17 10 361 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Verse Description An account of the resource <h4>This collection brings together the most complete set of Dickens's verse to date, supplementing the work of existing editions with previously uncollected poems Dickens contributed to albums, or wrote anonymously.</h4> Though such productions receive scant attention from scholars interested in his fiction and journalism, Dickens composed a surprising amount of verse. It was a genre in which he evidently felt much less at home (and financially rewarded) than when writing in prose. However, several poems gained popular favour during his lifetime; that so many were <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Song">written to be set to music</a> indicates the permeable boundary between metered verse functioning as poem or song in the nineteenth century, and may explain why some of Dickens’s poems were more enduringly popular than others. Notably, <a href="https://dickenssearch.com/verse/1836-05_Pickwick_Papers_The_Ivy_Green">'The Ivy Green'</a> from Pickwick Papers (1837), a story of time’s inexorable passing, was frequently republished in newspapers. Several poems written to young ladies of Dickens’s acquaintance are released on Dickens Search as part of the author’s poetic output for the first time, testifying to the author’s ability to write impromptu poetry and gallantly turn a phrase. Since keeping <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Autograph+Album&collection=&type=&tags=&date_search_term=&submit_search=Search+For+Items">autograph albums</a> was a popular pastime for women in the Victorian era, it is possible that further examples of such activity remain to be discovered in various archives and private collections. When writing <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Letter&collection=3&type=&tags=&date_search_term=&submit_search=Search+For+Items">letters</a> to friends, Dickens occasionally included comedic poems for the recipient. Several of these are included. Considering the enormity of Dickens’s correspondence, likely more instances of this sort of poetic humour will result over time. <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Epitaph">Epitaphs</a> Dickens wrote for friends and family, whether used or not, are included with Dickens's other verse for the first time. Users can also browse <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Play">verse from Dickens's plays</a>, including songs removed from The Strange Gentleman and Is She His Wife? Or, Something Singular! before performance. Care is necessary when verifying the accuracy of these poems, as some are misattributed to Dickens. Widespread reprintings of 'Dickens poems' in nineteenth-century newspapers are insufficient evidence for authorial attribution, owing to the mistakes intentionally or inadvertently made in ascribing authorship. An unusual example of a poem that is and is not by Dickens, the lines of 'Little Nell’s Funeral' are taken, with minimal alterations, from Chapter 72 of The Old Curiosity Shop. An instance of the strikingly lyrical quality of Dickens’s sentimental prose, they were divided into metered, unrhymed verse by M.A.H. for the 1849 collection Echoes of Infant Voices. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of Dickens Search. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens didn't write.</a> Occasionally, Dickens will quote a poem by another author, as in his burlesque Is She his Wife? Or, Something Singular! (1836). The character Mr Felix Tapkins launches into a short hunting song beginning 'The wife around her husband throws/Her arms to make him stay'. As William Chappell noted in 1840, this is a well-known variant of 'A Hunting We Will Go' (1777), by Thomas Arne, though he misattributes its composition to Henry Fielding. Previous notable collections of some of Dickens's poetry include The Plays and Poems of Charles Dickens (1882) edited by Richard Herne Shepherd and The Poems and Verses of Charles Dickens (1903) edited by Frederic G. Kitton. In 2025, we published <a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> (Edinburgh University Press), which includes an introduction and editorial apparatus for this verse.  Caution has been taken when ascertaining that each poem is indeed by Dickens. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or other poems written by Dickens. 1. The Verse of Charles Dickens. Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' The Dickensian 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' Dickens Quarterly 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. Dickens Studies Annual 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Publication Type E.g. newspaper/serial Letter TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1838-08_Letter_To_John_Forster_Poem.xml" target="_blank" rel="noopener">'To John Forster' (August 1838).</a> Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18380801 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. So let us scream long live the Queen And Jerdan long live he, And when he dies, let’s have no more Of sitch humbuggere. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'To John Forster' Description An account of the resource From a letter to John Forster (August 1838). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived 'To John Forster.' Letter to John Forster. [? August 1838]. The Letters of Charles Dickens. The Pilgrim Edition. Edited by Madeline House and Graham Storey. Volume 1 (1820-1839), p. 427. Oxford University Press, 1965. Relation A related resource Parody of William Cowper's 'The Diverting History of John Gilpin', last stanza: Now let us sing, 'Long live the king, And Gilpin, long live he; And when he next doth ride abroad, May I be there to see!' Type The nature or genre of the resource Poem Identifier An unambiguous reference to the resource within a given context 1838-08_Letter_To_John_Forster_Poem Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'To John Forster' (August 1838). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/verse/1838-08_Letter_To_John_Forster_Poem">https://dickenssearch.com/verse/1838-08_Letter_To_John_Forster_Poem</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1838-08 Scripto Transcription A written representation of a document. So let us scream long live the Queen And Jerdan long live he, And when he dies, let’s have no more Of sitch humbuggere. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Verse Description An account of the resource <h4>This collection brings together the most complete set of Dickens's verse to date, supplementing the work of existing editions with previously uncollected poems Dickens contributed to albums, or wrote anonymously.</h4> Though such productions receive scant attention from scholars interested in his fiction and journalism, Dickens composed a surprising amount of verse. It was a genre in which he evidently felt much less at home (and financially rewarded) than when writing in prose. However, several poems gained popular favour during his lifetime; that so many were <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Song">written to be set to music</a> indicates the permeable boundary between metered verse functioning as poem or song in the nineteenth century, and may explain why some of Dickens’s poems were more enduringly popular than others. Notably, <a href="https://dickenssearch.com/verse/1836-05_Pickwick_Papers_The_Ivy_Green">'The Ivy Green'</a> from Pickwick Papers (1837), a story of time’s inexorable passing, was frequently republished in newspapers. Several poems written to young ladies of Dickens’s acquaintance are released on Dickens Search as part of the author’s poetic output for the first time, testifying to the author’s ability to write impromptu poetry and gallantly turn a phrase. Since keeping <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Autograph+Album&collection=&type=&tags=&date_search_term=&submit_search=Search+For+Items">autograph albums</a> was a popular pastime for women in the Victorian era, it is possible that further examples of such activity remain to be discovered in various archives and private collections. When writing <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Letter&collection=3&type=&tags=&date_search_term=&submit_search=Search+For+Items">letters</a> to friends, Dickens occasionally included comedic poems for the recipient. Several of these are included. Considering the enormity of Dickens’s correspondence, likely more instances of this sort of poetic humour will result over time. <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Epitaph">Epitaphs</a> Dickens wrote for friends and family, whether used or not, are included with Dickens's other verse for the first time. Users can also browse <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Play">verse from Dickens's plays</a>, including songs removed from The Strange Gentleman and Is She His Wife? Or, Something Singular! before performance. Care is necessary when verifying the accuracy of these poems, as some are misattributed to Dickens. Widespread reprintings of 'Dickens poems' in nineteenth-century newspapers are insufficient evidence for authorial attribution, owing to the mistakes intentionally or inadvertently made in ascribing authorship. An unusual example of a poem that is and is not by Dickens, the lines of 'Little Nell’s Funeral' are taken, with minimal alterations, from Chapter 72 of The Old Curiosity Shop. An instance of the strikingly lyrical quality of Dickens’s sentimental prose, they were divided into metered, unrhymed verse by M.A.H. for the 1849 collection Echoes of Infant Voices. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of Dickens Search. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens didn't write.</a> Occasionally, Dickens will quote a poem by another author, as in his burlesque Is She his Wife? Or, Something Singular! (1836). The character Mr Felix Tapkins launches into a short hunting song beginning 'The wife around her husband throws/Her arms to make him stay'. As William Chappell noted in 1840, this is a well-known variant of 'A Hunting We Will Go' (1777), by Thomas Arne, though he misattributes its composition to Henry Fielding. Previous notable collections of some of Dickens's poetry include The Plays and Poems of Charles Dickens (1882) edited by Richard Herne Shepherd and The Poems and Verses of Charles Dickens (1903) edited by Frederic G. Kitton. In 2025, we published <a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> (Edinburgh University Press), which includes an introduction and editorial apparatus for this verse.  Caution has been taken when ascertaining that each poem is indeed by Dickens. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or other poems written by Dickens. 1. The Verse of Charles Dickens. Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' The Dickensian 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' Dickens Quarterly 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. Dickens Studies Annual 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Publication Type E.g. newspaper/serial Letter Pseudonym The name under which the item was published Revolver Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18380901 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. Oh Mr. Groves If so be you approves Of writings in rhyme Knocked off in quick time And set down at once By an indolent dunce Who to Alum bay runs - Read these lines Mr. Groves. For those same twenty heads Who are coming for beds From Cowes or from Rhyde, Or from some hole beside, Don’t fit up that “Tent” Which in our room is meant For some very small child Of years meek and mild, Because I’ve a wife And I swear on my life It would our blushes bring To have that sort of thing, -So no stranger coves If you please Mr. Groves And when people repair Here, to dine in the air Just give ‘em their grub On some barrel or tub In the cow-yard or garden; - I’ll bet a brass farden They’ll eat as much cheese, And cough spit and sneeze And make as much shindy As outside our windy; So there put their loaves If you please Mr. Groves. And as Ann is a maid By no means afraid Of doing what’s right By day or by night, And perfectly able To wait well at table, If she’s wrong here and there Don’t bluster and swear But of slight faults absolve her. Yours Truly - Revolver. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1838-09_Letter_To_John_Groves_Poem.xml" target="_blank" rel="noopener">'To John Groves' (1 September 1838).</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'To John Groves' Description An account of the resource From a letter to John Groves (1 September 1838). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived 'To John Groves.' Letter to John Groves (Early September 1838). The Letters of Charles Dickens. The Pilgrim Edition. Edited by Madeline House and Graham Storey. Volume 1 (1820-1839), pp. 432-433. Oxford University Press, 1988. Date A point or period of time associated with an event in the lifecycle of the resource 1838-09 Type The nature or genre of the resource Poem Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'To John Groves' (September 1838). Dickens Search. Eds. Emily Middleton and Lydia Craig. <a href="https://dickenssearch.com/verse/1838-09_Letter_To_John_Groves_Poem">https://dickenssearch.com/verse/1838-09_Letter_To_John_Groves_Poem</a>. Identifier An unambiguous reference to the resource within a given context 1838-09_Letter_To_John_Groves_Poem Scripto Transcription A written representation of a document. Oh Mr. Groves If so be you approves Of writings in rhyme Knocked off in quick time And set down at once By an indolent dunce Who to Alum bay runs -  Read these lines Mr. Groves. For those same twenty heads Who are coming for beds From Cowes or from Rhyde, Or from some hole beside, Don’t fit up that “Tent” Which in our room is meant For some very small child Of years meek and mild, Because I’ve a wife And I swear on my life It would our blushes bring To have that sort of thing, -  So no stranger coves If you please Mr. Groves And when people repair  Here, to dine in the air Just give ‘em their grub On some barrel or tub In the cow-yard or garden; -  I’ll bet a brass farden They’ll eat as much cheese, And cough spit and sneeze And make as much shindy As outside our windy; So there put their loaves If you please Mr. Groves. And as Ann is a maid By no means afraid Of doing what’s right By day or by night, And perfectly able To wait well at table, If she’s wrong here and there Don’t bluster and swear But of slight faults absolve her. Yours Truly - Revolver. https://www.dickenssearch.com/files/original/3/To_Mary_Boyle/1854-01-16_Letter_To_Mary_Boyle_Poem.pdf acf3a3185565689c85f1b06e0b554dd5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Verse Description An account of the resource <h4>This collection brings together the most complete set of Dickens's verse to date, supplementing the work of existing editions with previously uncollected poems Dickens contributed to albums, or wrote anonymously.</h4> Though such productions receive scant attention from scholars interested in his fiction and journalism, Dickens composed a surprising amount of verse. It was a genre in which he evidently felt much less at home (and financially rewarded) than when writing in prose. However, several poems gained popular favour during his lifetime; that so many were <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Song">written to be set to music</a> indicates the permeable boundary between metered verse functioning as poem or song in the nineteenth century, and may explain why some of Dickens’s poems were more enduringly popular than others. Notably, <a href="https://dickenssearch.com/verse/1836-05_Pickwick_Papers_The_Ivy_Green">'The Ivy Green'</a> from Pickwick Papers (1837), a story of time’s inexorable passing, was frequently republished in newspapers. Several poems written to young ladies of Dickens’s acquaintance are released on Dickens Search as part of the author’s poetic output for the first time, testifying to the author’s ability to write impromptu poetry and gallantly turn a phrase. Since keeping <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Autograph+Album&collection=&type=&tags=&date_search_term=&submit_search=Search+For+Items">autograph albums</a> was a popular pastime for women in the Victorian era, it is possible that further examples of such activity remain to be discovered in various archives and private collections. When writing <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Letter&collection=3&type=&tags=&date_search_term=&submit_search=Search+For+Items">letters</a> to friends, Dickens occasionally included comedic poems for the recipient. Several of these are included. Considering the enormity of Dickens’s correspondence, likely more instances of this sort of poetic humour will result over time. <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Epitaph">Epitaphs</a> Dickens wrote for friends and family, whether used or not, are included with Dickens's other verse for the first time. Users can also browse <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Play">verse from Dickens's plays</a>, including songs removed from The Strange Gentleman and Is She His Wife? Or, Something Singular! before performance. Care is necessary when verifying the accuracy of these poems, as some are misattributed to Dickens. Widespread reprintings of 'Dickens poems' in nineteenth-century newspapers are insufficient evidence for authorial attribution, owing to the mistakes intentionally or inadvertently made in ascribing authorship. An unusual example of a poem that is and is not by Dickens, the lines of 'Little Nell’s Funeral' are taken, with minimal alterations, from Chapter 72 of The Old Curiosity Shop. An instance of the strikingly lyrical quality of Dickens’s sentimental prose, they were divided into metered, unrhymed verse by M.A.H. for the 1849 collection Echoes of Infant Voices. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of Dickens Search. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens didn't write.</a> Occasionally, Dickens will quote a poem by another author, as in his burlesque Is She his Wife? Or, Something Singular! (1836). The character Mr Felix Tapkins launches into a short hunting song beginning 'The wife around her husband throws/Her arms to make him stay'. As William Chappell noted in 1840, this is a well-known variant of 'A Hunting We Will Go' (1777), by Thomas Arne, though he misattributes its composition to Henry Fielding. Previous notable collections of some of Dickens's poetry include The Plays and Poems of Charles Dickens (1882) edited by Richard Herne Shepherd and The Poems and Verses of Charles Dickens (1903) edited by Frederic G. Kitton. In 2025, we published <a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> (Edinburgh University Press), which includes an introduction and editorial apparatus for this verse.  Caution has been taken when ascertaining that each poem is indeed by Dickens. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or other poems written by Dickens. 1. The Verse of Charles Dickens. Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' The Dickensian 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' Dickens Quarterly 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. Dickens Studies Annual 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Publication Type E.g. newspaper/serial Letter TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1854-01-16_Letter_To_Mary_Boyle_Poem.xml" target="_blank" rel="noopener">'To Mary Boyle' (16 January 1854).</a> Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18540116 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. When the praise thou meetest To thine ear is sweetest O then REMEMBER JOE! Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'To Mary Boyle' Description An account of the resource From a letter to Mary Boyle (16 January 1854). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived 'Miss Mary Boyle.' The Letters of Charles Dickens. Edited by his Sister-in-Law and his Eldest Daughter. Volume 1 (1833-1856), p. 346. Chapman and Hall, 1880. Internet Archive, <a href="https://archive.org/details/letterscharlesd09dickgoog/page/n363/mode/2up" target="_blank" rel="noopener">https://archive.org/details/letterscharlesd09dickgoog/page/n363/mode/2up</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1854-01-16 Type The nature or genre of the resource Poem Identifier An unambiguous reference to the resource within a given context 1854-01-16_Letter_To_Mary_Boyle_Poem Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'To Mary Boyle' (16 January 1854). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/verse/1854-01-16_Letter_To_Mary_Boyle_Poem" target="_blank" rel="noopener">https://dickenssearch.com/verse/1854-01-16_Letter_To_Mary_Boyle_Poem</a>. Rights Information about rights held in and over the resource Internet Archive: Access to the Archive’s Collections is provided at no cost and is granted for scholarship and research purposes only (<a href="https://archive.org/about/terms.php" target="_blank" rel="noopener">https://archive.org/about/terms.php</a>). Scripto Transcription A written representation of a document. When the praise thou meetest To thine ear is sweetest O then REMEMBER JOE! Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Verse Description An account of the resource <h4>This collection brings together the most complete set of Dickens's verse to date, supplementing the work of existing editions with previously uncollected poems Dickens contributed to albums, or wrote anonymously.</h4> Though such productions receive scant attention from scholars interested in his fiction and journalism, Dickens composed a surprising amount of verse. It was a genre in which he evidently felt much less at home (and financially rewarded) than when writing in prose. However, several poems gained popular favour during his lifetime; that so many were <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Song">written to be set to music</a> indicates the permeable boundary between metered verse functioning as poem or song in the nineteenth century, and may explain why some of Dickens’s poems were more enduringly popular than others. Notably, <a href="https://dickenssearch.com/verse/1836-05_Pickwick_Papers_The_Ivy_Green">'The Ivy Green'</a> from Pickwick Papers (1837), a story of time’s inexorable passing, was frequently republished in newspapers. Several poems written to young ladies of Dickens’s acquaintance are released on Dickens Search as part of the author’s poetic output for the first time, testifying to the author’s ability to write impromptu poetry and gallantly turn a phrase. Since keeping <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Autograph+Album&collection=&type=&tags=&date_search_term=&submit_search=Search+For+Items">autograph albums</a> was a popular pastime for women in the Victorian era, it is possible that further examples of such activity remain to be discovered in various archives and private collections. When writing <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Letter&collection=3&type=&tags=&date_search_term=&submit_search=Search+For+Items">letters</a> to friends, Dickens occasionally included comedic poems for the recipient. Several of these are included. Considering the enormity of Dickens’s correspondence, likely more instances of this sort of poetic humour will result over time. <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Epitaph">Epitaphs</a> Dickens wrote for friends and family, whether used or not, are included with Dickens's other verse for the first time. Users can also browse <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Play">verse from Dickens's plays</a>, including songs removed from The Strange Gentleman and Is She His Wife? Or, Something Singular! before performance. Care is necessary when verifying the accuracy of these poems, as some are misattributed to Dickens. Widespread reprintings of 'Dickens poems' in nineteenth-century newspapers are insufficient evidence for authorial attribution, owing to the mistakes intentionally or inadvertently made in ascribing authorship. An unusual example of a poem that is and is not by Dickens, the lines of 'Little Nell’s Funeral' are taken, with minimal alterations, from Chapter 72 of The Old Curiosity Shop. An instance of the strikingly lyrical quality of Dickens’s sentimental prose, they were divided into metered, unrhymed verse by M.A.H. for the 1849 collection Echoes of Infant Voices. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of Dickens Search. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens didn't write.</a> Occasionally, Dickens will quote a poem by another author, as in his burlesque Is She his Wife? Or, Something Singular! (1836). The character Mr Felix Tapkins launches into a short hunting song beginning 'The wife around her husband throws/Her arms to make him stay'. As William Chappell noted in 1840, this is a well-known variant of 'A Hunting We Will Go' (1777), by Thomas Arne, though he misattributes its composition to Henry Fielding. Previous notable collections of some of Dickens's poetry include The Plays and Poems of Charles Dickens (1882) edited by Richard Herne Shepherd and The Poems and Verses of Charles Dickens (1903) edited by Frederic G. Kitton. In 2025, we published <a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> (Edinburgh University Press), which includes an introduction and editorial apparatus for this verse.  Caution has been taken when ascertaining that each poem is indeed by Dickens. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or other poems written by Dickens. 1. The Verse of Charles Dickens. Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' The Dickensian 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' Dickens Quarterly 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. Dickens Studies Annual 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Publication Type E.g. newspaper/serial Letter TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1837-07-26_Letter_To_Charles_Hicks_Poem.xml" target="_blank" rel="noopener">'To Mr. Hicks' (26 July 1837).</a> Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18370726 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. Oh Mr. Hick – S, I’m heartily sick Of this sixteenth Pickwick Which is just in the nick For the publishing trick, And will read nice and slick, If you’ll only be quick. I don’t write on tick, That’s my comfort, Avick! 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 Mr. Hicks' Description An account of the resource From a letter to Charles Hicks (26 July 1837). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived 'To Charles Hicks.' Letter to Charles Hicks. (26 July 1837). The Letters of Charles Dickens. The Pilgrim Edition. Edited by Madeline House and Graham Storey. Volume 1 (1820-1839), p. 287. Oxford University Press, 1965. Date A point or period of time associated with an event in the lifecycle of the resource 1837-07-26 Type The nature or genre of the resource Poem Identifier An unambiguous reference to the resource within a given context 1837-07-26_Letter_To_Charles_Hicks_Poem Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'To Charles Hicks' (2 June 1840). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/verse/1837-07-26_Letter_To_Charles_Hicks_Poem">https://dickenssearch.com/verse/1837-07-26_Letter_To_Charles_Hicks_Poem</a>. Scripto Transcription A written representation of a document. Oh Mr. Hick – S, I’m heartily sick Of this sixteenth Pickwick Which is just in the nick For the publishing trick, And will read nice and slick, If you’ll only be quick. I don’t write on tick, That’s my comfort, Avick! Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Verse Description An account of the resource <h4>This collection brings together the most complete set of Dickens's verse to date, supplementing the work of existing editions with previously uncollected poems Dickens contributed to albums, or wrote anonymously.</h4> Though such productions receive scant attention from scholars interested in his fiction and journalism, Dickens composed a surprising amount of verse. It was a genre in which he evidently felt much less at home (and financially rewarded) than when writing in prose. However, several poems gained popular favour during his lifetime; that so many were <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Song">written to be set to music</a> indicates the permeable boundary between metered verse functioning as poem or song in the nineteenth century, and may explain why some of Dickens’s poems were more enduringly popular than others. Notably, <a href="https://dickenssearch.com/verse/1836-05_Pickwick_Papers_The_Ivy_Green">'The Ivy Green'</a> from Pickwick Papers (1837), a story of time’s inexorable passing, was frequently republished in newspapers. Several poems written to young ladies of Dickens’s acquaintance are released on Dickens Search as part of the author’s poetic output for the first time, testifying to the author’s ability to write impromptu poetry and gallantly turn a phrase. Since keeping <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Autograph+Album&collection=&type=&tags=&date_search_term=&submit_search=Search+For+Items">autograph albums</a> was a popular pastime for women in the Victorian era, it is possible that further examples of such activity remain to be discovered in various archives and private collections. When writing <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Letter&collection=3&type=&tags=&date_search_term=&submit_search=Search+For+Items">letters</a> to friends, Dickens occasionally included comedic poems for the recipient. Several of these are included. Considering the enormity of Dickens’s correspondence, likely more instances of this sort of poetic humour will result over time. <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Epitaph">Epitaphs</a> Dickens wrote for friends and family, whether used or not, are included with Dickens's other verse for the first time. Users can also browse <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Play">verse from Dickens's plays</a>, including songs removed from The Strange Gentleman and Is She His Wife? Or, Something Singular! before performance. Care is necessary when verifying the accuracy of these poems, as some are misattributed to Dickens. Widespread reprintings of 'Dickens poems' in nineteenth-century newspapers are insufficient evidence for authorial attribution, owing to the mistakes intentionally or inadvertently made in ascribing authorship. An unusual example of a poem that is and is not by Dickens, the lines of 'Little Nell’s Funeral' are taken, with minimal alterations, from Chapter 72 of The Old Curiosity Shop. An instance of the strikingly lyrical quality of Dickens’s sentimental prose, they were divided into metered, unrhymed verse by M.A.H. for the 1849 collection Echoes of Infant Voices. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of Dickens Search. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens didn't write.</a> Occasionally, Dickens will quote a poem by another author, as in his burlesque Is She his Wife? Or, Something Singular! (1836). The character Mr Felix Tapkins launches into a short hunting song beginning 'The wife around her husband throws/Her arms to make him stay'. As William Chappell noted in 1840, this is a well-known variant of 'A Hunting We Will Go' (1777), by Thomas Arne, though he misattributes its composition to Henry Fielding. Previous notable collections of some of Dickens's poetry include The Plays and Poems of Charles Dickens (1882) edited by Richard Herne Shepherd and The Poems and Verses of Charles Dickens (1903) edited by Frederic G. Kitton. In 2025, we published <a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> (Edinburgh University Press), which includes an introduction and editorial apparatus for this verse.  Caution has been taken when ascertaining that each poem is indeed by Dickens. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or other poems written by Dickens. 1. The Verse of Charles Dickens. Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' The Dickensian 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' Dickens Quarterly 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. Dickens Studies Annual 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Publication Type E.g. newspaper/serial Letter TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1849-01-13_Letter_To_Mrs_Cowden_Clarke_Poem.xml" target="_blank" rel="noopener">'To Mrs Cowden Clarke' (13 January 1849).</a> Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18490113 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. – But had you seen him in “Used up”, His eye so beaming and so clear, When on his stool he sat to sup The oxtail – little Romer near etc etc – you would have forgotten and forgiven all. 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 Mrs Cowden Clarke' Description An account of the resource From a letter to Mrs Cowden Clarke (13 January 1849). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived 'To Mrs Cowden Clarke.' The Letters of Charles Dickens. The Pilgrim Edition. Edited by Graham Storey and K. J. Fielding. Volume 5 (1847-1849), p. 476. Oxford University Press, 1980. Date A point or period of time associated with an event in the lifecycle of the resource 1849-01-13 Type The nature or genre of the resource Poem Identifier An unambiguous reference to the resource within a given context 1849-01-13_Letter_To_Mrs_Cowden_Clarke_Poem Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'To Mrs Cowden Clarke' (13 January 1849). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/verse/1849-01-13_Letter_To_Mrs_Cowden_Clarke_Poem">https://dickenssearch.com/verse/1849-01-13_Letter_To_Mrs_Cowden_Clarke_Poem</a>. Scripto Transcription A written representation of a document. – But had you seen him in “Used up”, His eye so beaming and so clear, When on his stool he sat to sup The oxtail – little Romer near &c &c – you would have forgotten and forgiven all. https://www.dickenssearch.com/files/original/3/To_Mrs_Horne/1856-10-20_Letter_To_Mrs_Horne_Poem.pdf 9d566c755905ab9ce376dde2a3b85921 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Verse Description An account of the resource <h4>This collection brings together the most complete set of Dickens's verse to date, supplementing the work of existing editions with previously uncollected poems Dickens contributed to albums, or wrote anonymously.</h4> Though such productions receive scant attention from scholars interested in his fiction and journalism, Dickens composed a surprising amount of verse. It was a genre in which he evidently felt much less at home (and financially rewarded) than when writing in prose. However, several poems gained popular favour during his lifetime; that so many were <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Song">written to be set to music</a> indicates the permeable boundary between metered verse functioning as poem or song in the nineteenth century, and may explain why some of Dickens’s poems were more enduringly popular than others. Notably, <a href="https://dickenssearch.com/verse/1836-05_Pickwick_Papers_The_Ivy_Green">'The Ivy Green'</a> from Pickwick Papers (1837), a story of time’s inexorable passing, was frequently republished in newspapers. Several poems written to young ladies of Dickens’s acquaintance are released on Dickens Search as part of the author’s poetic output for the first time, testifying to the author’s ability to write impromptu poetry and gallantly turn a phrase. Since keeping <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Autograph+Album&collection=&type=&tags=&date_search_term=&submit_search=Search+For+Items">autograph albums</a> was a popular pastime for women in the Victorian era, it is possible that further examples of such activity remain to be discovered in various archives and private collections. When writing <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Letter&collection=3&type=&tags=&date_search_term=&submit_search=Search+For+Items">letters</a> to friends, Dickens occasionally included comedic poems for the recipient. Several of these are included. Considering the enormity of Dickens’s correspondence, likely more instances of this sort of poetic humour will result over time. <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Epitaph">Epitaphs</a> Dickens wrote for friends and family, whether used or not, are included with Dickens's other verse for the first time. Users can also browse <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Play">verse from Dickens's plays</a>, including songs removed from The Strange Gentleman and Is She His Wife? Or, Something Singular! before performance. Care is necessary when verifying the accuracy of these poems, as some are misattributed to Dickens. Widespread reprintings of 'Dickens poems' in nineteenth-century newspapers are insufficient evidence for authorial attribution, owing to the mistakes intentionally or inadvertently made in ascribing authorship. An unusual example of a poem that is and is not by Dickens, the lines of 'Little Nell’s Funeral' are taken, with minimal alterations, from Chapter 72 of The Old Curiosity Shop. An instance of the strikingly lyrical quality of Dickens’s sentimental prose, they were divided into metered, unrhymed verse by M.A.H. for the 1849 collection Echoes of Infant Voices. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of Dickens Search. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens didn't write.</a> Occasionally, Dickens will quote a poem by another author, as in his burlesque Is She his Wife? Or, Something Singular! (1836). The character Mr Felix Tapkins launches into a short hunting song beginning 'The wife around her husband throws/Her arms to make him stay'. As William Chappell noted in 1840, this is a well-known variant of 'A Hunting We Will Go' (1777), by Thomas Arne, though he misattributes its composition to Henry Fielding. Previous notable collections of some of Dickens's poetry include The Plays and Poems of Charles Dickens (1882) edited by Richard Herne Shepherd and The Poems and Verses of Charles Dickens (1903) edited by Frederic G. Kitton. In 2025, we published <a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> (Edinburgh University Press), which includes an introduction and editorial apparatus for this verse.  Caution has been taken when ascertaining that each poem is indeed by Dickens. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or other poems written by Dickens. 1. The Verse of Charles Dickens. Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' The Dickensian 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' Dickens Quarterly 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. Dickens Studies Annual 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Publication Type E.g. newspaper/serial Letter TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1856-10-20_Letter_To_Mrs_Horne_Poem.xml" target="_blank" rel="noopener">'To Mrs Horne' (20 October 1856).</a> Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18561020 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. My heart disowns Ophelia Jones; only I think it was a more sounding name, Are these the tones, – Volumnia Jones? No. Again it seems doubtful. God bless her bones, Petronia Jones! I think not. Carve I on stones Olympia Jones? Can that be the name? Fond memory favours it more than any other. My love to 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 'To Mrs Horne' Description An account of the resource From a letter to Mrs Horne (20 October 1856). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived 'Mrs. Horne.' The Letters of Charles Dickens. Edited by his Sister-in-Law and his Eldest Daughter. Volume 1 (1833-1856), p. 456-457. Chapman and Hall, 1880. Internet Archive, <a href="https://archive.org/details/letterscharlesd09dickgoog/page/n473/mode/2up" target="_blank" rel="noopener">https://archive.org/details/letterscharlesd09dickgoog/page/n473/mode/2up</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1856-10-20 Type The nature or genre of the resource Poem Identifier An unambiguous reference to the resource within a given context 1856-10-20_Letter_To_Mrs_Horne_Poem Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'To Mrs Horne' (20 October 1856). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/verse/1856-10-20_Letter_To_Mrs_Horne_Poem" target="_blank" rel="noopener">https://dickenssearch.com/verse/1856-10-20_Letter_To_Mrs_Horne_Poem</a>. Rights Information about rights held in and over the resource Internet Archive: Access to the Archive’s Collections is provided at no cost and is granted for scholarship and research purposes only (<a href="https://archive.org/about/terms.php" target="_blank" rel="noopener">https://archive.org/about/terms.php</a>). Scripto Transcription A written representation of a document. <div style="text-align: left;">My heart disowns Ophelia Jones; only I think it was a more sounding name, Are these the tones, – Volumnia Jones? No. Again it seems doubtful. God bless her bones, Petronia Jones! I think not. Carve I on stones Olympia Jones? Can that be the name? Fond memory favours it more than any other. My love to her.</div> https://www.dickenssearch.com/files/original/3/Young_Benson_s_Song/1836-The_Village_Coquettes_Young_Bensons_Song.pdf 4429e06a357605043eef74cc9851f4b6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Verse Description An account of the resource <h4>This collection brings together the most complete set of Dickens's verse to date, supplementing the work of existing editions with previously uncollected poems Dickens contributed to albums, or wrote anonymously.</h4> Though such productions receive scant attention from scholars interested in his fiction and journalism, Dickens composed a surprising amount of verse. It was a genre in which he evidently felt much less at home (and financially rewarded) than when writing in prose. However, several poems gained popular favour during his lifetime; that so many were <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Song">written to be set to music</a> indicates the permeable boundary between metered verse functioning as poem or song in the nineteenth century, and may explain why some of Dickens’s poems were more enduringly popular than others. Notably, <a href="https://dickenssearch.com/verse/1836-05_Pickwick_Papers_The_Ivy_Green">'The Ivy Green'</a> from Pickwick Papers (1837), a story of time’s inexorable passing, was frequently republished in newspapers. Several poems written to young ladies of Dickens’s acquaintance are released on Dickens Search as part of the author’s poetic output for the first time, testifying to the author’s ability to write impromptu poetry and gallantly turn a phrase. Since keeping <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Autograph+Album&collection=&type=&tags=&date_search_term=&submit_search=Search+For+Items">autograph albums</a> was a popular pastime for women in the Victorian era, it is possible that further examples of such activity remain to be discovered in various archives and private collections. When writing <a href="https://dickenssearch.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Letter&collection=3&type=&tags=&date_search_term=&submit_search=Search+For+Items">letters</a> to friends, Dickens occasionally included comedic poems for the recipient. Several of these are included. Considering the enormity of Dickens’s correspondence, likely more instances of this sort of poetic humour will result over time. <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Epitaph">Epitaphs</a> Dickens wrote for friends and family, whether used or not, are included with Dickens's other verse for the first time. Users can also browse <a href="https://dickenssearch.com/items/browse?advanced%5B0%5D%5Belement_id%5D=94&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Play">verse from Dickens's plays</a>, including songs removed from The Strange Gentleman and Is She His Wife? Or, Something Singular! before performance. Care is necessary when verifying the accuracy of these poems, as some are misattributed to Dickens. Widespread reprintings of 'Dickens poems' in nineteenth-century newspapers are insufficient evidence for authorial attribution, owing to the mistakes intentionally or inadvertently made in ascribing authorship. An unusual example of a poem that is and is not by Dickens, the lines of 'Little Nell’s Funeral' are taken, with minimal alterations, from Chapter 72 of The Old Curiosity Shop. An instance of the strikingly lyrical quality of Dickens’s sentimental prose, they were divided into metered, unrhymed verse by M.A.H. for the 1849 collection Echoes of Infant Voices. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of Dickens Search. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens didn't write.</a> Occasionally, Dickens will quote a poem by another author, as in his burlesque Is She his Wife? Or, Something Singular! (1836). The character Mr Felix Tapkins launches into a short hunting song beginning 'The wife around her husband throws/Her arms to make him stay'. As William Chappell noted in 1840, this is a well-known variant of 'A Hunting We Will Go' (1777), by Thomas Arne, though he misattributes its composition to Henry Fielding. Previous notable collections of some of Dickens's poetry include The Plays and Poems of Charles Dickens (1882) edited by Richard Herne Shepherd and The Poems and Verses of Charles Dickens (1903) edited by Frederic G. Kitton. In 2025, we published <a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> (Edinburgh University Press), which includes an introduction and editorial apparatus for this verse.  Caution has been taken when ascertaining that each poem is indeed by Dickens. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or other poems written by Dickens. 1. The Verse of Charles Dickens. Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' The Dickensian 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' Dickens Quarterly 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. Dickens Studies Annual 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18360101 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. My fair home is no longer mine; From its roof-tree I’m driven away. Alas! who will tend the old vine, Which I planted in infancy’s day! The garden, the beautiful flowers, The oak with its branches on high, Dear friends of my happiest hours, Among thee I long hoped to die. The briar, the moss, and the bramble, Along the green paths will run wild: The paths where I once used to ramble, An innocent, light-hearted child. Publication Type E.g. newspaper/serial Play Publication The title of the newspaper/serial (if applicable) The Village Coquettes, An Operatic Burletta in Two Acts TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1836_The_Village_Coquettes_Young_Bensons_Song.xml" target="_blank" rel="noopener">'Young Benson's Song.' The Village Coquettes, An Operatic Burletta in Two Acts (1836).</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'Young Benson's Song' Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The Village Coquettes, An Operatic Burletta in Two Acts (1836). London: John Dicks.  Internet Archive, <a href="https://archive.org/details/villagecoquettes00dickuoft/page/12/mode/2up?view=theater" target="_blank" rel="noopener">https://archive.org/details/villagecoquettes00dickuoft/page/12/mode/2up?view=theater</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 Hullah, John Rights Information about rights held in and over the resource Internet Archive: Access to the Archive’s Collections is provided at no cost and is granted for scholarship and research purposes only (<a href="https://archive.org/about/terms.php" target="_blank" rel="noopener">https://archive.org/about/terms.php</a>). Identifier An unambiguous reference to the resource within a given context 1836-The_Village_Coquettes_Young_Bensons_Song 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. 'Young Bensons's Song.' The Village Coquettes (1836): p. 14. Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/verse/1836-The_Village_Coquettes_Young_Bensons_Song">https://dickenssearch.com/verse/1836-The_Village_Coquettes_Young_Bensons_Song</a>. Description An account of the resource From The Village Coquettes, An Operatic Burletta in Two Acts (1836). Music by John Hullah, p.14. Type The nature or genre of the resource Song Scripto Transcription A written representation of a document. My fair home is no longer mine; From its roof-tree I’m driven away. Alas! who will tend the old vine, Which I planted in infancy’s day! The garden, the beautiful flowers, The oak with its branches on high, Dear friends of my happiest hours, Among thee I long hoped to die. The briar, the moss, and the bramble, Along the green paths will run wild: The paths where I once used to ramble, An innocent, light-hearted child.  https://www.dickenssearch.com/files/original/5/New_Series_No._1_Meditations_in_Monmouth-Street/1836-09-24-The-Morning_Chronicle_New_Series_I_Meditations_in_Monmouth_Street.pdf 0283afd9432754132796355f3d28ebf5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Morning Chronicle Pseudonym The name under which the item was published BOZ Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18360924 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. We have always entertained a particular attachment towards Monmouth-street, as the only true and real emporium for second-hand wearing apparel. Monmouth-street is venerable from its antiquity, and respectable from its usefulness. Holywell-street we despise; the red-headed and red-whiskered Jews who forcibly haul you into their squalid houses, and thrust you into a suit of clothes whether you will or not, we detest. The inhabitants of Monmouth-street are a distinct class; a peaceable and retiring race, who immure themselves for the most part in deep cellars or small back parlours, and who seldom come forth into the world, except in the dusk and coolness of evening, when they may be seen seated in chairs on the pavement, smoking their pipes or watching the gambols of their engaging children as they revel in the gutter, a happy troop of infantine scavengers. Their countenances bear a thoughtful and dirty cast—certain indications of their love of traffic; and their habitations are distinguished by that disregard of outward appearances, and neglect of personal comfort, so common among people who are constantly immersed in profound speculations, and deeply engaged in sedentary pursuits. We have hinted at the antiquity of our favourite spot. "A Monmouth-street laced coat" was a by-word years and years ago; and still we find Monmouth-street the same. Pilot great coats with wooden buttons, have usurped the place of the ponderous laced coats with full skirts; embroidered waistcoats with large flaps, have yielded to double-breasted checks with roll-collars; and three-cornered hats of quaint appearance have given place to the low crowns and broad brims of the coachman school; but it is the times that have changed, not Monmouth-street. Through every alteration and every change, Monmouth-street has still remained the burial-place of the fashions; and such, to judge from all present appearances, it will remain, until there are no more fashions to bury. We love to walk among these extensive groves of the illustrious dead, and to indulge in the speculations to which they give rise; now fitting a deceased coat, then a dead pair of trousers, and anon the mortal remains of a gaudy waistcoat, upon some being of our own conjuring up, and endeavouring, from the shape and fashion of the garment itself, to bring its former owner before our mind’s eye. We have gone on speculating in this way, until whole rows of coats have started from their pegs, and buttoned up, of their own accord, round the waists of imaginary wearers, lines of trousers have jumped down to meet them, waistcoats have almost burst with anxiety to put themselves on, and half an acre of shoes have suddenly found feet to fit them, and gone stumping down the street with a noise which has fairly awakened us from our pleasant reverie, and driven us slowly away, with a bewildered stare, an object of astonishment to the good people of Monmouth-street, and of no slight suspicion to the policemen at the opposite street corner. We were occupied in this manner the other day, endeavouring to fit a pair of lace-up half boots on an ideal personage, for whom, to say the truth, they were full a couple of sizes too small, when our eyes happened to alight on a few suits of clothes, ranged outside a shop-window, which it immediately struck us, must at different periods have all belonged to, and been worn by, the same individual, and had now, by one of those strange conjunctions of circumstances which will occur sometimes, come to be exposed together for sale in the same shop. The idea seemed a fantastic one, and we looked at the clothes again with a firm determination not to be easily led away. No, we were right, the more we looked the more we were convinced of the accuracy of our previous impression. There was the man’s whole life written as legibly on those clothes as if we had his autobiography engrossed on parchment before us. The first was a patched and much-soiled skeleton suit—one of those straight blue cloth cases in which small boys used to be confined, before belts and tunics had come in, and old notions had gone out: an ingenious contrivance for displaying the full symmetry of a boy’s figure, by fastening him into a very tight jacket, with an ornamental row of buttons over each shoulder, and then buttoning his trousers over it, so as to give his legs the appearance of being hooked on just under the armpits. This was the boy’s dress. It had belonged to a town boy, we could see; there was a shortness about the legs and arms of the suit, and a bagging at the knees, peculiar to the rising youth of London streets. A small day-school he had been at, evidently. If it had been a regular boys’ school they wouldn’t have let him play on the floor so much, and rub his knees so white. He had had an indulgent mother too, and plenty of halfpence, as the numerous smears of some sticky substance about the pockets, and just below the chin, which even the salesman’s skill could not succeed in disguising, sufficiently betokened. They were decent people, but not overburdened with riches, or he would not have so far outgrown the suit when he passed into those corduroys with the round jacket; in which he went to a boys’ school, however, and learnt to write—and in ink of pretty tolerable blackness too, if the place where he used to wipe his pen might be taken as evidence. A black suit, and the jacket changed into a diminutive coat. His father had died, and the mother had got the boy a message-lad’s place in some office. A long-worn suit that one; rusty and threadbare before it was laid aside, but clean and free from soil to the last. Poor woman! We could imagine her assumed cheerfulness over the scanty meal, and the refusal of her own small portion, that her hungry boy might have enough. Her constant anxiety for his welfare, her pride in his growth mingled sometimes with the thought, almost too acute to bear, that as he grew to be a man his old affection might cool, old kindnesses fade from his mind, and old promises be forgotten—the sharp pain that even then a careless word or a cold look would give her—all crowded on our thoughts as vividly as if the very scene were passing before us. These things happen every hour, and we all know it; and yet we felt as much sorrow when we saw, or fancied we saw—it makes no difference which—the change that began to take place now, as if we had just conceived the bare possibility of such a thing for the first time. The next suit, smart but slovenly; meant to be gay, and yet not half so decent as the threadbare apparel; redolent of the idle lounge, and the blackguard companions, told us, we thought, that the widow’s comfort had rapidly faded away. We could imagine that coat—imagine! we could see it; we had seen it a hundred times—sauntering in company with three or four other coats of the same cut, about some place of profligate resort at night. We dressed, from the same shop-window in an instant, half a dozen boys of from fifteen to twenty; and putting cigars into their mouths, and their hands into their pockets, watched them as they sauntered down the street, and lingered at the corner with the obscene jest, and the often-repeated oath. We never lost sight of them, till they had cocked their hats a little more on one side, and swaggered into the public-house; and then we entered the desolate house, where the mother sat, late in the night, alone; we watched her, as she paced the room in feverish anxiety, and every now and then opened the door, looked wistfully into the dark and empty street, and again returned, to be again and again disappointed. We beheld the look of patience with which she bore the brutish threat, and the drunken blow; and we heard the agony of tears that gushed from her very heart as she sunk upon her knees in her solitary and wretched chamber. A long period had elapsed, and a greater change had taken place by the time of casting off the suit that hung above. It was that of a stout, broad-shouldered, sturdy-chested man; and we knew at once, as anybody would who glanced at that broad-skirted green coat, with the large metal buttons, that its wearer seldom walked forth without a dog at his heels, and some idle ruffian, the very counterpart of himself, at his side. The vices of the boy had grown with the man, and we fancied his home then—if such a place deserved the name. The bare and miserable room, destitute of furniture, crowded with his wife and children, pale, hungry, and emaciated; the man cursing their lamentations, staggering to the tap-room, from whence he had just returned, followed by his wife and a sickly infant, clamouring for bread; and heard the street wrangle and noisy recrimination that his striking her occasioned. And then imagination led us to some metropolitan workhouse, situated in the midst of crowded streets and alleys, filled with noxious vapours, and ringing with boisterous cries, where an old and feeble woman, imploring pardon for her son, lay dying in a close dark room, with no child to clasp her hand, and no pure air from Heaven to fan her brow. A stranger closed the eyes that settled into a cold unmeaning glare, and strange ears received the words that murmured from the white and half-closed lips. A coarse round frock, with a worn cotton neckerchief, and other articles of clothing of the commonest description, completed the history. A prison, and the sentence— banishment or the gallows. What would the man have given then to be once again the contented humble drudge of his boyish years—to have been restored to life, but for a week, a day, an hour, a minute—only for so long a time as would enable him to say one word of passionate regret to, and hear one sound of heartfelt forgiveness from—the cold and ghastly form that lay rotting in the pauper’s grave? The children wild in the streets, the mother a destitute widow; both deeply tainted with the deep disgrace of the husband and father’s name, and impelled, by sheer necessity, down the precipice that had led him to a lingering death, possibly of many years’ duration, thousands of miles away. We had no clue to the end of the tale; but it was easy to guess its termination. We took a step or two further on, and by way of restoring the naturally cheerful tone of our thoughts, began fitting visionary feet and legs into a cellar-board full of boots and shoes, with a speed and accuracy that would have astonished the most expert artist in leather, living. There was one pair of boots in particular—a jolly, good-tempered, hearty-looking pair of tops—that excited our warmest regard, and we had got a fine, red-faced jovial fellow of a market-gardener into them, before we had made their acquaintance half a minute. They were just the very thing for him. There was his huge fat legs bulging over the tops, and fitting them too tight to admit of his tucking in the loops he had pulled them on by, and his knee-cords with an interval of stocking, and his blue apron tucked up round his waist, and his red neckerchief and blue coat, and a white hat stuck on one side of his head; and there he stood with a broad grin on his great red face, whistling away as if any other idea but that of being happy and comfortable had never entered his brain. This was the very man after our own heart—we knew all about him—we had seen him coming up to Covent-garden in his green chaise-cart, with the fat, tubby little horse, half a thousand times; and even while we cast an affectionate look upon his boots at that instant, the form of a coquettish servant-maid suddenly sprung into a pair of Denmark satin-shoes that stood beside them, and we at once recognised the very girl that accepted his offer of a ride, just on this side the Hammersmith suspension-bridge, the very last Tuesday morning we rode into town from Richmond. A very smart female, in a showy bonnet, stepped into a pair of grey cloth boots with black fringe and binding, that were studiously pointing out their toes on the other side of the top-boots, and seemed very anxious to engage his attention, but we didn’t observe that our friend the market-gardener appeared at all captivated with these blandishments, for beyond giving a knowing wink when they first began, as if to imply that he quite understood their end and object, he took no further notice of them. His indifference, however, was amply recompensed by the excessive gallantry of a very old gentleman with a silver-headed stick, who tottered into a pair of large list shoes, that were standing in one corner of the board, and indulged in a variety of gestures expressive of his admiration of the lady in the cloth boots, to the immeasurable amusement of a young fellow we put into a pair of long-quartered pumps, who we thought would have split the coat that slid down to meet him with laughing. We had been looking on at this little pantomime with great satisfaction for some time, when, to our unspeakable astonishment, we perceived that the whole of the characters, including a numerous corps de ballet of boots and shoes in the back-ground, into which we had been hastily thrusting as many feet as we could press into the service, were arranging themselves in order for dancing; and some music striking up at the moment, to it they went without delay. It was perfectly delightful to witness the agility of the market-gardener. Out went the boots, first on one side, then on the other, then cutting, then shuffling, then setting to the Denmark satins, then advancing, then retreating, then going round, and then repeating the whole of the evolutions again, without appearing to suffer in the least from the violence of the exercise. Nor were the Denmark satins a bit behind-hand, for they jumped and bounded about in all directions; and though they were neither so regular, nor so true to the time as the cloth boots, still, as they seemed to do it from the heart, and to enjoy it more, we candidly confess that we preferred their style of dancing to the other. But the old gentleman in the list shoes was the most amusing object in the whole party; for, besides his grotesque attempts to appear youthful, and amorous, which were sufficiently entertaining in themselves, the young fellow in the pumps managed so artfully that every time the old gentleman advanced to salute the lady in the cloth boots, he trod with his whole weight on the old fellow’s toes, which made him roar with anguish, and rendered all the others like to die of laughing. We were in the full enjoyment of these festivities when we heard a shrill, and by no means musical voice, exclaim, "Hope you’ll know me agin, imperence;" and on looking intently forward to see from whence the sound came, we found that it proceeded, not from the young lady in the cloth boots, as we had at first been inclined to suppose, but from a bulky lady of elderly appearance who was seated in a chair at the head of the cellar-steps, apparently for the purpose of superintending the sale of the articles arranged there. A barrel-organ, which had been in full force close behind us, ceased playing; the people we had been fitting into the shoes and boots took to flight at the interruption; and as we were conscious that in the depth of our meditations we might have been rudely staring at the old lady for half an hour without knowing it, we took to flight too, and were soon immersed in the deepest obscurity of the adjacent "Dials." Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'New Series, No. 1, Meditations in Monmouth-Street' Description An account of the resource Published in The Morning Chronicle (24 September 1836), p. 3. Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/BL/0000082/18360924/009/0003">https://www.britishnewspaperarchive.co.uk/viewer/BL/0000082/18360924/009/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1836-09-24 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1836-09-24-Meditations_in_Monmouth_Street Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'New Series, No. 1, Meditations in Monmouth-Street' (24 September 1836). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1836-09-24-Meditations_in_Monmouth_Street">https://www.dickenssearch.com/short-stories/1836-09-24-Meditations_in_Monmouth_Street</a>. Scripto Transcription A written representation of a document. We have always entertained a particular attachment towards Monmouth-street, as the only true and real emporium for second-hand wearing apparel. Monmouth-street is venerable from its antiquity, and respectable from its usefulness. Holywell-street we despise; the red-headed and red-whiskered Jews who forcibly haul you into their squalid houses, and thrust you into a suit of clothes whether you will or not, we detest. The inhabitants of Monmouth-street are a distinct class; a peaceable and retiring race, who immure themselves for the most part in deep cellars or small back parlours, and who seldom come forth into the world, except in the dusk and coolness of evening, when they may be seen seated in chairs on the pavement, smoking their pipes or watching the gambols of their engaging children as they revel in the gutter, a happy troop of infantine scavengers. Their countenances bear a thoughtful and dirty cast—certain indications of their love of traffic; and their habitations are distinguished by that disregard of outward appearances, and neglect of personal comfort, so common among people who are constantly immersed in profound speculations, and deeply engaged in sedentary pursuits. We have hinted at the antiquity of our favourite spot. "A Monmouth-street laced coat" was a by-word years and years ago; and still we find Monmouth-street the same. Pilot great coats with wooden buttons, have usurped the place of the ponderous laced coats with full skirts; embroidered waistcoats with large flaps, have yielded to double-breasted checks with roll-collars; and three-cornered hats of quaint appearance have given place to the low crowns and broad brims of the coachman school; but it is the times that have changed, not Monmouth-street. Through every alteration and every change, Monmouth-street has still remained the burial-place of the fashions; and such, to judge from all present appearances, it will remain, until there are no more fashions to bury. We love to walk among these extensive groves of the illustrious dead, and to indulge in the speculations to which they give rise; now fitting a deceased coat, then a dead pair of trousers, and anon the mortal remains of a gaudy waistcoat, upon some being of our own conjuring up, and endeavouring, from the shape and fashion of the garment itself, to bring its former owner before our mind’s eye. We have gone on speculating in this way, until whole rows of coats have started from their pegs, and buttoned up, of their own accord, round the waists of imaginary wearers, lines of trousers have jumped down to meet them, waistcoats have almost burst with anxiety to put themselves on, and half an acre of shoes have suddenly found feet to fit them, and gone stumping down the street with a noise which has fairly awakened us from our pleasant reverie, and driven us slowly away, with a bewildered stare, an object of astonishment to the good people of Monmouth-street, and of no slight suspicion to the policemen at the opposite street corner. We were occupied in this manner the other day, endeavouring to fit a pair of lace-up half boots on an ideal personage, for whom, to say the truth, they were full a couple of sizes too small, when our eyes happened to alight on a few suits of clothes, ranged outside a shop-window, which it immediately struck us, must at different periods have all belonged to, and been worn by, the same individual, and had now, by one of those strange conjunctions of circumstances which will occur sometimes, come to be exposed together for sale in the same shop. The idea seemed a fantastic one, and we looked at the clothes again with a firm determination not to be easily led away. No, we were right, the more we looked the more we were convinced of the accuracy of our previous impression. There was the man’s whole life written as legibly on those clothes as if we had his autobiography engrossed on parchment before us. The first was a patched and much-soiled skeleton suit—one of those straight blue cloth cases in which small boys used to be confined, before belts and tunics had come in, and old notions had gone out: an ingenious contrivance for displaying the full symmetry of a boy’s figure, by fastening him into a very tight jacket, with an ornamental row of buttons over each shoulder, and then buttoning his trousers over it, so as to give his legs the appearance of being hooked on just under the armpits. This was the boy’s dress. It had belonged to a town boy, we could see; there was a shortness about the legs and arms of the suit, and a bagging at the knees, peculiar to the rising youth of London streets. A small day-school he had been at, evidently. If it had been a regular boys’ school they wouldn’t have let him play on the floor so much, and rub his knees so white. He had had an indulgent mother too, and plenty of halfpence, as the numerous smears of some sticky substance about the pockets, and just below the chin, which even the salesman’s skill could not succeed in disguising, sufficiently betokened. They were decent people, but not overburdened with riches, or he would not have so far outgrown the suit when he passed into those corduroys with the round jacket; in which he went to a boys’ school, however, and learnt to write—and in ink of pretty tolerable blackness too, if the place where he used to wipe his pen might be taken as evidence. A black suit, and the jacket changed into a diminutive coat. His father had died, and the mother had got the boy a message-lad’s place in some office. A long-worn suit that one; rusty and threadbare before it was laid aside, but clean and free from soil to the last. Poor woman! We could imagine her assumed cheerfulness over the scanty meal, and the refusal of her own small portion, that her hungry boy might have enough. Her constant anxiety for his welfare, her pride in his growth mingled sometimes with the thought, almost too acute to bear, that as he grew to be a man his old affection might cool, old kindnesses fade from his mind, and old promises be forgotten—the sharp pain that even then a careless word or a cold look would give her—all crowded on our thoughts as vividly as if the very scene were passing before us. These things happen every hour, and we all know it; and yet we felt as much sorrow when we saw, or fancied we saw—it makes no difference which—the change that began to take place now, as if we had just conceived the bare possibility of such a thing for the first time. The next suit, smart but slovenly; meant to be gay, and yet not half so decent as the threadbare apparel; redolent of the idle lounge, and the blackguard companions, told us, we thought, that the widow’s comfort had rapidly faded away. We could imagine that coat—imagine! we could see it; we had seen it a hundred times—sauntering in company with three or four other coats of the same cut, about some place of profligate resort at night. We dressed, from the same shop-window in an instant, half a dozen boys of from fifteen to twenty; and putting cigars into their mouths, and their hands into their pockets, watched them as they sauntered down the street, and lingered at the corner with the obscene jest, and the often-repeated oath. We never lost sight of them, till they had cocked their hats a little more on one side, and swaggered into the public-house; and then we entered the desolate house, where the mother sat, late in the night, alone; we watched her, as she paced the room in feverish anxiety, and every now and then opened the door, looked wistfully into the dark and empty street, and again returned, to be again and again disappointed. We beheld the look of patience with which she bore the brutish threat, and the drunken blow; and we heard the agony of tears that gushed from her very heart as she sunk upon her knees in her solitary and wretched chamber. A long period had elapsed, and a greater change had taken place by the time of casting off the suit that hung above. It was that of a stout, broad-shouldered, sturdy-chested man; and we knew at once, as anybody would who glanced at that broad-skirted green coat, with the large metal buttons, that its wearer seldom walked forth without a dog at his heels, and some idle ruffian, the very counterpart of himself, at his side. The vices of the boy had grown with the man, and we fancied his home then—if such a place deserved the name. The bare and miserable room, destitute of furniture, crowded with his wife and children, pale, hungry, and emaciated; the man cursing their lamentations, staggering to the tap-room, from whence he had just returned, followed by his wife and a sickly infant, clamouring for bread; and heard the street wrangle and noisy recrimination that his striking her occasioned. And then imagination led us to some metropolitan workhouse, situated in the midst of crowded streets and alleys, filled with noxious vapours, and ringing with boisterous cries, where an old and feeble woman, imploring pardon for her son, lay dying in a close dark room, with no child to clasp her hand, and no pure air from Heaven to fan her brow. A stranger closed the eyes that settled into a cold unmeaning glare, and strange ears received the words that murmured from the white and half-closed lips. A coarse round frock, with a worn cotton neckerchief, and other articles of clothing of the commonest description, completed the history. A prison, and the sentence— banishment or the gallows. What would the man have given then to be once again the contented humble drudge of his boyish years—to have been restored to life, but for a week, a day, an hour, a minute—only for so long a time as would enable him to say one word of passionate regret to, and hear one sound of heartfelt forgiveness from—the cold and ghastly form that lay rotting in the pauper’s grave? The children wild in the streets, the mother a destitute widow; both deeply tainted with the deep disgrace of the husband and father’s name, and impelled, by sheer necessity, down the precipice that had led him to a lingering death, possibly of many years’ duration, thousands of miles away. We had no clue to the end of the tale; but it was easy to guess its termination. We took a step or two further on, and by way of restoring the naturally cheerful tone of our thoughts, began fitting visionary feet and legs into a cellar-board full of boots and shoes, with a speed and accuracy that would have astonished the most expert artist in leather, living. There was one pair of boots in particular—a jolly, good-tempered, hearty-looking pair of tops—that excited our warmest regard, and we had got a fine, red-faced jovial fellow of a market-gardener into them, before we had made their acquaintance half a minute. They were just the very thing for him. There was his huge fat legs bulging over the tops, and fitting them too tight to admit of his tucking in the loops he had pulled them on by, and his knee-cords with an interval of stocking, and his blue apron tucked up round his waist, and his red neckerchief and blue coat, and a white hat stuck on one side of his head; and there he stood with a broad grin on his great red face, whistling away as if any other idea but that of being happy and comfortable had never entered his brain. This was the very man after our own heart—we knew all about him—we had seen him coming up to Covent-garden in his green chaise-cart, with the fat, tubby little horse, half a thousand times; and even while we cast an affectionate look upon his boots at that instant, the form of a coquettish servant-maid suddenly sprung into a pair of Denmark satin-shoes that stood beside them, and we at once recognised the very girl that accepted his offer of a ride, just on this side the Hammersmith suspension-bridge, the very last Tuesday morning we rode into town from Richmond. A very smart female, in a showy bonnet, stepped into a pair of grey cloth boots with black fringe and binding, that were studiously pointing out their toes on the other side of the top-boots, and seemed very anxious to engage his attention, but we didn’t observe that our friend the market-gardener appeared at all captivated with these blandishments, for beyond giving a knowing wink when they first began, as if to imply that he quite understood their end and object, he took no further notice of them. His indifference, however, was amply recompensed by the excessive gallantry of a very old gentleman with a silver-headed stick, who tottered into a pair of large list shoes, that were standing in one corner of the board, and indulged in a variety of gestures expressive of his admiration of the lady in the cloth boots, to the immeasurable amusement of a young fellow we put into a pair of long-quartered pumps, who we thought would have split the coat that slid down to meet him with laughing. We had been looking on at this little pantomime with great satisfaction for some time, when, to our unspeakable astonishment, we perceived that the whole of the characters, including a numerous corps de ballet of boots and shoes in the back-ground, into which we had been hastily thrusting as many feet as we could press into the service, were arranging themselves in order for dancing; and some music striking up at the moment, to it they went without delay. It was perfectly delightful to witness the agility of the market-gardener. Out went the boots, first on one side, then on the other, then cutting, then shuffling, then setting to the Denmark satins, then advancing, then retreating, then going round, and then repeating the whole of the evolutions again, without appearing to suffer in the least from the violence of the exercise. Nor were the Denmark satins a bit behind-hand, for they jumped and bounded about in all directions; and though they were neither so regular, nor so true to the time as the cloth boots, still, as they seemed to do it from the heart, and to enjoy it more, we candidly confess that we preferred their style of dancing to the other. But the old gentleman in the list shoes was the most amusing object in the whole party; for, besides his grotesque attempts to appear youthful, and amorous, which were sufficiently entertaining in themselves, the young fellow in the pumps managed so artfully that every time the old gentleman advanced to salute the lady in the cloth boots, he trod with his whole weight on the old fellow’s toes, which made him roar with anguish, and rendered all the others like to die of laughing. We were in the full enjoyment of these festivities when we heard a shrill, and by no means musical voice, exclaim, "Hope you’ll know me agin, imperence;" and on looking intently forward to see from whence the sound came, we found that it proceeded, not from the young lady in the cloth boots, as we had at first been inclined to suppose, but from a bulky lady of elderly appearance who was seated in a chair at the head of the cellar-steps, apparently for the purpose of superintending the sale of the articles arranged there. A barrel-organ, which had been in full force close behind us, ceased playing; the people we had been fitting into the shoes and boots took to flight at the interruption; and as we were conscious that in the depth of our meditations we might have been rudely staring at the old lady for half an hour without knowing it, we took to flight too, and were soon immersed in the deepest obscurity of the adjacent "Dials." https://www.dickenssearch.com/files/original/5/New_Series_No._2_Scotland_Yard/1836-10-04-The-Morning_Chronicle__New_Series_No2_Scotland_Yard.pdf 8d4e9701d9bde9b3056231599ec57120 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Morning Chronicle Pseudonym The name under which the item was published BOZ Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18361004 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. If our recollection serves us, we have more than once hinted, confidentially, to our readers that we entertain a strong partiality for the queer little old streets which yet remain in some parts of London, and that we infinitely prefer them to the modern innovations, the wide streets with broad pavements, which are every day springing up around us. The old Exeter 'Change, for instance, and the narrow and dirty part of the Strand immediatley adjoining, we were warmly attached to. The death of the elephant was a great shock to us; we knew him well; and, having enjoyed the honour of his intimate acquaintance for some years, felt grieved—deeply grieved—that in a paroxysm of insanity he should have so far forgotten all his estimable and companionable qualities as to exhibit a sanguinary desire to scrunch his faithful valet, and pulverize even Mrs. Cross herself, who for a long period had evinced towards him that pure and touching attachment which woman alone can feel. This was a sad blow to us. The constitution of the beef-eater at the door sunk beneath the loss of the elephant; this was another. They pulled down Exeter 'Change itself; this was a greater trial than either but we got over it in time. And since that period the rage for improvement has exposed us to so many melancholy trials of a similar description, that we have grown callous to suffering, and the only effect of our persecutions is to render us more attached than ever to the few old spots that are yet left us. Of these, there is no one which, having a peculiar character of its own, preserved it so tenaciously, or took an honest pride in it so long, as Scotland-yard. It is so thoroughly a little colony of itself, it is so utterly unlike any other part of London, that a slight account of its progress and history has always seemed to us to be imperatively called for. None has as yet appeared, however, and we now take pen in hand, more with the view of throwing out a few slight hints for the guidance of future historians, than with any idea of developing with the ability which such an empire demands, the past and present state of this little empire. Scotland-yard, then, is a small—a very small—tract of land, bounded on one side by the river Thames, on the other by the gardens of Northumberland-house: abutting at one end on the bottom of Northumberland-street, at the other on the back of Whitehall-place. When this territory was first accidentally discovered by a country gentleman who lost his way in the Strand some years ago, the original settlers were found to be a tailor, a publican, two eating-house-keepers, and a fruit-pie-maker; and it was also found to contain a race of strong and bulky men, who repaired to the wharfs in Scotland-yard regularly every morning about five or six o’clock, to fill heavy waggons with coal, with which they proceeded to distant places up the country, and supplied the inhabitants with fuel. When they had emptied their waggons they again returned for a fresh supply, and this trade was continued throughout the year. As the settlers derived their subsistence from ministering to the wants of these primitive traders, the articles exposed for sale, and the places where they were sold, bore strong outward marks of being expressly adapted to their tastes and wishes. The tailor displayed in his window a Lilliputian pair of leather gaiters, and a diminutive round frock, while each doorpost was appropriately garnished with a model of a coal sack. The two eating-house-keepers exhibited joints of a magnitude and puddings of a solidity which coal-heavers alone could appreciate; and the fruit-pie-maker displayed on his well-scrubbed window-board large white compositions of flour and dripping ornamented with pink stains giving rich promise of the fruit within, which made their huge mouths water, as they lingered past. But the choicest spot in all Scotland-yard, was the old public-house in the corner. Here, in a dark, wainscotted room of ancient appearance, cheered by the glow of a mighty fire, and decorated with an enormous clock, whereof the face was white, and the figures black, sat the lusty coal-heavers, quaffing large draughts of Barclay’s best, and puffing forth volumes of smoke, which wreathed heavily above their heads, and involved the room in a thick dark cloud. From this apartment might their voices be heard on a winter’s night, penetrating to the very bank of the river, as they shouted out some sturdy chorus, or roared forth the burden of a popular song; dwelling upon the last few words with a strength and length of emphasis which made the very roof tremble above them. Here, too, would they tell old legends of what the Thames was in ancient times, when the Patent Shot Manufactory wasn’t built, and Waterloo-bridge had never been thought of; and then they would shake their heads with portentous looks, to the deep edification of the rising generation of heavers, who crowded round them, and wondered where all this would end, whereat the tailor would take his pipe solemnly from his mouth, and say, how that he hoped it might end well, but he very much doubted whether it would or not, and couldn’t rightly tell what to make of it—a mysterious expression of opinion, delivered with a semi-prophetic air, which never failed to elicit the fullest concurrence of the assembled company, and so they would go on drinking and wondering till ten o’clock came, and with it the tailor’s wife to fetch him home, when the little party broke up, to meet again in the same room, and say and do precisely the same things, on the following evening, at the same hour. About this time the barges that came up the river began to bring vague rumours to Scotland-yard of somebody in the city having been heard to say, that the Lord Mayor had threatened in so many words to pull down the old London-bridge and build up a new one. At first these rumours were disregarded as idle tales, wholly destitute of foundation, for nobody in Scotland-yard doubted that if the Lord Mayor contemplated any such dark design, he would just be clapped up in the Tower for a week or two, and then killed off for high treason. By degrees, however, the reports grew stronger, and more frequent, and at last a barge laden with numerous chaldrons of the best Wallsend brought up the positive intelligence that several of the arches of the old bridge were 'stopped, and that preparations were actually in progress for constructing the new one. What an excitement was visible in the old tap-room on that memorable night! Each man looked into his neighbour’s face, pale with alarm and astonishment, and read therein an echo of the sentiments which filled his own breast. The oldest heaver present proved to demonstration that the moment the piers were removed all the water in the Thames would run clean off, and leave a dry gulley in its place. What was to become of the coal-barges, - of the trade of Scotland-yard,—of the very existence of its population? The tailor shook his head more sagely than usual, and grimly pointing to a knife on the table, bid them wait and see what happened. He said nothing—not he; but if the Lord Mayor didn’t fall a victim to popular indignation, why he would be rather astonished; that was all. They did wait; barge after barge arrived, and still no tidings of the assassination of the Lord Mayor. The first stone was laid: it was done by a Duke—the King’s brother. Years passed away, and the bridge was opened by the King himself. In course of time, the piers were removed; and when the people in Scotland-yard got up next morning in the confident expectation of being able to step over to Pedlar’s-acre without wetting the soles of their shoes, they found to their unspeakable astonishment that the water was just where it used to be. A result so different from that which they had anticipated from this first improvement produced its full effect upon the inhabitants of Scotland-yard. One of the eating-house-keepers began to court public opinion, and to look for customers among a new class of people. He covered his little dining-tables with white cloths, and got a painter’s apprentice to inscribe something about hot joints from twelve till two in one of the little panes of his shop window. Improvement began to march with rapid strides to the very threshold of Scotland-yard. A new market sprung up at Hungerford, and the Police Commissioners established their office in Whitehall-place. The traffic in Scotland-yard increased; fresh Members were added to the House of Commons, the Metropolitan Representatives found it a near cut, and many other foot passengers followed their example. We marked the advance of civilization, and beheld it with a sigh. The eating-house-keeper who manfully resisted the innovation of table-cloth, was losing ground every day, as his opponent gained it; a deadly feud sprung up between them, and the genteel one no longer took his evening’s pint in Scotland-yard, but drank gin and water at a "parlour" in Parliament-street. The fruit-pie maker still continued to visit the old room, but he took to smoking cigars, and began to call himself a pastry-cook, and to read the papers. The old heavers still assembled round the ancient fireplace, but their talk was mournful; and the loud song and the joyous shout were heard no more. And what is Scotland-yard now? How have its old customs changed; and how has the ancient simplicity of its inhabitants faded away! The old tottering public-house is converted into a spacious and lofty "wine-vaults;" gold leaf has been used in the construction of the letters which emblazon its exterior, and the poet’s art has been called into requisition to intimate that if you drink a certain description of ale you must hold fast by the rail. The tailor exhibits in his window the pattern of a foreign-looking brown surtout, with silk buttons, a fur collar, and fur cuffs. He wears a stripe down the outside of each leg of his trousers, and we have detected his assistants (for he has assistants now) in the act of sitting on the shop-board in the same uniform. At the other end of the little row of houses a boot-maker has established himself in a brick box, with the additional innovation of a first floor; and here he exposes for sale, boots—real Wellington boots—an article which a few years ago, none of the original inhabitants had ever seen or heard of. It was but the other day, that a dress-maker opened another little box in the middle of the row; and, when we thought that the spirit of change could produce no alteration beyond that, a jeweller appeared, and not content with exposing gilt rings and copper bracelets out of number, put up an announcement, which still sticks in his window, that ladies’ ears may be pierced, within. The dress-maker employs a young lady who wears pockets in her apron, and the tailor informs the public that gentlemen may have their own materials made up. Amidst all this change, and restlessness, and innovation, there remains but one old man who seems to mourn the downfall of this ancient place. He holds no converse with human kind, but, seated on a wooden bench at the angle of the wall which fronts the crossing from Whitehall-place, watches in silence the gambols of his sleek and well-fed dogs. He is the presiding genius of Scotland-yard. Years and years have rolled over his head; but, in fine weather or in foul, hot or cold, wet or dry, hail, rain, or snow, he is still in his accustomed spot. Misery and want are depicted in his countenance; his form is bent by age, his head is grey with length of trial, but there he sits from day to day, brooding over the past, and thither he will continue to drag his feeble limbs, until his eyes have closed upon Scotland-yard and upon the world together. A few years hence, and the antiquary of another generation, looking into some mouldy record of the strife and passions that agitated the world in these times, may glance his eye over the column we have just filled: and not all his knowledge of the history of the past—not the dry studies of a whole life—may help him to the whereabout either of Scotland-yard, or any one of the land marks we have mentioned in describing it. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'New Series, No. 2, 'Scotland Yard' Description An account of the resource Published in The Morning Chronicle (4 October 1836), p.3. Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/bl/0000082/18361004/009/0003">https://www.britishnewspaperarchive.co.uk/viewer/bl/0000082/18361004/009/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1836-10-04 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1836-10-04-The-Morning_Chronicle__New_Series_No2_Scotland_Yard Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'New Series, No. II, Scotland Yard' (4 October 1836). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date].<a href="1836-10-04-The-Morning_Chronicle__New_Series_No2_Scotland_Yard">1836-10-04-The-Morning_Chronicle__New_Series_No2_Scotland_Yard</a>. Scripto Transcription A written representation of a document. If our recollection serves us, we have more than once hinted, confidentially, to our readers that we entertain a strong partiality for the queer little old streets which yet remain in some parts of London, and that we infinitely prefer them to the modern innovations, the wide streets with broad pavements, which are every day springing up around us. The old Exeter 'Change, for instance, and the narrow and dirty part of the Strand immediatley adjoining, we were warmly attached to. The death of the elephant was a great shock to us; we knew him well; and, having enjoyed the honour of his intimate acquaintance for some years, felt grieved—deeply grieved—that in a paroxysm of insanity he should have so far forgotten all his estimable and companionable qualities as to exhibit a sanguinary desire to scrunch his faithful valet, and pulverize even Mrs. Cross herself, who for a long period had evinced towards him that pure and touching attachment which woman alone can feel. This was a sad blow to us. The constitution of the beef-eater at the door sunk beneath the loss of the elephant; this was another. They pulled down Exeter 'Change itself; this was a greater trial than either but we got over it in time. And since that period the rage for improvement has exposed us to so many melancholy trials of a similar description, that we have grown callous to suffering, and the only effect of our persecutions is to render us more attached than ever to the few old spots that are yet left us.  Of these, there is no one which, having a peculiar character of its own, preserved it so tenaciously, or took an honest pride in it so long, as Scotland-yard. It is so thoroughly a little colony of itself, it is so utterly unlike any other part of London, that a slight account of its progress and history has always seemed to us to be imperatively called for. None has as yet appeared, however, and we now take pen in hand, more with the view of throwing out a few slight hints for the guidance of future historians, than with any idea of developing with the ability which such an empire demands, the past and present state of this little empire. Scotland-yard, then, is a small—a very small—tract of land, bounded on one side by the river Thames, on the other by the gardens of Northumberland-house: abutting at one end on the bottom of Northumberland-street, at the other on the back of Whitehall-place. When this territory was first accidentally discovered by a country gentleman who lost his way in the Strand some years ago, the original settlers were found to be a tailor, a publican, two eating-house-keepers, and a fruit-pie-maker; and it was also found to contain a race of strong and bulky men, who repaired to the wharfs in Scotland-yard regularly every morning about five or six o’clock, to fill heavy waggons with coal, with which they proceeded to distant places up the country, and supplied the inhabitants with fuel. When they had emptied their waggons they again returned for a fresh supply, and this trade was continued throughout the year. As the settlers derived their subsistence from ministering to the wants of these primitive traders, the articles exposed for sale, and the places where they were sold, bore strong outward marks of being expressly adapted to their tastes and wishes. The tailor displayed in his window a Lilliputian pair of leather gaiters, and a diminutive round frock, while each doorpost was appropriately garnished with a model of a coal sack. The two eating-house-keepers exhibited joints of a magnitude and puddings of a solidity which coal-heavers alone could appreciate; and the fruit-pie-maker displayed on his well-scrubbed window-board large white compositions of flour and dripping ornamented with pink stains giving rich promise of the fruit within, which made their huge mouths water, as they lingered past. But the choicest spot in all Scotland-yard, was the old public-house in the corner. Here, in a dark, wainscotted room of ancient appearance, cheered by the glow of a mighty fire, and decorated with an enormous clock, whereof the face was white, and the figures black, sat the lusty coal-heavers, quaffing large draughts of Barclay’s best, and puffing forth volumes of smoke, which wreathed heavily above their heads, and involved the room in a thick dark cloud. From this apartment might their voices be heard on a winter’s night, penetrating to the very bank of the river, as they shouted out some sturdy chorus, or roared forth the burden of a popular song; dwelling upon the last few words with a strength and length of emphasis which made the very roof tremble above them. Here, too, would they tell old legends of what the Thames was in ancient times, when the Patent Shot Manufactory wasn’t built, and Waterloo-bridge had never been thought of; and then they would shake their heads with portentous looks, to the deep edification of the rising generation of heavers, who crowded round them, and wondered where all this would end, whereat the tailor would take his pipe solemnly from his mouth, and say, how that he hoped it might end well, but he very much doubted whether it would or not, and couldn’t rightly tell what to make of it—a mysterious expression of opinion, delivered with a semi-prophetic air, which never failed to elicit the fullest concurrence of the assembled company, and so they would go on drinking and wondering till ten o’clock came, and with it the tailor’s wife to fetch him home, when the little party broke up, to meet again in the same room, and say and do precisely the same things, on the following evening, at the same hour. About this time the barges that came up the river began to bring vague rumours to Scotland-yard of somebody in the city having been heard to say, that the Lord Mayor had threatened in so many words to pull down the old London-bridge and build up a new one. At first these rumours were disregarded as idle tales, wholly destitute of foundation, for nobody in Scotland-yard doubted that if the Lord Mayor contemplated any such dark design, he would just be clapped up in the Tower for a week or two, and then killed off for high treason. By degrees, however, the reports grew stronger, and more frequent, and at last a barge laden with numerous chaldrons of the best Wallsend brought up the positive intelligence that several of the arches of the old bridge were 'stopped, and that preparations were actually in progress for constructing the new one. What an excitement was visible in the old tap-room on that memorable night! Each man looked into his neighbour’s face, pale with alarm and astonishment, and read therein an echo of the sentiments which filled his own breast. The oldest heaver present proved to demonstration that the moment the piers were removed all the water in the Thames would run clean off, and leave a dry gulley in its place. What was to become of the coal-barges, - of the trade of Scotland-yard,—of the very existence of its population? The tailor shook his head more sagely than usual, and grimly pointing to a knife on the table, bid them wait and see what happened. He said nothing—not he; but if the Lord Mayor didn’t fall a victim to popular indignation, why he would be rather astonished; that was all. They did wait; barge after barge arrived, and still no tidings of the assassination of the Lord Mayor. The first stone was laid: it was done by a Duke—the King’s brother. Years passed away, and the bridge was opened by the King himself. In course of time, the piers were removed; and when the people in Scotland-yard got up next morning in the confident expectation of being able to step over to Pedlar’s-acre without wetting the soles of their shoes, they found to their unspeakable astonishment that the water was just where it used to be. A result so different from that which they had anticipated from this first improvement produced its full effect upon the inhabitants of Scotland-yard. One of the eating-house-keepers began to court public opinion, and to look for customers among a new class of people. He covered his little dining-tables with white cloths, and got a painter’s apprentice to inscribe something about hot joints from twelve till two in one of the little panes of his shop window. Improvement began to march with rapid strides to the very threshold of Scotland-yard. A new market sprung up at Hungerford, and the Police Commissioners established their office in Whitehall-place. The traffic in Scotland-yard increased; fresh Members were added to the House of Commons, the Metropolitan Representatives found it a near cut, and many other foot passengers followed their example. We marked the advance of civilization, and beheld it with a sigh. The eating-house-keeper who manfully resisted the innovation of table-cloth, was losing ground every day, as his opponent gained it; a deadly feud sprung up between them, and the genteel one no longer took his evening’s pint in Scotland-yard, but drank gin and water at a "parlour" in Parliament-street. The fruit-pie maker still continued to visit the old room, but he took to smoking cigars, and began to call himself a pastry-cook, and to read the papers. The old heavers still assembled round the ancient fireplace, but their talk was mournful; and the loud song and the joyous shout were heard no more. And what is Scotland-yard now? How have its old customs changed; and how has the ancient simplicity of its inhabitants faded away! The old tottering public-house is converted into a spacious and lofty "wine-vaults;" gold leaf has been used in the construction of the letters which emblazon its exterior, and the poet’s art has been called into requisition to intimate that if you drink a certain description of ale you must hold fast by the rail. The tailor exhibits in his window the pattern of a foreign-looking brown surtout, with silk buttons, a fur collar, and fur cuffs. He wears a stripe down the outside of each leg of his trousers, and we have detected his assistants (for he has assistants now) in the act of sitting on the shop-board in the same uniform. At the other end of the little row of houses a boot-maker has established himself in a brick box, with the additional innovation of a first floor; and here he exposes for sale, boots—real Wellington boots—an article which a few years ago, none of the original inhabitants had ever seen or heard of. It was but the other day, that a dress-maker opened another little box in the middle of the row; and, when we thought that the spirit of change could produce no alteration beyond that, a jeweller appeared, and not content with exposing gilt rings and copper bracelets out of number, put up an announcement, which still sticks in his window, that ladies’ ears may be pierced, within. The dress-maker employs a young lady who wears pockets in her apron, and the tailor informs the public that gentlemen may have their own materials made up. Amidst all this change, and restlessness, and innovation, there remains but one old man who seems to mourn the downfall of this ancient place. He holds no converse with human kind, but, seated on a wooden bench at the angle of the wall which fronts the crossing from Whitehall-place, watches in silence the gambols of his sleek and well-fed dogs. He is the presiding genius of Scotland-yard. Years and years have rolled over his head; but, in fine weather or in foul, hot or cold, wet or dry, hail, rain, or snow, he is still in his accustomed spot. Misery and want are depicted in his countenance; his form is bent by age, his head is grey with length of trial, but there he sits from day to day, brooding over the past, and thither he will continue to drag his feeble limbs, until his eyes have closed upon Scotland-yard and upon the world together. A few years hence, and the antiquary of another generation, looking into some mouldy record of the strife and passions that agitated the world in these times, may glance his eye over the column we have just filled: and not all his knowledge of the history of the past—not the dry studies of a whole life—may help him to the whereabout either of Scotland-yard, or any one of the land marks we have mentioned in describing it. https://www.dickenssearch.com/files/original/5/New_Series_No._3_Doctors_Commons/1836-10-11-The_Morning_Chronicle_New_Series_No3_Doctors_Commons.pdf c4d5fcd6f804115944721feb556db2e8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Morning Chronicle Pseudonym The name under which the item was published BOZ Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18361011 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. Walking, without any definite object, through St. Paul’s Church-yard, a little while ago, we happened to turn down a street entitled "Paul’s-chain," and keeping straight forward for a few hundred yards, found ourself, as a natural consequence, in Doctors’ Commons. Now, Doctors’ Commons being familiar by name to everybody as the place where they grant marriage-licenses to love-sick couples, and divorces to unfaithful ones; register the wills of people who have any property to leave, and punish hasty gentlemen who call ladies by unpleasant names; we no sooner discovered that we were really within its precincts, than we felt a laudable desire to become better acquainted therewith; and as the first object of our curiosity was the Court whose decrees can even unloose the bonds of matrimony, we procured a direction to it, and bent our steps thither without delay. Crossing a quiet and shady court-yard, paved with stone, and frowned upon by old red-brick houses, on the doors of which were painted the names of sundry learned civilians, we paused before a small, green-baized, brass-headed-nailed door, which, yielding to our gentle push, at once admitted us into an old quaint-looking apartment, with sunken windows, and black carved wainscoting, at the upper end of which, seated on a raised platform, of semicircular shape, were about a dozen solemn-looking gentlemen, in crimson gowns and wigs. At a more elevated desk, in the centre, sat a very fat and red-faced gentleman, in tortoise-shell spectacles, whose dignified appearance announced the judge; and round a long green-baized table below, something like a billiard-table without the cushions and pockets, were a number of very self-important-looking personages, in stiff neckcloths and black gowns with white fur collars, whom we at once set down as proctors. At the lower end of the billiard-table was an individual in an arm-chair, and a wig, whom we afterwards discovered to be the registrar; and seated behind a little desk, near the door, were a respectable-looking man in black, of about twenty stone weight or thereabouts, and a fat-faced, smirking, civil-looking body, in a black gown, black kid gloves, knee shorts, and silks, with a shirt-frill in his bosom, curls on his head, and a silver staff in his hand, whom we had no difficulty in recognising as the officers of the Court. The latter, indeed, speedily set our mind at rest upon this point, for advancing to our elbow, and opening a conversation forthwith, he had communicated to us in less than five minutes that he was the apparitor, and the other the court-keeper; that this was the Arches Court, and therefore the counsel wore red gowns, and the proctors fur collars; and that when the other Courts sat there, they didn’t wear red gowns or fur collars either; with many other scraps of intelligence equally interesting. Besides these two officers, there was a little thin old man, with long grizzly hair, crouched in a remote corner, whose duty our communicative friend informed us was to ring a large hand-bell when the Court opened in the morning, and who, for aught his appearance betokened to the contrary, might have been similarly employed for the last two centuries at least. The red-faced gentleman in the tortoise-shell spectacles had got all the talk to himself just then, and very well he was doing it, too, only he spoke very fast, but that was habit; and rather thick, but that was good-living. So we had plenty of time to look about us. There was one individual amused us mightily. This was one of the bewigged gentlemen in the red robes, who was straddling before the fire in the centre of the Court, in the attitude of the brazen colossus, to the complete exclusion of everybody else. He had gathered up his robe behind, in much the same manner as a slovenly woman would her petticoats on a very dirty day, in order that he might feel the full warmth of the fire. His wig was put on all awry, with the tail straggling about his neck, his scanty gray trowsers and short black gaiters, made in the worst possible style, imported an additional inelegant appearance to his uncouth person; and his limp, badly-starched shirt-collar almost obscured his eyes. We shall never be able to claim any credit as a physiognomist again, for, after a careful scrutiny of this gentleman’s countenance, we had come to the conclusion that it bespoke nothing but conceit and silliness, when our friend with the silver staff whispered in our ear that he was no other than a doctor of law, an ecclesiastical dignitary in the cinque ports, a not very distant relation to a commissioner of lunacy, and heaven knows what besides. So of course we were mistaken, and he must be a very talented man. He conceals it so well though—perhaps with the merciful view of not astonishing ordinary people too much—that you would suppose him to be one of the stupidest dogs alive. The gentleman in the spectacles having concluded his judgment, and a few minutes having been allowed to elapse, to afford time for the buzz of the court to subside, the registrar called on the next cause, which was "the office of the Judge promoted by Bumple against Sludberry." A general movement was visible in the court at this announcement, and the obliging functionary with silver staff whispered us that "there would be some fun now, for this was a brawling case." We were not rendered much the wiser by this piece of information till we found by the opening speech of the counsel for their promoter that, under a half-obsolete statute of one of the Edwards, the court was empowered to visit with the penalty of excommunication any person who should be proved guilty of the crime of "brawling" or "smiting" in any church, or vestry adjoining thereto; and it appeared, by some eight-and-twenty affidavits, which were duly referred to, that on a certain night, at a certain vestry, meeting in a certain parish particularly set forth, Thomas Sludberry, the party appeared against in that suit, had made use of and applied to Michael Bumple, the reporter, the words "You be blowed;" and that on the said Michael Bumple and others remonstrating with the said Thomas Sludberry on the impropriety of his conduct, the said Thomas Sludberry repeated the aforesaid expression, "You be blowed;" and furthermore desired and requested to know, whether the said Michael Bumple "wanted anything for himself;" adding, ‘that if the said Michael Bumple did want anything for himself, he the said Thomas Sludberry "was the man to give it him;" at the same time making use of other heinous and sinful expressions, all of which, Bumple submitted, came within the intent and meaning of the Act; and therefore he, for the soul’s health and chastening of Sludberry, prayed for sentence of excommunication against him accordingly. Upon these facts a long argument was entered into on both sides, to the great edification of a number of persons interested in the parochial squabbles, who crowded the court; and when some very long and grave speeches had been made pro and con, the red-faced gentleman in the tortoise-shell spectacles took a review of the case, which occupied half an hour more, and then pronounced upon Sludberry the awful sentence of excommunication for a fortnight, and payment of the costs of the suit. Upon this, Sludberry, who was a little, red-faced, sly-looking, ginger-beer seller, addressed the Court, and said, if they’d be good enough to take off the costs, and excommunicate him for the term of his natural life instead, it would be much more convenient to him; for he never went to church at all. To this appeal the gentleman in the spectacles made no other reply than a look of virtuous propriety; and Sludberry and his friends retired. As the man with the silver staff informed us that the Court was on the point of rising, we retired too—pondering, as we walked away, upon the beautiful spirit of these ancient ecclesiastical laws, the kind and neighbourly feelings they are calculated to awaken, and the strong attachment to religious institutions which they cannot fail to engender. We were so lost in these meditations, that we had turned into the street and run up against a door-post, before we recollected where we were walking. On looking upwards to see what house we had stumbled upon, the words "Prerogative-office," written in large characters, met our eye; and as we were in a sight-seeing humour, and the place was a public one, we walked in, without more ado. The room into which we walked, was a long, busy-looking place, partitioned off, on either side, into a variety of little boxes, in which a few clerks were engaged in copying or examining deeds. Down the centre of the room were several desks, nearly breast high, at each of which three or four people were standing, poring over large volumes. As we knew that they were searching for wills, they attracted our attention at once. It was curious to contrast the lazy indifference of the attorneys’ clerks, who were making a search for some legal purpose, with the air of earnestness and interest which distinguished the strangers to the place, who were looking up the will of some deceased relative; the former pausing every now and then with an impatient yawn, or raising their heads to look at the people who passed up and down the room; the latter stooping over the book, and running down column after column of names in the deepest abstraction. There was one little dirty-faced man in a blue apron, who after a whole morning’s search, extending some fifty years back, had just found the will to which he wished to refer, which one of the officials was reading to him in a low hurried voice from a thick vellum book with large clasps. It was perfectly evident that the more the clerk read, the less the man with the blue apron understood about the matter. When the volume was first brought down, he took off his hat, smoothed down his hair, smiled with great self-satisfaction, and looked up in the reader’s face with the air of a man who had made up his mind to recollect every word he heard. The first two or three lines were intelligible enough; but then the technicalities began, and the little man began to look rather dubious. Then came a whole string of complicated trusts, and he was regularly at sea. As the reader proceeded, it was quite apparent that it was a hopeless case, and the little man, with his mouth open and his eyes fixed upon his face, looked on with an expression of bewilderment and perplexity irresistibly ludicrous. A little further on, a hard-featured old man with a deeply-wrinkled face, was intently perusing a lengthy will with the aid of a pair of horn spectacles, occasionally pausing from his task, and slily noting down some brief memorandum of the bequests contained in it. Every wrinkle about his toothless mouth, and sharp keen eyes, told of avarice and cunning. As he leisurely closed the register, put up his spectacles, and folded his scraps of paper in a large leathern pocket-book, we thought what a nice hard bargain he was driving with some poverty-stricken legatee, who, tired of waiting year after year, until some life-interest should fall in, was selling his chance, just as it began to grow most valuable, for a twelfth part of its worth. It was a good speculation—a very safe one. The old man stowed away his pocket-book in the breast of his great-coat, and hobbled away with a leer of anticipation. That will had made him ten years younger at least. Having commenced our observations, we should certainly have extended them to another dozen of people at least, had not a sudden shutting up, and putting away of the worm-eaten old books, warned us that the time for closing the office had arrived, and thus deprived us of a pleasure, and spared our readers an infliction. We naturally fell into a train of reflection as we walked homewards upon the curious old records of likings and dislikings; of jealousies and revenges; of affection defying the power of death, and hatred pursued beyond the grave, which these depositories contain; silent but striking tokens, some of them, of excellence of heart, and nobleness of soul; melancholy examples, others, of the worst passions of human nature. In short, the subject obtained such complete possession of us, that if we fail to write a whole paper about it one of these days we shall be rather surprised. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'New Series, No. 3, Doctors' Commons' Description An account of the resource Published in The Morning Chronicle (11 October 1836), p.3. Creator An entity primarily responsible for making the resource Dickens, Charles Publisher An entity responsible for making the resource available The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/BL/0000082/18361011/005/0003">https://www.britishnewspaperarchive.co.uk/viewer/BL/0000082/18361011/005/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1836-10-11 Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1836-10-11-The_Morning_Chronicle_New_Series_No3_Doctors_Commons Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'New Series, No. III, Doctors' Commons' (11 October 1836). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="1836-10-11-The_Morning_Chronicle_New_Series_No3_Doctors_Commons">1836-10-11-The_Morning_Chronicle_New_Series_No3_Doctors_Commons</a>. Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Scripto Transcription A written representation of a document. Walking, without any definite object, through St. Paul’s Church-yard, a little while ago, we happened to turn down a street entitled "Paul’s-chain," and keeping straight forward for a few hundred yards, found ourself, as a natural consequence, in Doctors’ Commons. Now, Doctors’ Commons being familiar by name to everybody as the place where they grant marriage-licenses to love-sick couples, and divorces to unfaithful ones; register the wills of people who have any property to leave, and punish hasty gentlemen who call ladies by unpleasant names; we no sooner discovered that we were really within its precincts, than we felt a laudable desire to become better acquainted therewith; and as the first object of our curiosity was the Court whose decrees can even unloose the bonds of matrimony, we procured a direction to it, and bent our steps thither without delay. Crossing a quiet and shady court-yard, paved with stone, and frowned upon by old red-brick houses, on the doors of which were painted the names of sundry learned civilians, we paused before a small, green-baized, brass-headed-nailed door, which, yielding to our gentle push, at once admitted us into an old quaint-looking apartment, with sunken windows, and black carved wainscoting, at the upper end of which, seated on a raised platform, of semicircular shape, were about a dozen solemn-looking gentlemen, in crimson gowns and wigs. At a more elevated desk, in the centre, sat a very fat and red-faced gentleman, in tortoise-shell spectacles, whose dignified appearance announced the judge; and round a long green-baized table below, something like a billiard-table without the cushions and pockets, were a number of very self-important-looking personages, in stiff neckcloths and black gowns with white fur collars, whom we at once set down as proctors. At the lower end of the billiard-table was an individual in an arm-chair, and a wig, whom we afterwards discovered to be the registrar; and seated behind a little desk, near the door, were a respectable-looking man in black, of about twenty stone weight or thereabouts, and a fat-faced, smirking, civil-looking body, in a black gown, black kid gloves, knee shorts, and silks, with a shirt-frill in his bosom, curls on his head, and a silver staff in his hand, whom we had no difficulty in recognising as the officers of the Court. The latter, indeed, speedily set our mind at rest upon this point, for advancing to our elbow, and opening a conversation forthwith, he had communicated to us in less than five minutes that he was the apparitor, and the other the court-keeper; that this was the Arches Court, and therefore the counsel wore red gowns, and the proctors fur collars; and that when the other Courts sat there, they didn’t wear red gowns or fur collars either; with many other scraps of intelligence equally interesting. Besides these two officers, there was a little thin old man, with long grizzly hair, crouched in a remote corner, whose duty our communicative friend informed us was to ring a large hand-bell when the Court opened in the morning, and who, for aught his appearance betokened to the contrary, might have been similarly employed for the last two centuries at least. The red-faced gentleman in the tortoise-shell spectacles had got all the talk to himself just then, and very well he was doing it, too, only he spoke very fast, but that was habit; and rather thick, but that was good-living. So we had plenty of time to look about us. There was one individual amused us mightily. This was one of the bewigged gentlemen in the red robes, who was straddling before the fire in the centre of the Court, in the attitude of the brazen colossus, to the complete exclusion of everybody else. He had gathered up his robe behind, in much the same manner as a slovenly woman would her petticoats on a very dirty day, in order that he might feel the full warmth of the fire. His wig was put on all awry, with the tail straggling about his neck, his scanty gray trowsers and short black gaiters, made in the worst possible style, imported an additional inelegant appearance to his uncouth person; and his limp, badly-starched shirt-collar almost obscured his eyes. We shall never be able to claim any credit as a physiognomist again, for, after a careful scrutiny of this gentleman’s countenance, we had come to the conclusion that it bespoke nothing but conceit and silliness, when our friend with the silver staff whispered in our ear that he was no other than a doctor of law, an ecclesiastical dignitary in the cinque ports, a not very distant relation to a commissioner of lunacy, and heaven knows what besides. So of course we were mistaken, and he must be a very talented man. He conceals it so well though—perhaps with the merciful view of not astonishing ordinary people too much—that you would suppose him to be one of the stupidest dogs alive. The gentleman in the spectacles having concluded his judgment, and a few minutes having been allowed to elapse, to afford time for the buzz of the court to subside, the registrar called on the next cause, which was "the office of the Judge promoted by Bumple against Sludberry." A general movement was visible in the court at this announcement, and the obliging functionary with silver staff whispered us that "there would be some fun now, for this was a brawling case." We were not rendered much the wiser by this piece of information till we found by the opening speech of the counsel for their promoter that, under a half-obsolete statute of one of the Edwards, the court was empowered to visit with the penalty of excommunication any person who should be proved guilty of the crime of "brawling" or "smiting" in any church, or vestry adjoining thereto; and it appeared, by some eight-and-twenty affidavits, which were duly referred to, that on a certain night, at a certain vestry, meeting in a certain parish particularly set forth, Thomas Sludberry, the party appeared against in that suit, had made use of and applied to Michael Bumple, the reporter, the words "You be blowed;" and that on the said Michael Bumple and others remonstrating with the said Thomas Sludberry on the impropriety of his conduct, the said Thomas Sludberry repeated the aforesaid expression, "You be blowed;" and furthermore desired and requested to know, whether the said Michael Bumple "wanted anything for himself;" adding, ‘that if the said Michael Bumple did want anything for himself, he the said Thomas Sludberry "was the man to give it him;" at the same time making use of other heinous and sinful expressions, all of which, Bumple submitted, came within the intent and meaning of the Act; and therefore he, for the soul’s health and chastening of Sludberry, prayed for sentence of excommunication against him accordingly. Upon these facts a long argument was entered into on both sides, to the great edification of a number of persons interested in the parochial squabbles, who crowded the court; and when some very long and grave speeches had been made pro and con, the red-faced gentleman in the tortoise-shell spectacles took a review of the case, which occupied half an hour more, and then pronounced upon Sludberry the awful sentence of excommunication for a fortnight, and payment of the costs of the suit. Upon this, Sludberry, who was a little, red-faced, sly-looking, ginger-beer seller, addressed the Court, and said, if they’d be good enough to take off the costs, and excommunicate him for the term of his natural life instead, it would be much more convenient to him; for he never went to church at all. To this appeal the gentleman in the spectacles made no other reply than a look of virtuous propriety; and Sludberry and his friends retired. As the man with the silver staff informed us that the Court was on the point of rising, we retired too—pondering, as we walked away, upon the beautiful spirit of these ancient ecclesiastical laws, the kind and neighbourly feelings they are calculated to awaken, and the strong attachment to religious institutions which they cannot fail to engender. We were so lost in these meditations, that we had turned into the street and run up against a door-post, before we recollected where we were walking. On looking upwards to see what house we had stumbled upon, the words "Prerogative-office," written in large characters, met our eye; and as we were in a sight-seeing humour, and the place was a public one, we walked in, without more ado. The room into which we walked, was a long, busy-looking place, partitioned off, on either side, into a variety of little boxes, in which a few clerks were engaged in copying or examining deeds. Down the centre of the room were several desks, nearly breast high, at each of which three or four people were standing, poring over large volumes. As we knew that they were searching for wills, they attracted our attention at once. It was curious to contrast the lazy indifference of the attorneys’ clerks, who were making a search for some legal purpose, with the air of earnestness and interest which distinguished the strangers to the place, who were looking up the will of some deceased relative; the former pausing every now and then with an impatient yawn, or raising their heads to look at the people who passed up and down the room; the latter stooping over the book, and running down column after column of names in the deepest abstraction. There was one little dirty-faced man in a blue apron, who after a whole morning’s search, extending some fifty years back, had just found the will to which he wished to refer, which one of the officials was reading to him in a low hurried voice from a thick vellum book with large clasps. It was perfectly evident that the more the clerk read, the less the man with the blue apron understood about the matter. When the volume was first brought down, he took off his hat, smoothed down his hair, smiled with great self-satisfaction, and looked up in the reader’s face with the air of a man who had made up his mind to recollect every word he heard. The first two or three lines were intelligible enough; but then the technicalities began, and the little man began to look rather dubious. Then came a whole string of complicated trusts, and he was regularly at sea. As the reader proceeded, it was quite apparent that it was a hopeless case, and the little man, with his mouth open and his eyes fixed upon his face, looked on with an expression of bewilderment and perplexity irresistibly ludicrous. A little further on, a hard-featured old man with a deeply-wrinkled face, was intently perusing a lengthy will with the aid of a pair of horn spectacles, occasionally pausing from his task, and slily noting down some brief memorandum of the bequests contained in it. Every wrinkle about his toothless mouth, and sharp keen eyes, told of avarice and cunning. As he leisurely closed the register, put up his spectacles, and folded his scraps of paper in a large leathern pocket-book, we thought what a nice hard bargain he was driving with some poverty-stricken legatee, who, tired of waiting year after year, until some life-interest should fall in, was selling his chance, just as it began to grow most valuable, for a twelfth part of its worth. It was a good speculation—a very safe one. The old man stowed away his pocket-book in the breast of his great-coat, and hobbled away with a leer of anticipation. That will had made him ten years younger at least. Having commenced our observations, we should certainly have extended them to another dozen of people at least, had not a sudden shutting up, and putting away of the worm-eaten old books, warned us that the time for closing the office had arrived, and thus deprived us of a pleasure, and spared our readers an infliction. We naturally fell into a train of reflection as we walked homewards upon the curious old records of likings and dislikings; of jealousies and revenges; of affection defying the power of death, and hatred pursued beyond the grave, which these depositories contain; silent but striking tokens, some of them, of excellence of heart, and nobleness of soul; melancholy examples, others, of the worst passions of human nature. In short, the subject obtained such complete possession of us, that if we fail to write a whole paper about it one of these days we shall be rather surprised.