomas, thou art mine: thine for ever, mine for ever!' with which words, she became very tender likewise. "Tom and the Gifted, gentlemen, as you may believe, looked at each other in a very awkward manner, and with thoughts not at all complimentary to the two young ladies. As to the Gifted, I have heard Tom say often, that he was certain he was in a fit, and had it inwardly. "'Speak to me! Oh, speak to me!' cries Tom's young lady to the Gifted. "'I don't want to speak to anybody,' he says, finding his voice at last, and trying to push her away. 'I think I had better go. I'm—I'm frightened,' he says, looking about as if he had lost something. "'Not one look of love!' she cries. 'Hear me while I declare—' "'I don't know how to look a look of love,' he says, all in a maze. 'Don't declare anything. I don't want to hear anybody.' "'That's right!' cries the old gentleman (who it seems had been listening). 'That's right! Don't hear her. Emma shall marry you to-morrow, my friend, whether she likes it or not, and she shall marry Mr. Grig.' "Gentlemen, these words were no sooner out of his mouth than Galileo Isaac Newton Flamstead (who it seems had been listening too) darts in, and spinning round and round, like a young giant's top, cries,'"Let her. Let her. I'm fierce; I'm furious. I give her leave. I'll never marry anybody after this— never. It isn't safe. She is the falsest of the false,' he cries, tearing his hair and gnashing his teeth; 'and I'll live and die a bachelor!' "'The little boy,' observed the Gifted gravely, 'albeit of tender years, has spoken wisdom. I have been led to the contemplation of womankind, and will not adventure on the troubled waters of matrimony.' "'What!' says the old gentleman, 'not marry my daughter! Won't you, Mooney? Not if I make her? Won't you? Won't you?' "'No,' says Mooney, 'I won't. And if anybody asks me any more, I'll run away, and never come back again.' ""Mr. Grig,' says the old gentleman,'"the stars must be obeyed. You have not changed your mind because of a little girlish folly—eh, Mr. Grig?' "Tom, gentlemen, had had his eyes about him, and was pretty sure that all this was a device and trick of the waiting-maid, to put him off his inclination. He had seen her hiding and skipping about the two doors, and had observed that a very little whispering from her pacified the Salamander directly. 'So,' thinks Tom, 'this is a plot—but it won't fit.' "'Eh, Mr. Grig?' says the old gentleman. "'Why, sir,' says Tom, pointing to the crucible, 'if the soup's nearly ready—' "'Another hour beholds the consummation of our labours,' returned the old gentleman. "'Very good,' says Tom, with a mournful air. 'It's only for two months, but I may as well be the richest man in the world even for that time. I'm not particular, I'll take her, sir. I'll take her.' "The old gentleman was in a rapture to find Tom still in the same mind, and drawing the young lady towards him by little and little, was joining their hands by main force, when all of a sudden, gentlemen, the crucible blows up, with a great crash; everybody screams; the room is filled with smoke; and Tom, not knowing what may happen next, throws himself into a Fancy attitude, and says, 'Come on, if you're a man!' without addressing himself to anybody in particular. "'The labours of fifteen years!' says the old gentleman, clasping his hands and looking down upon the Gifted, who was saving the pieces, 'are destroyed in an instant!'—And I am told, gentlemen, by the by, that this same philosopher's stone would have been discovered a hundred times at least, to speak within bounds, if it wasn't for the one unfortunate circumstance that the apparatus always blows up, when it's on the very point of succeeding. "Tom turns pale when he hears the old gentleman expressing himself to this unpleasant effect, and stammers out that if it's quite agreeable to all parties, he would like to know exactly what has happened, and what change has really taken place in the prospects of that company. "'We have failed for the present, Mr. Grig,' says the old gentleman, wiping his forehead. 'And I regret it the more, because I have in fact invested my niece's five thousand pounds in this glorious speculation. But don't be cast down,' he says, anxiously—'in another fifteen years, Mr. Grig—' "'Oh!' cries Tom, letting the young lady's hand fall. 'Were the stars very positive about this union, sir?' "'They were,' says the old gentleman. "'I'm sorry to hear it,' Tom makes answer, 'for it's no go, sir.' "'No what!' cries the old gentleman. "'Go, sir,' says Tom, fiercely. 'I forbid the banns.' And with these words—which are the very words he used—he sat himself down in a chair, and, laying his head upon the table, thought with a secret grief of what was to come to pass on that day two months. "Tom always said, gentlemen, that that waiting-maid was the artfullest minx he had ever seen; and he left it in writing in this country when he went to colonise abroad, that he was certain in his own mind she and the Salamander had blown up the philosopher's stone on purpose, and to cut him out of his property. I believe Tom was in the right, gentlemen; but whether or no, she comes forward at this point, and says, 'May I speak, sir?' and the old gentleman answering, 'Yes, you may,' she goes on to say that 'the stars are no doubt quite right in every respect, but Tom is not the man.' And she says, 'Don't you remember, sir, that when the clock struck five this afternoon, you gave Master Galileo a rap on the head with your telescope, and told him to get out of the way?' 'Yes, I do,' says the old gentleman. 'Then,' says the waiting-maid, 'I say he's the man, and the prophecy is fulfilled.' The old gentleman staggers at this, as if somebody had hit him a blow on the chest, and cries, 'He! why, he's a boy!' Upon that, gentlemen, the Salamander cries out that he'll be twenty-one next Lady-day; and complains that his father has always been so busy with the sun round which the earth revolves, that he has never taken any notice of the son that revolves round him; and that he hasn't had a new suit of clothes since he was fourteen; and that he wasn't even taken out of nankeen frocks and trowsers till he was quite unpleasant in 'em; and touches on a good many more family matters to the same purpose. To make short of a long story, gentlemen, they all talk together, and cry together, and remind the old gentleman that as to the noble family, his own grandfather would have been Lord Mayor if he hadn't died at a dinner the year before; and they show him by all kinds of arguments that if the cousins are married, the prediction comes true every way. At last, the old gentleman being quite convinced, gives in; and joins their hands; and leaves his daughter to marry anybody she likes; and they are all well pleased; and the Gifted as well as any of them. "In the middle of this little family party, gentlemen, sits Tom all the while, as miserable as you like. But, when everything else is arranged, the old gentleman's daughter says, that their strange conduct was a little device of the waiting-maid's to disgust the lovers he had chosen for 'em, and will he forgive her? and if he will, perhaps he might even find her a husband—and when she says that, she looks uncommon hard at Tom. Then the waiting-maid says that, oh dear! she couldn't abear Mr. Grig should think she wanted him to marry her; and that she had even gone so far as to refuse the last lamp-lighter, who was now a literary character (having set up as a bill-sticker); and that she hoped Mr. Grig would not suppose she was on her last legs by any means, for the baker was very strong in his attentions at that moment, and as to the butcher, he was frantic. And I don't know how much more she might have said, gentlemen (for, as you know, this kind of young women are rare ones to talk), if the old gentleman hadn't cut in suddenly, and asked Tom if he'd have her, with ten pounds to recompense him for his loss of time and disappointment, and as a kind of bribe to keep the story secret. "'It don't much matter, sir,' says Tom, 'I ain't long for this world. Eight weeks of marriage, especially with this young woman, might reconcile me to my fate. I think,' he says, 'I could go off easy after that.' With which he embraces her with a very dismal face, and groans in a way that might move a heart of stone—even of philosopher's stone. "'Egad,' says the old gentleman, 'that reminds me—this bustle put it out of my head—there was a figure wrong. He'll live to a green old age—eighty-seven at least!' "'How much, sir?' cries Tom. "'Eighty-seven!' says the old gentleman. "'Without another word, Tom flings himself on the old gentleman's neck; throws up his hat; cuts a caper; defies the waiting-maid; and refers her to the butcher. "'You wont marry her!' says the old gentleman, angrily. "'And live after it!' says Tom. 'I'd sooner marry a mermaid with a small-tooth comb and looking-glass.' "'Then take the consequences,' says the other. "With those words—I beg your kind attention here, gentlemen, for it's worth your notice—the old gentleman wetted the forefinger of his right hand in some of the liquor from the crucible that was spilt on the floor, and drew a small triangle on Tom's forehead. The room swam before his eyes, and he found himself in the watch-house." "Found himself where?" cried the vice, on behalf of the company generally. "In the watch-house," said the chairman. "It was late at night, and he found himself in the very watch-house from which he had been let out that morning." "Did he go home?" asked the vice. "The watch-house people rather objected to that," said the chairman; "so he stopped there that night, and went before the magistrate in the morning. 'Why, you're here again, are you?' says the magistrate, adding insult to injury; 'we'll trouble you for five shillings more, if you can conveniently spare the money.' Tom told him he had been enchanted, but it was of no use. He told the contractors the same, but they wouldn't believe him. It was very hard upon him, gentlemen, as he often said, for was it likely he'd go and invent such a tale? They shook their heads and told him he'd say anything but his prayers—as indeed he would; there's no doubt about that. It was the only imputation on his moral character that ever I heard of." 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 Lamplighter's Story' Description An account of the resource Published in The Pic-nic Papers as 'By the Editor'. London: Chapman and Hall, 1851. Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived HathiTrust, <a href="https://catalog.hathitrust.org/Record/100142129">https://catalog.hathitrust.org/Record/100142129</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1851 Contributor An entity responsible for making contributions to the resource Illustrated by George Cruikshank and Hablot Knight Browne ('PHIZ') Rights Information about rights held in and over the resource Google-digitised. Digitised materials on Google Books published before 1922 are in the public domain. Relation A related resource Based on the 1838 farce by Dickens of the same name. Type The nature or genre of the resource Short story Identifier An unambiguous reference to the resource within a given context 1851-The_Lamplighters_Story_The_Picnic_Papers 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 Lamplighter's Story' (1851). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1851-The_Lamplighters_Story_The_Picnic_Papers">https://www.dickenssearch.com/short-stories/1851-The_Lamplighters_Story_The_Picnic_Papers</a>. Scripto Transcription A written representation of a document. "If you talk of Murphy and Francis Moore, gentlemen," said the lamplighter who was in the chair, "I mean to say that neither of 'em ever had any more to do with the stars than Tom Grig had." "And what had he to do with 'em?" asked the lamplighter who officiated as vice. "Nothing at all," replied the other; "just exactly nothing at all." "Do you mean to say you don't believe in Murphy, then?" demanded the lamplighter who had opened the discussion. "I mean to say I believe in Tom Grig," replied the chairman. "Whether I believe in Murphy, or not, is a matter between me and my conscience; and whether Murphy believes in himself or not, is a matter between him and his conscience. Gentlemen, I drink your healths." The lamplighter who did the company this honour, was seated in the chimney corner of a certain tavern, which has been, time out of mind, the Lamplighters' House of Call. He sat in the midst of a circle of lamplighters, and was the cacique, or chief of the tribe. If any of our readers have had the good fortune to behold a lamplighter's funeral, they will not be surprised to learn that lamplighters are a strange and primitive people; that they rigidly adhere to old ceremonies and customs which have been handed down among them from father to son since the first public lamp was lighted out of doors; that they intermarry, and betroth their children in infancy; that they enter into no plots or conspiracies (for who ever heard of a traitorous lamplighter?); that they commit no crimes against the laws of their country (there being no instance of a murderous or burglarious lamplighter); that they are, in short, notwithstanding their apparently volatile and restless character, a highly moral and reflective people: having among themselves as many traditional observances as the Jews, and being, as a body, if not as old as the hills, at least as old as the streets. It is an article of their creed that the first faint glimmering of true civilisation shone in the first street-light maintained at the public expense. They trace their existence and high position in the public esteem, in a direct line to the heathen mythology; and hold that the history of Prometheus himself is but a pleasant fable, whereof the true hero is a lamplighter. "Gentlemen," said the lamplighter in the chair, "I drink your healths." "And perhaps, sir," said the vice, holding up his glass, and rising a little way off his seat and sitting down again, in token that he recognised and returned the compliment, "perhaps you will add to that condescension by telling us who Tom Grig was, and how he came to be connected in your mind with Francis Moore, Physician." "Hear, hear, hear!" cried the lamplighters generally. "Tom Grig, gentlemen," said the chairman, "was one of us; and it happened to him as it don't often happen to a public character in our line, that he had his what-you-may-call-it cast." "His head?" said the vice. "No," replied the chairman, "not his head." "His face, perhaps?" said the vice. "No, not his face." "His legs?" "No, not his legs." Nor yet his arms, nor his hands, nor his feet, nor his chest—all of which were severally suggested. "His nativity, perhaps?" "That's it," said the chairman, awakening from his thoughtful attitude at the suggestion. "His nativity. That's what Tom had cast, gentlemen." "In plaster?" asked the vice. "I don't rightly know how it's done," returned the chairman. "But I suppose it was." And there he stopped as if that were all he had to say; whereupon there arose a murmur among the company, which at length resolved itself into a request, conveyed through the vice, that he would go on. This being exactly what the chairman wanted, he mused for a little time, performed that agreeable ceremony which is popularly termed wetting one's whistle, and went on thus: "Tom Grig, gentlemen, was, as I have said, one of us; and I may go further, and say he was an ornament to us, and such a one as only the good old times of oil and cotton could have produced. Tom's family, gentlemen, were all lamplighters." "Not the ladies, I hope?" asked the vice. "They had talent enough for it, sir," rejoined the chairman, "and would have been, but for the prejudices of society. Let women have their rights, sir, and the females of Tom's family would have been every one of 'em in office. But that emancipation hasn't come yet, and hadn't then, and consequently they confined themselves to the bosoms of their families, cooked the dinners, mended the clothes, minded the children, comforted their husbands, and attended to the housekeeping generally. It's a hard thing upon the women, gentlemen, that they are limited to such a sphere of action as this; very hard." "I happen to know all about Tom, gentlemen, from the circumstance of his uncle by his mother's side having been my particular friend. His (that's Tom's uncle's) fate was a melancholy one. Gas was the death of him. When it was first talked of, he laughed. He wasn't angry; he laughed at the credulity of human nature. 'They might as well talk,' he says, 'of laying on an everlasting succession of glow-worms;' and then he laughed again, partly at his joke, and partly at poor humanity. "In course of time, however, the thing got ground, the experiment was made, and they lighted up Pall Mall. Tom's uncle went to see it. I've heard that he fell off his ladder fourteen times that night, from weakness, and that he would certainly have gone on falling till he killed himself, if his last tumble hadn't been into a wheelbarrow which was going his way, and humanely took him home. 'I foresee in this,' says Tom's uncle faintly, and taking to his bed as he spoke—'I foresee in this,' he says, 'the breaking up of our profession. There's no more going the rounds to trim by daylight, no more dribbling down of the oil on the hats and bonnets of ladies and gentlemen when one feels in spirits. Any low fellow can light a gas-lamp. And it's all up.' In this state of mind, he petitioned the government for—I want a word again, gentlemen—what do you call that which they give to people when it's found out, at last, that they've never been of any use, and have been paid too much for doing nothing?" "Compensation?" suggested the vice. "That's it," said the chairman. "Compensation. They didn't give it him though, and then he got very fond of his country all at once, and went about saying that gas was a death-blow to his native land, and that it was a plot of the radicals to ruin the country and destroy the oil and cotton trade for ever, and that the whales would go and kill themselves privately, out of sheer spite and vexation at not being caught. At last he got right down cracked; called his tobacco-pipe a gas-pipe; thought his tears were lamp-oil; and went on with all manner of nonsense of that sort, till one night he hung himself on a lamp-iron in Saint Martin's Lane, and there was an end of him. "Tom loved him, gentlemen, but he survived it. He shed a tear over his grave, got very drunk, spoke a funeral oration that night in the watch-house, and was fined five shillings for it, in the morning. Some men are none the worse for this sort of thing. Tom was one of 'em. He went that very afternoon on a new beat: as clear in his head, and as free from fever as Father Mathew himself. "Tom's new beat, gentlemen, was—I can't exactly say where, for that he'd never tell; but I know it was in a quiet part of town, where there were some queer old houses. I have always had it in my head that it must have been somewhere near Canonbury Tower in Islington, but that's a matter of opinion. Wherever it was, he went upon it, with a bran new ladder, a white hat, a brown holland jacket and trowsers, a blue neck-kerchief, and a sprig of full-blown double wall-flower in his button-hole. Tom was always genteel in his appearance, and I have heard from the best judges, that if he had left his ladder at home that afternoon, you might have took him for a lord. "He was always merry, was Tom, and such a singer, that if there was any encouragement for native talent, he'd have been at the opera. He was on his ladder, lighting his first lamp, and singing to himself in a manner more easily to be conceived than described, when he hears the clock strike five, and suddenly sees an old gentleman with a telescope in his hand, throw up a window and look at him very hard. "Tom didn't know what could be passing in this old gentleman's mind. He thought it likely enough that he might be saying within himself, 'Here's a new lamplighter—a good-looking young fellow—shall I stand something to drink?' Thinking this possible, he keeps quite still, pretending to be very particular about the wick, and looks at the old gentleman sideways, seeming to take no notice of him. "Gentlemen, he was one of the strangest and most mysterious-looking files that ever Tom clapped his eyes on. He was dressed all slovenly and untidy, in a great gown of a kind of bed-furniture pattern, with a cap of the same on his head; and a long old flapped waistcoat; with no braces, no strings, very few buttons—in short, with hardly any of those artificial contrivances that hold society together. Tom knew by these signs, and by his not being shaved, and by his not being over-clean, and by a sort of wisdom not quite awake, in his face, that he was a scientific old gentleman. He often told me that if he could have conceived the possibility of the whole Royal Society being boiled down into one man, he should have said the old gentleman's body was that Body. "The old gentleman claps the telescope to his eye, looks all round, sees nobody else in sight, stares at Tom again, and cries out very loud: "'Hal-loa!' "'Halloa, Sir,' says Tom from the ladder; 'and halloa again, if you come to that.' "'Here's an extraordinary fulfilment,' says the old gentleman, 'of a prediction of the planets.' "'Is there?' says Tom. 'I'm very glad to hear it.' "'Young man,' says the old gentleman, 'you don't know me.' "'Sir,' says Tom, 'I have not that honour; but I shall be happy to drink your health, notwithstanding.' "'I read,' cries the old gentleman, without taking any notice of this politeness on Tom's part—'I read what's going to happen, in the stars.' "Tom thanked him for the information, and begged to know if anything particular was going to happen in the stars, in the course of a week or so; but the old gentleman, correcting him, explained that he read in the stars what was going to happen on dry land, and that he was acquainted with all the celestial bodies. "'I hope they're all well, sir,' says Tom,—'everybody.' "'Hush!' cries the old gentleman. 'I have consulted the book of Fate with rare and wonderful success. I am versed in the great sciences of astrology and astronomy. In my house here, I have every description of apparatus for observing the course and motion of the planets. Six months ago, I derived from this source the knowledge that precisely as the clock struck five this afternoon a stranger would present himself— the destined husband of my young and lovely niece—in reality of illustrious and high descent, but whose birth would be enveloped in uncertainty and mystery. Don't tell me yours isn't,' says the old gentleman, who was in such a hurry to speak that he couldn't get the words out fast enough, 'for I know better.' "Gentlemen, Tom was so astonished when he heard him say this, that he could hardly keep his footing on the ladder, and found it necessary to hold on by the lamp-post. There was a mystery about his birth. His mother had always admitted it. Tom had never known who was his father, and some people had gone so far as to say that even she was in doubt. "While he was in this state of amazement, the old gentleman leaves the window, bursts out of the house-door, shakes the ladder, and Tom, like a ripe pumpkin, comes sliding down into his arms. "'Let me embrace you,' he says, folding his arms about him, and nearly lighting up his old bed-furniture gown at Tom's link. 'You're a man of noble aspect. Everything combines to prove the accuracy of my observations. You have had mysterious promptings within you,' he says; 'I know you have had whisperings of greatness, eh?' he says. "'I think I have,' says Tom—Tom was one of those who can persuade themselves to anything they like—'I have often thought I wasn't the small beer I was taken for.' "'You were right,' cries the old gentleman, hugging him again. 'Come in. My niece awaits us.' "'Is the young lady tolerable good-looking, sir?' says Tom, hanging fire rather, as he thought of her playing the piano, and knowing French, and being up to all manner of accomplishments. "'She's beautiful!' cries the old gentleman, who was in such a terrible bustle that he was all in a perspiration. 'She has a graceful carriage, an exquisite shape, a sweet voice, a countenance beaming with animation and expression; and the eye,' he says, rubbing his hands, 'of a startled fawn.'" "Tom supposed this might mean, what was called among his circle of acquaintance, 'a game eye;' and, with a view to this defect, inquired whether the young lady had any cash. "'She has five thousand pounds,' cries the old gentleman. 'But what of that? what of that? A word in your ear. I'm in search of the philosopher's stone. I have very nearly found it —not quite. It turns everything to gold; that's its property.' 'Tom naturally thought it must have a deal of property; and said that when the old gentleman did get it, he hoped he'd be careful to keep it in the family. "'Certainly,' he says, 'of course. Five thousand pounds! What's five thousand pounds to us? What's five million?' he says. 'What's five thousand million? Money will be nothing to us. We shall never be able to spend it fast enough.' "'We'll try what we can do, sir,' says Tom. "'We will,' says the old gentleman. 'Your name?' "'Grig,' says Tom. 'The old gentleman embraced him again, very tight; and without speaking another word, dragged him into the house in such an excited manner, that it was as much as Tom could do to take his link and ladder with him, and put them down in the passage. "Gentlemen, if Tom hadn't been always remarkable for his love of truth, I think you would still have believed him when he said that all this was like a dream. There is no better way for a man to find out whether he is really asleep or awake, than calling for something to eat. If he's in a dream, gentlemen, he'll find something wanting in the flavour, depend upon it. "Tom explained his doubts to the old gentleman, and said that if there was any cold meat in the house, it would ease his mind very much to test himself at once. The old gentleman ordered up a venison pie, a small ham, and a bottle of very old Madeira. At the first mouthful of pie, and the first glass of wine, Tom smacks his lips and cries out, 'I'm awake—wide awake;' and to prove that he was so, gentlemen, he made an end of 'em both. "When Tom had finished his meal (which he never spoke of afterwards without tears in his eyes), the old gentleman hugs him again, and says, 'Noble stranger! let us visit my young and lovely niece.' Tom, who was a little elevated with the wine, replies, 'The noble stranger is agreeable!' At which words the old gentleman took him by the hand, and led him to the parlour; crying as he opened the door, 'Here is Mr. Grig, the favourite of the planets!' "I will not attempt a description of female beauty, gentlemen, for every one of us has a model of his own that suits his own taste best. In this parlour that I'm speaking of, there were two young ladies; and if every gentleman present, will imagine two models of his own in their places, and will be kind enough to polish 'em up to the very highest pitch of perfection, he will then have a faint conception of their uncommon radiance. "Besides these two young ladies, there was their waiting-woman, that under any other circumstances Tom would have looked upon as a Venus; and besides her, there was a tall, thin, dismal-faced young gentleman, half man and half boy, dressed in a childish suit of clothes very much too short in the legs and arms, and looking, according to Tom's comparison, like one of the wax juveniles from a tailor's door, grown up and run to seed. Now, this youngster stamped his foot upon the ground and looked very fierce at Tom, and Tom looked fierce at him—for to tell the truth, gentlemen, Tom more than half suspected that when they entered the room he was kissing one of the young ladies; and for anything Tom knew, you observe, it might be his young lady—which was not pleasant. "'Sir,' says Tom, 'before we proceed any further, will you have the goodness to inform me who this young Salamander'— Tom called him that for aggravation, you perceive, gentlemen—'who this young Salamander may be?' "'That, Mr. Grig,' says the old gentleman, 'is my little boy. He was christened Galileo Isaac Newton Flamstead. Don't mind him. He's a mere child.' "'And a very fine child too,' says Tom—still aggravating, you'll observe—'of his age, and as good as fine, I have no doubt. How do you do, my man?' with which kind and patronising expressions, Tom reached up to pat him on the head, and quoted two lines about little boys, from Doctor Watts's Hymns, which he had learnt at a Sunday School. "It was very easy to see, gentlemen, by this youngster's frowning and by the waiting-maid's tossing her head and turning up her nose, and by the young ladies turning their backs and talking together at the other end of the room, that nobody but the old gentleman took very kindly to the noble stranger. Indeed, Tom plainly heard the waiting-woman say of her master, that so far from being able to read the stars as he pretended, she didn't believe he knew his letters in 'em, or at best that he had got further than words in one syllable; but Tom, not minding this (for he was in spirits after the Madeira), looks with an agreeable air towards the young ladies, and, kissing his hand to both, says to the old gentleman, 'Which is which?' "'This,' says the old gentleman, leading out the handsomest, if one of 'em could possibly be said to be handsomer than the other—'this is my niece, Miss Fanny Barker.' "'If you'll permit me, miss,' says Tom, 'being a noble stranger and a favourite of the planets, I will conduct myself as such.' With these words, he kisses the young lady in a very affable way, turns to the old gentleman, slaps him on the back, and says, 'When's it to come off, my buck?' "The young lady coloured so deep, and her lip trembled so much, gentlemen, that Tom really thought she was going to cry. But she kept her feelings down, and turning to the old gentleman, says, 'Dear uncle, though you have the absolute disposal of my hand and fortune, and though you mean well in disposing of 'em thus, I ask you whether you don't think this is a mistake? Don't you think, dear uncle,' she says, 'that the stars must be in error? Is it not possible that the comet may have put 'em out?' "'The stars,' says the old gentleman, 'couldn't make a mistake if they tried. Emma,' he says to the other young lady. "'Yes, papa,' says she. "'The same day that makes your cousin Mrs. Grig will unite you to the gifted Mooney. No remonstrance—no tears. Now, Mr. Grig, let me conduct you to that hallowed ground, that philosophical retreat, where my friend and partner, the gifted Mooney of whom I have just now spoken, is even now pursuing those discoveries which shall enrich us with the precious metal, and make us masters of the world. Come, Mr. Grig,' he says. "'With all my heart, sir,' replies Tom; 'and luck to the gifted Mooney, say I—not so much on his account as for our worthy selves!' With this sentiment, Tom kissed his hand to the ladies again, and followed him out; having the gratification to perceive, as he looked back, that they were all hanging on by the arms and legs of Galileo Isaac Newton Flamstead, to prevent him from following the noble stranger, and tearing him to pieces. "Gentlemen, Tom's father-in-law that was to be, took him by the hand, and having lighted a little lamp, led him across a paved court-yard at the back of the house, into a very large, dark, gloomy room: filled with all manner of bottles, globes, books, telescopes, crocodiles, alligators, and other scientific instruments of every kind. In the centre of this room was a stove or furnace, with what Tom called a pot, but which in my opinion was a crucible, in full boil. In one corner was a sort of ladder leading through the roof; and up this ladder the old gentleman pointed, as he said in a whisper: "'The observatory. Mr. Mooney is even now watching for the precise time at which we are to come into all the riches of the earth. It will be necessary for he and I, alone in that silent place, to cast your nativity before the hour arrives. Put the day and minute of your birth on this piece of paper, and leave the rest to me.' "'You don't mean to say,' says Tom, doing as he was told and giving him back the paper, 'that I'm to wait here long, do you? It's a precious dismal place.' "'Hush!' says the old gentleman. 'it's hallowed ground. Farewell!' "'Stop a minute,' says Tom. 'What a hurry you're in! What's in that large bottle yonder?' "'It's a child with three heads,' says the old gentleman; 'and everything else in proportion.' "'Why don't you throw him away?' says Tom. 'What do you keep such unpleasant things here for?' "'Throw him away!' cries the old gentleman. 'We use him constantly in astrology. He's a charm.' "'I shouldn't have thought it,' says Tom, 'from his appearance. Must you go, I say?' "The old gentleman makes him no answer, but climbs up the ladder in a greater bustle than ever. Tom looked after his legs till there was nothing of him left, and then sat down to wait; feeling (so he used to say) as comfortable as if he was going to be made a freemason, and they were heating the pokers. "Tom waited so long, gentlemen, that he began to think it must be getting on for midnight at least, and felt more dismal and lonely than ever he had done in all his life. He tried every means of wiling away the time, but it never had seemed to move so slow. First, he took a nearer view of the child with three heads, and thought what a comfort it must have been to his parents. Then he looked up a long telescope which was pointed out of the window, but saw nothing particular, in consequence of the stopper being on at the other end. Then he came to a skeleton in a glass case, labelled, 'Skeleton of a Gentleman—prepared by Mr. Mooney,' —which made him hope that Mr. Mooney might not be in the habit of preparing gentlemen that way without their own consent. A hundred times at least, he looked into the pot where they were boiling the philosopher's stone down to the proper consistency, and wondered whether it was nearly done. 'When it is,' thinks Tom, 'I'll send out for sixpenn'orth of sprats, and turn 'em into gold fish for a first experiment.' Besides which, he made up his mind, gentlemen, to have a country-house and a park; and to plant a bit of it with a double row of gas-lamps a mile long, and go out every night with a French-polished mahogany ladder, and two servants in livery behind him, to light 'em for his own pleasure. "At length and at last, the old gentleman's legs appeared upon the steps leading through the roof, and he came slowly down: bringing along with him the gifted Mooney. This Mooney, gentlemen, was even more scientific in appearance than his friend; and had, as Tom often declared upon his word and honour, the dirtiest face we can possibly know of, in this imperfect state of existence. "Gentlemen, you are all aware that if a scientific man isn't absent in his mind, he's of no good at all. Mr. Mooney was so absent, that when the old gentleman said to him, 'Shake hands with Mr. Grig,' he put out his leg. 'Here's a mind, Mr. Grig!' cries the old gentleman in a rapture. 'Here's philosophy! Here's rumination! Don't disturb him,' he says, "'or this is amazing!' "Tom had no wish to disturb him, having nothing particular to say; but he was so uncommonly amazing, that the old gentleman got impatient, and determined to give him an electric shock to bring him to—'for you must know, Mr. Grig,' he says, 'that we always keep a strongly charged battery, ready for that purpose.' These means being resorted to, gentlemen, the gifted Mooney revived with a loud roar, and he no sooner came to himself than both he and the old gentleman looked at Tom with compassion, and shed tears abundantly. "'My dear friend,' says the old gentleman to the Gifted, 'prepare him.' "'I say,' cries Tom, falling back, 'none of that, you know. No preparing by Mr. Mooney if you please.' "'Alas!' replies the old gentleman, 'you don't understand us. My friend, inform him of his fate.—I can't.' "The Gifted mustered up his voice, after many efforts, and informed Tom that his nativity had been carefully cast, and he would expire at exactly thirty-five minutes, twenty-seven seconds, and five-sixths of a second past nine o'clock, A.M., on that day two months. "Gentlemen, I leave you to judge what were Tom's feelings at this announcement, on the eve of matrimony and endless riches. 'I think,' he says in a trembling voice, 'there must be a mistake in the working of that sum. Will you do me the favour to cast it up again?'—'There is no mistake,' replies the old gentleman, 'it is confirmed by Francis Moore, Physician. Here is the prediction for to-morrow two months.' And he showed him the page, where sure enough were these words—'The decease of a great person may be looked for, about this time.' "'Which,' says the old gentleman, 'is clearly you, Mr. Grig.' "'Too clearly,' cries Tom, sinking into a chair, and giving one hand to the old gentleman, and one to the Gifted. 'The orb of day has set on Thomas Grig for ever!' "At this affecting remark, the Gifted shed tears again, and the other two mingled their tears with his, in a kind—if I may use the expression—of Mooney and Co.'s entire. But the old gentleman recovering first, observed that this was only a reason for hastening the marriage, in order that Tom's distinguished race might be transmitted to posterity; and requesting the Gifted to console Mr. Grig during his temporary absence, he withdrew to settle the preliminaries with his niece immediately. "And now, gentlemen, a very extraordinary and remarkable occurrence took place; for as Tom sat in a melancholy way in one chair, and the Gifted sat in a melancholy way in another, a couple of doors were thrown violently open, the two young ladies rushed in, and one knelt down in a loving attitude at Tom's feet, and the other at the Gifted's. So far, perhaps, as Tom was concerned—as he used to say—you will say there was nothing strange in this; but you will be of a different opinion when you understand that Tom's young lady was kneeling to the Gifted, and the Gifted's young lady was kneeling to Tom. "'Halloa! stop a minute!' cries Tom; 'here's a mistake. I need condoling with by sympathising woman, under my afflicting circumstances; but we're out in the figure. Change partners, Mooney.' "'Monster!' cries Tom's young lady, clinging to the Gifted. "'Miss!' says Tom. 'Is that your manners?' "'I abjure thee!' cries Tom's young lady. 'I renounce thee. I never will be thine. Thou,' she says to the Gifted, 'art the object of my first and all-engrossing passion. Wrapt in thy sublime visions, thou hast not perceived my love; but, driven to despair, I now shake off the woman and avow it. Oh, cruel, cruel man!' With which reproach she laid her head upon the Gifted's breast, and put her arms about him in the tenderest manner possible, gentlemen. "'And I,' says the other young lady, in a sort of ecstasy, that made Tom start—'I hereby abjure my chosen husband too. Hear me, Goblin!'—this was to the Gifted—'Hear me! I hold thee in the deepest detestation. The maddening interview of this one night has filled my soul with love—but not for thee. It is for thee, for thee, young man,' she cries to Tom. 'As Monk Lewis finely observes, Thomas, Thomas, I am thine, Thomas, Thomas, thou art mine: thine for ever, mine for ever!' with which words, she became very tender likewise. "Tom and the Gifted, gentlemen, as you may believe, looked at each other in a very awkward manner, and with thoughts not at all complimentary to the two young ladies. As to the Gifted, I have heard Tom say often, that he was certain he was in a fit, and had it inwardly. "'Speak to me! Oh, speak to me!' cries Tom's young lady to the Gifted. "'I don't want to speak to anybody,' he says, finding his voice at last, and trying to push her away. 'I think I had better go. I'm—I'm frightened,' he says, looking about as if he had lost something. "'Not one look of love!' she cries. 'Hear me while I declare—' "'I don't know how to look a look of love,' he says, all in a maze. 'Don't declare anything. I don't want to hear anybody.' "'That's right!' cries the old gentleman (who it seems had been listening). 'That's right! Don't hear her. Emma shall marry you to-morrow, my friend, whether she likes it or not, and she shall marry Mr. Grig.' "Gentlemen, these words were no sooner out of his mouth than Galileo Isaac Newton Flamstead (who it seems had been listening too) darts in, and spinning round and round, like a young giant's top, cries,'"Let her. Let her. I'm fierce; I'm furious. I give her leave. I'll never marry anybody after this— never. It isn't safe. She is the falsest of the false,' he cries, tearing his hair and gnashing his teeth; 'and I'll live and die a bachelor!' "'The little boy,' observed the Gifted gravely, 'albeit of tender years, has spoken wisdom. I have been led to the contemplation of womankind, and will not adventure on the troubled waters of matrimony.' "'What!' says the old gentleman, 'not marry my daughter! Won't you, Mooney? Not if I make her? Won't you? Won't you?' "'No,' says Mooney, 'I won't. And if anybody asks me any more, I'll run away, and never come back again.' ""Mr. Grig,' says the old gentleman,'"the stars must be obeyed. You have not changed your mind because of a little girlish folly—eh, Mr. Grig?' "Tom, gentlemen, had had his eyes about him, and was pretty sure that all this was a device and trick of the waiting-maid, to put him off his inclination. He had seen her hiding and skipping about the two doors, and had observed that a very little whispering from her pacified the Salamander directly. 'So,' thinks Tom, 'this is a plot—but it won't fit.' "'Eh, Mr. Grig?' says the old gentleman. "'Why, sir,' says Tom, pointing to the crucible, 'if the soup's nearly ready—' "'Another hour beholds the consummation of our labours,' returned the old gentleman. "'Very good,' says Tom, with a mournful air. 'It's only for two months, but I may as well be the richest man in the world even for that time. I'm not particular, I'll take her, sir. I'll take her.' "The old gentleman was in a rapture to find Tom still in the same mind, and drawing the young lady towards him by little and little, was joining their hands by main force, when all of a sudden, gentlemen, the crucible blows up, with a great crash; everybody screams; the room is filled with smoke; and Tom, not knowing what may happen next, throws himself into a Fancy attitude, and says, 'Come on, if you're a man!' without addressing himself to anybody in particular. "'The labours of fifteen years!' says the old gentleman, clasping his hands and looking down upon the Gifted, who was saving the pieces, 'are destroyed in an instant!'—And I am told, gentlemen, by the by, that this same philosopher's stone would have been discovered a hundred times at least, to speak within bounds, if it wasn't for the one unfortunate circumstance that the apparatus always blows up, when it's on the very point of succeeding. "Tom turns pale when he hears the old gentleman expressing himself to this unpleasant effect, and stammers out that if it's quite agreeable to all parties, he would like to know exactly what has happened, and what change has really taken place in the prospects of that company. "'We have failed for the present, Mr. Grig,' says the old gentleman, wiping his forehead. 'And I regret it the more, because I have in fact invested my niece's five thousand pounds in this glorious speculation. But don't be cast down,' he says, anxiously—'in another fifteen years, Mr. Grig—' "'Oh!' cries Tom, letting the young lady's hand fall. 'Were the stars very positive about this union, sir?' "'They were,' says the old gentleman. "'I'm sorry to hear it,' Tom makes answer, 'for it's no go, sir.' "'No what!' cries the old gentleman. "'Go, sir,' says Tom, fiercely. 'I forbid the banns.' And with these words—which are the very words he used—he sat himself down in a chair, and, laying his head upon the table, thought with a secret grief of what was to come to pass on that day two months. "Tom always said, gentlemen, that that waiting-maid was the artfullest minx he had ever seen; and he left it in writing in this country when he went to colonise abroad, that he was certain in his own mind she and the Salamander had blown up the philosopher's stone on purpose, and to cut him out of his property. I believe Tom was in the right, gentlemen; but whether or no, she comes forward at this point, and says, 'May I speak, sir?' and the old gentleman answering, 'Yes, you may,' she goes on to say that 'the stars are no doubt quite right in every respect, but Tom is not the man.' And she says, 'Don't you remember, sir, that when the clock struck five this afternoon, you gave Master Galileo a rap on the head with your telescope, and told him to get out of the way?' 'Yes, I do,' says the old gentleman. 'Then,' says the waiting-maid, 'I say he's the man, and the prophecy is fulfilled.' The old gentleman staggers at this, as if somebody had hit him a blow on the chest, and cries, 'He! why, he's a boy!' Upon that, gentlemen, the Salamander cries out that he'll be twenty-one next Lady-day; and complains that his father has always been so busy with the sun round which the earth revolves, that he has never taken any notice of the son that revolves round him; and that he hasn't had a new suit of clothes since he was fourteen; and that he wasn't even taken out of nankeen frocks and trowsers till he was quite unpleasant in 'em; and touches on a good many more family matters to the same purpose. To make short of a long story, gentlemen, they all talk together, and cry together, and remind the old gentleman that as to the noble family, his own grandfather would have been Lord Mayor if he hadn't died at a dinner the year before; and they show him by all kinds of arguments that if the cousins are married, the prediction comes true every way. At last, the old gentleman being quite convinced, gives in; and joins their hands; and leaves his daughter to marry anybody she likes; and they are all well pleased; and the Gifted as well as any of them. "In the middle of this little family party, gentlemen, sits Tom all the while, as miserable as you like. But, when everything else is arranged, the old gentleman's daughter says, that their strange conduct was a little device of the waiting-maid's to disgust the lovers he had chosen for 'em, and will he forgive her? and if he will, perhaps he might even find her a husband—and when she says that, she looks uncommon hard at Tom. Then the waiting-maid says that, oh dear! she couldn't abear Mr. Grig should think she wanted him to marry her; and that she had even gone so far as to refuse the last lamp-lighter, who was now a literary character (having set up as a bill-sticker); and that she hoped Mr. Grig would not suppose she was on her last legs by any means, for the baker was very strong in his attentions at that moment, and as to the butcher, he was frantic. And I don't know how much more she might have said, gentlemen (for, as you know, this kind of young women are rare ones to talk), if the old gentleman hadn't cut in suddenly, and asked Tom if he'd have her, with ten pounds to recompense him for his loss of time and disappointment, and as a kind of bribe to keep the story secret. "'It don't much matter, sir,' says Tom, 'I ain't long for this world. Eight weeks of marriage, especially with this young woman, might reconcile me to my fate. I think,' he says, 'I could go off easy after that.' With which he embraces her with a very dismal face, and groans in a way that might move a heart of stone—even of philosopher's stone. "'Egad,' says the old gentleman, 'that reminds me—this bustle put it out of my head—there was a figure wrong. He'll live to a green old age—eighty-seven at least!' "'How much, sir?' cries Tom. "'Eighty-seven!' says the old gentleman. "'Without another word, Tom flings himself on the old gentleman's neck; throws up his hat; cuts a caper; defies the waiting-maid; and refers her to the butcher. "'You wont marry her!' says the old gentleman, angrily. "'And live after it!' says Tom. 'I'd sooner marry a mermaid with a small-tooth comb and looking-glass.' "'Then take the consequences,' says the other. "With those words—I beg your kind attention here, gentlemen, for it's worth your notice—the old gentleman wetted the forefinger of his right hand in some of the liquor from the crucible that was spilt on the floor, and drew a small triangle on Tom's forehead. The room swam before his eyes, and he found himself in the watch-house." "Found himself where?" cried the vice, on behalf of the company generally. "In the watch-house," said the chairman. "It was late at night, and he found himself in the very watch-house from which he had been let out that morning." "Did he go home?" asked the vice. "The watch-house people rather objected to that," said the chairman; "so he stopped there that night, and went before the magistrate in the morning. 'Why, you're here again, are you?' says the magistrate, adding insult to injury; 'we'll trouble you for five shillings more, if you can conveniently spare the money.' Tom told him he had been enchanted, but it was of no use. He told the contractors the same, but they wouldn't believe him. It was very hard upon him, gentlemen, as he often said, for was it likely he'd go and invent such a tale? They shook their heads and told him he'd say anything but his prayers—as indeed he would; there's no doubt about that. It was the only imputation on his moral character that ever I heard of." https://www.dickenssearch.com/files/original/5/A_Child_s_Dream_of_a_Star/1850-04-06-A_Childs_Dream_Star.pdf 7e887feaa5a6773e1a582fb0d447ac7e 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) Household Words Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18500406 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. There was once a child, and he strolled about a good deal, and thought of a number of things. He had a sister, who was a child too, and his constant companion. These two used to wonder all day long. They wondered at the beauty of the flowers; they wondered at the height and blueness of the sky; they wondered at the depth of the bright water; they wondered at the goodness and the power of GOD who made the lovely world. They used to say to one another, sometimes, Supposing all the children upon earth were to die, would the flowers, and the water, and the sky, be sorry? They believed they would be sorry. For, said they, the buds are the children of the flowers, and the little playful streams that gambol down the hill-sides are the children of the water; and the smallest bright specks, playing at hide and seek in the sky all night, must surely be the children of the stars; and they would all be grieved to see their playmates, the children of men, no more. There was one clear shining star that used to come out in the sky before the rest, near the church spire, above the graves. It was larger and more beautiful, they thought, than all the others, and every night they watched for it, standing hand in hand at a window. Whoever saw it first, cried out, "I see the star!" And often they cried out both together, knowing so well when it would rise, and where. So they grew to be such friends with it, that, before lying down in their beds, they always looked out once again, to bid it good night; and when they were turning round to sleep, they used to say, "God bless the star!" But while she was still very young, oh very very young, the sister drooped, and came to be so weak that she could no longer stand in the window at night; and then the child looked sadly out by himself, and when he saw the star, turned round and said to the patient pale face on the bed, "I see the star!" and then a smile would come upon the face, and a little weak voice used to say, "God bless my brother and the star!" And so the time came, all too soon! when the child looked out alone, and when there was no face on the bed; and when there was a little grave among the graves, not there before; and when the star made long rays down towards him, as he saw it through his tears. Now, these rays were so bright, and they seemed to make such a shining way from earth to Heaven, that when the child went to his solitary bed, he dreamed about the star; and dreamed that, lying where he was, he saw a train of people taken up that sparkling road by angels. And the star, opening, showed him a great world of light, where many more such angels waited to receive them. All these angels, who were waiting, turned their beaming eyes upon the people who were carried up into the star; and some came out from the long rows in which they stood, and fell upon the people's necks, and kissed them tenderly, and went away with them down avenues of light, and were so happy in their company, that lying in his bed he wept for joy. But, there were many angels who did not go with them, and among them one he knew. The patient face that once had lain upon the bed was gloried and radiant, but his heart found out his sister among all the host. His sister's angel lingered near the entrance of the star, and said to the leader among those who had brought the people thither: "Is my brother come?" And he said "No." She was turning hopefully away, when the child stretched out his arms, and cried "O, sister, I am here! Take me!" and then she turned her beaming eyes upon him, and it was night; and the star was shining into the room, making long rays down towards him as he saw it through his tears. From that hour forth, the child looked out upon the star as on the Home he was to go to, when his time should come; and he thought that he did not belong to the earth alone, but to the star too, because of his sister's angel gone before. There was a baby born to be a brother to the child; and while he was so little that he never yet had spoken word, he stretched his tiny form out on his bed, and died. Again the child dreamed of the opened star, and of the company of angels, and the train of people, and the rows of angels with their beaming eyes all turned upon those people's faces. Said his sister's angel to the leader: "Is my brother come?" And he said "Not that one, but another." As the child beheld his brother's angel in her arms, he cried, "O, sister, I am here! Take me! "And she turned and smiled upon him, and the star was shining. He grew to be a young man, and was busy at his books, when an old servant came to him, and said: "Thy mother is no more. I bring her blessing on her darling son!" Again at night he saw the star, and all that former company. Said his sister's angel to the leader: "Is my brother come?" And he said, "Thy mother!" A mighty cry of joy went forth through all the star, because the mother was re-united to her two children. And he stretched out his arms and cried, "O, mother, sister, and brother, I am here! Take me!" And they answered him "Not yet," and the star was shining. He grew to be a man, whose hair was turning grey, and he was sitting in his chair by the reside, heavy with grief, and with his face bedewed with tears, when the star opened once again. Said his sister's angel to the leader, "Is my brother come?" And he said, "Nay, but his maiden daughter." And the man who had been the child saw his daughter, newly lost to him, a celestial creature among those three, and he said "My daughter's head is on my sister's bosom, and her arm is round my mother's neck, and at her feet there is the baby of old time, and I can bear the parting from her, GOD be praised!" And the star was shining. Thus the child came to be an old man, and his once smooth face was wrinkled, and his steps were slow and feeble, and his back was bent. And one night as he lay upon his bed, his children standing round, he cried, as he had cried so long ago: "I see the star!" They whispered one another "He is dying." And he said, "I am. My age is falling from me like a garment, and I move towards the star as a child. And O, my Father, now I thank thee that it has so often opened, to receive those dear ones who await me!" And the star was shining; and it shines upon his grave. 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 'A Child's Dream of a Star' Description An account of the resource Published in Household Words, Vol. I, No. 2, 6 April 1850, pp. 25-26 Creator An entity primarily responsible for making the resource Dickens, Charles Date A point or period of time associated with an event in the lifecycle of the resource 1850-04-06 Type The nature or genre of the resource Short story Identifier An unambiguous reference to the resource within a given context 1850-04-06-A_Childs_Dream_Star Source A related resource from which the described resource is derived Dickens Journals Online, <a href="https://www.djo.org.uk/household-words/volume-i/page-25.html">https://www.djo.org.uk/household-words/volume-i/page-25.html</a>. 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. 'A Child's Dream of a Star' (6 April 1850). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1850-04-06-A_Childs_Dream_Star">https://www.dickenssearch.com/short-stories/1850-04-06-A_Childs_Dream_Star</a>. Rights Information about rights held in and over the resource Scanned material from Dickens Journals Online, <a href="http://www.djo.org.uk/" id="LPNoLPOWALinkPreview" contenteditable="false" title="http://www.djo.org.uk">www.djo.org.uk</a>. Available under CC BY licence. Scripto Transcription A written representation of a document. There was once a child, and he strolled about a good deal, and thought of a number of things. He had a sister, who was a child too, and his constant companion. These two used to wonder all day long. They wondered at the beauty of the �flowers; they wondered at the height and blueness of the sky; they wondered at the depth of the bright water; they wondered at the goodness and the power of GOD who made the lovely world. They used to say to one another, sometimes, Supposing all the children upon earth were to die, would the �flowers, and the water, and the sky, be sorry? They believed they would be sorry. For, said they, the buds are the children of the �flowers, and the little playful streams that gambol down the hill-sides are the children of the water; and the smallest bright specks, playing at hide and seek in the sky all night, must surely be the children of the stars; and they would all be grieved to see their playmates, the children of men, no more. There was one clear shining star that used to come out in the sky before the rest, near the church spire, above the graves. It was larger and more beautiful, they thought, than all the others, and every night they watched for it, standing hand in hand at a window. Whoever saw it first, cried out, "I see the star!" And often they cried out both together, knowing so well when it would rise, and where. So they grew to be such friends with it, that, before lying down in their beds, they always looked out once again, to bid it good night; and when they were turning round to sleep, they used to say, "God bless the star!" But while she was still very young, oh very very young, the sister drooped, and came to be so weak that she could no longer stand in the window at night; and then the child looked sadly out by himself, and when he saw the star, turned round and said to the patient pale face on the bed, "I see the star!" and then a smile would come upon the face, and a little weak voice used to say, "God bless my brother and the star!" And so the time came, all too soon! when the child looked out alone, and when there was no face on the bed; and when there was a little grave among the graves, not there before; and when the star made long rays down towards him, as he saw it through his tears. Now, these rays were so bright, and they seemed to make such a shining way from earth to Heaven, that when the child went to his solitary bed, he dreamed about the star; and dreamed that, lying where he was, he saw a train of people taken up that sparkling road by angels. And the star, opening, showed him a great world of light, where many more such angels waited to receive them. All these angels, who were waiting, turned their beaming eyes upon the people who were carried up into the star; and some came out from the long rows in which they stood, and fell upon the people's necks, and kissed them tenderly, and went away with them down avenues of light, and were so happy in their company, that lying in his bed he wept for joy. But, there were many angels who did not go with them, and among them one he knew. The patient face that once had lain upon the bed was gloried and radiant, but his heart found out his sister among all the host. His sister's angel lingered near the entrance of the star, and said to the leader among those who had brought the people thither: "Is my brother come?" And he said "No." She was turning hopefully away, when the child stretched out his arms, and cried "O, sister, I am here! Take me!" and then she turned her beaming eyes upon him, and it was night; and the star was shining into the room, making long rays down towards him as he saw it through his tears. From that hour forth, the child looked out upon the star as on the Home he was to go to, when his time should come; and he thought that he did not belong to the earth alone, but to the star too, because of his sister's angel gone before. There was a baby born to be a brother to the child; and while he was so little that he never yet had spoken word, he stretched his tiny form out on his bed, and died. Again the child dreamed of the opened star, and of the company of angels, and the train of people, and the rows of angels with their beaming eyes all turned upon those people's faces. Said his sister's angel to the leader: "Is my brother come?" And he said "Not that one, but another." As the child beheld his brother's angel in her arms, he cried, "O, sister, I am here! Take me! "And she turned and smiled upon him, and the star was shining. He grew to be a young man, and was busy at his books, when an old servant came to him, and said: "Thy mother is no more. I bring her blessing on her darling son!" Again at night he saw the star, and all that former company. Said his sister's angel to the leader: "Is my brother come?" And he said, "Thy mother!" A mighty cry of joy went forth through all the star, because the mother was re-united to her two children. And he stretched out his arms and cried, "O, mother, sister, and brother, I am here! Take me!" And they answered him "Not yet," and the star was shining. He grew to be a man, whose hair was turning grey, and he was sitting in his chair by the �reside, heavy with grief, and with his face bedewed with tears, when the star opened once again. Said his sister's angel to the leader, "Is my brother come?" And he said, "Nay, but his maiden daughter." And the man who had been the child saw his daughter, newly lost to him, a celestial creature among those three, and he said "My daughter's head is on my sister's bosom, and her arm is round my mother's neck, and at her feet there is the baby of old time, and I can bear the parting from her, GOD be praised!" And the star was shining. Thus the child came to be an old man, and his once smooth face was wrinkled, and his steps were slow and feeble, and his back was bent. And one night as he lay upon his bed, his children standing round, he cried, as he had cried so long ago: "I see the star!" They whispered one another "He is dying." And he said, "I am. My age is falling from me like a garment, and I move towards the star as a child. And O, my Father, now I thank thee that it has so often opened, to receive those dear ones who await me!" And the star was shining; and it shines upon his grave. https://www.dickenssearch.com/files/original/8/A_House_to_Let_[1858_Christmas_Number]/1858-12-07-A_House_to_Let.pdf b4bda99032e2ec2ffe99aa3a00e24c25 https://www.dickenssearch.com/files/original/8/A_House_to_Let_[1858_Christmas_Number]/1858-12-07-Going_Into_Society.pdf 5ab594d77aecccdee2d4bcaae556f073 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 Christmas Numbers Contributor An entity responsible for making contributions to the resource Lydia Craig Identifier An unambiguous reference to the resource within a given context christmas-numbers Scripto Transcription A written representation of a document. This collection (still in development) unites the eighteen Christmas numbers that Dickens orchestrated between 1850 and 1867 in conjunction with multiple Victorian authors, notably Wilkie Collins, and published in his periodicals Household Words and All the Year Round. After writing five Christmas books and multiple sketches on Yuletide cheer - notably 'Scenes and Characters, No. 10, Christmas Festivities', published as 'A Christmas Dinner' in Sketches by Boz (1836) - not to mention the holiday merry-making described in Pickwick Papers (1836-1837), Charles Dickens might reasonably be supposed to have had his fill of seasonal writing. However, he published a Christmas number in 1850 in HW that contained a series of sketches about Christmas, contributing 'A Christmas Tree' (1850). In the next year's Christmas number, he included the short piece 'What Christmas is, as we Grow Older' (1851). Holiday fiction, though, was what Dickens's readership seemed to crave, and the author, editor, and entrepreneur in Dickens all recognised the opportunity. In 1852, Dickens decided to develop an extra Christmas number for HW which would harness the creative talents of other writers for a series of unrelated stories told within a frame narrative of his own composition. Each year he himself would write several of these parts, generally two to three. Soon, the Christmas number became as much of an expected holiday tradition among Victorian subscribers as had been the Christmas books. All in all, eighteen Christmas numbers of this kind resulted (1850-1867); nine published in HW and nine in ATYR.  <div style="text-align: center;">Extra Christmas Numbers - Household Words</div> On 24 December 1852, Dickens published A Round of Stories by the Christmas Fire. Personally, he had written 'The Poor Relation's Story' (No.1) and 'The Child's Story' (No.2) with successive stories authored by other contributors, though no names appeared. What would have been the 1853 extra number was late, published instead on 18 February 1854, a circumstance that would not occur again until the 1864 Christmas number. This time, Dickens published more short stories by himself and others, contributing 'The Schoolboy's Story' and 'Nobody's Story', but the Christmas number, for once, lacked a frame narrative or overarching title, though it would come to be known as Another Round of Stories by the Christmas Fire. 25 December 1854 saw The Seven Poor Travellers, with Dickens penning 'The First' (No.1) and 'The Road' (No.7). By writing the first and last stories in the collection, he, as editor, might steer the entire composition towards a cohesive conclusion.  Next, Dickens wrote 'The Guest' (No.1), 'The Boots' (No.3), and 'The Bill' (No.7) as part of The Holly-Tree Inn (15 December 1855). The Wreck of the 'Golden Mary' followed on 25 December 1856, with Dickens composing only 'The Wreck' (No.1), a lengthy description of a shipwreck which sets up the framing narrative. Next, Dickens collaborated with Wilkie Collins on The Perils of Certain English Prisoners, and their Treasure in Women, Children, Silver, and Jewels (7 December 1857), Dickens writing 'The Island of Silver-Store' (No.1) and 'The Rafts on the River' (No.3) with Collins contributing the second chapter. Rounding out the extra Christmas numbers for HW, A House to Let appeared on 7 December 1858, with Dickens authoring 'Going into Society' (No.3). The last issue of HW appeared on 28 May 1859, with the journal virtually concluded, due to disagreements with Dickens's publishers Bradbury and Evans, though it was symbolically folded into ATYR. <div style="text-align: center;">Extra Christmas Numbers - All the Year Round</div> After Dickens launched his new journal ATYR on 30 April 1859, Christmas remained house-themed with the extra Christmas number The Haunted House (13 December 1859). It featured three offerings from him, 'The Mortals in the House' (No.1), 'The Ghost in Master B's Room' (No.6), and 'The Ghost in the Corner Room' (No.8). Yet Dickens continued to experiment with his holiday themes. He would write 'The Village' (No.1), 'The Money' (No.2), and 'The Restitution' (No.5) for A Message from the Sea, published on 25 December 1860, a story about a New England mariner, Captain Jorgan, who seeks to discover the truth about the origin of a Welsh family's mysterious nest-egg.  For Tom Tiddler's Ground, published 25 December 1861, Dickens produced 'Picking up Soot and Cinders' (No.1), 'Picking up Miss Kimmeens' (No.6), and 'Picking up the Tinker' (No. 7). An impressive four parts of Somebody's Luggage (4 December 1862), 'His Leaving it Till Called For' (No.1), 'His Boots' (No.2), 'His Brown-Paper Parcel' (No.7), and 'His Wonderful End' (No. 10) were produced by Dickens, who notably portrays himself in the story as a character, in his capacity as AYTR editor, to amusing effect. Two subsequent Christmas numbers, Mrs. Lirriper's Lodgings (25 December 1863) and Mrs. Lirriper's Legacy' (12 January 1864), concern the life and activities of a generous landlady who adopts a young boy and raises him with the help of her gallant lodger, Major Jackman. The former contained Dickens's two introductory and conclusion chapters, 'How Mrs. Lirriper carried on the Business' (No.1) and 'How the Parlours added a few words' (No.6), while the latter featured 'Mrs. Lirriper relates how she went on, and went over' (No.1) and 'Mrs. Lirriper relates how Jimmy topped up' (No.7), a story including a jaunt to France, with identical placement at the beginning and end of the number. Doctor Marigold's Prescriptions appeared in 1865, with Mugby Junction following in 1866; both frame narratives deal with themes of disability and poverty. For the first, Dickens contributed 'To be Taken Immediately' (No.1), 'To be Taken with a Grain of Salt' (No.6), and 'To be Taken for Life' (No.8); for the latter, he wrote 'Barbox Brothers' (No.1), 'Barbox Brothers and Co.' (No.2), 'Main Line. The Boy at Mugby' (No.3), and 'No.1 Branch Line. The Signal-man' (No.4). For the final Christmas number, No Thoroughfare (12 December 1867), Dickens collaborated with Collins on an imaginative European thriller that ranges from orphanages and offices in London to hotels and precipices in the Swiss Alps. Dickens is known to have primarily written most of The Overture, Act I, Act III, with Collins taking Act 2. Both collaborated on Acts IV and V. However, they deliberately interspersed passages into each other's parts to confuse readers as to which author had written which 'Acts' (Slater, Charles Dickens, pp. 569-573). Consequently, we have merely transcribed the Christmas number in its entirety, as a collaboration. Though Dickens considered beginning a Christmas number in 1868, his other activities, coupled with failing health, led him to gratefully relinquish the idea. Instead, he would eventually go on to attempt another novel, The Mystery of Edwin Drood (1870), evidently sensing the public's interest in the detective genre, one which he and Collins had, more or less, pioneered with their respective novels Bleak House (1853) (Inspector Bucket) and The Moonstone (1868) (Sergeant Cuff). His mind may also have been running on the mysterious plot of No Thoroughfare, with its malevolent villain, though he did not live to see the plot through to its conclusion. While building this collection, we have consulted, and transcribed scans from Dickens Journals Online; all items are linked to their original location on the internet. With the exception of No Thoroughfare, transcripts have been made only of parts of numbers Dickens is known to have authored. Lists of writers known to have authored chapters or portions of these extra Christmas numbers have been added to the metadata of each item (Klimaszewski, Appendix A).  Please contact us with any errors, corrections, and suggestions. 1. See Melisa Klimaszewski. Collaborative Dickens: Authorship and Victorian Christmas Periodicals (Ohio University Press, 2019); Jude Piesse. 'Dreaming Across Oceans: Emigration and Nation in the Mid-Victorian Christmas Issue'. Victorian Periodicals Review 46.1 (Spring 2013): 37-60; Robert Tracy. '"A Whimsical Kind of Masque": The Christmas Books and Victorian Spectacle'. Dickens Studies Annual 27 (1998): 113-30; Deborah A. Thomas. 'The Chord of the Christmas Season'. In Dickens and the Short Story (University of Pennsylvania Press, 1982): pp. 62-93; Sarah A. Solberg. '"Text Dropped into the Woodcuts": Dickens's Christmas Books'. Dickens Studies Annual 8 (1980): pp. 103-18; Ruth Glancy. 'Dickens and Christmas: His Framed-Tale Themes'. Nineteenth-Century Fiction 35.1 (June 1980): pp. 53-72; Thomas. 'Contributors to the Christmas Numbers of Household Words and All the Year Round, 1850-1867.' Part I. The Dickensian 70.372 (1973): pp. 163-72. and Part II. TD 70 (1974): pp. 21-29; 'Messages in Bottles and Collins's Seafaring Man'. Anthea Trodd. SEL: Studies in English Literature 41.4 (Autumn 2002), pp. 751-64; Susan Shatto. 'Miss Havisham and Mr. Mopes the Hermit: Dickens and the Mentally Ill'. (Part One) Dickens Quarterly 2.2 (June 1985): pp. 43-50 and (Part Two) DQ 2.3 (September 1985): pp. 79-84; Molly Boggs. '"Given to you by nature for an enemy": The landlady in mid-century London'. Journal of Victorian Culture 23.3 (2018): pp. 310-331; Thomas. 'Dickens' Mrs. Lirriper and the Evolution of a Feminine Stereotype'. Dickens Studies Annual 6 (1977): 154-169; Martha Stoddard Holmes. '"Happy and Yet Pitying Tears": Deafness and Affective Disjuncture in Dickens's Doctor Marigold'. Victorian Review 35.2 (Fall 2009): 53-64; Diana C. Archibald. 'Dickens's Visit to the Perkins School and Doctor Marigold'. Dickens and Massachusetts: The Lasting Legacy of the Commonwealth Visits. Eds. Archibald and Joel J. Brattin (University of Massachusetts, 2015): pp. 123-33; Anne Chapman. '"I am not going on": Negotiating Christmas Publishing Rhythms with Dickens's Mugby Junction'. Victorian Periodicals Review 51.1 (2018): 70-85; Samia Ounoughi. 'The Swiss Alps and Character Framing in No Thoroughfare'. Ed. Maxime Leroy. In Charles Dickens and Europe. Cambridge Scholars Publishing; 2013. pp. 114-25; Lillian Nayder. Unequal Partners: Charles Dickens, Wilkie Collins, and Victorian Authorship (Cornell University Press, 2002). Michael Hollington. '"To the Droodstone": Or, From The Moonstone to Edwin Drood via No Thoroughfare'. Q/W/E/R/T/Y: Arts, Littératures & Civilisations du Monde Anglophone 5 (1995): 141-9.  Short Story Publication Type E.g. newspaper/serial Periodical Publication The title of the newspaper/serial (if applicable) Household Words Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18581207 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. At one period of its reverses, the House fell into the occupation of a Showman. He was found registered as its occupier, on the parish books of the time when he rented the House, and there was therefore no need of any clue to his name. But, he himself was less easy to be found; for, he had led a wandering life, and settled people had lost sight of him, and people who plumed themselves on being respectable were shy of admitting that they had ever known anything of him. At last, among the marsh lands near the river's level, that lie about Deptford and the neighbouring market-gardens, a Grizzled Personage in velveteen, with a face so cut up by varieties of weather that he looked as if he had been tattoo'd, was found smoking a pipe at the door of a wooden house on wheels. The wooden house was laid up in ordinary for the winter near the mouth of a muddy creek; and everything near it, the foggy river, the misty marshes, and the steaming market-gardens, smoked in company with the grizzled man. In the midst of this smoking party, the funnel-chimney of the wooden house on wheels was not remiss, but took its pipe with the rest in a companionable manner. On being asked if it were he who had once rented the House to Let, Grizzled Velveteen looked surprised, and said yes. Then his name was Magsman? That was it, Toby Magsman—which lawfully christened Robert; but called in the line, from a infant, Toby. There was nothing agin Toby Magsman, he believed? If there was suspicion of such—mention it! There was no suspicion of such, he might rest assured. But, some inquiries were making about that House, and would he object to say why he left it? Not at all; why should he? He left it, along of a Dwarf. Along of a Dwarf? Mr. Magsman repeated, deliberately and emphatically, Along of a Dwarf. Might it be compatible with Mr. Magsman's inclination and convenience, to enter, as a favour, into a few particulars? Mr. Magsman entered into the following particulars. It was a long time ago, to begin with;— afore lotteries and a deal more, was done away with. Mr. Magsman was looking about for a good pitch, and he see that house, and he says to himselt, "I'll have you, it you're to be had. If money'll get you, I'll have you." The neighbours cut up rough, and made complaints; but Mr. Magsman don't know what they would have had. It was a lovely thing. First of all, there was the canvass, representin the picter of the Giant, in Spanish trunks and a ruff, who was himself half the heighth of the house, and was run up with a line and pulley to a pole on the roof, so that his Ed was coeval with the parapet. Then, there was the canvass, representin the picter of the Albina lady, showin her white air to the Army and Navy in correct uniform. Then, there was the canvass, representin the picter of the Wild Indian a scalpin a member of some foreign nation. Then, there was the canvass, representin the picter of a child of a British Planter, seized by two Boa Constrictors—not that we never had no child, nor no Constrictors neither. Similiarly, there was the canvass, representin the picter of the Wild Ass of the Prairies—not that we never had no wild asses, nor wouldn't have had 'em at a gift. Last, there was the canvass, representin the picter of the Dwarf, and like him too (considerin), with George the Fourth in such a state of astonishment at him as His Majesty couldn't with his utmost politeness and stoutness express. The front of the House was so covered with canvasses, that there wasn't a spark of daylight ever visible on that side. "MAGSMAN'S AMUSEMENTS," fifteen foot long by two foot high, ran over the front door and parlor winders. The passage was a Arbour of green baize and gardenstuff. A barrel-organ performed there unceasing. And as to respectability,—if threepence ain't respectable, what is? But, the Dwarf is the principal article at present, and he was worth the money. He was wrote up as MAJOR TPSCHOFFKI, OF THE IMPERIAL BULGRADERIAN BRIGADE. Nobody couldn't pronounce the name, and it never was intended anybody should. The public always turned it, as a regular rule, into Chopski. In the line he was called Chops; partly on that account, and partly because his real name, if he ever had any real name (which was very dubious), was Stakes. He was a un-common small man, he really was. Certainly, not so small as he was made out to be, but where is your Dwarf as is? He was a most uncommon small man with a most uncommon large Ed; and what he had inside that Ed, nobody never knowed but himself: even supposin himself to have ever took stock of it, which it would have been a stiff job for even him to do. The kindest little man as never growed! Spirited, but not proud. When he travelled with the Spotted Baby—though he knowed himself to be a nat'ral Dwarf, and knowed the Baby's spots to be put upon him artificial, he nursed that Baby like a mother. You never heerd him give a ill-name to a Giant. He did allow himself to break out into strong language respectin the Fat Lady from Norfolk; but that was an affair of the 'art; and when a man's 'art has been trifled with by a lady, and the preference giv to a Indian, he ain't master of his actions. He was always in love, of course; every human nat'ral phenomenon is. And he was always in love with a large woman; I never knowed the Dwarf as could be got to love a small one. Which helps to keep 'em the Curiosities they are. One sing'ler idea he had in that Ed of his, which must have meant something, or it wouldn't have been there. It was always his opinion that he was entitled to property. He never would put his name to anything. He had been taught to write, by the young man without arms, who got his living with his toes (quite a writing-master he was, and taught scores in the line), but Chops would have starved to death, afore he'd have gained a bit of bread by putting his hand to a paper. This is the more curious to bear in mind, because HE had no property, nor hope of property, except his house and a sarser. When I say his house, I mean the box, painted and got up outside like a reg'lar six-roomer, that he used to creep into, with a diamond ring (or quite as good to look at) on his forefinger, and ring a little bell out of what the Public believed to be the Drawing-room winder. And when I say a sarser, I mean a Chancy sarser in which he made a collection for himself at the end of every Entertainment. His cue for that, he took from me: "Ladies and gentlemen, the little man will now walk three times round the Cairawan, and retire behind the curtain." When he said anything important, in private life, he mostly wound it up with this form of words, and they was generally the last thing he said to me at night afore he went to bed. He had what I consider a fine mind—a poetic mind. His ideas respectin his property, never come upon him so strong as when he sat upon a barrel-organ and had the handle turned. Arter the wibration had run through him a little time, he would screech out, "Toby, I feel my property coming—grind away! I'm counting my guineas by thousands, Toby—grind away! Toby, I shall be a man of fortun! I feel the Mint a jingling in me, Toby, and I'm swelling out into the Bank of England!" Such is the influence of music on a poetic mind. Not that he was partial to any other music but a barrel-organ; on the contrairy, hated it. He had a kind of a everlasting grudge agin the Public: which is a thing you may notice in many phenomenons that get their living out of it. What riled him most in the nater of his occupation was, that it kep him out of Society. He was continiwally sayin, "Toby, my ambition is, to go into Society. The curse of my position towards the Public, is, that it keeps me hout of Society. This don't signify to a low beast of a Indian; he an't formed for Society. This don't signify to a Spotted Baby; he an't formed for Society.—I am." Nobody never could make out what Chops done with his money. He had a good salary, down on the drum every Saturday as the day come round, besides having the run of his teeth—and he was a Woodpecker to eat—but all Dwarfs are. The sarser was a little income, bringing him in so many halfpence that he'd carry 'em, for a week together, tied up in a pocket handkercher. And yet he never had money. And it couldn't be the Fat Lady from Norfolk, as was once supposed; because it stands to reason that when you have a animosity towards a Indian which makes you grind your teeth at him to his face, and which can hardly hold you from Goosing him audible when he's going through his War-Dance—it stands to reason you wouldn't under them circumstances deprive yourself, to support that Indian in the lap of luxury. Most unexpected, the mystery come out one day at Egham Eaces. The Public was shy of bein pulled in, and Chops was ringin his little bell out of his drawing-room winder, and was snarlin to me over his shoulder as he kneeled down with his legs out at the back-door—for he couldn't be shoved into his house without kneeling down, and the premises wouldn't accommodate his legs—was snarlin, "Here's a precious Public for you; why the Devil don't they tumble up?" when a man in the crowd holds up a carrier-pigeon, and cries out, "If there's any person here as has got a ticket, the Lottery's just drawed, and the number as has come up for the great prize is three, seven, forty-two! Three, seven, forty-two!" I was givin the man to the Furies myself, for calling off the Public's attention—for the Public will turn away, at any time, to look at anything in preference to the thing showed 'em; and if you doubt it, get 'em together for any indiwidual purpose on the face of the earth, and send only two people in late, and see if the whole company an't far more interested in takin particular notice of them two than of you—I say, I wasn't best pleased with the man for callin out, and, wasn't blessin him in my own mind, when I see Chops's little bell fly out of winder at a old lady, and he gets up and kicks his box over, exposin the whole secret, and he catches hold of the calves of my legs and he says to me, "Carry me into the wan, Toby, and throw a pail of water over me or I'm a dead man, for I've come into my property!" Twelve thousand odd hundred pound, was Chops's winnins. He had bought a half-ticket for the twenty-five thousand prize, and it had come up. The first use he made of his property, was, to offer to fight the Wild Indian for five hundred pound a side, him with a poisoned darnin-needle and the Indian with a club; but the Indian bein in want of backers to that amount, it went no further. Arter he had been mad for a week—in a state of mind, in short, in which, if I had let him sit on the organ for only two minutes, I believe he would have bust—but we kep the organ from him—Mr. Chops come round, and behaved liberal and beautiful to all. He then sent for a young man he knowed, as had a wery genteel appearance and was a Bonnet at a gaming-booth (most respectable brought up, father havin been imminent in the livery stable line but unfort'nate in a commercial crisis through paintin a old grey, ginger-bay, and sellin him with a Pedigree), and Mr. Chops said to this Bonnet, who said his name was Normandy, which it wasn't: "Normandy, I'm a goin into Society. Will you go with me?" Says Normandy: "Do I understand you, Mr. Chops, to hintimate that the 'ole of the expenses of that move will be borne by yourself?" "Correct," says Mr. Chops. "And you shall have a Princely allowance too." The Bonnet lifted Mr. Chops upon a chair, to shake hands with him, and replied in poetry, with his eyes seeminly fall of tears: "My boat is on the shore, And my bark is on the sea, And I do not ask for more, But I'll Go;—along with thee." They went into Society, in a chay and four greys with silk jackets. They took lodgings in Pall Mall, London, and they blazed away. In consequence of a note that was brought to Bartlemy Fair in the autumn of next year by a servant, most wonderful got up in milk-white cords and tops, I cleaned myself and went to Pall Mall, one evenin appinted. The gentlemen was at their wine arter dinner, and Mr. Chops's eyes was more fixed in that Ed of his than I thought good for him. There was three of 'em (in company, I mean), and I knowed the third well. When last met, he had on a white Roman shirt, and a bishop's-mitre covered with leopard-skin, and played the clarionet all wrong, in a band at a Wild Beast Show. This gent took on not to know me, and Mr. Chops said: "Gentlemen, this is a old friend of former days:" and Normandy looked at me through a eye-glass, and said, "Magsman, glad to see you!"—which I'll take my oath he wasn't. Mr. Chops, to git him convenient to the table, had his chair on a throne (much of the form of George the Fourth's in the canvass), but he hardly appeared to me to be King there in any other pint of view, for his two gentlemen ordered about like Emperors. They was all dressed like May-Day—gorgeous!—and as to Wine, they 'swam in all sorts. I made the round of the bottles, first separate (to say I had done it), and then mixed 'em all together (to say I had done it), and then tried two of 'em as half-and-half, and then t'other two. Altogether, I passed a pleasin evenin, but with a tendency to feel. muddled, until I considered it good manners to get up and say, "Mr. Chops, the best of friends must part, I thank you for the wariety of foreign drains you have stood so 'ansome, I looks towards you in red wine, and I takes my leave." Mr. Chops replied, "If you'll just hitch me out of this over your right arm, Magsman, and carry me downstairs, I'll see you out." I said I couldn't think of such a thing, but he would have it, so I lifted him off his throne. He smelt strong of Maideary, and I couldn't help thinking as I carried him down that it was like carrying a large bottle full of wine, with a rayther ugly stopper, a good deal out of proportion. When I set him on the door-mat in the hall, he kep me close to him by holding on to my coat-collar, and he whispers: "I an't 'appy, Magsman." "What's on your mind, Mr. Chops?" "They don't use me well. They an't grateful to me. They puts me on the mantelpiece when I won't have in more Champagne-wine, and they locks me in the sideboard when I won't give up my property." "Get rid of 'em, Mr. Chops." "I can't. We're in Society together, and what would Society say?" "Come out of Society," says I. "I can't. You don't know what you're talking about. When you have once gone into Society, you mustn't come out of it." "Then if you'll excuse the freedom, Mr. Chops," were my remark, shaking my head grave, " I think it's a pity you ever went in." Mr. Chops shook that deep Ed of his, to a surprisin extent, and slapped it half a dozen times with his hand, and with more Wice than I thought were in him. Then, he says, " You're a good feller, but you don't understand. Good night, go along. Magsman, the little man will now walk three times round the Cairawan, and retire behind the curtain." The last I see of him on that occasion was his tryin, on the extremest werge of insensibility, to climb up the stairs, one by one, with his hands and knees. They'd have been much too steep for him, if he had been sober; but he wouldn't be helped. It warn't long after that, that I read in the newspaper of Mr. Chops's being presented at court. It was printed, " It will be recol-lected "—and I've noticed in my life, that it is sure to be printed that it will be recollected, whenever it won't—''that Mr. Chops is the individual of small stature, whose brilliant success in the last State Lottery attracted so much attention." Well, I says to myself, Such is life! He has been and done it in earnest at last! He has astonished George the Fourth! (On account of which, I had that canvass new-painted, him with a bag of money in his hand, a presentin it to George the Fourth, and a lady in Ostrich Feathers fallin in love with him in a bag-wig, sword, and buckles correct.) I took the House as is the subject of pre-sent inquiries though not the honor of bein acquainted—and I run, Magsman's Amusements in it thirteen months—sometimes one thing, sometimes another, sometimes nothin particular, but always all the canvasses outside. One night, when we had played the last company out, which was a shy company through its raining Heavens hard, I was takin a pipe in the one pair back along with the young man with the toes, which I had taken on for a month (though he never drawed—except on paper), and I heard a kickin at the street door. "Halloa!" I says to the young man, "what's up!" He rubs his eyebrows with his toes, and he says, "I can't imagine, Mr. Magsman " which he never could imagine nothin, and was monotonous company. The noise not leavin off, I laid down my pipe, and I took up a candle, and I went down and opened the door. I looked out into the street; but nothin could I see, and nothin was I aware of, until I turned round quick, because some creetur run between my legs into the passage. There was Mr. Chops! "Magsman," he says, "take me, on the hold terms, and you've got me; if it's done, say done!" I was all of a maze, but I said, "Done, sir." "Done to your done, and double done!" says he. "Have you got a bit of supper in the house?" Bearin in mind them sparklin warieties of foreign drains as we'd guzzled away at in Pall Mall, I was ashamed to offer him cold sassages and gin-and- water; but he took 'em both and took 'em free; havin a chair for his table, and sittin down at it on a stool, like hold times. I, all of a maze all the while. It was arter he had made a clean sweep of the sassages (beef, and to the best of my calculations two pound and a quarter), that the wisdom as was in that little man, began to come out of him like prespiration. "Magsman," he says, "look upon me! You see afore you, One as has both gone into Society and come out." "Oh! You are out of it, Mr. Chops? How did you get out, sir?" "SOLD OUT!" says he. You never saw the like of the wisdom as his Ed expressed, when he made use of them two words. "My friend Magsman, I'll impart to you a discovery I've made. It's wallable; it's cost twelve thousand five hundred pound; it may do you good in life.—The secret of this matter is, that it ain't so much that a person goes into Society, as that Society goes into a person." Not exactly keeping up with his meanin, I shook my head, put on a deep look, and said, "You're right there, Mr. Chops." "Magsman," he says, twitchin me by the leg, "Society has gone into me, to the tune of every penny of my property." I felt that I went pale, and though natrally a bold speaker, I couldn't hardly say, "Where's Normandy?" "Bolted. With the plate," said Mr. Chops. "And t'other one?"—meaning him as formerly wore the bishop's mitre. "Bolted. With the jewels," said Mr. Chops. I sat down and looked at him, and he stood up and looked at me. "Magsman," he says, and he seemed to myself to get wiser as he got hoarser; "Society, taken in the lump, is all dwarfs. At the court of Saint James's, they was all a doin my hold bisness—all a goin three times round the Cairawan, in the hold Court-suits and properties. Elsewheres, they was most of 'em ringin their little bells out of make-believes. Everywheres, the sarser was a goin round, Magsman, the sarser is the uniwersal Institution!" I perceived, you understand, that he was soured by his misfortuns, and I felt for Mr. Chops. "As to Fat Ladies," says he, giving his Ed a tremendious one agin the wall, "there's lots of them in Society, and worse than the original. Hers was a outrage upon Taste—simply a outrage upon Taste—awakenin contempt— carryin its own punishment in the form of a Indian!" Here he giv himself another tremendious one. "But theirs, Magsman, theirs is mercenary outrages. Lay in Cashmeer shawls, buy bracelets, strew 'em and a lot of 'andsome fans and things about your rooms, let it be known that you give away like water to all as come to admire, and the Fat Ladies that don't exhibit for so much down upon the drum, will come from all the pints of the compass to flock about you, whatever you are. They'll drill holes in your 'art, Magsman, like a Cullender. And when you've no more left to give, they'll laugh at you to your face, and leave you to have your bones picked dry by Wulturs, like the dead Wild Ass of the Prairies that you deserve to be!" Here he giv himself the most tremendious one of all, and dropped. I thought he was gone. His Ed was so heavy, and he knocked it so hard, and he fell so stoney, and the sassagerial disturbance in him must have been so immense, that I thought he was gone. But, he soon come round with care, and he sat up on the floor, and he said to me, with wisdom comin out of his eyes, if ever it come: "Magsman! The most material difference between the two states of existence through which your unappy friend has passed;" he reached out his poor little hand, and his tears dropped down on the moustachio which it was a credit to him to have done his best to grow, but it is not in mortals to command success, '—the difference is this. When I was out of Society, I was paid light for being seen. When I went into Society, I paid heavy for being seen. I prefer theformer, even if I wasn't forced upon it. Give me out through the trumpet, in the hold way, tomorrow." Arter that, he slid into the line again as easy as if he had been iled all over. But, the organ was kep from him, and no allusions was ever made, when a company was in, to his property. He got wiser every day; his views of Society and the Public was luminous, bewilderin, awful; and his Ed got bigger and bigger as his Wisdom expanded it. He took well, and pulled 'em in most excellent fur nine weeks. At the expiration of that period, when his Ed was a sight, he expressed one evenin, the last Company havin been turned out, and the door shut, a wish to have a little music. "Mr. Chops," I said (I never dropped the "Mr." with him; the world might do it, but not me); "Mr. Chops, are you sure as you are in a state of mind and body to sit upon the organ?" His answer was this: "Toby, when next met with on the tramp, I forgive her and the Indian. And I am." It was with fear and trembling that I began to turn the handle; but he sat like a lamb. It will be my belief to my dying day, that I see his Ed expand as he sat; you may therefore judge how great his thoughts was. He sat out all the changes, and then he come off. "Toby," he says, with a quiet smile, " the little man will now walk three times round the Cairawan, and retire behind the curtain." When we called him in the morning, we found him gone into a much better Society than mine or Pall Mall's. I giv Mr. Chops as comfortable a funeral as lay in my power, followed myself as Chief, and had the George the Fourth canvass carried first, in the form of a banner. But, the House was so dismal arterwards, that I giv it up, and took to the Wan again. — "I don't triumph," said Jarber, folding up the second manuscript, and looking hard at Trottle. "I don't triumph over this worthy creature. I merely ask him if he is satisfied now?" "How can he be anything else? " I said, answering for Trottle, who sat obstinately silent. "This time, Jarber, you have not only read us a delightfully amusing story, but you have also answered the question about the House. Of course it stands empty now. Who would think of taking it after it had been turned into a caravan? " I looked at Trottle, as I said those last words, and Jarber waved his hand indulgently in the same direction. "Let this excellent person speak," said Jarber. " You were about to say, my good man? "— "I only wished to ask, sir," said Trottle, doggedly, "if you could kindly oblige me with a date or two, in connection with that last story?" "A date!" repeated Jarber. "What does the man want with dates!" "I should be glad to know, with great respect," persisted Trottle, "if the person named Magsman was the last tenant who lived in the House. It's my opinion—if I may be excused for giving it—that he most decidedly was not." With those words, Trottle made a low bow, and quietly left the room. There is no denying that Jarber, when we were left together, looked sadly discomposed. He had evidently forgotten to inquire about dates; and, in spite of his magnificent talk about his series of discoveries, it was quite as plain that the two stories he had just read, had really and truly exhausted his present stock. I thought myself bound, in common gratitude, to help him out of his embarrassment by a timely suggestion. So I proposed that he should come to tea again, on the next Monday evening, the thirteenth, and should make such inquiries in the meantime, as might enable him to dispose triumphantly of Trottle's objection. He gallantly kissed my hand, made a neat little speech of acknowledgment, and took his leave. For the rest of the week I would not encourage Trottle by allowing him to refer to the House at all. I suspected he was making his own inquiries about dates, but I put no questions to him. On Monday evening, the thirteenth, that dear unfortunate Jarber came, punctual to the appointed time. He looked so terribly harassed, that he was really quite a spectacle of feebleness and fatigue. I saw, at a glance, that the question of dates had gone against him, that Mr. Magsman had not been the last tenant of the House, and that the reason of its emptiness was still to seek. "What I have gone through," said Jarber, "words arc not eloquent enough to tell. Oh, Sophonisba, I have begun another series of discoveries! Accept the last two as stories laid on your shrine; and wait to blame me for leaving your curiosity unappeased, until you have heard Number Three." Number Three looked like a very short manuscript, and I said as much. Jarber explained to me that we were to have some poetry this time. In the course of his investigations he had stepped into the Circulating Library, to seek for information on the one important subject. All the Library-people knew about the House was, that a female relative of the last tenant as they believed, had, just after that tenant left, sent a little manuscript poem to them which she described as referring to events that had actually passed in the House; and which she wanted the proprietor of the Library to publish. She had written no address on her letter; and the proprietor had kept the manuscript ready to be given back to her (the publishing of poems not being in his line) when she might call for it. She had never called for it; and the poem had been lent to Jarber, at his express request, to read to me. Before he began, I rang the bell for Trottle; being determined to have him present at the new reading, as a wholesome check on his obstinacy. To my surprise Peggy answered the bell, and told me that Trottle had stepped out, without saying where. I instantly felt the strongest possible conviction that he was at his old tricks: and that his stepping out in the evening, without leave, meant Philandering. Controlling myself on my visitor's account, I dismissed Peggy, stifled my indignation, and prepared, as politely as might be, to listen to Jarber. 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 A House to Let (1858 Christmas Number) Description An account of the resource Published in Household Words, Vol. XVIII, Extra Christmas Number, December 1858, pp. 18-23. Creator An entity primarily responsible for making the resource Dickens, Charles Date A point or period of time associated with an event in the lifecycle of the resource 1858-12-07 Type The nature or genre of the resource Christmas Number Identifier An unambiguous reference to the resource within a given context 1858-12-07-A_House_to_Let Source A related resource from which the described resource is derived Dickens Journal Online, <a href="https://www.djo.org.uk/household-words/volume-xviii/page-590.html">https://www.djo.org.uk/household-words/volume-xviii/page-590.html</a>. 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 et. al. A House to Let (7 December 1858). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/christmas-numbers/1858-12-07-A_House_to_Let">https://www.dickenssearch.com/christmas-numbers/1858-12-07-A_House_to_Let</a>. Rights Information about rights held in and over the resource Scanned material from Dickens Journals Online, <a href="http://www.djo.org.uk" id="LPNoLPOWALinkPreview" contenteditable="false" title="http://www.djo.org.uk">www.djo.org.uk</a>. Available under CC BY licence. Table Of Contents A list of subunits of the resource. <ul> <li>Wilkie Collins. 'Over the Way' (No.1), pp. 1-6.</li> <li>Elizabeth Gaskell. 'The Manchester Marriage' (No.2), pp. 6-17.</li> <li>Charles Dickens, 'Going into Society' (No.3), pp. 17-23.</li> <li>Adelaide Anne Procter, 'Three Evenings in the House' (No.4), pp. 23-26.</li> <li>Wilkie Collins, 'Trottle's Report' (No.5), pp. 26-32.</li> <li>Wilkie Collins and Charles Dickens, 'Let at Last' (No.6), pp. 32-36.</li> </ul> Scripto Transcription A written representation of a document. At one period of its reverses, the House fell into the occupation of a Showman. He was found registered as its occupier, on the parish books of the time when he rented the House, and there was therefore no need of any clue to his name. But, he himself was less easy to be found; for, he had led a wandering life, and settled people had lost sight of him, and people who plumed themselves on being respectable were shy of admitting that they had ever known anything of him. At last, among the marsh lands near the river's level, that lie about Deptford and the neighbouring market-gardens, a Grizzled Personage in velveteen, with a face so cut up by varieties of weather that he looked as if he had been tattoo'd, was found smoking a pipe at the door of a wooden house on wheels. The wooden house was laid up in ordinary for the winter near the mouth of a muddy creek; and everything near it, the foggy river, the misty marshes, and the steaming market-gardens, smoked in company with the grizzled man. In the midst of this smoking party, the funnel-chimney of the wooden house on wheels was not remiss, but took its pipe with the rest in a companionable manner. On being asked if it were he who had once rented the House to Let, Grizzled Velveteen looked surprised, and said yes. Then his name was Magsman? That was it, Toby Magsman—which lawfully christened Robert; but called in the line, from a infant, Toby. There was nothing agin Toby Magsman, he believed? If there was suspicion of such—mention it! There was no suspicion of such, he might rest assured. But, some inquiries were making about that House, and would he object to say why he left it? Not at all; why should he? He left it, along of a Dwarf. Along of a Dwarf? Mr. Magsman repeated, deliberately and emphatically, Along of a Dwarf. Might it be compatible with Mr. Magsman's inclination and convenience, to enter, as a favour, into a few particulars? Mr. Magsman entered into the following particulars. It was a long time ago, to begin with;— afore lotteries and a deal more, was done away with. Mr. Magsman was looking about for a good pitch, and he see that house, and he says to himselt, "I'll have you, it you're to be had. If money'll get you, I'll have you." The neighbours cut up rough, and made complaints; but Mr. Magsman don't know what they would have had. It was a lovely thing. First of all, there was the canvass, representin the picter of the Giant, in Spanish trunks and a ruff, who was himself half the heighth of the house, and was run up with a line and pulley to a pole on the roof, so that his Ed was coeval with the parapet. Then, there was the canvass, representin the picter of the Albina lady, showin her white air to the Army and Navy in correct uniform. Then, there was the canvass, representin the picter of the Wild Indian a scalpin a member of some foreign nation. Then, there was the canvass, representin the picter of a child of a British Planter, seized by two Boa Constrictors—not that we never had no child, nor no Constrictors neither. Similiarly, there was the canvass, representin the picter of the Wild Ass of the Prairies—not that we never had no wild asses, nor wouldn't have had 'em at a gift. Last, there was the canvass, representin the picter of the Dwarf, and like him too (considerin), with George the Fourth in such a state of astonishment at him as His Majesty couldn't with his utmost politeness and stoutness express. The front of the House was so covered with canvasses, that there wasn't a spark of daylight ever visible on that side. "MAGSMAN'S AMUSEMENTS," fifteen foot long by two foot high, ran over the front door and parlor winders. The passage was a Arbour of green baize and gardenstuff. A barrel-organ performed there unceasing. And as to respectability,—if threepence ain't respectable, what is? But, the Dwarf is the principal article at present, and he was worth the money. He was wrote up as MAJOR TPSCHOFFKI, OF THE IMPERIAL BULGRADERIAN BRIGADE. Nobody couldn't pronounce the name, and it never was intended anybody should. The public always turned it, as a regular rule, into Chopski. In the line he was called Chops; partly on that account, and partly because his real name, if he ever had any real name (which was very dubious), was Stakes. He was a un-common small man, he really was. Certainly, not so small as he was made out to be, but where is your Dwarf as is? He was a most uncommon small man with a most uncommon large Ed; and what he had inside that Ed, nobody never knowed but himself: even supposin himself to have ever took stock of it, which it would have been a stiff job for even him to do. The kindest little man as never growed! Spirited, but not proud. When he travelled with the Spotted Baby—though he knowed himself to be a nat'ral Dwarf, and knowed the Baby's spots to be put upon him artificial, he nursed that Baby like a mother. You never heerd him give a ill-name to a Giant. He did allow himself to break out into strong language respectin the Fat Lady from Norfolk; but that was an affair of the 'art; and when a man's 'art has been trifled with by a lady, and the preference giv to a Indian, he ain't master of his actions. He was always in love, of course; every human nat'ral phenomenon is. And he was always in love with a large woman; I never knowed the Dwarf as could be got to love a small one. Which helps to keep 'em the Curiosities they are. One sing'ler idea he had in that Ed of his, which must have meant something, or it wouldn't have been there. It was always his opinion that he was entitled to property. He never would put his name to anything. He had been taught to write, by the young man without arms, who got his living with his toes (quite a writing-master he was, and taught scores in the line), but Chops would have starved to death, afore he'd have gained a bit of bread by putting his hand to a paper. This is the more curious to bear in mind, because HE had no property, nor hope of property, except his house and a sarser. When I say his house, I mean the box, painted and got up outside like a reg'lar six-roomer, that he used to creep into, with a diamond ring (or quite as good to look at) on his forefinger, and ring a little bell out of what the Public believed to be the Drawing-room winder. And when I say a sarser, I mean a Chancy sarser in which he made a collection for himself at the end of every Entertainment. His cue for that, he took from me:  "Ladies and gentlemen, the little man will now walk three times round the Cairawan, and retire behind the curtain." When he said anything important, in private life, he mostly wound it up with this form of words, and they was generally the last thing he said to me at night afore he went to bed. He had what I consider a fine mind—a poetic mind. His ideas respectin his property, never come upon him so strong as when he sat upon a barrel-organ and had the handle turned. Arter the wibration had run through him a little time, he would screech out, "Toby, I feel my property coming—grind away! I'm counting my guineas by thousands, Toby—grind away! Toby, I shall be a man of fortun! I feel the Mint a jingling in me, Toby, and I'm swelling out into the Bank of England!" Such is the influence of music on a poetic mind. Not that he was partial to any other music but a barrel-organ; on the contrairy, hated it. He had a kind of a everlasting grudge agin the Public: which is a thing you may notice in many phenomenons that get their living out of it. What riled him most in the nater of his occupation was, that it kep him out of Society. He was continiwally sayin, "Toby, my ambition is, to go into Society. The curse of my position towards the Public, is, that it keeps me hout of Society. This don't signify to a low beast of a Indian; he an't formed for Society. This don't signify to a Spotted Baby; he an't formed for Society.—I am." Nobody never could make out what Chops done with his money. He had a good salary, down on the drum every Saturday as the day come round, besides having the run of his teeth—and he was a Woodpecker to eat—but all Dwarfs are. The sarser was a little income, bringing him in so many halfpence that he'd carry 'em, for a week together, tied up in a pocket handkercher. And yet he never had money. And it couldn't be the Fat Lady from Norfolk, as was once supposed; because it stands to reason that when you have a animosity towards a Indian which makes you grind your teeth at him to his face, and which can hardly hold you from Goosing him audible when he's going through his War-Dance—it stands to reason you wouldn't under them circumstances deprive yourself, to support that Indian in the lap of luxury. Most unexpected, the mystery come out one day at Egham Eaces. The Public was shy of bein pulled in, and Chops was ringin his little bell out of his drawing-room winder, and was snarlin to me over his shoulder as he kneeled down with his legs out at the back-door—for he couldn't be shoved into his house without kneeling down, and the premises wouldn't accommodate his legs—was snarlin, "Here's a precious Public for you; why the Devil don't they tumble up?" when a man in the crowd holds up a carrier-pigeon, and cries out, "If there's any person here as has got a ticket, the Lottery's just drawed, and the number as has come up for the great prize is three, seven, forty-two! Three, seven, forty-two!" I was givin the man to the Furies myself, for calling off the Public's attention—for the Public will turn away, at any time, to look at anything in preference to the thing showed 'em; and if you doubt it, get 'em together for any indiwidual purpose on the face of the earth, and send only two people in late, and see if the whole company an't far more interested in takin particular notice of them two than of you—I say, I wasn't best pleased with the man for callin out, and, wasn't blessin him in my own mind, when I see Chops's little bell fly out of winder at a old lady, and he gets up and kicks his box over, exposin the whole secret, and he catches hold of the calves of my legs and he says to me, "Carry me into the wan, Toby, and throw a pail of water over me or I'm a dead man, for I've come into my property!" Twelve thousand odd hundred pound, was Chops's winnins. He had bought a half-ticket for the twenty-five thousand prize, and it had come up. The first use he made of his property, was, to offer to fight the Wild Indian for five hundred pound a side, him with a poisoned darnin-needle and the Indian with a club; but the Indian bein in want of backers to that amount, it went no further. Arter he had been mad for a week—in a state of mind, in short, in which, if I had let him sit on the organ for only two minutes, I believe he would have bust—but we kep the organ from him—Mr. Chops come round, and behaved liberal and beautiful to all. He then sent for a young man he knowed, as had a wery genteel appearance and was a Bonnet at a gaming-booth (most respectable brought up, father havin been imminent in the livery stable line but unfort'nate in a commercial crisis through paintin a old grey, ginger-bay, and sellin him with a Pedigree), and Mr. Chops said to this Bonnet, who said his name was Normandy, which it wasn't: "Normandy, I'm a goin into Society. Will you go with me?" Says Normandy: "Do I understand you, Mr. Chops, to hintimate that the 'ole of the expenses of that move will be borne by yourself?" "Correct," says Mr. Chops. "And you shall have a Princely allowance too." The Bonnet lifted Mr. Chops upon a chair, to shake hands with him, and replied in poetry, with his eyes seeminly fall of tears: "My boat is on the shore, And my bark is on the sea, And I do not ask for more, But I'll Go;—along with thee." They went into Society, in a chay and four greys with silk jackets. They took lodgings in Pall Mall, London, and they blazed away. In consequence of a note that was brought to Bartlemy Fair in the autumn of next year by a servant, most wonderful got up in milk-white cords and tops, I cleaned myself and went to Pall Mall, one evenin appinted. The gentlemen was at their wine arter dinner, and Mr. Chops's eyes was more fixed in that Ed of his than I thought good for him. There was three of 'em (in company, I mean), and I knowed the third well. When last met, he had on a white Roman shirt, and a bishop's-mitre covered with leopard-skin, and played the clarionet all wrong, in a band at a Wild Beast Show. This gent took on not to know me, and Mr. Chops said: "Gentlemen, this is a old friend of former days:" and Normandy looked at me through a eye-glass, and said, "Magsman, glad to see you!"—which I'll take my oath he wasn't. Mr. Chops, to git him convenient to the table, had his chair on a throne (much of the form of George the Fourth's in the canvass), but he hardly appeared to me to be King there in any other pint of view, for his two gentlemen ordered about like Emperors. They was all dressed like May-Day—gorgeous!—and as to Wine, they 'swam in all sorts. I made the round of the bottles, first separate (to say I had done it), and then mixed 'em all together (to say I had done it), and then tried two of 'em as half-and-half, and then t'other two. Altogether, I passed a pleasin evenin, but with a tendency to feel. muddled, until I considered it good manners to get up and say, "Mr. Chops, the best of friends must part, I thank you for the wariety of foreign drains you have stood so 'ansome, I looks towards you in red wine, and I takes my leave." Mr. Chops replied, "If you'll just hitch me out of this over your right arm, Magsman, and carry me downstairs, I'll see you out." I said I couldn't think of such a thing, but he would have it, so I lifted him off his throne. He smelt strong of Maideary, and I couldn't help thinking as I carried him down that it was like carrying a large bottle full of wine, with a rayther ugly stopper, a good deal out of proportion. When I set him on the door-mat in the hall, he kep me close to him by holding on to my coat-collar, and he whispers: "I an't 'appy, Magsman." "What's on your mind, Mr. Chops?" "They don't use me well. They an't grateful to me. They puts me on the mantelpiece when I won't have in more Champagne-wine, and they locks me in the sideboard when I won't give up my property." "Get rid of 'em, Mr. Chops." "I can't. We're in Society together, and what would Society say?" "Come out of Society," says I. "I can't. You don't know what you're talking about. When you have once gone into Society, you mustn't come out of it." "Then if you'll excuse the freedom, Mr. Chops," were my remark, shaking my head grave, " I think it's a pity you ever went in." Mr. Chops shook that deep Ed of his, to a surprisin extent, and slapped it half a dozen times with his hand, and with more Wice than I thought were in him. Then, he says, " You're a good feller, but you don't understand. Good night, go along. Magsman, the little man will now walk three times round the Cairawan, and retire behind the curtain." The last I see of him on that occasion was his tryin, on the extremest werge of insensibility, to climb up the stairs, one by one, with his hands and knees. They'd have been much too steep for him, if he had been sober; but he wouldn't be helped. It warn't long after that, that I read in the newspaper of Mr. Chops's being presented at court. It was printed, " It will be recol-lected "—and I've noticed in my life, that it is sure to be printed that it will be recollected, whenever it won't—''that Mr. Chops is the individual of small stature, whose brilliant success in the last State Lottery attracted so much attention." Well, I says to myself, Such is life! He has been and done it in earnest at last! He has astonished George the Fourth! (On account of which, I had that canvass new-painted, him with a bag of money in his hand, a presentin it to George the Fourth, and a lady in Ostrich Feathers fallin in love with him in a bag-wig, sword, and buckles correct.) I took the House as is the subject of pre-sent inquiries though not the honor of bein acquainted—and I run, Magsman's Amusements in it thirteen months—sometimes one thing, sometimes another, sometimes nothin particular, but always all the canvasses outside. One night, when we had played the last company out, which was a shy company through its raining Heavens hard, I was takin a pipe in the one pair back along with the young man with the toes, which I had taken on for a month (though he never drawed—except on paper), and I heard a kickin at the street door. "Halloa!" I says to the young man, "what's up!" He rubs his eyebrows with his toes, and he says, "I can't imagine, Mr. Magsman " which he never could imagine nothin, and was monotonous company. The noise not leavin off, I laid down my pipe, and I took up a candle, and I went down and opened the door. I looked out into the street; but nothin could I see, and nothin was I aware of, until I turned round quick, because some creetur run between my legs into the passage. There was Mr. Chops! "Magsman," he says, "take me, on the hold terms, and you've got me; if it's done, say done!" I was all of a maze, but I said, "Done, sir." "Done to your done, and double done!" says he. "Have you got a bit of supper in the house?" Bearin in mind them sparklin warieties of foreign drains as we'd guzzled away at in Pall Mall, I was ashamed to offer him cold sassages and gin-and- water; but he took 'em both and took 'em free; havin a chair for his table, and sittin down at it on a stool, like hold times. I, all of a maze all the while. It was arter he had made a clean sweep of the sassages (beef, and to the best of my calculations two pound and a quarter), that the wisdom as was in that little man, began to come out of him like prespiration. "Magsman," he says, "look upon me! You see afore you, One as has both gone into Society and come out." "Oh! You are out of it, Mr. Chops? How did you get out, sir?" "SOLD OUT!" says he. You never saw the like of the wisdom as his Ed expressed, when he made use of them two words. "My friend Magsman, I'll impart to you a discovery I've made. It's wallable; it's cost twelve thousand five hundred pound; it may do you good in life.—The secret of this matter is, that it ain't so much that a person goes into Society, as that Society goes into a person." Not exactly keeping up with his meanin, I shook my head, put on a deep look, and said, "You're right there, Mr. Chops." "Magsman," he says, twitchin me by the leg, "Society has gone into me, to the tune of every penny of my property." I felt that I went pale, and though natrally a bold speaker, I couldn't hardly say, "Where's Normandy?" "Bolted. With the plate," said Mr. Chops. "And t'other one?"—meaning him as formerly wore the bishop's mitre. "Bolted. With the jewels," said Mr. Chops. I sat down and looked at him, and he stood up and looked at me. "Magsman," he says, and he seemed to myself to get wiser as he got hoarser; "Society, taken in the lump, is all dwarfs. At the court of Saint James's, they was all a doin my hold bisness—all a goin three times round the Cairawan, in the hold Court-suits and properties. Elsewheres, they was most of 'em ringin their little bells out of make-believes. Everywheres, the sarser was a goin round, Magsman, the sarser is the uniwersal Institution!" I perceived, you understand, that he was soured by his misfortuns, and I felt for Mr. Chops. "As to Fat Ladies," says he, giving his Ed a tremendious one agin the wall, "there's lots of them in Society, and worse than the original. Hers was a outrage upon Taste—simply a outrage upon Taste—awakenin contempt— carryin its own punishment in the form of a Indian!" Here he giv himself another tremendious one. "But theirs, Magsman, theirs is mercenary outrages. Lay in Cashmeer shawls, buy bracelets, strew 'em and a lot of 'andsome fans and things about your rooms, let it be known that you give away like water to all as come to admire, and the Fat Ladies that don't exhibit for so much down upon the drum, will come from all the pints of the compass to flock about you, whatever you are. They'll drill holes in your 'art, Magsman, like a Cullender. And when you've no more left to give, they'll laugh at you to your face, and leave you to have your bones picked dry by Wulturs, like the dead Wild Ass of the Prairies that you deserve to be!" Here he giv himself the most tremendious one of all, and dropped. I thought he was gone. His Ed was so heavy, and he knocked it so hard, and he fell so stoney, and the sassagerial disturbance in him must have been so immense, that I thought he was gone. But, he soon come round with care, and he sat up on the floor, and he said to me, with wisdom comin out of his eyes, if ever it come: "Magsman! The most material difference between the two states of existence through which your unappy friend has passed;" he reached out his poor little hand, and his tears dropped down on the moustachio which it was a credit to him to have done his best to grow, but it is not in mortals to command success, '—the difference is this. When I was out of Society, I was paid light for being seen. When I went into Society, I paid heavy for being seen. I prefer theformer, even if I wasn't forced upon it. Give me out through the trumpet, in the hold way, tomorrow." Arter that, he slid into the line again as easy as if he had been iled all over. But, the organ was kep from him, and no allusions was ever made, when a company was in, to his property. He got wiser every day; his views of Society and the Public was luminous, bewilderin, awful; and his Ed got bigger and bigger as his Wisdom expanded it. He took well, and pulled 'em in most excellent fur nine weeks. At the expiration of that period, when his Ed was a sight, he expressed one evenin, the last Company havin been turned out, and the door shut, a wish to have a little music. "Mr. Chops," I said (I never dropped the "Mr." with him; the world might do it, but not me); "Mr. Chops, are you sure as you are in a state of mind and body to sit upon the organ?" His answer was this: "Toby, when next met with on the tramp, I forgive her and the Indian. And I am." It was with fear and trembling that I began to turn the handle; but he sat like a lamb. It will be my belief to my dying day, that I see his Ed expand as he sat; you may therefore judge how great his thoughts was. He sat out all the changes, and then he come off. "Toby," he says, with a quiet smile, " the little man will now walk three times round the Cairawan, and retire behind the curtain." When we called him in the morning, we found him gone into a much better Society than mine or Pall Mall's. I giv Mr. Chops as comfortable a funeral as lay in my power, followed myself as Chief, and had the George the Fourth canvass carried first, in the form of a banner. But, the House was so dismal arterwards, that I giv it up, and took to the Wan again. — "I don't triumph," said Jarber, folding up the second manuscript, and looking hard at Trottle. "I don't triumph over this worthy creature. I merely ask him if he is satisfied now?" "How can he be anything else? " I said, answering for Trottle, who sat obstinately silent. "This time, Jarber, you have not only read us a delightfully amusing story, but you have also answered the question about the House. Of course it stands empty now. Who would think of taking it after it had been turned into a caravan? " I looked at Trottle, as I said those last words, and Jarber waved his hand indulgently in the same direction. "Let this excellent person speak," said Jarber. " You were about to say, my good man? "— "I only wished to ask, sir," said Trottle, doggedly, "if you could kindly oblige me with a date or two, in connection with that last story?" "A date!" repeated Jarber. "What does the man want with dates!" "I should be glad to know, with great respect," persisted Trottle, "if the person named Magsman was the last tenant who lived in the House. It's my opinion—if I may be excused for giving it—that he most decidedly was not." With those words, Trottle made a low bow, and quietly left the room. There is no denying that Jarber, when we were left together, looked sadly discomposed. He had evidently forgotten to inquire about dates; and, in spite of his magnificent talk about his series of discoveries, it was quite as plain that the two stories he had just read, had really and truly exhausted his present stock. I thought myself bound, in common gratitude, to help him out of his embarrassment by a timely suggestion. So I proposed that he should come to tea again, on the next Monday evening, the thirteenth, and should make such inquiries in the meantime, as might enable him to dispose triumphantly of Trottle's objection. He gallantly kissed my hand, made a neat little speech of acknowledgment, and took his leave. For the rest of the week I would not encourage Trottle by allowing him to refer to the House at all. I suspected he was making his own inquiries about dates, but I put no questions to him. On Monday evening, the thirteenth, that dear unfortunate Jarber came, punctual to the appointed time. He looked so terribly harassed, that he was really quite a spectacle of feebleness and fatigue. I saw, at a glance, that the question of dates had gone against him, that Mr. Magsman had not been the last tenant of the House, and that the reason of its emptiness was still to seek. "What I have gone through," said Jarber, "words arc not eloquent enough to tell. Oh, Sophonisba, I have begun another series of discoveries! Accept the last two as stories laid on your shrine; and wait to blame me for leaving your curiosity unappeased, until you have heard Number Three." Number Three looked like a very short manuscript, and I said as much. Jarber explained to me that we were to have some poetry this time. In the course of his investigations he had stepped into the Circulating Library, to seek for information on the one important subject. All the Library-people knew about the House was, that a female relative of the last tenant as they believed, had, just after that tenant left, sent a little manuscript poem to them which she described as referring to events that had actually passed in the House; and which she wanted the proprietor of the Library to publish. She had written no address on her letter; and the proprietor had kept the manuscript ready to be given back to her (the publishing of poems not being in his line) when she might call for it. She had never called for it; and the poem had been lent to Jarber, at his express request, to read to me. Before he began, I rang the bell for Trottle; being determined to have him present at the new reading, as a wholesome check on his obstinacy. To my surprise Peggy answered the bell, and told me that Trottle had stepped out, without saying where. I instantly felt the strongest possible conviction that he was at his old tricks: and that his stepping out in the evening, without leave, meant Philandering. Controlling myself on my visitor's account, I dismissed Peggy, stifled my indignation, and prepared, as politely as might be, to listen to Jarber. https://www.dickenssearch.com/files/original/8/A_Round_of_Stories_by_the_Christmas_Fire_[1852_Christmas_Number]/1852-12-25-A_Round_of_Stories_by_the_Christmas_Fire.pdf 5f1a9183a69a5f22a955534f57c6d788 https://www.dickenssearch.com/files/original/8/A_Round_of_Stories_by_the_Christmas_Fire_[1852_Christmas_Number]/1852-12-25-The_Poor_Relations_Story.pdf a9f32cc26b00e8b805317838b72fe245 https://www.dickenssearch.com/files/original/8/A_Round_of_Stories_by_the_Christmas_Fire_[1852_Christmas_Number]/1852-12-25-The_Childs_Story.pdf eab013b59b765798b37fb40e5dc5a14b 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 Christmas Numbers Contributor An entity responsible for making contributions to the resource Lydia Craig Identifier An unambiguous reference to the resource within a given context christmas-numbers Scripto Transcription A written representation of a document. This collection (still in development) unites the eighteen Christmas numbers that Dickens orchestrated between 1850 and 1867 in conjunction with multiple Victorian authors, notably Wilkie Collins, and published in his periodicals Household Words and All the Year Round. After writing five Christmas books and multiple sketches on Yuletide cheer - notably 'Scenes and Characters, No. 10, Christmas Festivities', published as 'A Christmas Dinner' in Sketches by Boz (1836) - not to mention the holiday merry-making described in Pickwick Papers (1836-1837), Charles Dickens might reasonably be supposed to have had his fill of seasonal writing. However, he published a Christmas number in 1850 in HW that contained a series of sketches about Christmas, contributing 'A Christmas Tree' (1850). In the next year's Christmas number, he included the short piece 'What Christmas is, as we Grow Older' (1851). Holiday fiction, though, was what Dickens's readership seemed to crave, and the author, editor, and entrepreneur in Dickens all recognised the opportunity. In 1852, Dickens decided to develop an extra Christmas number for HW which would harness the creative talents of other writers for a series of unrelated stories told within a frame narrative of his own composition. Each year he himself would write several of these parts, generally two to three. Soon, the Christmas number became as much of an expected holiday tradition among Victorian subscribers as had been the Christmas books. All in all, eighteen Christmas numbers of this kind resulted (1850-1867); nine published in HW and nine in ATYR.  <div style="text-align: center;">Extra Christmas Numbers - Household Words</div> On 24 December 1852, Dickens published A Round of Stories by the Christmas Fire. Personally, he had written 'The Poor Relation's Story' (No.1) and 'The Child's Story' (No.2) with successive stories authored by other contributors, though no names appeared. What would have been the 1853 extra number was late, published instead on 18 February 1854, a circumstance that would not occur again until the 1864 Christmas number. This time, Dickens published more short stories by himself and others, contributing 'The Schoolboy's Story' and 'Nobody's Story', but the Christmas number, for once, lacked a frame narrative or overarching title, though it would come to be known as Another Round of Stories by the Christmas Fire. 25 December 1854 saw The Seven Poor Travellers, with Dickens penning 'The First' (No.1) and 'The Road' (No.7). By writing the first and last stories in the collection, he, as editor, might steer the entire composition towards a cohesive conclusion.  Next, Dickens wrote 'The Guest' (No.1), 'The Boots' (No.3), and 'The Bill' (No.7) as part of The Holly-Tree Inn (15 December 1855). The Wreck of the 'Golden Mary' followed on 25 December 1856, with Dickens composing only 'The Wreck' (No.1), a lengthy description of a shipwreck which sets up the framing narrative. Next, Dickens collaborated with Wilkie Collins on The Perils of Certain English Prisoners, and their Treasure in Women, Children, Silver, and Jewels (7 December 1857), Dickens writing 'The Island of Silver-Store' (No.1) and 'The Rafts on the River' (No.3) with Collins contributing the second chapter. Rounding out the extra Christmas numbers for HW, A House to Let appeared on 7 December 1858, with Dickens authoring 'Going into Society' (No.3). The last issue of HW appeared on 28 May 1859, with the journal virtually concluded, due to disagreements with Dickens's publishers Bradbury and Evans, though it was symbolically folded into ATYR. <div style="text-align: center;">Extra Christmas Numbers - All the Year Round</div> After Dickens launched his new journal ATYR on 30 April 1859, Christmas remained house-themed with the extra Christmas number The Haunted House (13 December 1859). It featured three offerings from him, 'The Mortals in the House' (No.1), 'The Ghost in Master B's Room' (No.6), and 'The Ghost in the Corner Room' (No.8). Yet Dickens continued to experiment with his holiday themes. He would write 'The Village' (No.1), 'The Money' (No.2), and 'The Restitution' (No.5) for A Message from the Sea, published on 25 December 1860, a story about a New England mariner, Captain Jorgan, who seeks to discover the truth about the origin of a Welsh family's mysterious nest-egg.  For Tom Tiddler's Ground, published 25 December 1861, Dickens produced 'Picking up Soot and Cinders' (No.1), 'Picking up Miss Kimmeens' (No.6), and 'Picking up the Tinker' (No. 7). An impressive four parts of Somebody's Luggage (4 December 1862), 'His Leaving it Till Called For' (No.1), 'His Boots' (No.2), 'His Brown-Paper Parcel' (No.7), and 'His Wonderful End' (No. 10) were produced by Dickens, who notably portrays himself in the story as a character, in his capacity as AYTR editor, to amusing effect. Two subsequent Christmas numbers, Mrs. Lirriper's Lodgings (25 December 1863) and Mrs. Lirriper's Legacy' (12 January 1864), concern the life and activities of a generous landlady who adopts a young boy and raises him with the help of her gallant lodger, Major Jackman. The former contained Dickens's two introductory and conclusion chapters, 'How Mrs. Lirriper carried on the Business' (No.1) and 'How the Parlours added a few words' (No.6), while the latter featured 'Mrs. Lirriper relates how she went on, and went over' (No.1) and 'Mrs. Lirriper relates how Jimmy topped up' (No.7), a story including a jaunt to France, with identical placement at the beginning and end of the number. Doctor Marigold's Prescriptions appeared in 1865, with Mugby Junction following in 1866; both frame narratives deal with themes of disability and poverty. For the first, Dickens contributed 'To be Taken Immediately' (No.1), 'To be Taken with a Grain of Salt' (No.6), and 'To be Taken for Life' (No.8); for the latter, he wrote 'Barbox Brothers' (No.1), 'Barbox Brothers and Co.' (No.2), 'Main Line. The Boy at Mugby' (No.3), and 'No.1 Branch Line. The Signal-man' (No.4). For the final Christmas number, No Thoroughfare (12 December 1867), Dickens collaborated with Collins on an imaginative European thriller that ranges from orphanages and offices in London to hotels and precipices in the Swiss Alps. Dickens is known to have primarily written most of The Overture, Act I, Act III, with Collins taking Act 2. Both collaborated on Acts IV and V. However, they deliberately interspersed passages into each other's parts to confuse readers as to which author had written which 'Acts' (Slater, Charles Dickens, pp. 569-573). Consequently, we have merely transcribed the Christmas number in its entirety, as a collaboration. Though Dickens considered beginning a Christmas number in 1868, his other activities, coupled with failing health, led him to gratefully relinquish the idea. Instead, he would eventually go on to attempt another novel, The Mystery of Edwin Drood (1870), evidently sensing the public's interest in the detective genre, one which he and Collins had, more or less, pioneered with their respective novels Bleak House (1853) (Inspector Bucket) and The Moonstone (1868) (Sergeant Cuff). His mind may also have been running on the mysterious plot of No Thoroughfare, with its malevolent villain, though he did not live to see the plot through to its conclusion. While building this collection, we have consulted, and transcribed scans from Dickens Journals Online; all items are linked to their original location on the internet. With the exception of No Thoroughfare, transcripts have been made only of parts of numbers Dickens is known to have authored. Lists of writers known to have authored chapters or portions of these extra Christmas numbers have been added to the metadata of each item (Klimaszewski, Appendix A).  Please contact us with any errors, corrections, and suggestions. 1. See Melisa Klimaszewski. Collaborative Dickens: Authorship and Victorian Christmas Periodicals (Ohio University Press, 2019); Jude Piesse. 'Dreaming Across Oceans: Emigration and Nation in the Mid-Victorian Christmas Issue'. Victorian Periodicals Review 46.1 (Spring 2013): 37-60; Robert Tracy. '"A Whimsical Kind of Masque": The Christmas Books and Victorian Spectacle'. Dickens Studies Annual 27 (1998): 113-30; Deborah A. Thomas. 'The Chord of the Christmas Season'. In Dickens and the Short Story (University of Pennsylvania Press, 1982): pp. 62-93; Sarah A. Solberg. '"Text Dropped into the Woodcuts": Dickens's Christmas Books'. Dickens Studies Annual 8 (1980): pp. 103-18; Ruth Glancy. 'Dickens and Christmas: His Framed-Tale Themes'. Nineteenth-Century Fiction 35.1 (June 1980): pp. 53-72; Thomas. 'Contributors to the Christmas Numbers of Household Words and All the Year Round, 1850-1867.' Part I. The Dickensian 70.372 (1973): pp. 163-72. and Part II. TD 70 (1974): pp. 21-29; 'Messages in Bottles and Collins's Seafaring Man'. Anthea Trodd. SEL: Studies in English Literature 41.4 (Autumn 2002), pp. 751-64; Susan Shatto. 'Miss Havisham and Mr. Mopes the Hermit: Dickens and the Mentally Ill'. (Part One) Dickens Quarterly 2.2 (June 1985): pp. 43-50 and (Part Two) DQ 2.3 (September 1985): pp. 79-84; Molly Boggs. '"Given to you by nature for an enemy": The landlady in mid-century London'. Journal of Victorian Culture 23.3 (2018): pp. 310-331; Thomas. 'Dickens' Mrs. Lirriper and the Evolution of a Feminine Stereotype'. Dickens Studies Annual 6 (1977): 154-169; Martha Stoddard Holmes. '"Happy and Yet Pitying Tears": Deafness and Affective Disjuncture in Dickens's Doctor Marigold'. Victorian Review 35.2 (Fall 2009): 53-64; Diana C. Archibald. 'Dickens's Visit to the Perkins School and Doctor Marigold'. Dickens and Massachusetts: The Lasting Legacy of the Commonwealth Visits. Eds. Archibald and Joel J. Brattin (University of Massachusetts, 2015): pp. 123-33; Anne Chapman. '"I am not going on": Negotiating Christmas Publishing Rhythms with Dickens's Mugby Junction'. Victorian Periodicals Review 51.1 (2018): 70-85; Samia Ounoughi. 'The Swiss Alps and Character Framing in No Thoroughfare'. Ed. Maxime Leroy. In Charles Dickens and Europe. Cambridge Scholars Publishing; 2013. pp. 114-25; Lillian Nayder. Unequal Partners: Charles Dickens, Wilkie Collins, and Victorian Authorship (Cornell University Press, 2002). Michael Hollington. '"To the Droodstone": Or, From The Moonstone to Edwin Drood via No Thoroughfare'. Q/W/E/R/T/Y: Arts, Littératures & Civilisations du Monde Anglophone 5 (1995): 141-9.  Short Story Publication Type E.g. newspaper/serial Periodical Publication The title of the newspaper/serial (if applicable) Household Words Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18521225 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. He was very reluctant to take precedence of so many respected members of the family, by beginning the round of stories they were to relate as they sat in a goodly circle by the Christmas fire; and he modestly suggested that it would be more correct if "John our esteemed host" (whose health he begged to drink) would have the kindness to begin. For as to himself, he said, he was so little used to lead the way, that really— But as they all cried out here, that he must begin, and agreed with one voice that he might, could, would, and should begin, he left off rubbing his hands, and took his legs out from under his armchair, and did begin. I have no doubt (said the poor relation) that I shall surprise the assembled members of our family, and particularly John our esteemed host to whom we are so much indebted for the great hospitality with which he has this day entertained us, by the confession I am going to make. But, if you do me the honor to be surprised at anything that falls from a person so unimportant in the family as I am, I can only say that I shall be scrupulously accurate in all I relate. I am not what I am supposed to be. I am quite another thing. Perhaps before I go farther, I had better glance at what I am supposed to be. It is supposed, unless I mistake—the assembled members of our family will correct me if I do, which is very likely (here the poor relation looked mildly about him for contradiction); that I am nobody's enemy but my own. That I never met with any particular success in anything. That I failed in business because I was unbusiness-like and credulous—in not being prepared for the interested designs of my partner. That I failed in love, because I was ridiculously trustful—in thinking it impossible that Christiana could deceive me. That I failed in my expectations from my uncle Chill, on account of not being as sharp as he could have wished in worldly matters. That, through life, I have been rather put upon and disappointed, in a general way. That I am at present a bachelor of between fifty-nine and sixty years of age, living on a limited income in the form of a quarterly allowance, to which I see that John our esteemed host wishes me to make no further allusion. The supposition as to my present pursuits and habits is to the following effect. I live in a lodging in the Clapham Road—a very clean back room, in a very respectable house—where I am expected not to be at home in the day-time, unless poorly; and which I usually leave in the morning at nine o'clock, on pretence of going to business. I take my breakfast—my roll and butter, and my half-pint of coffee—at the old established coffee-shop near Westminster Bridge; and then I go into the City—I don't know why— and sit in Garraway's Coffee House, and on 'Change, and walk about, and look into a few offices and counting-houses where some of my relations or acquaintance are so good as to tolerate me, and where I stand by the fire if the weather happens to be cold. I get through the day in this way until five o'clock, and then I dine: at a cost, on the average, of one and threepence. Having still a little money to spend on my evening's entertainment, I look into the old-established coffee-shop as I go home, and take my cup of tea, and perhaps my bit of toast. So, as the large hand of the clock makes its way round to the morning hour again, I make my way round to the Clapham Road again, and go to bed when I get to my lodging—fire being expensive, and being objected to by the family on account of its giving trouble and making a dirt. Sometimes, one of my relations or acquaintances is so obliging as to ask me to dinner. Those are holiday occasions, and then I generally walk in the Park. I am a solitary man, and seldom walk with anybody. Not that I am avoided because I am shabby; for I am not at all shabby, having always a very good suit of black on (or rather Oxford mixture, which has the appearance of black and wears much better); but I have got into a habit of speaking low, and being rather silent, and my spirits are not high, and I am sensible that I am not an attractive companion. The only exception to this general rule is the child of my first cousin, Little Frank. I have a particular affection for that child, and he takes very kindly to me. He is a diffident boy by nature; and in a crowd he is soon run over, as I may say, and forgotten. He and I, however, get on exceedingly well. I have a fancy that the poor child will in time succeed to my peculiar position in the family. We talk but little; still, we understand each other. We walk about, hand in hand; and without much speaking he knows what I mean, and I know what he means. When he was very little indeed, I used to take him to the windows of the toy-shops, and show him the toys inside. It is surprising how soon he found out that I would have made him a great many presents if I had been in circumstances to do it. Little Frank and I go and look at the outside of the Monument— he is very fond of the Monument—and at the Bridges, and at all the sights that are free. On two of my birthdays we have dined on a-la-mode beef, and gone at half-price to the play, and been deeply interested. I was once walking with him in Lombard Street, which we often visit on account of my having mentioned to him that there are great riches there— he is very fond of Lombard Street— when a gentleman said to me as he passed by, "Sir, your little son has dropped his glove." I assure you, if you will excuse my remarking on so trivial a circumstance, this accidental mention of the child as mine, quite touched my heart and brought the foolish tears into my eyes. When little Frank is sent to school in the country, I shall be very much at a loss what to do with myself, but I have the intention of walking down there once a month and seeing him on a half holiday. I am told he will then be at play upon the Heath; and if my visits should be objected to, as unsettling the child, I can see him from a distance without his seeing me, and walk back again. His mother comes of a highly genteel family, and rather disapproves, I am aware, of our being too much together. I know that I am not calculated to improve his retiring disposition; but I think he would miss me beyond the feeling of the moment, if we were wholly separated. When I die in the Clapham Road, I shall not leave much more in this world than I shall take out of it ; but, I happen to have a miniature of a bright-faced boy, with a curling head, and an open shirt-frill waving down his bosom (my mother had it taken for me, but I can't believe that it was ever like), which will be worth nothing to sell, and which I shall beg may be given to Frank. I have written my dear boy a little letter with it, in which I have told him that I felt very sorry to part from him, though bound to confess that I knew no reason why I should remain here. I have given him some short advice, the best in my power, to take warning of the consequences of being nobody's enemy but his own; and I have endeavoured to comfort him for what I fear he will consider a bereavement, by pointing out to him that I was only a superfluous something to every one but him, and that having by some means failed to find a place in this great assembly, I am better out of it. Such (said the poor relation, clearing his throat and beginning to speak a little louder) is the general impression about me. Now, it is a remarkable circumstance which forms the aim and purpose of my story, that this is all wrong. This is not my life, and these are not my habits. I do not even live in the Clapham Road. Comparatively speaking, I am very seldom there. I reside, mostly, in a—I am almost ashamed to say the word, it sounds so full of pretension—in a Castle. I do not mean that it is an old baronial habitation, but still it is a building always known to every one by the name of a Castle. In it, I preserve the particulars of my history; they run thus: It was when I first took John Spatter (who had been my clerk) into partnership, and when I was still a young man of not more than five-and-twenty, residing in the house of my uncle Chill from whom I had considerable expectations, that I ventured to propose to Christiana. I had loved Christiana, a long time. She was very beautiful, and very winning in all respects. I rather mistrusted her widowed mother, who I feared was of a plotting and mercenary turn of mind; but, I thought as well of her as I could, for Christiana's sake. I never had loved any one but Christiana, and she had been all the world, and O far more than all the world, to me, from our childhood! Christiana accepted me with her mother's consent, and I was rendered very happy indeed. My life at my Uncle Chill's was of a spare dull kind, and my garret chamber was as dull, and bare, and cold, as an upper prison room in some stern northern fortress. But, having Christiana's love, I wanted nothing upon earth. I would not have changed my lot with any human being. Avarice was, unhappily, my Uncle Chill's master-vice. Though he was rich, he pinched, and scraped, and clutched, and lived miserably. As Christiana had no fortune, I was for some time a little fearful of confessing our engagement to him; but, at length I wrote him a letter, saying how it all truly was. I put it into his hand one night, on going to bed. As I came down stairs next morning, shivering in the cold December air; colder in my uncle's unwarmed house than in the street, where the winter sun did sometimes shine, and which was at all events enlivened by cheerful faces and voices passing along; I carried a heavy heart towards the long, low breakfast-room in which my uncle sat. It was a large room with a small fire, and there was a great bay window in it which the rain had marked in the night as if with the tears of houseless people. It stared upon a raw yard, with a cracked stone pavement, and some rusted iron railings half uprooted, whence an ugly out-building that had once been a dissecting-room (in the time of the great surgeon who had mortgaged the house to my uncle), stared at it. We rose so early always, that at that time of the year we breakfasted by candle-light. When I went into the room, my uncle was so contracted by the cold, and so huddled together in his chair behind the one dim candle, that I did not see him until I was close to the table. As I held out my hand to him, he caught up his stick (being infirm, he always walked about the house with a stick), and made a blow at me, and said, "You fool!" ''Uncle." I returned, "I didn't expect you to be so angry as this." Nor had I expected it, though he was a hard and angry old man. "You didn't expect!" said he; "when did you ever expect? When did you ever calculate, or look forward, you contemptible dog?" "These are hard words, uncle!" "Hard words? Feathers, to pelt such an idiot as you with," said he. "Here! Betsy Snap! Look at him!" Betsey Snap was a withered, hard-favored, yellow old woman— our only domestic—always employed, at this time of the morning, in rubbing my uncle's legs. As my uncle adjured her to look at me, he put his lean grip on the crown of her head, she kneeling beside him, and turned her face towards me. An involuntary thought connecting them both with the Dissecting Room, as it must often have been in the surgeon's time, passed across my mind in the midst of my anxiety. "Look at the snivelling milksop !" said my uncle. "Look at the baby! This is the gentleman who, people say, is nobody's enemy but his own. This is the gentleman who can't say no. This is the gentleman who was making such large profits in his business that he must needs take a partner, t'other day. This is the gentleman who is going to marry a wife without a penny, and who falls into the hands of Jezabels who are speculating on my death!" I knew, now, how great my uncle's rage was; for nothing short of his being almost beside himself would have induced him to utter that concluding word, which he held in such repugnance that it was never spoken or hinted at before him on any account. "On my death," he repeated, as if he were defying me by defying his own abhorrence of the word. "On my death— death— Death! But I'll spoil the speculation. Eat your last under this roof, you feeble wretch, and may it choke you!" You may suppose that I had not much appetite for the breakfast to which I was bidden in these terms; but, I took my accustomed seat. I saw that I was repudiated henceforth by my uncle; still I could bear that very well, possessing Christiana's heart. He emptied his basin of bread and milk as usual, only that he took it on his knees with his chair turned away from the table where I sat. When he had done, he carefully snuffed out the candle; and the cold, slate-coloured, miserable day looked in upon us. "Now, Mr. Michael," said he, "before we part, I should like to have a word with these ladies in your presence." "As you will, sir," I returned; "but you deceive yourself, and wrong us, cruelly, if you suppose that there is any feeling at stake in this contract but pure, disinterested, faithful love." To this, he only replied, "You lie!" and not one other word. We went, through half-thawed snow and half-frozen rain, to the house where Christiana and her mother lived. My uncle knew them very well. They were sitting at their breakfast and were surprised to see us at that hour. "Your servant, ma'am," said my uncle, to the mother. "You divine the purpose of my visit, I dare say, ma'am. I understand there is a world of pure, disinterested, faithful love cooped up here. I am happy to bring it all it wants, to make it complete. I bring you your son-in-law, ma'am— and you, your husband, miss. The gentleman is a perfect stranger to me, but I wish him joy of his wise bargain." He snarled at me as he went out, and I never saw him again. It is altogether a mistake (continued the poor relation) to suppose that my dear Christiana, over-persuaded and influenced by her mother, married a rich man, the dirt from whose carriage wheels is often, in these changed times, thrown upon me as she rides by. No, no. She married me. The way we came to be married rather sooner than we intended, was this. I took a frugal lodging and was saving and planning for her sake, when, one day, she spoke to me with great earnestness, and said: "My dear Michael, I have given you my heart. I have said that I loved you, and I have pledged myself to be your wife. I am as much yours through all changes of good and evil as if we had been married on the day when such words passed between us. I know you well, and know that if we should be separated and our union broken off, your whole life would be shadowed, and all that might, even now, be stronger in your character for the conflict with the world would then be weakened to the shadow of what it is!" "God help me, Christiana!" said I. "You speak the truth." "Michael!" said she, putting her hand in mine, in all maidenly devotion, "let us keep apart no longer. It is but for me to say that I can live contented upon such means as you have, and I well know you are happy. I say so from my heart. Strive no more alone; let us strive together. My dear Michael, it is not right that I should keep secret from you what you do not suspect, but what distresses my whole life. My mother: without considering that what you have lost, you have lost for me, and on the assurance of my faith: sets her heart on riches, and urges another suit upon me, to my misery. I cannot bear this, for to bear it is to be untrue to you. I would rather share your struggles than look on. I want no better home than you can give me. I know that you will aspire and labor with a higher courage if I am wholly yours, and let it be so when you will!" I was blest indeed, that day, and a new world opened to me. We were married in a very little while, and I took my wife to our happy home. That was the beginning of the residence I have spoken of; the Castle we have ever since inhabited together, dates from that time. All our children have been born in it. Our first child— now married— was a little girl, whom we called Christiana. Her son is so like Little Frank, that I hardly know which is which. The current impression as to my partner's dealings with me is also quite erroneous. He did not begin to treat me coldly, as a poor simpleton, when my uncle and I so fatally quarrelled; nor did he afterwards gradually possess himself of our business and edge me out. On the contrary, he behaved to me with the utmost good faith and honor. Matters between us, took this turn:— On the day of my separation from my uncle, and even before the arrival at our counting-house of my trunks (which he sent after me, not carriage paid), I went down to our room of business, on our little wharf, overlooking the river; and there I told John Spatter what had happened. John did not say, in reply, that rich old relatives were palpable facts, and that love and sentiment were moonshine and fiction. He addressed me thus: "Michael," said John. "We were at school together, and I generally had the knack of getting on better than you, and making a higher reputation." "You had, John," I returned. "Although," said John, "I borrowed your books, and lost them; borrowed your pocket- money, and never repaid it; got you to buy my damaged knives at a higher price than I had given for them new; and to own to the windows that I had broken." "All not worth mentioning, John Spatter," said I, "but certainly true." "When you were first established in this infant business, which promises to thrive so well," pursued John, "I came to you, in my search for almost any employment, and you made me your clerk." "Still not worth mentioning, my dear John Spatter," said I; "still, equally true." "And finding that I had a good head for business, and that I was really useful to the business, you did not like to retain me in that capacity, and thought it an act of justice soon to make me your partner." "Still less worth mentioning than any of those other little circumstances you have recalled, John Spatter," said I; "for I was, and am, sensible of your merits and my deficiencies." "Now my good friend," said John, drawing my arm through his, as he had had a habit of doing at school; while two vessels outside the windows of our counting-house—which were shaped like the stern windows of a ship—went lightly down the river with the tide, as John and I might then be sailing away in company, and in trust and confidence, on our voyage of life; "let there, under these friendly circumstances, be a right understanding between us. You are too easy, Michael. You are nobody's enemy but your own. If I were to give you that damaging character among our connexion, with a shrug, and a shake of the head, and a sigh; and if I were further to abuse the trust you place in me—" "But you never will abuse it at all, John," I observed. "Never!" said he, "but l am putting a case—I say, and if I were further to abuse that trust by keeping this piece of our common affairs in the dark, and this other piece in the light, and again this other piece in the twilight, and so on, I should strengthen my strength, and weaken your weakness, day by day, until at last I found myself on the high road to fortune, and you left behind on some bare common, a hopeless number of miles out of the way." "Exactly so," said I. "To prevent this, Michael," said John Spatter, "or the remotest chance of this, there must be perfect openness between us. Nothing must be concealed, and we must have but one interest." "My dear John Spatter," I assured him, "that is precisely what I mean." "And when you are too easy," pursued John, his face glowing with friendship, "you must allow me to prevent that imperfection in your nature from being taken advantage of, by any one; you must not expect me to humour it—" "My dear John Spatter," I interrupted, "I don't expect you to humour it. I want to correct it." "And I, too!" said John. "Exactly so!" cried I. "We both have the same end in view; and, honorably seeking it, and fully trusting one another, and having but one interest, ours will be a prosperous and happy partnership." "I am sure of it!" returned John Spatter. And we shook hands most affectionately. I took John home to my Castle, and we had a very happy day. Our partnership throve well. My friend and partner supplied what I wanted, as I had foreseen that he would; and by improving both the business and myself, amply acknowledged any little rise in life to which I had helped him. I am not (said the poor relation, looking at the fire as he slowly rubbed his hands), not very rich, for I never cared to be that; but I have enough, and am above all moderate wants and anxieties. My Castle is not a splendid place, but it is very comfortable, and it has a warm and cheerful air, and is quite a picture of Home. Our eldest girl, who is very like her mother, married John Spatter's eldest son. Our two families are closely united in other ties of attachment. It is very pleasant of an evening, when we are all assembled together—which frequently happens—and when John and I talk over old times, and the one interest there has always been between us. I really do not know, in my Castle, what loneliness is. Some of our children or grandchildren are always about it, and the young voices of my descendants are delightful—O, how delightful!—to me to hear. My dearest and most devoted wife, ever faithful, ever loving, ever helpful and sustaining and consoling, is the priceless blessing of my house; from whom all its other blessings spring. We are rather a musical family, and when Christiana sees me, at any time, a little weary or depressed, she steals to the piano and sings a gentle air she used to sing when we were first betrothed. So weak a man am I, that I cannot bear to hear it from any other source. They played it once, at the Theatre, when I was there with Little Frank; and the child said, wondering, "Cousin Michael, whose hot tears are these that have fallen on my hand!" Such is my Castle, and such are the real particulars of my life therein preserved. I often take Little Frank home there. He is very welcome to my grandchildren, and they play together. At this time of the year—the Christmas and New Year time—I am seldom out of my Castle. For, the associations of the season seem to hold me there, and the precepts of the season seem to teach me that it is well to be there. "And the Castle is —" observed a grave, kind voice among the company. "Yes. My Castle," said the poor relation, shaking his head as he still looked at the fire, "is in the Air. John our esteemed host suggests its situation accurately. My Castle is in the Air! I have done. Will you be so good as to pass the story." Once upon a time, a good many years ago, there was a traveller, and he set out upon a journey. It was a magic journey, and was to seem very long when he began it, and very short when he got half way through. He travelled along a rather dark path for some little time, without meeting anything, until at last he came to a beautiful child. So he said to the child, "What do you do here?" And the child said, "I am always at play. Come and play with me!" So, he played with that child, the whole day long, and they were very merry. The sky was so blue, the sun was so bright, the water was so sparkling, the leaves were so green, the flowers were so lovely, and they heard such singing-birds and saw so many butterflies, that everything was beautiful. This was in fine weather. When it rained, they loved to watch the falling drops, and to smell the fresh scents. When it blew, it was delightful to listen to the wind, and fancy what it said, as it came rushing from its home—where was that, they wondered!— whistling and howling, driving the clouds before it, bending the trees, rumbling in the chimnies, shaking the house, and making the sea roar in fury. But, when it snowed, that was best of all; for, they liked nothing so well as to look up at the white flakes falling fast and thick, like down from the breasts of millions of white birds; and to see how smooth and deep the drift was; and to listen to the hush upon the paths and roads. They had plenty of the finest toys in the world, and the most astonishing picture-books: all about scimitars and slippers and turbans, and dwarfs and giants and genii and fairies, and blue-beards and bean-stalks and riches and caverns and forests and Valentines and Orsons: and all new and all true. But, one day, of a sudden, the traveller lost the child. He called to him over and over again, but got no answer. So, he went upon his road, and went on for a little while without meeting anything, until at last he came to a handsome boy. So, he said to the boy, "What do you do here?" And the boy said, "I am always learning. Come and learn with me." So he learned with that boy about Jupiter and Juno, and the Greeks and the Romans, and I don't know what, and learned more than I could tell—or he either, for he soon forgot a great deal of it. But, they were not always learning; they had the merriest games that ever were played. They rowed upon the river in summer, and skated on the ice in winter; they were active afoot, and active on horseback; at cricket, and all games at ball; at prisoners' base, hare and hounds, follow my leader, and more sports than I can think of; nobody could beat them. They had holidays too, and Twelfth, cakes, and parties where they danced all night till midnight, and real Theatres where they saw palaces of real gold and silver rise out of the real earth, and saw all the wonders of the world at once. As to friends, they had such dear friends and so many of them, that I want the time to reckon them up. They were all young, like the handsome boy, and were never to be strange to one another all their lives through. Still, one day, in the midst of all these pleasures, the traveller lost the boy as he had lost the child, and, after calling to him in vain, went on upon his journey. So he went on for a little while without seeing anything, until at last he came to a young man. So, he said to the young man, "What do you do here?" And the young man said, "I am always in love. Come and love with me." So, he went away with that young man, and presently they came to one of the prettiest girls that ever was seen—just like Fanny in the corner there—and she had eyes like Fanny, and hair like Fanny, and dimples like Fanny's, and she laughed and coloured just as Fanny does while I am talking about her. So, the young man fell in love directly— just as Somebody I won't mention, the first time he came here, did with Fanny. Well! He was teazed sometimes—just as Somebody used to be by Fanny; and they quarrelled sometimes—just as Somebody and Fanny used to quarrel; and they made it up, and sat in the dark, and wrote letters every day, and never were happy asunder, and were always looking out for one another and pretending not to, and were engaged at Christmas time, and sat close to one another by the fire, and were going to be married very soon—all exactly like Somebody I won't mention, and Fanny! But, the traveller lost them one day, as he had lost the rest of his friends, and, after calling to them to come back, which they never did, went on upon his journey. So, he went on for a little while without seeing anything, until at last he came to a middle-aged gentleman. So, he said to the gentleman, "What are you doing here?" And his answer was, "I am always busy. Come and be busy with me!" So, he began to be very busy with that gentleman, and they went on through the wood together. The whole journey was through a wood, only it had been open and green at first, like a wood in spring; and now began to be thick and dark, like a wood in Summer; some of the little trees that had come out earliest, were even turning brown. The gentleman was not alone, but had a lady of about the same age with him, who was his Wife; and they had children, who were with them too. So, they all went on together through the wood, cutting down the trees, and making a path through the branches and the fallen leaves, and carrying burdens, and working hard. Sometimes, they came to a long green avenue that opened into deeper woods. Then they would hear a very little distant voice crying, "Father, father, I am another child! Stop for me!" And presently they would see a very little figure, growing larger as it came along, running to join them. When it came up, they all crowded round it, and kissed and welcomed it; and then they all went on together. Sometimes, they came to several avenues at once, and then they all stood still, and one of the children said, "Father, I am going to sea," and another said, "Father, I am going to India," and another, "Father, I am going to seek my fortune where I can," and another, "Father, I am going to Heaven!" So, with many tears at parting, they went, solitary, down those avenues, each child upon its way; and the child who went to Heaven, rose into the golden air and vanished. Whenever these partings happened, the traveller looked at the gentleman, and saw him glance up at the sky above the trees, where the day was beginning to decline, and the sunset to come on. He saw, too, that his hair was turning grey. But, they never could rest long, for they had their journey to perform, and it was necessary for them to be always busy. At last, there had been so many partings that there were no children left, and only the traveller, the gentleman, and the lady, went upon their way in company. And now the wood was yellow; and now brown; and the leaves, even of the forest trees, began to fall. So, they came to an avenue that was darker than the rest, and were pressing forward on their journey without looking down it when the lady stopped. "My husband," said the lady, "I am called." They listened, and they heard a voice, a long way down the avenue, say, "Mother, mother!" It was the voice of the first child who had said, "I am going to Heaven!" and the father said, "I pray not yet. The sunset is very near. I pray not yet!" But, the voice cried "Mother, mother!" without minding him, though his hair was now quite white, and tears were on his face. Then, the mother, who was already drawn into the shade of the dark avenue and moving away with her arms still round his neck, kissed him, and said "My dearest, I am summoned and I go!" And she was gone. And the traveller and he were left alone together. And they went on and on together, until they came to very near the end of the wood: so near, that they could see the sunset shining red before them, through the trees. Yet, once more, while he broke his way among the branches, the traveller lost his friend. He called and called, but there was no reply, and when he passed out of the wood, and saw the peaceful sun going down upon a wide purple prospect, he came to an old man sitting on a fallen tree. So, he said to the old man, "What do you do here?" And the old man said with a calm smile, "I am always remembering. Come and remember with me!" So, the traveller sat down by the side of that old man, face to face with the serene sunset; and all his friends came softly back and stood around him. The beautiful child, the handsome boy, the young man in love, the father, mother, and children: every one of them was there, and he had lost nothing. So, he loved them all, and was kind and forbearing with them all, and was always pleased to watch them all, and they all honored and loved him. And I think the traveller must be yourself, dear Grandfather, because this is what you do to us, and what we do to you. 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 A Round of Stories by the Christmas Fire (1852 Christmas Number) Description An account of the resource Published in Household Words, Vol. VI, Extra Christmas Number, 25 December 1852, pp. 1-36. Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived Dickens Journals Online, <a href="https://www.djo.org.uk/household-words/volume-vi/page-573.html">https://www.djo.org.uk/household-words/volume-vi/page-573.html</a>. Dickens Journals Online, <a href="https://www.djo.org.uk/household-words/volume-vi/page-577.html">https://www.djo.org.uk/household-words/volume-vi/page-577.html</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1852-12-25 Type The nature or genre of the resource Christmas Number Identifier An unambiguous reference to the resource within a given context 1852-12-25-A_Round_of_Stories_by_the_Christmas_Fire Rights Information about rights held in and over the resource Scanned material from Dickens Journals Online, <a href="http://www.djo.org.uk" id="LPNoLPOWALinkPreview" contenteditable="false" title="http://www.djo.org.uk">www.djo.org.uk</a>. Available under CC BY licence. 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 et. al. A Round of Stories by the Christmas Fire (25 December 1852). Dickens Search. Edited by Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/christmas-numbers/1852-12-25-A_Round_of_Stories_by_the_Christmas_Fire">https://www.dickenssearch.com/christmas-numbers/1852-12-25-A_Round_of_Stories_by_the_Christmas_Fire</a>. Table Of Contents A list of subunits of the resource. <ul> <li>Charles Dickens. 'The Poor Relation's Story' (No.1), pp. 1-5.</li> <li>Charles Dickens. 'The Child's Story' (No.2), pp. 5-7.</li> <li>William Moy Thomas. 'Somebody's Story' (No.3), pp. 7-11.</li> <li>Elizabeth Gaskell. 'The Nurse's Story' (No.4), pp. 11-20.</li> <li>Edmund Ollier. 'The Host's Story' (No.5), pp. 20-21.</li> <li>Reverend James White. 'The Grandfather's Story' (No.6), pp. 21-25.</li> <li>Edmund Saul Dixon. 'The Charwoman's Story' (No.7), pp. 25-27.</li> <li>Harriet Martineau. 'The Deaf Playmate's Story' (No.8), pp. 27-30.</li> <li>Samuel Sidney. 'The Guest's Story' (No.9), pp. 30-33.</li> <li>Eliza Griffiths. 'The Mother's Story' (No.10), pp. 33-36.</li> </ul> Scripto Transcription A written representation of a document. He was very reluctant to take precedence of so many respected members of the family, by beginning the round of stories they were to relate as they sat in a goodly circle by the Christmas fire; and he modestly suggested that it would be more correct if "John our esteemed host" (whose health he begged to drink) would have the kindness to begin. For as to himself, he said, he was so little used to lead the way, that really— But as they all cried out here, that he must begin, and agreed with one voice that he might, could, would, and should begin, he left off rubbing his hands, and took his legs out from under his armchair, and did begin. I have no doubt (said the poor relation) that I shall surprise the assembled members of our family, and particularly John our esteemed host to whom we are so much indebted for the great hospitality with which he has this day entertained us, by the confession I am going to make. But, if you do me the honor to be surprised at anything that falls from a person so unimportant in the family as I am, I can only say that I shall be scrupulously accurate in all I relate. I am not what I am supposed to be. I am quite another thing. Perhaps before I go farther, I had better glance at what I am supposed to be. It is supposed, unless I mistake—the assembled members of our family will correct me if I do, which is very likely (here the poor relation looked mildly about him for contradiction); that I am nobody's enemy but my own. That I never met with any particular success in anything. That I failed in business because I was unbusiness-like and credulous—in not being prepared for the interested designs of my partner. That I failed in love, because I was ridiculously trustful—in thinking it impossible that Christiana could deceive me. That I failed in my expectations from my uncle Chill, on account of not being as sharp as he could have wished in worldly matters. That, through life, I have been rather put upon and disappointed, in a general way. That I am at present a bachelor of between fifty-nine and sixty years of age, living on a limited income in the form of a quarterly allowance, to which I see that John our esteemed host wishes me to make no further allusion. The supposition as to my present pursuits and habits is to the following effect. I live in a lodging in the Clapham Road—a very clean back room, in a very respectable house—where I am expected not to be at home in the day-time, unless poorly; and which I usually leave in the morning at nine o'clock, on pretence of going to business. I take my breakfast—my roll and butter, and my half-pint of coffee—at the old established coffee-shop near Westminster Bridge; and then I go into the City—I don't know why— and sit in Garraway's Coffee House, and on 'Change, and walk about, and look into a few offices and counting-houses where some of my relations or acquaintance are so good as to tolerate me, and where I stand by the fire if the weather happens to be cold. I get through the day in this way until five o'clock, and then I dine: at a cost, on the average, of one and threepence. Having still a little money to spend on my evening's entertainment, I look into the old-established coffee-shop as I go home, and take my cup of tea, and perhaps my bit of toast. So, as the large hand of the clock makes its way round to the morning hour again, I make my way round to the Clapham Road again, and go to bed when I get to my lodging—fire being expensive, and being objected to by the family on account of its giving trouble and making a dirt. Sometimes, one of my relations or acquaintances is so obliging as to ask me to dinner. Those are holiday occasions, and then I generally walk in the Park. I am a solitary man, and seldom walk with anybody. Not that I am avoided because I am shabby; for I am not at all shabby, having always a very good suit of black on (or rather Oxford mixture, which has the appearance of black and wears much better); but I have got into a habit of speaking low, and being rather silent, and my spirits are not high, and I am sensible that I am not an attractive companion. The only exception to this general rule is the child of my first cousin, Little Frank. I have a particular affection for that child, and he takes very kindly to me. He is a diffident boy by nature; and in a crowd he is soon run over, as I may say, and forgotten. He and I, however, get on exceedingly well. I have a fancy that the poor child will in time succeed to my peculiar position in the family. We talk but little; still, we understand each other. We walk about, hand in hand; and without much speaking he knows what I mean, and I know what he means. When he was very little indeed, I used to take him to the windows of the toy-shops, and show him the toys inside. It is surprising how soon he found out that I would have made him a great many presents if I had been in circumstances to do it. Little Frank and I go and look at the outside of the Monument— he is very fond of the Monument—and at the Bridges, and at all the sights that are free. On two of my birthdays we have dined on a-la-mode beef, and gone at half-price to the play, and been deeply interested. I was once walking with him in Lombard Street, which we often visit on account of my having mentioned to him that there are great riches there— he is very fond of Lombard Street— when a gentleman said to me as he passed by, "Sir, your little son has dropped his glove." I assure you, if you will excuse my remarking on so trivial a circumstance, this accidental mention of the child as mine, quite touched my heart and brought the foolish tears into my eyes. When little Frank is sent to school in the country, I shall be very much at a loss what to do with myself, but I have the intention of walking down there once a month and seeing him on a half holiday. I am told he will then be at play upon the Heath; and if my visits should be objected to, as unsettling the child, I can see him from a distance without his seeing me, and walk back again. His mother comes of a highly genteel family, and rather disapproves, I am aware, of our being too much together. I know that I am not calculated to improve his retiring disposition; but I think he would miss me beyond the feeling of the moment, if we were wholly separated. When I die in the Clapham Road, I shall not leave much more in this world than I shall take out of it ; but, I happen to have a miniature of a bright-faced boy, with a curling head, and an open shirt-frill waving down his bosom (my mother had it taken for me, but I can't believe that it was ever like), which will be worth nothing to sell, and which I shall beg may be given to Frank. I have written my dear boy a little letter with it, in which I have told him that I felt very sorry to part from him, though bound to confess that I knew no reason why I should remain here. I have given him some short advice, the best in my power, to take warning of the consequences of being nobody's enemy but his own; and I have endeavoured to comfort him for what I fear he will consider a bereavement, by pointing out to him that I was only a superfluous something to every one but him, and that having by some means failed to find a place in this great assembly, I am better out of it. Such (said the poor relation, clearing his throat and beginning to speak a little louder) is the general impression about me. Now, it is a remarkable circumstance which forms the aim and purpose of my story, that this is all wrong. This is not my life, and these are not my habits. I do not even live in the Clapham Road. Comparatively speaking, I am very seldom there. I reside, mostly, in a—I am almost ashamed to say the word, it sounds so full of pretension—in a Castle. I do not mean that it is an old baronial habitation, but still it is a building always known to every one by the name of a Castle. In it, I preserve the particulars of my history; they run thus: It was when I first took John Spatter (who had been my clerk) into partnership, and when I was still a young man of not more than five-and-twenty, residing in the house of my uncle Chill from whom I had considerable expectations, that I ventured to propose to Christiana. I had loved Christiana, a long time. She was very beautiful, and very winning in all respects. I rather mistrusted her widowed mother, who I feared was of a plotting and mercenary turn of mind; but, I thought as well of her as I could, for Christiana's sake. I never had loved any one but Christiana, and she had been all the world, and O far more than all the world, to me, from our childhood! Christiana accepted me with her mother's consent, and I was rendered very happy indeed. My life at my Uncle Chill's was of a spare dull kind, and my garret chamber was as dull, and bare, and cold, as an upper prison room in some stern northern fortress. But, having Christiana's love, I wanted nothing upon earth. I would not have changed my lot with any human being. Avarice was, unhappily, my Uncle Chill's master-vice. Though he was rich, he pinched, and scraped, and clutched, and lived miserably. As Christiana had no fortune, I was for some time a little fearful of confessing our engagement to him; but, at length I wrote him a letter, saying how it all truly was. I put it into his hand one night, on going to bed. As I came down stairs next morning, shivering in the cold December air; colder in my uncle's unwarmed house than in the street, where the winter sun did sometimes shine, and which was at all events enlivened by cheerful faces and voices passing along; I carried a heavy heart towards the long, low breakfast-room in which my uncle sat. It was a large room with a small fire, and there was a great bay window in it which the rain had marked in the night as if with the tears of houseless people. It stared upon a raw yard, with a cracked stone pavement, and some rusted iron railings half uprooted, whence an ugly out-building that had once been a dissecting-room (in the time of the great surgeon who had mortgaged the house to my uncle), stared at it. We rose so early always, that at that time of the year we breakfasted by candle-light. When I went into the room, my uncle was so contracted by the cold, and so huddled together in his chair behind the one dim candle, that I did not see him until I was close to the table. As I held out my hand to him, he caught up his stick (being infirm, he always walked about the house with a stick), and made a blow at me, and said, "You fool!" ''Uncle." I returned, "I didn't expect you to be so angry as this." Nor had I expected it, though he was a hard and angry old man. "You didn't expect!" said he; "when did you ever expect? When did you ever calculate, or look forward, you contemptible dog?" "These are hard words, uncle!" "Hard words? Feathers, to pelt such an idiot as you with," said he. "Here! Betsy Snap! Look at him!" Betsey Snap was a withered, hard-favored, yellow old woman— our only domestic—always employed, at this time of the morning, in rubbing my uncle's legs. As my uncle adjured her to look at me, he put his lean grip on the crown of her head, she kneeling beside him, and turned her face towards me. An involuntary thought connecting them both with the Dissecting Room, as it must often have been in the surgeon's time, passed across my mind in the midst of my anxiety. "Look at the snivelling milksop !" said my uncle. "Look at the baby! This is the gentleman who, people say, is nobody's enemy but his own. This is the gentleman who can't say no. This is the gentleman who was making such large profits in his business that he must needs take a partner, t'other day. This is the gentleman who is going to marry a wife without a penny, and who falls into the hands of Jezabels who are speculating on my death!" I knew, now, how great my uncle's rage was; for nothing short of his being almost beside himself would have induced him to utter that concluding word, which he held in such repugnance that it was never spoken or hinted at before him on any account. "On my death," he repeated, as if he were defying me by defying his own abhorrence of the word. "On my death— death— Death! But I'll spoil the speculation. Eat your last under this roof, you feeble wretch, and may it choke you!" You may suppose that I had not much appetite for the breakfast to which I was bidden in these terms; but, I took my accustomed seat. I saw that I was repudiated henceforth by my uncle; still I could bear that very well, possessing Christiana's heart. He emptied his basin of bread and milk as usual, only that he took it on his knees with his chair turned away from the table where I sat. When he had done, he carefully snuffed out the candle; and the cold, slate-coloured, miserable day looked in upon us. "Now, Mr. Michael," said he, "before we part, I should like to have a word with these ladies in your presence." "As you will, sir," I returned; "but you deceive yourself, and wrong us, cruelly, if you suppose that there is any feeling at stake in this contract but pure, disinterested, faithful love." To this, he only replied, "You lie!" and not one other word. We went, through half-thawed snow and half-frozen rain, to the house where Christiana and her mother lived. My uncle knew them very well. They were sitting at their breakfast and were surprised to see us at that hour. "Your servant, ma'am," said my uncle, to the mother. "You divine the purpose of my visit, I dare say, ma'am. I understand there is a world of pure, disinterested, faithful love cooped up here. I am happy to bring it all it wants, to make it complete. I bring you your son-in-law, ma'am— and you, your husband, miss. The gentleman is a perfect stranger to me, but I wish him joy of his wise bargain." He snarled at me as he went out, and I never saw him again. It is altogether a mistake (continued the poor relation) to suppose that my dear Christiana, over-persuaded and influenced by her mother, married a rich man, the dirt from whose carriage wheels is often, in these changed times, thrown upon me as she rides by. No, no. She married me. The way we came to be married rather sooner than we intended, was this. I took a frugal lodging and was saving and planning for her sake, when, one day, she spoke to me with great earnestness, and said: "My dear Michael, I have given you my heart. I have said that I loved you, and I have pledged myself to be your wife. I am as much yours through all changes of good and evil as if we had been married on the day when such words passed between us. I know you well, and know that if we should be separated and our union broken off, your whole life would be shadowed, and all that might, even now, be stronger in your character for the conflict with the world would then be weakened to the shadow of what it is!" "God help me, Christiana!" said I. "You speak the truth." "Michael!" said she, putting her hand in mine, in all maidenly devotion, "let us keep apart no longer. It is but for me to say that I can live contented upon such means as you have, and I well know you are happy. I say so from my heart. Strive no more alone; let us strive together. My dear Michael, it is not right that I should keep secret from you what you do not suspect, but what distresses my whole life. My mother: without considering that what you have lost, you have lost for me, and on the assurance of my faith: sets her heart on riches, and urges another suit upon me, to my misery. I cannot bear this, for to bear it is to be untrue to you. I would rather share your struggles than look on. I want no better home than you can give me. I know that you will aspire and labor with a higher courage if I am wholly yours, and let it be so when you will!" I was blest indeed, that day, and a new world opened to me. We were married in a very little while, and I took my wife to our happy home. That was the beginning of the residence I have spoken of; the Castle we have ever since inhabited together, dates from that time. All our children have been born in it. Our first child— now married— was a little girl, whom we called Christiana. Her son is so like Little Frank, that I hardly know which is which. The current impression as to my partner's dealings with me is also quite erroneous. He did not begin to treat me coldly, as a poor simpleton, when my uncle and I so fatally quarrelled; nor did he afterwards gradually possess himself of our business and edge me out. On the contrary, he behaved to me with the utmost good faith and honor. Matters between us, took this turn:— On the day of my separation from my uncle, and even before the arrival at our counting-house of my trunks (which he sent after me, not carriage paid), I went down to our room of business, on our little wharf, overlooking the river; and there I told John Spatter what had happened. John did not say, in reply, that rich old relatives were palpable facts, and that love and sentiment were moonshine and fiction. He addressed me thus: "Michael," said John. "We were at school together, and I generally had the knack of getting on better than you, and making a higher reputation." "You had, John," I returned. "Although," said John, "I borrowed your books, and lost them; borrowed your pocket- money, and never repaid it; got you to buy my damaged knives at a higher price than I had given for them new; and to own to the windows that I had broken." "All not worth mentioning, John Spatter," said I, "but certainly true." "When you were first established in this infant business, which promises to thrive so well," pursued John, "I came to you, in my search for almost any employment, and you made me your clerk." "Still not worth mentioning, my dear John Spatter," said I; "still, equally true." "And finding that I had a good head for business, and that I was really useful to the business, you did not like to retain me in that capacity, and thought it an act of justice soon to make me your partner." "Still less worth mentioning than any of those other little circumstances you have recalled, John Spatter," said I; "for I was, and am, sensible of your merits and my deficiencies." "Now my good friend," said John, drawing my arm through his, as he had had a habit of doing at school; while two vessels outside the windows of our counting-house—which were shaped like the stern windows of a ship—went lightly down the river with the tide, as John and I might then be sailing away in company, and in trust and confidence, on our voyage of life; "let there, under these friendly circumstances, be a right understanding between us. You are too easy, Michael. You are nobody's enemy but your own. If I were to give you that damaging character among our connexion, with a shrug, and a shake of the head, and a sigh; and if I were further to abuse the trust you place in me—" "But you never will abuse it at all, John," I observed. "Never!" said he, "but l am putting a case—I say, and if I were further to abuse that trust by keeping this piece of our common affairs in the dark, and this other piece in the light, and again this other piece in the twilight, and so on, I should strengthen my strength, and weaken your weakness, day by day, until at last I found myself on the high road to fortune, and you left behind on some bare common, a hopeless number of miles out of the way." "Exactly so," said I. "To prevent this, Michael," said John Spatter, "or the remotest chance of this, there must be perfect openness between us. Nothing must be concealed, and we must have but one interest." "My dear John Spatter," I assured him, "that is precisely what I mean." "And when you are too easy," pursued John, his face glowing with friendship, "you must allow me to prevent that imperfection in your nature from being taken advantage of, by any one; you must not expect me to humour it—" "My dear John Spatter," I interrupted, "I don't expect you to humour it. I want to correct it." "And I, too!" said John. "Exactly so!" cried I. "We both have the same end in view; and, honorably seeking it, and fully trusting one another, and having but one interest, ours will be a prosperous and happy partnership." "I am sure of it!" returned John Spatter. And we shook hands most affectionately. I took John home to my Castle, and we had a very happy day. Our partnership throve well. My friend and partner supplied what I wanted, as I had foreseen that he would; and by improving both the business and myself, amply acknowledged any little rise in life to which I had helped him. I am not (said the poor relation, looking at the fire as he slowly rubbed his hands), not very rich, for I never cared to be that; but I have enough, and am above all moderate wants and anxieties. My Castle is not a splendid place, but it is very comfortable, and it has a warm and cheerful air, and is quite a picture of Home. Our eldest girl, who is very like her mother, married John Spatter's eldest son. Our two families are closely united in other ties of attachment. It is very pleasant of an evening, when we are all assembled together—which frequently happens—and when John and I talk over old times, and the one interest there has always been between us. I really do not know, in my Castle, what loneliness is. Some of our children or grandchildren are always about it, and the young voices of my descendants are delightful—O, how delightful!—to me to hear. My dearest and most devoted wife, ever faithful, ever loving, ever helpful and sustaining and consoling, is the priceless blessing of my house; from whom all its other blessings spring. We are rather a musical family, and when Christiana sees me, at any time, a little weary or depressed, she steals to the piano and sings a gentle air she used to sing when we were first betrothed. So weak a man am I, that I cannot bear to hear it from any other source. They played it once, at the Theatre, when I was there with Little Frank; and the child said, wondering, "Cousin Michael, whose hot tears are these that have fallen on my hand!" Such is my Castle, and such are the real particulars of my life therein preserved. I often take Little Frank home there. He is very welcome to my grandchildren, and they play together. At this time of the year—the Christmas and New Year time—I am seldom out of my Castle. For, the associations of the season seem to hold me there, and the precepts of the season seem to teach me that it is well to be there. "And the Castle is —" observed a grave, kind voice among the company. "Yes. My Castle," said the poor relation, shaking his head as he still looked at the fire, "is in the Air. John our esteemed host suggests its situation accurately. My Castle is in the Air! I have done. Will you be so good as to pass the story." Once upon a time, a good many years ago, there was a traveller, and he set out upon a journey. It was a magic journey, and was to seem very long when he began it, and very short when he got half way through. He travelled along a rather dark path for some little time, without meeting anything, until at last he came to a beautiful child. So he said to the child, "What do you do here?" And the child said, "I am always at play. Come and play with me!" So, he played with that child, the whole day long, and they were very merry. The sky was so blue, the sun was so bright, the water was so sparkling, the leaves were so green, the flowers were so lovely, and they heard such singing-birds and saw so many butterflies, that everything was beautiful. This was in fine weather. When it rained, they loved to watch the falling drops, and to smell the fresh scents. When it blew, it was delightful to listen to the wind, and fancy what it said, as it came rushing from its home—where was that, they wondered!— whistling and howling, driving the clouds before it, bending the trees, rumbling in the chimnies, shaking the house, and making the sea roar in fury. But, when it snowed, that was best of all; for, they liked nothing so well as to look up at the white flakes falling fast and thick, like down from the breasts of millions of white birds; and to see how smooth and deep the drift was; and to listen to the hush upon the paths and roads. They had plenty of the finest toys in the world, and the most astonishing picture-books: all about scimitars and slippers and turbans, and dwarfs and giants and genii and fairies, and blue-beards and bean-stalks and riches and caverns and forests and Valentines and Orsons: and all new and all true. But, one day, of a sudden, the traveller lost the child. He called to him over and over again, but got no answer. So, he went upon his road, and went on for a little while without meeting anything, until at last he came to a handsome boy. So, he said to the boy, "What do you do here?" And the boy said, "I am always learning. Come and learn with me." So he learned with that boy about Jupiter and Juno, and the Greeks and the Romans, and I don't know what, and learned more than I could tell—or he either, for he soon forgot a great deal of it. But, they were not always learning; they had the merriest games that ever were played. They rowed upon the river in summer, and skated on the ice in winter; they were active afoot, and active on horseback; at cricket, and all games at ball; at prisoners' base, hare and hounds, follow my leader, and more sports than I can think of; nobody could beat them. They had holidays too, and Twelfth, cakes, and parties where they danced all night till midnight, and real Theatres where they saw palaces of real gold and silver rise out of the real earth, and saw all the wonders of the world at once. As to friends, they had such dear friends and so many of them, that I want the time to reckon them up. They were all young, like the handsome boy, and were never to be strange to one another all their lives through. Still, one day, in the midst of all these pleasures, the traveller lost the boy as he had lost the child, and, after calling to him in vain, went on upon his journey. So he went on for a little while without seeing anything, until at last he came to a young man. So, he said to the young man, "What do you do here?" And the young man said, "I am always in love. Come and love with me." So, he went away with that young man, and presently they came to one of the prettiest girls that ever was seen—just like Fanny in the corner there—and she had eyes like Fanny, and hair like Fanny, and dimples like Fanny's, and she laughed and coloured just as Fanny does while I am talking about her. So, the young man fell in love directly— just as Somebody I won't mention, the first time he came here, did with Fanny. Well! He was teazed sometimes—just as Somebody used to be by Fanny; and they quarrelled sometimes—just as Somebody and Fanny used to quarrel; and they made it up, and sat in the dark, and wrote letters every day, and never were happy asunder, and were always looking out for one another and pretending not to, and were engaged at Christmas time, and sat close to one another by the fire, and were going to be married very soon—all exactly like Somebody I won't mention, and Fanny! But, the traveller lost them one day, as he had lost the rest of his friends, and, after calling to them to come back, which they never did, went on upon his journey. So, he went on for a little while without seeing anything, until at last he came to a middle-aged gentleman. So, he said to the gentleman, "What are you doing here?" And his answer was, "I am always busy. Come and be busy with me!" So, he began to be very busy with that gentleman, and they went on through the wood together. The whole journey was through a wood, only it had been open and green at first, like a wood in spring; and now began to be thick and dark, like a wood in Summer; some of the little trees that had come out earliest, were even turning brown. The gentleman was not alone, but had a lady of about the same age with him, who was his Wife; and they had children, who were with them too. So, they all went on together through the wood, cutting down the trees, and making a path through the branches and the fallen leaves, and carrying burdens, and working hard. Sometimes, they came to a long green avenue that opened into deeper woods. Then they would hear a very little distant voice crying, "Father, father, I am another child! Stop for me!" And presently they would see a very little figure, growing larger as it came along, running to join them. When it came up, they all crowded round it, and kissed and welcomed it; and then they all went on together. Sometimes, they came to several avenues at once, and then they all stood still, and one of the children said, "Father, I am going to sea," and another said, "Father, I am going to India," and another, "Father, I am going to seek my fortune where I can," and another, "Father, I am going to Heaven!" So, with many tears at parting, they went, solitary, down those avenues, each child upon its way; and the child who went to Heaven, rose into the golden air and vanished. Whenever these partings happened, the traveller looked at the gentleman, and saw him glance up at the sky above the trees, where the day was beginning to decline, and the sunset to come on. He saw, too, that his hair was turning grey. But, they never could rest long, for they had their journey to perform, and it was necessary for them to be always busy. At last, there had been so many partings that there were no children left, and only the traveller, the gentleman, and the lady, went upon their way in company. And now the wood was yellow; and now brown; and the leaves, even of the forest trees, began to fall. So, they came to an avenue that was darker than the rest, and were pressing forward on their journey without looking down it when the lady stopped. "My husband," said the lady, "I am called." They listened, and they heard a voice, a long way down the avenue, say, "Mother, mother!" It was the voice of the first child who had said, "I am going to Heaven!" and the father said, "I pray not yet. The sunset is very near. I pray not yet!" But, the voice cried "Mother, mother!" without minding him, though his hair was now quite white, and tears were on his face. Then, the mother, who was already drawn into the shade of the dark avenue and moving away with her arms still round his neck, kissed him, and said "My dearest, I am summoned and I go!" And she was gone. And the traveller and he were left alone together. And they went on and on together, until they came to very near the end of the wood: so near, that they could see the sunset shining red before them, through the trees. Yet, once more, while he broke his way among the branches, the traveller lost his friend. He called and called, but there was no reply, and when he passed out of the wood, and saw the peaceful sun going down upon a wide purple prospect, he came to an old man sitting on a fallen tree. So, he said to the old man, "What do you do here?" And the old man said with a calm smile, "I am always remembering. Come and remember with me!" So, the traveller sat down by the side of that old man, face to face with the serene sunset; and all his friends came softly back and stood around him. The beautiful child, the handsome boy, the young man in love, the father, mother, and children: every one of them was there, and he had lost nothing. So, he loved them all, and was kind and forbearing with them all, and was always pleased to watch them all, and they all honored and loved him. And I think the traveller must be yourself, dear Grandfather, because this is what you do to us, and what we do to you.