4 10 361 https://www.dickenssearch.com/files/original/5/Sketches_of_London_No._XVIII_Our_Parish_[IV]/1835-07-28_The_Evening_Chronicle_Sketches_of_London_No._XVIII_Our_Parish_IV.pdf 6ff43e1f188d79ce4f2b830c10d7acc0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Evening Chronicle Pseudonym The name under which the item was published BOZ Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18350728 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. The excitement of the election for Beadle having subsided, and our parish being again restored to a state of comparative tranquility, we are enabled to continue our sketches of individual parishioners who take no share in our party contests, or in the turmoil and bustle of public life. And we feel sincere pleasure in acknowledging here, that in collecting materials for this task we have been greatly assisted by Mr. Bung himself, who has imposed on us a debt of obligation which we fear we can never repay. The life of this gentleman has been one of a very chequered description: he has undergone transitions—not from grave to gay, for he never was grave—not from lively to severe, for severity forms no part of his disposition; his fluctuations have been between poverty in the extreme & poverty modified, or, to use his own emphatic languages, between nothing to eat and just half enough. He is not as he forcibly remarks, "One of those fortunate men who if they were to dive under one side of a barge stark-naked, would come up on the other, with a new suit of clothes on, and a ticket for soup in the waistcoat pocket:" neither is he one of those, whose spirit has been broken beyond redemption by misfortune and want. He is just one of the careless, good-for-nothing, happy fellows, who float cork like on the surface, for the world to play at hockey with: knocked here and there and every where: now to the right, then to the left, again up in the air, and anon to the bottom, but always reappearing, and bounding with the stream, buoyantly and merrily along. Some few months before he was prevailed upon to stand a contested election for the office of beadle, necessity attached him to the service of a broker; and on the opportunities he here acquired of ascertaining the condition of most of the poorer inhabitants of the parish, his patron, the Captain, first grounded his claims to public support. Chance threw the man in our way a short time since. We were, in the first instance, attracted by his prepossessing impudence at the election; we were not surprised, on further acquaintance, to find him a shrewd knowing fellow, with no inconsiderable power of observation, and after conversing with him a little, were somewhat struck (as we dare say our readers have frequently been in other cases) with the power some men seem to have, not only of sympathizing with, but to all appearance of understanding feelings, to which they themselves are entire strangers. We had been expressing to the new functionary our surprise that he should ever have served in the capacity to which we have just adverted, when we gradually led him into one or two professional anecdotes. As are are induced to think on reflection that they will tell better, in nearly his own words, than with any attempted embellishments of our's, we will at once entitle them MR. BUNG'S NARRATIVE. "It's very true, as you say Sir," Mr. Bung commenced, "that a broker's man's is not a life to envied; and in course you know as well as I do, though you don't say it, that people hate and scout 'em, because they're the Ministers of wretchedness, like, to poor people. But what could I do Sir? The thing was no worse, because I did it instead of somebody else, and if putting me in possession of a house, would put me in possession of three and sixpence a day, and levying a distress on another man's goods would relieve my distress and that of my family, it can't be expected but what I'd take the job and go through with it. I never liked it, God knows; I always looked out for something else, and the moment I got other work to do I left it, and if there is any thing wrong in being the agent in such matters—not the principal mind you—I'm sure the business, to a beginning like I was, at all events carries its own punishment along with it. I wished again and again that the people would only blow me up, or pitch into me—that I wouldn't have minded: it's all in my way: but it's the being shut up by yourself in one room for three days, without so much as an old newspaper to look at, or any thing to see out o' the winder but the roofs and chimnies at the back of the house, or any thing to listen to but the ticking perhaps of an old Dutch clock, the sobbing of the missis now and then, the low talking of friends in the next room, who speak in whispers, lest "the man" should over-hear them, or perhaps the occasional opening of the door, as a child peeps in to look at you, and then runs half frightened away.—It's all this that makes you feel sneaking somehow, and ashamed of yourself; and then if it's winter time they just give you fire enough to make you think you'd like more, and bring in your grub as if they wish it u'd choke you—as I dare say they do, for the matter of that, most heartily. If they're very civil, they make you up a bed in the room at night; and if they don't, your master sends one in for you; but there you are, without being washed or shaved all the time, shunned by every body and spoken to by no one unless some one comes in at dinner time, and asks you whether you want any more, in a tone as much to say, "I hope you don't;" or, in the evening, to inquire whether you wouldn't rather have a candle, after you've been sitting in the dark half the night. When I was left in this way, I used to sit think, think, thinking, till I felt as lonesome as a kitten in a wash-house copper with the lid on; but I believe the old brokers' men, who are regularly trained to it, never think at all. I have heard some on 'em say, indeed, that they don't know how! "I put in a good many distresses in my time (continued Mr. Bung), and in course I wasn't long in finding that some people are not as much to be pitied as others are, and that people with good incomes, who get into difficulties, which they keep patching up day after day, and week after week, get so used to these sorts of things in time, that at last they come scarcely to feel them at all. I remember the very first place I was put in possession of was a gentleman's house in this parish here, that every body would suppose couldn't help having money if he tried. I went with old Fixem, my old master, 'bout half-arter eight in the morning, rang the area-bell, servant in livery opened the door; 'Governor at home?'—'Yes, he is,' says the man; 'but he's a breakfasting just now'—'Never mind,' says Fixem, 'just you tell him there's a gentleman here as wants to speak to him partickler." So the servant he opens his eyes, and stares about him all ways—looking for the gentleman, as it struck me; for I don't think anybody but a man as was stone-blind would mistake Fixem for one; and as for me, I was as seedy as a cheap cowcumber. Hows'ever he turns round and goes to the breakfast-parlour, which was a little snug sort of room at the end of the passage, and Fixem (as we always did in that profession) without waiting to be announced, walks in arter him; and before the servant could get out—'Please Sir, here's a man as wants to speak to you'—looks in at the door as familiar and pleasant as may be. 'Who the devil are you: and how dare you walk into a gentleman's house without leave?'—says the master, as fierce as a bull in fits—'My name,' says Fixem, winking at the master to send the servant away, and putting the warrant into his hands folded up like a note, 'My name's Smith,' says he,' and I called from Johnson's about that business of Thompson's.'—'Oh,' says the other, quite down upon him directly, 'How is Thompson?' says he.—'Pray sit down, Mr. Smith: John—leave the room.'— Out went the servant, and the gentleman and Fixem looked at one another till they couldn't look any longer, and then they varied the amusement by looking at me, who had been standing on the mat all this time.—'Hundred and fifty pounds, I see,' said the gentleman at last.—'Hundred and fifty pound,' said Fixem 'besides cost of levy, sheriff's poundage, and all other incidental expenses.' 'Um,' says the gentleman, 'I shan't be able to settle this before to-morrow afternoon.'—'Very sorry; but I shall be obliged to leave my man here till then,' replies Fixem, pretending to look very miserably over it. 'That's very unfortunate,' said the gentleman, 'for I've got a large party here to-night; and I'm ruined if those fellows of mine get an inkling of the matter.—Just step here, Mr. Smith,' says he, after a short pause; so Fixem walks with him up to the window, and after a good deal o' whispering, and a little chinking of suverins, and looking at me, he comes back and says 'Bung: you're a handy fellow, and very honest I know. This gentleman wants an assistant to clean the plate and wait at table today; and if you're not particularly engaged,' says old Fixem, grinning like mad, and shoving a couple of suverins into my hand, 'he'll be very glad to avail himself of your services.' Well, I laughed, and the gentleman laughed, and we all laughed; and I went home and cleaned myself, leaving Fixem there; and when I went back, Fixem went away, and I polished up the plate, and waited at table, and gammoned the servants, and nobody had the least idea I was in possession; though it very nearly came out after all: for one of the last gentlemen who remained, came down stairs into the hall where I was sitting pretty late at night, and putting half a crown in my hand says, 'Here, my man,' says he, 'run and get me a coach, will you?' I thought it was a do to get me out of the house, and was just going to say so, sulkily enough, when the gentleman (who was up to every thing) came running down stairs as if he was in great anxiety. 'Bung,' says he, pretending to be in a con-suming passion, 'Sir,' says I. 'Why the devil an't you looking after that plate?' says he. 'I was just going to send him or a coach for me,' says the other gentleman. 'And I was just a going to say,' says I,—'Any body else, my dear fellow,' interrupts the master of the house, pushing me down the passage to get me out of the way—'anybody else; but I have put this man in possession of all the plate and valuables, and I cannot allow him on any consideration whatever to leave the house. Bung, damn you, go and count those forks in the breakfast-parlour instantly.' You may be sure I went laughing pretty hearty when I found it was all right. The money was paid next day, with the addition of something else for myself, and that was the best job that I (and I suspect old Fixem too) ever got in that line." "But this is the bright side of the picture, sir, after all," resumed Mr. Bung, laying aside the knowing look and flash air with which he had repeated the previous anecdote—"and I'm sorry to say it's the side one sees very—very seldom in comparison with the dark one. The civility which money will purchase is rarely extended to those who have none; and there's a consolation even in being able to patch up one difficulty to make way for another, to which very poor people are strangers. I was once put into a house down George's-yard—that little dirty court at the back of the gas-works; and I never shall forget the misery of them people, dear me. It was a distress for half a year's rent—two pound ten I think. There were only two rooms in the house, as there was no passage, the lodgers up stairs always went through the room of the people of the house, as they passed in and out, and every time they did so—which on average was about four times every quarter of an hour—they blowed up quite frightful: for their things had been seized too, and included in the inventory. There was a little piece of inclosed dust in front of the house, with a cinder path leading up to the door, and an open rain-water butt on one side. A dirty striped curtain on a very slack strong hung in the window, and a little triangular bit of broken looking-glass rested on the sill inside. I suppose it was meant for the people's use, but their appearance was so wretched and so miserable, that I'm certain they never could have plucked up courage to look themselves in the face a second time, if they survived the fright of doing so once. There was two or three chairs, that might have been worth, in their best days, from eight-pence to a shilling a-piece; a small deal table; an old corner cupboard, with nothing in it, and one of those bedsteads which turn up half way, and leave the bottom legs sticking out for you to knock your head against, or hang your hat upon; no bed, no bedding. There was an old sack, by way of rug, before the fire-place, and four or five children were grovelling about among the sand on the floor. The execution was only put in to get 'em out of the house, for there was nothing to take to pay the expenses; and here I stopped for three days, though that was a mere form too: for in course I knew, and we all knew, they could never pay the money. In one of the chairs by the side of the place where the fire ought to have been, was an old 'ooman—the ugliest and dirtiest I ever see—who sat rocking herself backwards and forwards, backwards and forwards without once stopping, except for an instant, now and then, to clasp together the withered hands which, with these exceptions, she kept constantly rubbing upon her knees, just raising and depressing her fingers convulsively, in time to the rocking of the chair. On the other side sat the mother with an infant in her arms which cried 'till it cried itself to sleep, and when it woke, cried 'till it cried itself off again. The old 'ooman's voice I never heard; she seemed completely stupified; and as to the mother's, it would have been better if she had been so too; for misery changed her to a devil; if you had heard how she cursed the little naked children as was rolling on the floor, and seen how savagely she struck the infant when it cried with hunger, you'd have shuddered as much as I did. There they remained all the time: the children eat a morsel of bread once or twice, and I gave 'em best part of the dinners my missis brought me; but the women eat nothing: they never even laid down on the bedstead, nor was the room swept or cleaned all the time. The neighbours were all too poor themselves to take any notice of 'em; but what I could make out from the abuse of the woman up-stairs, it seemed the husband had been transported a few weeks before. When the time was up, the landlord and old Fixem too, got rather frightened about the family; and so they made a stir about it, and got 'em taken to the workhouse. They sent the sick couch for the old 'ooman; and Simmons took the children away at night. The old 'ooman went into the infirmary, and very soon died. The children are all in the house to this day, and very comfortable they are in comparison; as to the mother, there was no taming her at all. She had been a quiet, hard-working woman, I believe; but her misery had actually drove her wild; so after she had been sent to the House of Correction half a dozen times, for throwing inkstands at the overseers, blaspheming the churchwardens, and smashing every body as come near her, she burst a blood vessel one mornin', and died too—and a happy release it was, both for herself and the old paupers male and female, which she used to tip over in all directions, as if they were so many skittles, and she the ball. "Now this was bad enough," resumed Mr. Bung, taking a half-step towards the door, as if to intimate that he had nearly concluded. "This was bad enough, but there was a sort of quiet misery—if you understand what I mean by that, Sir—about a lady at one house I was put into, as touched me a good deal more. It doesn't matter where it was exactly; indeed, I'd rather not say; but it was the same sort o'job. I went with Fixem in the usual way—there was a year's rent in arrear; a very small servant-girl opened the door, and three or four fine looking little children was in the front parlour we was shown into, which was very clean, but very scantily furnished, much like the children themselves. 'Bung,' says Fixem to me in a low voice when we were left alone for a minute, 'I know something about this here family, and my opinion is, it's no go.' 'Do you think they can't settle?' says I, quite anxiously: for I liked the looks of them children. Fixem shook his head, and was just about to reply when the door opened, and in come a lady as white as ever I see any one in my days, except about the eyes, which were red with crying. She walked in as firm as I could have done: shut the door carefully after her, and sat herself down with a face as composed as if it was made of stone. 'What is the matter, gentlemen,' says she, in a surprisin' steady voice. 'Is this an execution?' 'It is, Mum,' says Fixem. The lady looked at him as steady as ever; she didn't seem to have understood him. 'It is, Mum,' says Fixem again, 'this is my warrant of distress, Mum' says he, handing it over as polite as if it was a newspaper which had been bespoke arter the next gentleman. The lady's lip trembled as she took the printed paper. She cast her eye over it, and old Fixem began to explain the form, but I saw she wasn't reading it, plain enough, poor thing. 'Oh, my God!' says she, suddenly a-bursting out crying, letting the warrant fall, and hiding her fact in her hands. 'Oh, my God! what will become of us?' The noise she made brought in a young lady of about nineteen or twenty, who, I suppose, had been a-listening at the door: she'd got a little boy in her arms; she sat him down in the lady's l ap, without speaking, and she hugged the poor little fellow to her bosom and cried over him, till even old Fixem put on his blue spectacles to hide the two tears that was a trickling down, one on each side of his dirty face. 'Now, dear Ma,' says the young lady, 'you know how much you have borne. For all our sakes: for Pa's sake,' says the lady, 'don't give way to this!' 'No, no, I won't!' says the lady, gathering herself up hastily and drying her eyes; 'I am very foolish, but I'm better now—much better.' And then she roused herself up; went with us into every room while we took the inventory; opened all the drawers of her own accord; sorted the children's little clothes to make the work easier; and, except doing everything in a strange sort of hurry, seemed as calm and composed as if nothing had happened. When we came down stairs again, she hesitated a minute or two, and at last says, 'Gentleman,' says she, 'I am afraid I have done wrong, and perhaps it may bring you into trouble. I secreted just now,' she says, 'the only trinket I have left in the world— here it is.' So she lays down on the table a little miniature mounted in gold. 'It's a miniature,' she says, 'of my poor dear father! I little thought, once that I should ever thank God for depriving me of the original; but I do, and have done for years back, most fervently. Take it away, sir,' she says, 'it's a face that never turned from me in sickness or distress, and I can hardly bear to turn from it now, when, God knows, I suffer both in no ordinary degree.'—I couldn't say nothing, but I raised my head from the inventory which I was filling up, and looked at Fixem; the old fellow nodded to me significantly; so I ran my pen through the 'Mini' - I had just written, and left the miniature on the table. "Well, sir, to make short of a long story, I was left in possession, and in possession I remained; and though I was an ignorant man, and the master of the house a clever one, I saw what he never did, but what he would give worlds now (if he had 'em) to have seen in time. I saw, sir, that his wife was wasting away beneath cares of which she never complained, and griefs she never told. I saw that she was dying before his eyes: I knew that an exertion from him might have saved her; but he never made it. I don't blame him: I don't think he could rouse himself. She had for so long anticipated all his wishes, and acted for him, that he was a lost man when left to himself. I used to think when I caught sight of her, in the clothes she used to wear, which looked shabby even upon her, and would have been scarcely decent on any one else, that if I was a gentleman it would wring my very heart to see the woman that was a smart and merry girl when I courted her, so altered through her love for me. Bitter cold and damp weather it was; yet though her dress was thin, and her shoes none of the best, during the whole three days, from morning to night, she was out of doors running about to try and raise the money. The money was raised, and the execution was paid out. The whole family crowded into the room where I was when the money arrived. The father was quiet happy as the inconvenience was removed—I dare say he didn't know how—the children looks merry and cheerful again; the eldest girl was bustling about making preparations for the first comfortable meal they had had since the distress was put in—and the mother looked pleased to see them all so; but if ever I saw death in a woman's face, I saw it in her's, that night. "I was right, sir," concluded Mr. Bung, hurriedly passing his coat-sleeve over his face. "The family grew more prosperous, and good fortune arrived. But it was too late. Those children are motherless now, and their father would give up all that he has since gained—house, home, goods, money; all that he has, or ever can have to restore the wife he has lost. (To be continued.) TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-07-28_The_Evening_Chronicle_Sketches_of_London_NoXVIII_Our_ParishIV.xml" target="_blank" rel="noopener">'Sketches of London, No. XVIII, Our Parish' (IV). The Evening Chronicle (28 July 1835).</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'Sketches of London, No. XVIII, Our Parish' (IV) Description An account of the resource Published in The Evening Chronicle (28 July 1835). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/BL/0001315/18350728/018/0003" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/BL/0001315/18350728/018/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-07-28 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-07-28_The_Evening_Chronicle_Sketches_of_London_NoXVIII_Our_ParishIV Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Sketches of London, No. XVIII, Our Parish' (IV) (28 July 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/short-stories/1835-07-28_The_Evening_Chronicle_Sketches_of_London_NoXVIII_Our_ParishIV">https://dickenssearch.com/short-stories/1835-07-28_The_Evening_Chronicle_Sketches_of_London_NoXVIII_Our_ParishIV</a>. Scripto Transcription A written representation of a document. The excitement of the election for Beadle having subsided, and our parish being again restored to a state of comparative tranquility, we are enabled to continue our sketches of individual parishioners who take no share in our party contests, or in the turmoil and bustle of public life. And we feel sincere pleasure in acknowledging here, that in collecting materials for this task we have been greatly assisted by Mr. Bung himself, who has imposed on us a debt of obligation which we fear we can never repay. The life of this gentleman has been one of a very chequered description: he has undergone transitions—not from grave to gay, for he never was grave—not from lively to severe, for severity forms no part of his disposition; his fluctuations have been between poverty in the extreme & poverty modified, or, to use his own emphatic languages, between nothing to eat and just half enough. He is not as he forcibly remarks, "One of those fortunate men who if they were to dive under one side of a barge stark-naked, would come up on the other, with a new suit of clothes on, and a ticket for soup in the waistcoat pocket:" neither is he one of those, whose spirit has been broken beyond redemption by misfortune and want. He is just one of the careless, good-for-nothing, happy fellows, who float cork like on the surface, for the world to play at hockey with: knocked here and there and every where: now to the right, then to the left, again up in the air, and anon to the bottom, but always reappearing, and bounding with the stream, buoyantly and merrily along. Some few months before he was prevailed upon to stand a contested election for the office of beadle, necessity attached him to the service of a broker; and on the opportunities he here acquired of ascertaining the condition of most of the poorer inhabitants of the parish, his patron, the Captain, first grounded his claims to public support. Chance threw the man in our way a short time since. We were, in the first instance, attracted by his prepossessing impudence at the election; we were not surprised, on further acquaintance, to find him a shrewd knowing fellow, with no inconsiderable power of observation, and after conversing with him a little, were somewhat struck (as we dare say our readers have frequently been in other cases) with the power some men seem to have, not only of sympathizing with, but to all appearance of understanding feelings, to which they themselves are entire strangers. We had been expressing to the new functionary our surprise that he should ever have served in the capacity to which we have just adverted, when we gradually led him into one or two professional anecdotes. As are are induced to think on reflection that they will tell better, in nearly his own words, than with any attempted embellishments of our's, we will at once entitle them <div style="text-align: left;">                     MR. BUNG'S NARRATIVE. "It's very true, as you say Sir," Mr. Bung commenced, "that a broker's man's is not a life to envied; and in course you know as well as I do, though you don't say it, that people hate and scout 'em, because they're the Ministers of wretchedness, like, to poor people. But what could I do Sir? The thing was no worse, because I did it instead of somebody else, and if putting me in possession of a house, would put me in possession of three and sixpence a day, and levying a distress on another man's goods would relieve my distress and that of my family, it can't be expected but what I'd take the job and go through with it. I never liked it, God knows; I always looked out for something else, and the moment I got other work to do I left it, and if there is any thing wrong in being the agent in such matters—not the principal mind you—I'm sure the business, to a beginning like I was, at all events carries its own punishment along with it. I wished again and again that the people would only blow me up, or pitch into me—that I wouldn't have minded: it's all in my way: but it's the being shut up by yourself in one room for three days, without so much as an old newspaper to look at, or any thing to see out o' the winder but the roofs and chimnies at the back of the house, or any thing to listen to but the ticking perhaps of an old Dutch clock, the sobbing of the missis now and then, the low talking of friends in the next room, who speak in whispers, lest "the man" should over-hear them, or perhaps the occasional opening of the door, as a child peeps in to look at you, and then runs half frightened away.—It's all this that makes you feel sneaking somehow, and ashamed of yourself; and then if it's winter time they just give you fire enough to make you think you'd like more, and bring in your grub as if they wish it u'd choke you—as I dare say they do, for the matter of that, most heartily. If they're very civil, they make you up a bed in the room at night; and if they don't, your master sends one in for you; but there you are, without being washed or shaved all the time, shunned by every body and spoken to by no one unless some one comes in at dinner time, and asks you whether you want any more, in a tone as much to say, "I hope you don't;" or, in the evening, to inquire whether you wouldn't rather have a candle, after you've been sitting in the dark half the night. When I was left in this way, I used to sit think, think, thinking, till I felt as lonesome as a kitten in a wash-house copper with the lid on; but I believe the old brokers' men, who are regularly trained to it, never think at all. I have heard some on 'em say, indeed, that they don't know how!  "I put in a good many distresses in my time (continued Mr. Bung), and in course I wasn't long in finding that some people are not as much to be pitied as others are, and that people with good incomes, who get into difficulties, which they keep patching up day after day, and week after week, get so used to these sorts of things in time, that at last they come scarcely to feel them at all. I remember the very first place I was put in possession of was a gentleman's house in this parish here, that every body would suppose couldn't help having money if he tried. I went with old Fixem, my old master, 'bout half-arter eight in the morning, rang the area-bell, servant in livery opened the door; 'Governor at home?'—'Yes, he is,' says the man; 'but he's a breakfasting just now'—'Never mind,' says Fixem, 'just you tell him there's a gentleman here as wants to speak to him partickler." So the servant he opens his eyes, and stares about him all ways—looking for the gentleman, as it struck me; for I don't think anybody but a man as was stone-blind would mistake Fixem for one; and as for me, I was as seedy as a cheap cowcumber. Hows'ever he turns round and goes to the breakfast-parlour, which was a little snug sort of room at the end of the passage, and Fixem (as we always did in that profession) without waiting to be announced, walks in arter him; and before the servant could get out—'Please Sir, here's a man as wants to speak to you'—looks in at the door as familiar and pleasant as may be. 'Who the devil are you: and how dare you walk into a gentleman's house without leave?'—says the master, as fierce as a bull in fits—'My name,' says Fixem, winking at the master to send the servant away, and putting the warrant into his hands folded up like a note, 'My name's Smith,' says he,' and I called from Johnson's about that business of Thompson's.'—'Oh,' says the other, quite down upon him directly, 'How is Thompson?' says he.—'Pray sit down, Mr. Smith: John—leave the room.'— Out went the servant, and the gentleman and Fixem looked at one another till they couldn't look any longer, and then they varied the amusement by looking at me, who had been standing on the mat all this time.—'Hundred and fifty pounds, I see,' said the gentleman at last.—'Hundred and fifty pound,' said Fixem 'besides cost of levy, sheriff's poundage, and all other incidental expenses.' 'Um,' says the gentleman, 'I shan't be able to settle this before to-morrow afternoon.'—'Very sorry; but I shall be obliged to leave my man here till then,' replies Fixem, pretending to look very miserably over it. 'That's very unfortunate,' said the gentleman, 'for I've got a large party here to-night; and I'm ruined if those fellows of mine get an inkling of the matter.—Just step here, Mr. Smith,' says he, after a short pause; so Fixem walks with him up to the window, and after a good deal o' whispering, and a little chinking of suverins, and looking at me, he comes back and says 'Bung: you're a handy fellow, and very honest I know. This gentleman wants an assistant to clean the plate and wait at table today; and if you're not particularly engaged,' says old Fixem, grinning like mad, and shoving a couple of suverins into my hand, 'he'll be very glad to avail himself of your services.' Well, I laughed, and the gentleman laughed, and we all laughed; and I went home and cleaned myself, leaving Fixem there; and when I went back, Fixem went away, and I polished up the plate, and waited at table, and gammoned the servants, and nobody had the least idea I was in possession; though it very nearly came out after all: for one of the last gentlemen who remained, came down stairs into the hall where I was sitting pretty late at night, and putting half a crown in my hand says, 'Here, my man,' says he, 'run and get me a coach, will you?' I thought it was a do to get me out of the house, and was just going to say so, sulkily enough, when the gentleman (who was up to every thing) came running down stairs as if he was in great anxiety. 'Bung,' says he, pretending to be in a con-suming passion, 'Sir,' says I. 'Why the devil an't you looking after that plate?' says he. 'I was just going to send him or a coach for me,' says the other gentleman. 'And I was just a going to say,' says I,—'Any body else, my dear fellow,' interrupts the master of the house, pushing me down the passage to get me out of the way—'anybody else; but I have put this man in possession of all the plate and valuables, and I cannot allow him on any consideration whatever to leave the house. Bung, damn you, go and count those forks in the breakfast-parlour instantly.' You may be sure I went laughing pretty hearty when I found it was all right. The money was paid next day, with the addition of something else for myself, and that was the best job that I (and I suspect old Fixem too) ever got in that line."  "But this is the bright side of the picture, sir, after all," resumed Mr. Bung, laying aside the knowing look and flash air with which he had repeated the previous anecdote—"and I'm sorry to say it's the side one sees very—very seldom in comparison with the dark one. The civility which money will purchase is rarely extended to those who have none; and there's a consolation even in being able to patch up one difficulty to make way for another, to which very poor people are strangers. I was once put into a house down George's-yard—that little dirty court at the back of the gas-works; and I never shall forget the misery of them people, dear me. It was a distress for half a year's rent—two pound ten I think. There were only two rooms in the house, as there was no passage, the lodgers up stairs always went through the room of the people of the house, as they passed in and out, and every time they did so—which on average was about four times every quarter of an hour—they blowed up quite frightful: for their things had been seized too, and included in the inventory. There was a little piece of inclosed dust in front of the house, with a cinder path leading up to the door, and an open rain-water butt on one side. A dirty striped curtain on a very slack strong hung in the window, and a little triangular bit of broken looking-glass rested on the sill inside. I suppose it was meant for the people's use, but their appearance was so wretched and so miserable, that I'm certain they never could have plucked up courage to look themselves in the face a second time, if they survived the fright of doing so once. There was two or three chairs, that might have been worth, in their best days, from eight-pence to a shilling a-piece; a small deal table; an old corner cupboard, with nothing in it, and one of those bedsteads which turn up half way, and leave the bottom legs sticking out for you to knock your head against, or hang your hat upon; no bed, no bedding. There was an old sack, by way of rug, before the fire-place, and four or five children were grovelling about among the sand on the floor. The execution was only put in to get 'em out of the house, for there was nothing to take to pay the expenses; and here I stopped for three days, though that was a mere form too: for in course I knew, and we all knew, they could never pay the money. In one of the chairs by the side of the place where the fire ought to have been, was an old 'ooman—the ugliest and dirtiest I ever see—who sat rocking herself backwards and forwards, backwards and forwards without once stopping, except for an instant, now and then, to clasp together the withered hands which, with these exceptions, she kept constantly rubbing upon her knees, just raising and depressing her fingers convulsively, in time to the rocking of the chair. On the other side sat the mother with an infant in her arms which cried 'till it cried itself to sleep, and when it woke, cried 'till it cried itself off again. The old 'ooman's voice I never heard; she seemed completely stupified; and as to the mother's, it would have been better if she had  been so too; for misery changed her to a devil; if you had heard how she cursed the little naked children as was rolling on the floor, and seen how savagely she struck the infant when it cried with hunger, you'd have shuddered as much as I did. There they remained all the time: the children eat a morsel of bread once or twice, and I gave 'em best part of the dinners my missis brought me; but the women eat nothing: they never even laid down on the bedstead, nor was the room swept or cleaned all the time. The neighbours were all too poor themselves to take any notice of 'em; but what I could make out from the abuse of the woman up-stairs, it seemed the husband had been transported a few weeks before. When the time was up, the landlord and old Fixem too, got rather frightened about the family; and so they made a stir about it, and got 'em taken to the workhouse. They sent the sick couch for the old 'ooman; and Simmons took the children away at night. The old 'ooman went into the infirmary, and very soon died. The children are all in the house to this day, and very comfortable they are in comparison; as to the mother, there was no taming her at all. She had been a quiet, hard-working woman, I believe; but her misery had actually drove her wild; so after she had been sent to the House of Correction half a dozen times, for throwing inkstands at the overseers, blaspheming the churchwardens, and smashing every body as come near her, she burst a blood vessel one mornin', and died too—and a happy release it was, both for herself and the old paupers male and female, which she used to tip over in all directions, as if they were so many skittles, and she the ball.  "Now this was bad enough," resumed Mr. Bung, taking a half-step towards the door, as if to intimate that he had nearly concluded. "This was bad enough, but there was a sort of quiet misery—if you understand what I mean by that, Sir—about a lady at one house I was put into, as touched me a good deal more. It doesn't matter where it was exactly; indeed, I'd rather not say; but it was the same sort o'job. I went with Fixem in the usual way—there was a year's rent in arrear; a very small servant-girl opened the door, and three or four fine looking little children was in the front parlour we was shown into, which was very clean, but very scantily furnished, much like the children themselves. 'Bung,' says Fixem to me in a low voice when we were left alone for a minute, 'I know something about this here family, and my opinion is, it's no go.' 'Do you think they can't settle?' says I, quite anxiously: for I liked the looks of them children. Fixem shook his head, and was just about to reply when the door opened, and in come a lady as white as ever I see any one in my days, except about the eyes, which were red with crying. She walked in as firm as I could have done: shut the door carefully after her, and sat herself down with a face as composed as if it was made of stone. 'What is the matter, gentlemen,' says she, in a surprisin' steady voice. 'Is this an execution?' 'It is, Mum,' says Fixem. The lady looked at him as steady as ever; she didn't seem to have understood him. 'It is, Mum,' says Fixem again, 'this is my warrant of distress, Mum' says he, handing it over as polite as if it was a newspaper which had been bespoke arter the next gentleman. The lady's lip trembled as she took the printed paper. She cast her eye over it, and old Fixem began to explain the form, but I saw she wasn't reading it, plain enough, poor thing. 'Oh, my God!' says she, suddenly a-bursting out crying, letting the warrant fall, and hiding her fact in her hands. 'Oh, my God! what will become of us?' The noise she made brought in a young lady of about nineteen or twenty, who, I suppose, had been a-listening at the door: she'd got a little boy in her arms; she sat him down in the lady's l ap, without speaking, and she hugged the poor little fellow to her bosom and cried over him, till even old Fixem put on his blue spectacles to hide the two tears that was a trickling down, one on each side of his dirty face. 'Now, dear Ma,' says the young lady, 'you know how much you have borne. For all our sakes: for Pa's sake,' says the lady, 'don't give way to this!' 'No, no, I won't!' says the lady, gathering herself up hastily and drying her eyes; 'I am very foolish, but I'm better now—much better.' And then she roused herself up; went with us into every room while we took the inventory; opened all the drawers of her own accord; sorted the children's little clothes to make the work easier; and, except doing everything in a strange sort of hurry, seemed as calm and composed as if nothing had happened. When we came down stairs again, she hesitated a minute or two, and at last says, 'Gentleman,' says she, 'I am afraid I have done wrong, and perhaps it may bring you into trouble. I secreted just now,' she says, 'the only trinket I have left in the world— here it is.' So she lays down on the table a little miniature mounted in gold. 'It's a miniature,' she says, 'of my poor dear father! I little thought, once that I should ever thank God for depriving me of the original; but I do, and have done for years back, most fervently. Take it away, sir,' she says, 'it's a face that never turned from me in sickness or distress, and I can hardly bear to turn from it now, when, God knows, I suffer both in no ordinary degree.'—I couldn't say nothing, but I raised my head from the inventory which I was filling up, and looked at Fixem; the old fellow nodded to me significantly; so I ran my pen through the 'Mini' - I had just written, and left the miniature on the table.  "Well, sir, to make short of a long story, I was left in possession, and in possession I remained; and though I was an ignorant man, and the master of the house a clever one, I saw what he never did, but what he would give worlds now (if he had 'em) to have seen in time. I saw, sir, that his wife was wasting away beneath cares of which she never complained, and griefs she never told. I saw that she was dying before his eyes: I knew that an exertion from him might have saved her; but he never made it. I don't blame him: I don't think he could rouse himself. She had for so long anticipated all his wishes, and acted for him, that he was a lost man when left to himself. I used to think when I caught sight of her, in the clothes she used to wear, which looked shabby even upon her, and would have been scarcely decent on any one else, that if I was a gentleman it would wring my very heart to see the woman that was a smart and merry girl when I courted her, so altered through her love for me. Bitter cold and damp weather it was; yet though her dress was thin, and her shoes none of the best, during the whole three days, from morning to night, she was out of doors running about to try and raise the money. The money was raised, and the execution was paid out. The whole family crowded into the room where I was when the money arrived. The father was quiet happy as the inconvenience was removed—I dare say he didn't know how—the children looks merry and cheerful again; the eldest girl was bustling about making preparations for the first comfortable meal they had had since the distress was put in—and the mother looked pleased to see them all so; but if ever I saw death in a woman's face, I saw it in her's, that night. "I was right, sir," concluded Mr. Bung, hurriedly passing his coat-sleeve over his face. "The family grew more prosperous, and good fortune arrived. But it was too late. Those children are motherless now, and their father would give up all that he has since gained—house, home, goods, money; all that he has, or ever can have to restore the wife he has lost. (To be continued.)</div> https://www.dickenssearch.com/files/original/5/Sketches_of_London_No._XX_Our_Parish_[V]/1835-08-20_The_Evening_Chronicle_Sketches_of_London_Our_Parish_No.XX.pdf 275e6d7585f55cd074531029d02acf5e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Evening Chronicle Pseudonym The name under which the item was published BOZ Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18350820 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. Our Parish is very prolific in ladies’ charitable societies. In winter, when wet feet are common and colds not scarce, we have the ladies’ soup distribution society, the ladies’ coal distribution society, and the ladies’ blanket distribution society; in summer, when stone fruits flourish and stomach-aches prevail, we have the ladies’ dispensary, and the ladies’ sick visitation committee; and all the year round we have the ladies’ child’s examination society, the ladies’ bible and prayer-book circulation society, and the ladies’ child-bed linen monthly loan society. The two latter are decidedly the most important; whether they are productive of more benefit than the rest is not for us to say, but we can take upon ourselves to affirm, with the utmost solemnity, that they create a greater stir and more bustle than all the others put together. We should be disposed to say, on the first blush of the matter, that the bible and prayer-book society is not so popular as the child-bed linen society; the bible and prayer-book society has, however, considerably increased in importance within the last year or two; having derived some adventitious aid from the factious opposition of the child’s examination society, which factious opposition originated in manner following:—When the young curate was popular, and all the unmarried ladies in the parish took a serious turn, the charity children all at once became objects of peculiar and especial interest. The three Miss Browns (enthusiastic admirers of the curate) taught, and exercised, and examined, and re-examined the unfortunate children, until the boys grew pale, and the girls consumptive with study and fatigue. The three Miss Browns stood it out very well, because they relieved each other; but the children, having no relief at all, exhibited decided symptoms of weariness and care. The unthinking part of the parishioners laughed at all this, but the more reflective portion of the inhabitants abstained from expressing any opinion on the subject until that of the curate had been clearly ascertained. The opportunity was not long wanting. The curate preached a charity sermon on behalf of the charity school; and in the charity sermon aforesaid, expatiated in glowing terms on the praiseworthy and indefatigable exertions of certain estimable individuals. Sobs were heard to issue from the three Miss Browns’ pew; the pew opener of the division was seen to hurry down the centre aisle to the vestry door, and to return immediately, bearing a glass of water in her hand; a low moaning ensued; two more pew openers rushed to the spot, and the three Miss Browns, each supported by a pew opener, were led out of the church, and led in again after a lapse of five minutes with white pocket handkerchiefs to their eyes, as if they had been attending a funeral in the churchyard adjoining. If any doubt had for a moment existed, as to whom the allusion was intended to apply, it was at once removed. The wish to enlighten the charity children became universal, and the three Miss Browns were unanimously besought to divide the school into classes, and to assign each class to the superintendence of two young ladies. A little learning is a dangerous thing, but a little patronage is more so: the three Miss Browns appointed all the old maids, and carefully excluded the young ones. Maiden aunts triumphed: mammas were reduced to the lowest depths of despair; & there is no telling in what act of violence the general indignation against the three Miss Browns might have vented itself, had not a perfectly providential occurrence changed the tide of public feeling. Mrs. Johnson Parker, the mother of seven extremely fine girls—all unmarried—hastily reported to several other mamma's of several other unmarried families, that five old men, six old women, and children innumerable, in the free seats near her pew, were in the habit of coming to church every Sunday without either bible or prayer-book. Was this to be borne in a civilized country? Could such things be tolerated in a christian land? Never! A Ladies’ Bible and Prayer-book Distribution Society was instantly formed: President, Mrs. Johnson Parker; treasurers, auditors, and secretary, the Misses Johnson Parker: subscriptions were entered into; books were bought, all the free seat people provided therewith; and when the first lesson was given out on the first Sunday succeeding these events, there was such a dropping of books, and rustling of leaves, that it was morally impossible to hear one word of the service for five minutes afterwards. The three Miss Browns and their party saw the approaching danger, and endeavoured to avert it by ridicule and sarcasm. Neither the old men nor the old women could read their books now they had got em, said the three Miss Browns. Never mind; they could learn, replied Mrs. Johnson Parker. The children couldn’t read either, suggested the three Miss Browns. No matter; they could be taught, retorted Mrs. Johnson Parker. A balance of parties took place. The Miss Browns publicly examined—popular feeling inclined to the child’s examination society. The Miss Johnson Parkers' publicly distributed—a re-action took place in favour of the prayer-book distribution. A feather would have turned the scale, and a feather did turn it. A missionary returned from the West Indies; he was to be presented to the Dissenters’ Distribution Society on his marriage with a wealthy widow. Overtures were made to the Dissenters by the Johnson Parkers. Their object was the same, and why not have a joint meeting of the two societies? The proposition was accepted. The meeting was duly heralded by public announcement, and the room was crowded to suffocation. The missionary appeared on the platform; he was hailed with enthusiasm. He repeated a dialogue he had heard between two negroes behind a hedge, on the subject of distribution societies; he approbation was tumultuous. He gave an imitation of the two negroes in broken English; the roof was rent with applause. From that period we date (with one trifling exception) a daily increase in the popularity of the Distribution Society—an increase of popularity which the feeble and impotent opposition of the examination party has only tended to augment. Now, the great points about the Child-bed Linen Monthly Loan Society are, that it is less dependent on the fluctuations of public opinion than either the distribution or the child’s examination, and that come what may, there is never any lack of objects on which to exercise its benevolence. Our parish is a very populous one, and if anything, contributes, we should be disposed to say, rather more than its due share to the aggregate amount of births in the metropolis and its environs. The consequence is, that the Monthly Loan Society flourishes, and invests its members with a most enviable amount of bustling patronage. The society (whose only notion of dividing time, would appear to be its allotment into months) holds monthly tea-drinkings, at which the monthly report is received, a secretary elected for the month ensuing, and such of the monthly boxes as may not happen to be out on loan for the month, carefully examined. We were never present at one of these meetings, from all of which it is scarcely necessary to say, gentlemen are carefully excluded; but Mr. Bung has been called before the Board once or twice; and we have his authority for stating that its proceedings are conducted with great order and regularity, not more than four members being allowed to speak at one time on any pretence whatever. The regular committee is composed exclusively of married ladies, but a vast number of young unmarried ladies of from 18 to 25 years of age, respectively, are admitted as honorary members; partly because they are very useful in replenishing the boxes, and visiting the confined; partly because it is highly desirable that they should be initiated, at an early period, into the more serious and matronly duties of after life; and partly because prudent mammas have not unfrequently been known to turn this circumstance to wonderfully good account in matrimonial speculations. In addition to the loan of the monthly boxes (which are always painted blue, with the name of the society in large white letters on the lid), the society dispense occasional grants of beef tea, and a composition of warm beer, spice, eggs, and sugar, commonly known by the name of "caudle," to its patients. And here again the services of the honorary members are called into requisition, and most cheerfully conceded. Deputations of twos or threes are sent out to visit the patients, and on these occasions there is such a tasting of caudle and beef tea, such a stirring about of little messes in tiny saucepans on the hob, such a dressing and undressing of infants, such a tying and folding, and pinning, such a nursing and warming of little legs and feet before the fire, such a delightful confusion of talking and cooking, bustle, importance, and officiousness, as never can be enjoyed in its full extent but on similar occasions. In rivalry of these two institutions, and as a last expiring effort to acquire parochial popularity, the child’s examination people determined, the other day on having a grand public examination of the pupils; and the large school-room of the national seminary was, by and with the consent of the parish authorities, devoted to the purpose. Invitation circulars were forwarded to all the principal parishioners, including, of course, the heads of the other two societies, for whose especial behoof and edification the display was intended; and a large audience was confidently anticipated on the occasion. The floor was carefully scrubbed the day before, under the immediate superintendence of the three Miss Browns; forms were placed across the room for the accommodation of the visitors; specimens in writing were carefully selected, and as carefully patched and touched up, until they astonished the children who had written them, rather more than the company who read them; sums in compound addition were re-hearsed and re-hearsed until all the children had the totals by heart; and the preparations altogether were on the most laborious and most comprehensive scale. The morning arrived, the children were yellow-soaped, and flannelled, and towelled, 'til their faces shone again; every pupil’s hair was carefully combed into his or her eyes, as the case might be; the girls were adorned with snow-white tippets, and caps bound round the head by a single purple ribbon: the necks of the elder boys were fixed into collars of startling dimensions. The doors were thrown open and the Miss Browns and Co. were discovered in plain white muslin dresses and caps of the same —the child’s examination uniform. The room filled; the greetings of the company were loud and cordial; the distributionists trembled, for their popularity was at stake. The eldest boy fell forward, and delivered a propitiatory address from behind his collar. It was from the pen of Mr. Henry Brown; the applause was universal, and the Johnson Parkers were aghast. The examination proceeded with success, and terminated in triumph. The Child’s Examination Society gained a momentary victory, and the Johnson Parkers retreated in despair. A secret council of the distributionists was held that night—Mrs. Johnson Parker in the Chair—to consider of the best means of recovering the ground they had lost in the favour of the parish. What could be done? Another meeting! alas! who was to attend it? The Missionary would not do twice; and the slaves were emancipated. A bold step must be taken; the parish must be astonished in some way or other; but no one was able to suggest what the step should be. At length a very old lady was heard to mumble in indistinct tones, "Exeter Hall." A sudden light broke in upon the meeting. It was unanimously resolved that a deputation of old ladies should wait upon Mr. Somebody O'Something, a celebrated Catholic renegade and Protestant bigot, imploring his assistance, and the favour of a speech; and that the deputation should also wait on two or three other imbecile old women, not resident in the parish, and entreat their attendance. The application was successful; the meeting was held; the Irishman came: he talked of green isles - other shores—vast Atlantic—bosom of the deep—Christian charity—blood and extermination—mercy in hearts—arms in hands—altars and homes—household gods—wiped his eyes, blew his nose, and quoted Latin. The effect was tremendous—the Latin was a decided hit. Nobody knew exactly what it was about, but everybody knew it must be affecting, because even the orator was overcome. The popularity of the Distribution Society among the ladies of our parish is unprecedented; and the Child’s Examination is fast going to decay. [To be continued]. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-08-20_The_Evening_Chronicle_Sketches_of_London_NoXX_Our_ParishV.xml" target="_blank" rel="noopener">'Sketches of London, No. XX, Our Parish' (V). The Evening Chronicle (20 August 1835).</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'Sketches of London, No. XX, Our Parish' (V) Description An account of the resource Published in The Evening Chronicle (20 August 1835). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350820/022/0003" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350820/022/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-08-20 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-08-20_The_Evening_Chronicle_Sketches_of_London_NoXX_Our_ParishV Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Sketches of London, No. XX, Our Parish' (V) (20 August 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/short-stories/1835-08-20_The_Evening_Chronicle_Sketches_of_London_NoXX_Our_ParishV">https://dickenssearch.com/short-stories/1835-08-20_The_Evening_Chronicle_Sketches_of_London_NoXX_Our_ParishV</a>. Scripto Transcription A written representation of a document. Our Parish is very prolific in ladies’ charitable societies. In winter, when wet feet are common and colds not scarce, we have the ladies’ soup distribution society, the ladies’ coal distribution society, and the ladies’ blanket distribution society; in summer, when stone fruits flourish and stomach-aches prevail, we have the ladies’ dispensary, and the ladies’ sick visitation committee; and all the year round we have the ladies’ child’s examination society, the ladies’ bible and prayer-book circulation society, and the ladies’ child-bed linen monthly loan society. The two latter are decidedly the most important; whether they are productive of more benefit than the rest is not for us to say, but we can take upon ourselves to affirm, with the utmost solemnity, that they create a greater stir and more bustle than all the others put together. We should be disposed to say, on the first blush of the matter, that the bible and prayer-book society is not so popular as the child-bed linen society; the bible and prayer-book society has, however, considerably increased in importance within the last year or two; having derived some adventitious aid from the factious opposition of the child’s examination society, which factious opposition originated in manner following:—When the young curate was popular, and all the unmarried ladies in the parish took a serious turn, the charity children all at once became objects of peculiar and especial interest. The three Miss Browns (enthusiastic admirers of the curate) taught, and exercised, and examined, and re-examined the unfortunate children, until the boys grew pale, and the girls consumptive with study and fatigue. The three Miss Browns stood it out very well, because they relieved each other; but the children, having no relief at all, exhibited decided symptoms of weariness and care. The unthinking part of the parishioners laughed at all this, but the more reflective portion of the inhabitants abstained from expressing any opinion on the subject until that of the curate had been clearly ascertained. The opportunity was not long wanting. The curate preached a charity sermon on behalf of the charity school; and in the charity sermon aforesaid, expatiated in glowing terms on the praiseworthy and indefatigable exertions of certain estimable individuals. Sobs were heard to issue from the three Miss Browns’ pew; the pew opener of the division was seen to hurry down the centre aisle to the vestry door, and to return immediately, bearing a glass of water in her hand; a low moaning ensued; two more pew openers rushed to the spot, and the three Miss Browns, each supported by a pew opener, were led out of the church, and led in again after a lapse of five minutes with white pocket handkerchiefs to their eyes, as if they had been attending a funeral in the churchyard adjoining. If any doubt had for a moment existed, as to whom the allusion was intended to apply, it was at once removed. The wish to enlighten the charity children became universal, and the three Miss Browns were unanimously besought to divide the school into classes, and to assign each class to the superintendence of two young ladies. A little learning is a dangerous thing, but a little patronage is more so: the three Miss Browns appointed all the old maids, and carefully excluded the young ones. Maiden aunts triumphed: mammas were reduced to the lowest depths of despair; & there is no telling in what act of violence the general indignation against the three Miss Browns might have vented itself, had not a perfectly providential occurrence changed the tide of public feeling. Mrs. Johnson Parker, the mother of seven extremely fine girls—all unmarried—hastily reported to several other mamma's of several other unmarried families, that five old men, six old women, and children innumerable, in the free seats near her pew, were in the habit of coming to church every Sunday without either bible or prayer-book. Was this to be borne in a civilized country? Could such things be tolerated in a christian land? Never! A Ladies’ Bible and Prayer-book Distribution Society was instantly formed: President, Mrs. Johnson Parker; treasurers, auditors, and secretary, the Misses Johnson Parker: subscriptions were entered into; books were bought, all the free seat people provided therewith; and when the first lesson was given out on the first Sunday succeeding these events, there was such a dropping of books, and rustling of leaves, that it was morally impossible to hear one word of the service for five minutes afterwards. The three Miss Browns and their party saw the approaching danger, and endeavoured to avert it by ridicule and sarcasm. Neither the old men nor the old women could read their books now they had got em, said the three Miss Browns. Never mind; they could learn, replied Mrs. Johnson Parker. The children couldn’t read either, suggested the three Miss Browns. No matter; they could be taught, retorted Mrs. Johnson Parker. A balance of parties took place. The Miss Browns publicly examined—popular feeling inclined to the child’s examination society. The Miss Johnson Parkers' publicly distributed—a re-action took place in favour of the prayer-book distribution. A feather would have turned the scale, and a feather did turn it. A missionary returned from the West Indies; he was to be presented to the Dissenters’ Distribution Society on his marriage with a wealthy widow. Overtures were made to the Dissenters by the Johnson Parkers. Their object was the same, and why not have a joint meeting of the two societies? The proposition was accepted. The meeting was duly heralded by public announcement, and the room was crowded to suffocation. The missionary appeared on the platform; he was hailed with enthusiasm. He repeated a dialogue he had heard between two negroes behind a hedge, on the subject of distribution societies; he approbation was tumultuous. He gave an imitation of the two negroes in broken English; the roof was rent with applause. From that period we date (with one trifling exception) a daily increase in the popularity of the Distribution Society—an increase of popularity which the feeble and impotent opposition of the examination party has only tended to augment. Now, the great points about the Child-bed Linen Monthly Loan Society are, that it is less dependent on the fluctuations of public opinion than either the distribution or the child’s examination, and that come what may, there is never any lack of objects on which to exercise its benevolence. Our parish is a very populous one, and if anything, contributes, we should be disposed to say, rather more than its due share to the aggregate amount of births in the metropolis and its environs. The consequence is, that the Monthly Loan Society flourishes, and invests its members with a most enviable amount of bustling patronage. The society (whose only notion of dividing time, would appear to be its allotment into months) holds monthly tea-drinkings, at which the monthly report is received, a secretary elected for the month ensuing, and such of the monthly boxes as may not happen to be out on loan for the month, carefully examined. We were never present at one of these meetings, from all of which it is scarcely necessary to say, gentlemen are carefully excluded; but Mr. Bung has been called before the Board once or twice; and we have his authority for stating that its proceedings are conducted with great order and regularity, not more than four members being allowed to speak at one time on any pretence whatever. The regular committee is composed exclusively of married ladies, but a vast number of young unmarried ladies of from 18 to 25 years of age, respectively, are admitted as honorary members; partly because they are very useful in replenishing the boxes, and visiting the confined; partly because it is highly desirable that they should be initiated, at an early period, into the more serious and matronly duties of after life; and partly because prudent mammas have not unfrequently been known to turn this circumstance to wonderfully good account in matrimonial speculations. In addition to the loan of the monthly boxes (which are always painted blue, with the name of the society in large white letters on the lid), the society dispense occasional grants of beef tea, and a composition of warm beer, spice, eggs, and sugar, commonly known by the name of "caudle," to its patients. And here again the services of the honorary members are called into requisition, and most cheerfully conceded. Deputations of twos or threes are sent out to visit the patients, and on these occasions there is such a tasting of caudle and beef tea, such a stirring about of little messes in tiny saucepans on the hob, such a dressing and undressing of infants, such a tying and folding, and pinning, such a nursing and warming of little legs and feet before the fire, such a delightful confusion of talking and cooking, bustle, importance, and officiousness, as never can be enjoyed in its full extent but on similar occasions. In rivalry of these two institutions, and as a last expiring effort to acquire parochial popularity, the child’s examination people determined, the other day on having a grand public examination of the pupils; and the large school-room of the national seminary was, by and with the consent of the parish authorities, devoted to the purpose. Invitation circulars were forwarded to all the principal parishioners, including, of course, the heads of the other two societies, for whose especial behoof and edification the display was intended; and a large audience was confidently anticipated on the occasion. The floor was carefully scrubbed the day before, under the immediate superintendence of the three Miss Browns; forms were placed across the room for the accommodation of the visitors; specimens in writing were carefully selected, and as carefully patched and touched up, until they astonished the children who had written them, rather more than the company who read them; sums in compound addition were re-hearsed and re-hearsed until all the children had the totals by heart; and the preparations altogether were on the most laborious and most comprehensive scale. The morning arrived, the children were yellow-soaped, and flannelled, and towelled, 'til their faces shone again; every pupil’s hair was carefully combed into his or her eyes, as the case might be; the girls were adorned with snow-white tippets, and caps bound round the head by a single purple ribbon: the necks of the elder boys were fixed into collars of startling dimensions. The doors were thrown open and the Miss Browns and Co. were discovered in plain white muslin dresses and caps of the same —the child’s examination uniform. The room filled; the greetings of the company were loud and cordial; the distributionists trembled, for their popularity was at stake. The eldest boy fell forward, and delivered a propitiatory address from behind his collar. It was from the pen of Mr. Henry Brown; the applause was universal, and the Johnson Parkers were aghast. The examination proceeded with success, and terminated in triumph. The Child’s Examination Society gained a momentary victory, and the Johnson Parkers retreated in despair. A secret council of the distributionists was held that night—Mrs. Johnson Parker in the Chair—to consider of the best means of recovering the ground they had lost in the favour of the parish. What could be done? Another meeting! alas! who was to attend it? The Missionary would not do twice; and the slaves were emancipated. A bold step must be taken; the parish must be astonished in some way or other; but no one was able to suggest what the step should be. At length a very old lady was heard to mumble in indistinct tones, "Exeter Hall." A sudden light broke in upon the meeting. It was unanimously resolved that a deputation of old ladies should wait upon Mr. Somebody O'Something, a celebrated Catholic renegade and Protestant bigot, imploring his assistance, and the favour of a speech; and that the deputation should also wait on two or three other imbecile old women, not resident in the parish, and entreat their attendance. The application was successful; the meeting was held; the Irishman came:  he talked of green isles - other shores—vast Atlantic—bosom of the deep—Christian charity—blood and extermination—mercy in hearts—arms in hands—altars and homes—household gods—wiped his eyes, blew his nose, and quoted Latin. The effect was tremendous—the Latin was a decided hit. Nobody knew exactly what it was about, but everybody knew it must be affecting, because even the orator was overcome. The popularity of the Distribution Society among the ladies of our parish is unprecedented; and the Child’s Examination is fast going to decay. [To be continued]. https://www.dickenssearch.com/files/original/5/Street_Sketches_No._I_Omnibuses/1834-09-26-Street_Sketches_No1_Omnibuses.pdf b902685245521b5789772d5c915716c3 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. 18340926 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. It is very generally allowed that public conveyances afford an extensive field for amusement and observation. Of all the public conveyances that have been constructed since the days of the Ark—we think that is the earliest on record—to the present time, commend us to an omnibus. A long stage is not to be despised; but there you have only six insides, and the chances are, that the same people go all the way with you—there is no change, no variety. Besides, after the first twelve hours or so people get cross and sleepy, and after you have seen a man in his nightcap you lose all respect for him—at least that it is the case with us. Then on smooth roads people frequently get prosy, and tell long stories, and even those who don't talk may have very unpleasant predilections. We once travelled four hundred miles, inside a stage-coach with a stout man who had a glass of rum and water, warm, handed in at the window at every place where we changed horses. This was decidedly unpleasant. We have also travelled occasionally with a small boy of a pale aspect with light hair, and no perceptible neck, coming up to town from school under the protection of the guard, and directed to be left at the Cross Keys till called for. This is perhaps even worse than rum and water in a close atmosphere. Then there is the whole train of evils consequent on a change of the coachman; and the misery of the discovery—which the guard is sure to make the moment you begin to doze—that he wants a brown-paper parcel, which he distinctly remembers to have deposited under the seat on which you are reposing. A great deal of bustle and groping takes place, and when you are thoroughly awakened, and severely cramped by holding your legs up by an almost supernatural exertion while he is looking behind them, it suddenly occurs to him that he put it in the fore-boot. Bang goes the door, the parcel is immediately found, off starts the coach again, and the guard plays the key-bugle as loud as he can play it, as if in mockery of your wretchedness. Now you meet with none of these afflictions in an omnibus: sameness there can never be; the passengers change as often in the course of one journey as the figures in a kaleidoscope, and though not so glittering, are far more amusing. We believe there is no instance upon record of a man's having gone to sleep in one of these vehicles. As to long stories; would any man venture to tell a long story in an omnibus? And even if he did, where would be the harm? Nobody could possibly hear what he was talking about. Again; children, though occasionally, are not often to be found in an omnibus, and even when they are, if the vehicle be full, as is generally the case, somebody sits upon them, and we are unconscious of their presence. Yes, after mature reflection, and considerable experience, we are decidedly of opinion that of all known vehicles, from the glass coach in which we were taken to be christened, to that sombre caravan in which we must one day make our last earthly journey, there is nothing like an omnibus. We will back the machine in which we make our daily peregrination from the top of Oxford-street to the City, against any "bus" on the road, whether it be for the gaudiness of its exterior, the perfect simplicity of its interior, or the native coolness of its cad. This young gentleman is a singular instance of self-devotion; his somewhat intemperate zeal on behalf of his employers, is constantly getting him into trouble, and occasionally into the House of Correction. He is no sooner emancipated, however, than he resumes the duties of his profession with unabated ardour. His principal distinction is his activity. His great boast is, "that he can chuck an old gen'lm'n into the bus, shut him in, and rattle off, afore he knows where it's a-going to"—a feat which he frequently performs to the infinite amusement of every one but the old gentleman concerned, who, somehow or other, never can see the joke of the thing. We are not aware that it has ever been precisely ascertained, how many passengers our omnibus will contain. The impression on the cad's mind evidently is, that it is amply sufficient for the accommodation of any number of persons that can be enticed into it. "Any room?" cries a very hot pedestrian. "Plenty o' room, sir," replies the conductor, gradually opening the door, and not disclosing the real state of the case till the wretched man is on the steps. "Where?" inquires the entrapped individual, with an attempt to back out again. "Either side, sir," rejoins the cad, shoving him in, and slamming the door. "All right, Bill." Retreat is impossible; the new comer rolls about, till he falls down somewhere, and there he stops. As we get into the city, a little before ten, four or five of our party are regular passengers. We always take them up at the same places, and they generally occupy the same seats; they are always dressed in the same manner, and invariably discuss the same topics—the increasing rapidity of cabs, and the disregard of moral obligations evinced by omnibus men. There is a little testy old man, with a powdered head, who always sits on the right-hand side of the door as you enter, with his hands folded on the top of his umbrella. He is extremely impatient, and sits there for the purpose of keeping a sharp eye on the cad, with whom he generally holds a running dialogue. He is very officious in helping people in and out, and always volunteers to give the cad a poke with his umbrella, when any one wants to alight. He usually recommends ladies to have sixpence ready to prevent delay; and if anybody puts a window down, that he can reach, he immediately puts it up again. "Now, what are you stopping for?" says the little man every morning, the moment there is the slightest indication of pulling up at the corner of Regent-street, when some such dialogue as the following takes place between him and the cad:—"What are you stopping for?" Here the cad whistles, and affects not to hear the question. "I say [a poke], what are you stopping for?" "For passengers, sir. Ba—nk.—Ty." "I know you're stopping for passengers; but you've no business to do so. Why are you stopping?" "Vy, sir, it's rayther a difficult question. I think it is because we prefer stopping here to going on." "Now mind," exclaims the little old man with great vehemence, "I'll pull you up to-morrow; I've often threatened to do it; now I will." "Thankee, sir," replies the cad, touching his hat with a mock expression of gratitude;—"werry much obliged to you indeed, sir." Here the young men in the omnibus laugh very heartily, and the old gentleman gets very red in the face, and seems highly exasperated. The stout gentleman in the white neckcloth, at the other end of the vehicle, looks very prophetic, and says that something must shortly be done with these fellows, or there's no saying where all this will end; and the shabby-genteel man with the green bag, expresses his entire concurrence in the opinion, as he has done regularly every morning for the last six months. A second omnibus now comes up, and stops immediately behind us. Another old gentleman elevates his cane in the air, and runs with all his might towards our omnibus; we watch his progress with great interest; the door is opened to receive him, he suddenly disappears—he has been spirited away by the opposition. Hereupon the driver of the opposition taunts our people with his having "regularly done 'em out of that old swell," and the voice of the "old swell" is heard, vainly protesting against this unlawful detention. We rattle off, the other omnibus rattles after us, and every time we stop to take up a passenger, they stop to take him too; sometimes we get him; sometimes they get him; but whoever don't get him say they ought to have had him, and the cads of the respective vehicles abuse one another accordingly. As we arrive in the vicinity of Lincoln's Inn-fields, Bedford-row, and other legal haunts, we drop a great many of our original passengers, and take up fresh ones, who meet with a very sulky reception. It is rather remarkable, that the people already in an omnibus always look at new comers, as if they entertained some undefined idea that they have no business to come in at all. We are quite persuaded the little old man has some notion of this kind—that he considers their entry as a sort of negative impertinence. Conversation is now entirely dropped; each person gazes vacantly through the window in front of him, and everybody thinks that his opposite neighbour is staring at him. If one man gets out at Shoe-lane and another at the corner of Farringdon-street, the little old gentleman grumbles, and suggests to the latter that if he had got out at Shoo-lane too, he would have saved them the delay of another stoppage; whereupon the young men laugh again, and the old gentleman looks very solemn, and says nothing more till he gets to the Bank, when he trots off as fast as he can, leaving us to do the same, and to wish, as we walk away, that we could impart to others any portion of the amusement we have derived for ourselves. 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 'Street Sketches, No. I, Omnibuses' Description An account of the resource Published in The Morning Chronicle (26 September 1834), 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/0000082/18340926/016/0003">https://www.britishnewspaperarchive.co.uk/viewer/bl/0000082/18340926/016/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 18340926 Type The nature or genre of the resource Short story Identifier An unambiguous reference to the resource within a given context 1834-09-26-Street_Sketches_No1_Omnibuses 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. 'Street Sketches, No. I, Omnibuses' (26 September 1834). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1834-09-26-Street_Sketches_No1_Omnibuses">https://www.dickenssearch.com/short-stories/1834-09-26-Street_Sketches_No1_Omnibuses</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. It is very generally allowed that public conveyances afford an extensive field for amusement and observation. Of all the public conveyances that have been constructed since the days of the Ark—we think that is the earliest on record—to the present time, commend us to an omnibus. A long stage is not to be despised; but there you have only six insides, and the chances are, that the same people go all the way with you—there is no change, no variety. Besides, after the first twelve hours or so people get cross and sleepy, and after you have seen a man in his nightcap you lose all respect for him—at least that it is the case with us. Then on smooth roads people frequently get prosy, and tell long stories, and even those who don't talk may have very unpleasant predilections. We once travelled four hundred miles, inside a stage-coach with a stout man who had a glass of rum and water, warm, handed in at the window at every place where we changed horses. This was decidedly unpleasant. We have also travelled occasionally with a small boy of a pale aspect with light hair, and no perceptible neck, coming up to town from school under the protection of the guard, and directed to be left at the Cross Keys till called for. This is perhaps even worse than rum and water in a close atmosphere. Then there is the whole train of evils consequent on a change of the coachman; and the misery of the discovery—which the guard is sure to make the moment you begin to doze—that he wants a brown-paper parcel, which he distinctly remembers to have deposited under the seat on which you are reposing. A great deal of bustle and groping takes place, and when you are thoroughly awakened, and severely cramped by holding your legs up by an almost supernatural exertion while he is looking behind them, it suddenly occurs to him that he put it in the fore-boot. Bang goes the door, the parcel is immediately found, off starts the coach again, and the guard plays the key-bugle as loud as he can play it, as if in mockery of your wretchedness. Now you meet with none of these afflictions in an omnibus: sameness there can never be; the passengers change as often in the course of one journey as the figures in a kaleidoscope, and though not so glittering, are far more amusing. We believe there is no instance upon record of a man's having gone to sleep in one of these vehicles. As to long stories; would any man venture to tell a long story in an omnibus? And even if he did, where would be the harm? Nobody could possibly hear what he was talking about. Again; children, though occasionally, are not often to be found in an omnibus, and even when they are, if the vehicle be full, as is generally the case, somebody sits upon them, and we are unconscious of their presence. Yes, after mature reflection, and considerable experience, we are decidedly of opinion that of all known vehicles, from the glass coach in which we were taken to be christened, to that sombre caravan in which we must one day make our last earthly journey, there is nothing like an omnibus. We will back the machine in which we make our daily peregrination from the top of Oxford-street to the City, against any "bus" on the road, whether it be for the gaudiness of its exterior, the perfect simplicity of its interior, or the native coolness of its cad. This young gentleman is a singular instance of self-devotion; his somewhat intemperate zeal on behalf of his employers, is constantly getting him into trouble, and occasionally into the House of Correction. He is no sooner emancipated, however, than he resumes the duties of his profession with unabated ardour. His principal distinction is his activity. His great boast is, "that he can chuck an old gen'lm'n into the bus, shut him in, and rattle off, afore he knows where it's a-going to"—a feat which he frequently performs to the infinite amusement of every one but the old gentleman concerned, who, somehow or other, never can see the joke of the thing. We are not aware that it has ever been precisely ascertained, how many passengers our omnibus will contain. The impression on the cad's mind evidently is, that it is amply sufficient for the accommodation of any number of persons that can be enticed into it. "Any room?" cries a very hot pedestrian. "Plenty o' room, sir," replies the conductor, gradually opening the door, and not disclosing the real state of the case till the wretched man is on the steps. "Where?" inquires the entrapped individual, with an attempt to back out again. "Either side, sir," rejoins the cad, shoving him in, and slamming the door. "All right, Bill." Retreat is impossible; the new comer rolls about, till he falls down somewhere, and there he stops. As we get into the city, a little before ten, four or five of our party are regular passengers. We always take them up at the same places, and they generally occupy the same seats; they are always dressed in the same manner, and invariably discuss the same topics—the increasing rapidity of cabs, and the disregard of moral obligations evinced by omnibus men. There is a little testy old man, with a powdered head, who always sits on the right-hand side of the door as you enter, with his hands folded on the top of his umbrella. He is extremely impatient, and sits there for the purpose of keeping a sharp eye on the cad, with whom he generally holds a running dialogue. He is very officious in helping people in and out, and always volunteers to give the cad a poke with his umbrella, when any one wants to alight. He usually recommends ladies to have sixpence ready to prevent delay; and if anybody puts a window down, that he can reach, he immediately puts it up again. "Now, what are you stopping for?" says the little man every morning, the moment there is the slightest indication of pulling up at the corner of Regent-street, when some such dialogue as the following takes place between him and the cad:— "What are you stopping for?" Here the cad whistles, and affects not to hear the question. "I say [a poke], what are you stopping for?" "For passengers, sir. Ba—nk.—Ty." "I know you're stopping for passengers; but you've no business to do so. Why are you stopping?" "Vy, sir, it's rayther a difficult question. I think it is because we prefer stopping here to going on." "Now mind," exclaims the little old man with great vehemence, "I'll pull you up to-morrow; I've often threatened to do it; now I will." "Thankee, sir," replies the cad, touching his hat with a mock expression of gratitude;—"werry much obliged to you indeed, sir." Here the young men in the omnibus laugh very heartily, and the old gentleman gets very red in the face, and seems highly exasperated. The stout gentleman in the white neckcloth, at the other end of the vehicle, looks very prophetic, and says that something must shortly be done with these fellows, or there's no saying where all this will end; and the shabby-genteel man with the green bag, expresses his entire concurrence in the opinion, as he has done regularly every morning for the last six months. A second omnibus now comes up, and stops immediately behind us. Another old gentleman elevates his cane in the air, and runs with all his might towards our omnibus; we watch his progress with great interest; the door is opened to receive him, he suddenly disappears—he has been spirited away by the opposition. Hereupon the driver of the opposition taunts our people with his having "regularly done 'em out of that old swell," and the voice of the "old swell" is heard, vainly protesting against this unlawful detention. We rattle off, the other omnibus rattles after us, and every time we stop to take up a passenger, they stop to take him too; sometimes we get him; sometimes they get him; but whoever don't get him say they ought to have had him, and the cads of the respective vehicles abuse one another accordingly. As we arrive in the vicinity of Lincoln's Inn-fields, Bedford-row, and other legal haunts, we drop a great many of our original passengers, and take up fresh ones, who meet with a very sulky reception. It is rather remarkable, that the people already in an omnibus always look at new comers, as if they entertained some undefined idea that they have no business to come in at all. We are quite persuaded the little old man has some notion of this kind—that he considers their entry as a sort of negative impertinence. Conversation is now entirely dropped; each person gazes vacantly through the window in front of him, and everybody thinks that his opposite neighbour is staring at him. If one man gets out at Shoe-lane and another at the corner of Farringdon-street, the little old gentleman grumbles, and suggests to the latter that if he had got out at Shoo-lane too, he would have saved them the delay of another stoppage; whereupon the young men laugh again, and the old gentleman looks very solemn, and says nothing more till he gets to the Bank, when he trots off as fast as he can, leaving us to do the same, and to wish, as we walk away, that we could impart to others any portion of the amusement we have derived for ourselves. https://www.dickenssearch.com/files/original/5/Street_Sketches_No._II_Shops_and_Their_Tenants/1834-10-10-Street_Sketches_No2_Shops_and_Their_Tenants.pdf 111cfd4a4e234de6dd8b60151d1d9b23 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. 18341010 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. What inexhaustible food for speculation do the streets of London afford! We never were able to agree with Sterne in pitying the man who could travel from Dan to Beersheba, and say that all was barren; we have not the slightest commiseration for the man who can take up his hat and stick, and walk from Covent-garden to St. Paul’s Church-yard, and back into the bargain, without deriving some amusement—we had almost said instruction—from his perambulation. And yet there are such beings: we meet them every day. Large black stocks and light waistcoats—jet canes and discontented countenances, are the characteristics of the race; other people brush quickly by you, steadily plodding on to business, or cheerfully running after pleasure; these men linger listlessly past, looking as happy and animated as a policeman on duty; nothing seems to make an impression on their minds: nothing short of being knocked down by a porter, or run over by a cab, will disturb their equanimity. You will meet them on a fine day in any of the leading thoroughfares: peep through the window of a west-end cigar-shop in the evening, if you can manage to get a glimpse between the blue curtains which intercept the vulgar gaze, and you see them in their only enjoyment of existence. There they are, lounging about on round tubs, and pipe-boxes, in all the dignity of whiskers, and gilt watch-guards; whispering soft nothings to the young lady in amber, with the large ear-rings, who, as she sits behind the counter in a blaze of adoration and gas-light, is the admiration of all the female servants in the neighbourhood; and the envy of every milliner’s apprentice within two miles round. One of our principal amusements is to watch the gradual progress—the rise or fall—of particular shops. We have formed an intimate acquaintance with several, in different parts of town, and are perfectly acquainted with their whole history. We could name off-hand, twenty at least, which we are quite sure have paid no taxes for the last six years. They are never inhabited for more than two months consecutively, and we verily believe have witnessed every retail trade in the directory. There is one, whose history is a sample of the rest, in whose fate we have taken especial interest, having had the pleasure of knowing it ever since it has been a shop. It is on the Surrey side of the water—a little distance beyond the Marsh-gate. It was, originally, a substantial good-looking private house enough; the landlord got into difficulties; the house got into Chancery; the tenant went away; and the house went to ruin. At this period our acquaintance with it commenced: the paint was all worn off; the windows were broken, the area was green with neglect and the overflowings of the water-butt; the butt itself was without a lid, and the street-door was the very picture of misery. The chief pastime of the children in the vicinity had been to assemble in a body on the steps, and take it in turn to knock loud double knocks at the door, to the great satisfaction of the neighbours generally, and especially of the nervous old lady next door but one. Numerous complaints were made, and several small basins of water discharged over the offenders, but without effect; in this state of things the marine-store dealer at the corner of the street, in the most obliging manner, took the knocker off, and sold it; and the unfortunate house looked more wretched than ever. We deserted our friend for a few weeks. What was our surprize, on our return, to find no trace of its existence! In its place was a handsome shop, fast approaching to a state of completion, and on the shutters were large bills, informing the public that it would shortly be opened with "an extensive stock of linen-drapery and haberdashery." It opened in due course; there was the name of the proprietor "and co." in gilt letters, almost too dazzling to look at. Such ribbons and shawls! and two such elegant young men behind the counter, each in a clean collar and white neck-cloth, like the lover in a farce. As to the proprietor, he did nothing but walk up and down the shop, and hand seats to the ladies, and hold important conversations with the handsomest of the young men, who was shrewdly suspected by the neighbours to be the "co." We saw all this with sorrow; we felt a fatal presentiment that the shop was doomed—and so it was. Its decay was gradual, but sure. Tickets gradually appeared in the windows; then, rolls of flannel, with labels on them, were stuck outside the door; then a bill was pasted on the street-door, intimating that the first-floor was to let unfurnished; then one of the young men disappeared altogether, and the other took to a black neck-kerchief, and the proprietor took to drinking. The shop became dirty, broken panes of glass remained unmended, and the stock disappeared piecemeal. At last the Company’s man came to cut off the water, and then the linen-draper cut off himself, leaving the landlord his compliments and the key. The next occupant was a fancy stationer; the shop was more modestly painted than before, still it was neat; but somehow we always thought, as we passed, that it looked like a poor and struggling concern. We wished the man well, but we trembled for his success. He was a widower evidently, and had employment elsewhere; for he passed us every morning on his road to the city. The business was carried on by his eldest daughter. Poor girl! she needed no assistance. We occasionally caught a glimpse of two or three children, in mourning like herself, as they sat in the little parlour behind the shop; and we never passed at night without seeing the eldest girl at work, either for them, or in making some elegant little trifle for sale. We often thought, as her pale face looked more sad and pensive in the dim candle-light, that if those thoughtless females who interfere with the miserable market of poor creatures such as these, knew but one half of the misery they suffer, and the bitter privations they endure, in their honourable attempts to earn a scanty subsistence, they would, perhaps, resign even opportunities for the gratification of vanity and an unmodest love of self-display, rather than drive them to a last dreadful resource, which it would shock the delicate feelings of these charitable ladies to hear named. But we are forgetting the shop. Well, we continued to watch it; and every day showed too clearly, the increasing poverty of its inmates. The children were clean, it is true, but their clothes were threadbare and shabby; no tenant had been procured for the upper part of the house, from the letting of which, a portion of the means of paying the rent was to have been derived, and a slow, wasting consumption prevented the eldest girl from continuing her exertions. Quarter-day arrived; the landlord had suffered from the extravagance of his last tenant, and he had no compassion for the struggles of his successor; he put in an execution. As we passed one morning, the broker’s men were removing the little furniture there was in the house, and a newly posted bill informed us it was again "To Let." What became of the last tenant we never could learn, we believe the girl is past all suffering, and beyond all sorrow. God help her! We hope she is. We were somewhat curious to ascertain what would be the next stage—for that the place had no chance of succeeding now, was perfectly clear. The bill was soon taken down, and some alterations were being made in the interior of the shop, we were in a fever of expectation; we exhausted conjecture—we imagined all possible trades, none of which were perfectly reconcilable with our idea of the gradual decay of the tenement. It opened, and we wondered why we had not guessed at the real state of the case before. The shop—not a large one at the best of times, had been converted into two, one was a bonnet-shape maker’s, the other was opened by a tobacconist, who also dealt in walking-sticks, and Sunday newspapers; the two were separated by a thin partition, covered with tawdry striped paper. The tobacconist remained in possession longer than any tenant within our recollection. He was a red-faced, impudent, good-for-nothing dog, evidently accustomed to take things as they came, and to make the best of a bad job. He sold as many cigars as he could, and smoked the rest. He occupied the shop as long as he could make peace with the landlord, and when he could no longer live in quiet, he very coolly locked the door, and bolted himself. From this period the two little dens have undergone innumerable changes; the tobacconist was succeeded by a theatrical hair-dresser, who ornamented the window with a great variety of "characters," and terrific combats. The bonnet-shape maker gave place to a green-grocer, and the histrionic barber was succeeded in his turn by a tailor. So numerous have been the changes, that we have of late done little more than mark the peculiar but certain indications of a house being poorly inhabited; it has been progressing by almost imperceptible degrees. The occupiers of the shops have gradually given up room after room, until they have only reserved the little parlour for themselves. First there appeared a brass-plate on the private door with "Ladies School" legibly engraved thereon; shortly afterwards we observed a second brass-plate; then a bell, and then another bell. When we paused in front of our old friend, and observed these signs of poverty, which are not to be mistaken, we thought, as we turned away, that the house had attained its lowest pitch of degradation. We were wrong. When we last passed it, a "dairy" was established in the area, and a party of melancholy-looking fowls were amusing themselves by running in at the front door, and out at the back one. 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 'Street Sketches, No. II, Shops, and Their Tenants' Description An account of the resource Published in The Morning Chronicle (10 October 1834), 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/0000082/18341010/017/0003">https://www.britishnewspaperarchive.co.uk/viewer/bl/0000082/18341010/017/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1834-10-10 Type The nature or genre of the resource Short story Identifier An unambiguous reference to the resource within a given context 1834-10-10-Street_Sketches_No2_Shops_and_Their_Tenants 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. 'Street Sketches, No.II, Shops, and Their Tenants' (10 October 1834). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1834-10-10-Street_Sketches_No2_Shops_and_Their_Tenants">https://www.dickenssearch.com/short-stories/1834-10-10-Street_Sketches_No2_Shops_and_Their_Tenants</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. What inexhaustible food for speculation do the streets of London afford! We never were able to agree with Sterne in pitying the man who could travel from Dan to Beersheba, and say that all was barren; we have not the slightest commiseration for the man who can take up his hat and stick, and walk from Covent-garden to St. Paul’s Church-yard, and back into the bargain, without deriving some amusement—we had almost said instruction—from his perambulation. And yet there are such beings: we meet them every day. Large black stocks and light waistcoats—jet canes and discontented countenances, are the characteristics of the race; other people brush quickly by you, steadily plodding on to business, or cheerfully running after pleasure; these men linger listlessly past, looking as happy and animated as a policeman on duty; nothing seems to make an impression on their minds: nothing short of being knocked down by a porter, or run over by a cab, will disturb their equanimity. You will meet them on a fine day in any of the leading thoroughfares: peep through the window of a west-end cigar-shop in the evening, if you can manage to get a glimpse between the blue curtains which intercept the vulgar gaze, and you see them in their only enjoyment of existence. There they are, lounging about on round tubs, and pipe-boxes, in all the dignity of whiskers, and gilt watch-guards; whispering soft nothings to the young lady in amber, with the large ear-rings, who, as she sits behind the counter in a blaze of adoration and gas-light, is the admiration of all the female servants in the neighbourhood; and the envy of every milliner’s apprentice within two miles round. One of our principal amusements is to watch the gradual progress—the rise or fall—of particular shops. We have formed an intimate acquaintance with several, in different parts of town, and are perfectly acquainted with their whole history. We could name off-hand, twenty at least, which we are quite sure have paid no taxes for the last six years. They are never inhabited for more than two months consecutively, and we verily believe have witnessed every retail trade in the directory. There is one, whose history is a sample of the rest, in whose fate we have taken especial interest, having had the pleasure of knowing it ever since it has been a shop. It is on the Surrey side of the water—a little distance beyond the Marsh-gate. It was, originally, a substantial good-looking private house enough; the landlord got into difficulties; the house got into Chancery; the tenant went away; and the house went to ruin. At this period our acquaintance with it commenced: the paint was all worn off; the windows were broken, the area was green with neglect and the overflowings of the water-butt; the butt itself was without a lid, and the street-door was the very picture of misery. The chief pastime of the children in the vicinity had been to assemble in a body on the steps, and take it in turn to knock loud double knocks at the door, to the great satisfaction of the neighbours generally, and especially of the nervous old lady next door but one. Numerous complaints were made, and several small basins of water discharged over the offenders, but without effect; in this state of things the marine-store dealer at the corner of the street, in the most obliging manner, took the knocker off, and sold it; and the unfortunate house looked more wretched than ever. We deserted our friend for a few weeks. What was our surprize, on our return, to find no trace of its existence! In its place was a handsome shop, fast approaching to a state of completion, and on the shutters were large bills, informing the public that it would shortly be opened with "an extensive stock of linen-drapery and haberdashery." It opened in due course; there was the name of the proprietor "and co." in gilt letters, almost too dazzling to look at. Such ribbons and shawls! and two such elegant young men behind the counter, each in a clean collar and white neck-cloth, like the lover in a farce. As to the proprietor, he did nothing but walk up and down the shop, and hand seats to the ladies, and hold important conversations with the handsomest of the young men, who was shrewdly suspected by the neighbours to be the "co." We saw all this with sorrow; we felt a fatal presentiment that the shop was doomed—and so it was. Its decay was gradual, but sure. Tickets gradually appeared in the windows; then, rolls of flannel, with labels on them, were stuck outside the door; then a bill was pasted on the street-door, intimating that the first-floor was to let unfurnished; then one of the young men disappeared altogether, and the other took to a black neck-kerchief, and the proprietor took to drinking. The shop became dirty, broken panes of glass remained unmended, and the stock disappeared piecemeal. At last the Company’s man came to cut off the water, and then the linen-draper cut off himself, leaving the landlord his compliments and the key. The next occupant was a fancy stationer; the shop was more modestly painted than before, still it was neat; but somehow we always thought, as we passed, that it looked like a poor and struggling concern. We wished the man well, but we trembled for his success. He was a widower evidently, and had employment elsewhere; for he passed us every morning on his road to the city. The business was carried on by his eldest daughter. Poor girl! she needed no assistance. We occasionally caught a glimpse of two or three children, in mourning like herself, as they sat in the little parlour behind the shop; and we never passed at night without seeing the eldest girl at work, either for them, or in making some elegant little trifle for sale. We often thought, as her pale face looked more sad and pensive in the dim candle-light, that if those thoughtless females who interfere with the miserable market of poor creatures such as these, knew but one half of the misery they suffer, and the bitter privations they endure, in their honourable attempts to earn a scanty subsistence, they would, perhaps, resign even opportunities for the gratification of vanity and an unmodest love of self-display, rather than drive them to a last dreadful resource, which it would shock the delicate feelings of these charitable ladies to hear named. But we are forgetting the shop. Well, we continued to watch it; and every day showed too clearly, the increasing poverty of its inmates. The children were clean, it is true, but their clothes were threadbare and shabby; no tenant had been procured for the upper part of the house, from the letting of which, a portion of the means of paying the rent was to have been derived, and a slow, wasting consumption prevented the eldest girl from continuing her exertions. Quarter-day arrived; the landlord had suffered from the extravagance of his last tenant, and he had no compassion for the struggles of his successor; he put in an execution. As we passed one morning, the broker’s men were removing the little furniture there was in the house, and a newly posted bill informed us it was again "To Let." What became of the last tenant we never could learn, we believe the girl is past all suffering, and beyond all sorrow. God help her! We hope she is. We were somewhat curious to ascertain what would be the next stage—for that the place had no chance of succeeding now, was perfectly clear. The bill was soon taken down, and some alterations were being made in the interior of the shop, we were in a fever of expectation; we exhausted conjecture—we imagined all possible trades, none of which were perfectly reconcilable with our idea of the gradual decay of the tenement. It opened, and we wondered why we had not guessed at the real state of the case before. The shop—not a large one at the best of times, had been converted into two, one was a bonnet-shape maker’s, the other was opened by a tobacconist, who also dealt in walking-sticks, and Sunday newspapers; the two were separated by a thin partition, covered with tawdry striped paper. The tobacconist remained in possession longer than any tenant within our recollection. He was a red-faced, impudent, good-for-nothing dog, evidently accustomed to take things as they came, and to make the best of a bad job. He sold as many cigars as he could, and smoked the rest. He occupied the shop as long as he could make peace with the landlord, and when he could no longer live in quiet, he very coolly locked the door, and bolted himself. From this period the two little dens have undergone innumerable changes; the tobacconist was succeeded by a theatrical hair-dresser, who ornamented the window with a great variety of "characters," and terrific combats. The bonnet-shape maker gave place to a green-grocer, and the histrionic barber was succeeded in his turn by a tailor. So numerous have been the changes, that we have of late done little more than mark the peculiar but certain indications of a house being poorly inhabited; it has been progressing by almost imperceptible degrees. The occupiers of the shops have gradually given up room after room, until they have only reserved the little parlour for themselves. First there appeared a brass-plate on the private door with "Ladies School" legibly engraved thereon; shortly afterwards we observed a second brass-plate; then a bell, and then another bell. When we paused in front of our old friend, and observed these signs of poverty, which are not to be mistaken, we thought, as we turned away, that the house had attained its lowest pitch of degradation. We were wrong. When we last passed it, a "dairy" was established in the area, and a party of melancholy-looking fowls were amusing themselves by running in at the front door, and out at the back one. https://www.dickenssearch.com/files/original/5/Street_Sketches_No._IV_Shabby-genteel_People/1834-11-05-Street_Sketches_No4_Shabby-Genteel_People.pdf c5fc7e96cfa9a50173912fbcf330b2ff 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. 18341105 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. There are certain descriptions of people who, oddly enough, appear to appertain exclusively to the metropolis. You meet them every day in the streets of London, but no one ever encounters them elsewhere; they seem indigenous to the soil, and to belong as exclusively to London as its own smoke, or the dingy bricks and mortar. We could illustrate the remark by a variety of examples, but in our present sketch we will only advert to one class as a specimen—that class which is so aptly and expressively designated as "shabby-genteel." Now, shabby people, God knows, may be found anywhere, and genteel people are not articles of greater scarcity out of London, than in it: but this compound of the two—this shabby-gentility—is as purely local as the statue at Charing-cross, or the pump at Aldgate. It is worthy of remark, too, that only men are shabby-genteel; a woman is always either dirty and slovenly in the extreme, or neat and respectable, however poverty-stricken in appearance. A very poor man, "who has seen better days," as the phrase goes, is a strange compound of dirty slovenliness and wretched attempts at a kind of faded smartness. We will endeavour to explain our conception of the term which forms the title of this paper. If you meet a man lounging up Drury-lane, or leaning with his back against a post in Long-acre, with his hands in the pockets of a pair of drab trowsers plentifully besprinkled with grease spots, the trousers made very full over the boot, and ornamented with two cords down the outside of each leg—wearing also what has been a brown coat with bright buttons, and a hat very much pinched up at the sides, cocked over his right eye—don’t pity him; he is not shabby-genteel. The "harmonic meetings" at some fourth-rate public-house, or the purlieus of a private theatre, are his chosen haunts; he entertains a rooted antipathy to any kind of work, and is on familiar terms with several pantomime-men at the large houses. But, if you see hurrying along a bye street, keeping as close as he can to the area railings, a man of about 50 or 50, clad in an old rusty suit of threadbare black cloth, which shines with constant wear, as if it had been bees-waxed, the trowsers tightly strapped down, partly for the look of the thing, and partly to keep his old shoes from slipping off at the heels; if you observe, too, that his yellowish-white neck-kerchief is carefully pinned down, and his waistcoat as carefully pinned up, to conceal the tattered garment underneath, and that his hands are encased in the remains of an old pair of beaver gloves, you may set him down as a shabby-genteel man. A glance at that depressed face, and timorous air of conscious poverty, will make your heart ache—always supposing that you are neither a philosopher, nor a political economist. We were once haunted by a shabby-genteel man; he was bodily present to our senses all day, and he was in our mind’s eye all night. The man of whom Walter Scott speaks in his Demonology, did not suffer half the persecution from his imaginary gentleman-usher in black velvet, that we sustained from our friend in quondam black cloth. He first attracted our notice by sitting opposite to us in the reading-room at the British Museum, and what made the man more remarkable was, that he always had before him a couple of shabby-genteel books—two old dogs-eared folios, in mouldy worm-eaten covers, which had once been smart. He was in his chair every morning just as the clock struck ten; he was always the last to leave the room in the afternoon; and when he did, he quitted it with the air of a man who knew not where else to go for warmth and quiet. There he used to sit all day, as close to the table as possible, in order to conceal the lack of buttons on his coat, with his old hat carefully deposited at his feet, where he evidently flattered himself it escaped observation. About two o’clock you would see him munching a French roll or a penny loaf—not taking it boldly out of his pocket at once, like a man who knew he was only making a lunch, but breaking off little bits in his pocket, and eating them by stealth. He knew too well it was his dinner. When we first saw this poor object, we thought it quite impossible that his attire could ever become worse. We even went so far as to speculate on the possibility of his shortly appearing in a decent second-hand suit. We knew nothing about the matter; he grew more and more shabby genteel every day. The buttons dropped off his waistcoat one by one; then he buttoned his coat; and when one side of the coat was reduced to the same condition as the waistcoat, he buttoned it over on the other side. He looked somewhat better at the beginning of the week than at the conclusion, because the neck-kerchief, though yellow, was not quite so dingy; and in the midst of all this wretchedness he never appeared without gloves and straps. He remained in this state for a week or two; at length one of the buttons on the back of the coat fell off, and then the man himself disappeared, and we thought he was dead. We were sitting at the same table about a week after his disappearance, and as our eyes rested on his vacant chair, we insensibly fell into a train of meditation on the subject of his retirement from public life. We were wondering whether he had hung himself or thrown himself off a bridge—whether he really was dead, or had only been arrested—when our conjectures were suddenly set at rest by the entry of the man himself. He had undergone some strange metamorphosis, and walked up the centre of the room with an air which showed he was fully conscious of the improvement in his appearance. It was very odd; his clothes were a fine, deep, glossy black, and yet they looked like the same suit; nay, there were the very darns, with which old acquaintance had made us familiar. The hat, too—nobody could mistake the shape of that hat, with its high crown, gradually increasing in circumference towards the top. Long service had imparted to it a reddish-brown tint, but now it was as black as the coat. The truth flashed suddenly upon us—they had been "revived." 'Tis a deceitful liquid that black and blue reviver; we have watched its effects on many a shabby-genteel man. It betrays its victims into a temporary assumption of importance, possibly into the purchase of a new pair of gloves, or a cheap stock, or some other trifling article of dress. It elevates their spirits for a week, only to depress them, if possible, below their original level. It was so in this case; the transient dignity of the unhappy man decreased in exact proportion as the "reviver" wore off. The knees of the unmentionables, and the elbows of the coat, and the seams generally, soon began to get alarmingly white; the hat was once more deposited under the table, and its owner crept into his seat as quietly as ever. There was a week of incessant small rain and mist. At its expiration the "reviver" had entirely vanished, and the shabby-genteel man never afterwards attempted to effect any improvement in his outward appearance. It would be difficult to name any particular part of town as the principal resort of shabby-genteel men. We have met a great many persons of this description in the neighbourhood of the Inns of Court. They may be met with in Holborn, between eight and ten any morning; and whoever has the curiosity to enter the Insolvent Debtors’ Court, will observe, both among spectators and practitioners, a great variety of them. We never went on ‘Change, by any chance, without seeing some shabby-genteel men, and we have often wondered what earthly business they can have there. They will sit there for hours, leaning on great, dropsical, mildewed umbrellas, or eating Abernethy biscuits; nobody speaks to them, nor they to any one. On consideration, we remember to have occasionally seen two shabby-genteel men conversing together on ‘Change; but our experience assures us that this is an uncommon circumstance, occasioned by the offer of a pinch of snuff, or some such civility. It would be a task of equal difficulty either to assign any particular spot for the residence of these beings, or to endeavour to enumerate their general occupations. We were never engaged in business with more than one shabby-genteel man; and he was a drunken engraver, and lived in a damp back parlour, in a new row of houses at Camden-town, half street, half brick-field, somewhere near the canal. A shabby-genteel man may have no occupation at all, or he may be a corn agent, or a coal agent, or a wine agent, or a collector of debts, or a broker’s assistant, or a broken-down attorney. He may be a clerk of the lowest description, or a contributor to the press of the same grade. Whether our readers have noticed these men in their walks as often as we have, we know not; this we know—that the miserably poor man (no matter whether he owes his distresses to his own conduct, or that of others) who feels his poverty, and vainly strives to conceal it, is one of the most pitiable objects in human nature. Such objects, with few exceptions, are "shabby-genteel people." 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 'Street Sketches, No. IV, Shabby-genteel People' Description An account of the resource Published in The Morning Chronicle (5 November 1834), 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/0000082/18341105/012/0003">https://www.britishnewspaperarchive.co.uk/viewer/bl/0000082/18341105/012/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1834-11-05 Type The nature or genre of the resource Short story Identifier An unambiguous reference to the resource within a given context 1834-11-05-Street_Sketches_No4_Shabby-Genteel_People 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. 'Street Sketches, No. IV, Shabby-genteel People' (5 November 1834). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1834-11-05-Street_Sketches_No4_Shabby-Genteel_People">https://www.dickenssearch.com/short-stories/1834-11-05-Street_Sketches_No4_Shabby-Genteel_People</a>. Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Scripto Transcription A written representation of a document. There are certain descriptions of people who, oddly enough, appear to appertain exclusively to the metropolis. You meet them every day in the streets of London, but no one ever encounters them elsewhere; they seem indigenous to the soil, and to belong as exclusively to London as its own smoke, or the dingy bricks and mortar. We could illustrate the remark by a variety of examples, but in our present sketch we will only advert to one class as a specimen—that class which is so aptly and expressively designated as "shabby-genteel." Now, shabby people, God knows, may be found anywhere, and genteel people are not articles of greater scarcity out of London, than in it: but this compound of the two—this shabby-gentility—is as purely local as the statue at Charing-cross, or the pump at Aldgate. It is worthy of remark, too, that only men are shabby-genteel; a woman is always either dirty and slovenly in the extreme, or neat and respectable, however poverty-stricken in appearance. A very poor man, "who has seen better days," as the phrase goes, is a strange compound of dirty slovenliness and wretched attempts at a kind of faded smartness. We will endeavour to explain our conception of the term which forms the title of this paper. If you meet a man lounging up Drury-lane, or leaning with his back against a post in Long-acre, with his hands in the pockets of a pair of drab trowsers plentifully besprinkled with grease spots, the trousers made very full over the boot, and ornamented with two cords down the outside of each leg—wearing also what has been a brown coat with bright buttons, and a hat very much pinched up at the sides, cocked over his right eye—don’t pity him; he is not shabby-genteel. The "harmonic meetings" at some fourth-rate public-house, or the purlieus of a private theatre, are his chosen haunts; he entertains a rooted antipathy to any kind of work, and is on familiar terms with several pantomime-men at the large houses. But, if you see hurrying along a bye street, keeping as close as he can to the area railings, a man of about 50 or 50, clad in an old rusty suit of threadbare black cloth, which shines with constant wear, as if it had been bees-waxed, the trowsers tightly strapped down, partly for the look of the thing, and partly to keep his old shoes from slipping off at the heels; if you observe, too, that his yellowish-white neck-kerchief is carefully pinned down, and his waistcoat as carefully pinned up, to conceal the tattered garment underneath, and that his hands are encased in the remains of an old pair of beaver gloves, you may set him down as a shabby-genteel man. A glance at that depressed face, and timorous air of conscious poverty, will make your heart ache—always supposing that you are neither a philosopher, nor a political economist. We were once haunted by a shabby-genteel man; he was bodily present to our senses all day, and he was in our mind’s eye all night. The man of whom Walter Scott speaks in his Demonology, did not suffer half the persecution from his imaginary gentleman-usher in black velvet, that we sustained from our friend in quondam black cloth. He first attracted our notice by sitting opposite to us in the reading-room at the British Museum, and what made the man more remarkable was, that he always had before him a couple of shabby-genteel books—two old dogs-eared folios, in mouldy worm-eaten covers, which had once been smart. He was in his chair every morning just as the clock struck ten; he was always the last to leave the room in the afternoon; and when he did, he quitted it with the air of a man who knew not where else to go for warmth and quiet. There he used to sit all day, as close to the table as possible, in order to conceal the lack of buttons on his coat, with his old hat carefully deposited at his feet, where he evidently flattered himself it escaped observation. About two o’clock you would see him munching a French roll or a penny loaf—not taking it boldly out of his pocket at once, like a man who knew he was only making a lunch, but breaking off little bits in his pocket, and eating them by stealth. He knew too well it was his dinner. When we first saw this poor object, we thought it quite impossible that his attire could ever become worse. We even went so far as to speculate on the possibility of his shortly appearing in a decent second-hand suit. We knew nothing about the matter; he grew more and more shabby genteel every day. The buttons dropped off his waistcoat one by one; then he buttoned his coat; and when one side of the coat was reduced to the same condition as the waistcoat, he buttoned it over on the other side. He looked somewhat better at the beginning of the week than at the conclusion, because the neck-kerchief, though yellow, was not quite so dingy; and in the midst of all this wretchedness he never appeared without gloves and straps. He remained in this state for a week or two; at length one of the buttons on the back of the coat fell off, and then the man himself disappeared, and we thought he was dead. We were sitting at the same table about a week after his disappearance, and as our eyes rested on his vacant chair, we insensibly fell into a train of meditation on the subject of his retirement from public life. We were wondering whether he had hung himself or thrown himself off a bridge—whether he really was dead, or had only been arrested—when our conjectures were suddenly set at rest by the entry of the man himself. He had undergone some strange metamorphosis, and walked up the centre of the room with an air which showed he was fully conscious of the improvement in his appearance. It was very odd; his clothes were a fine, deep, glossy black, and yet they looked like the same suit; nay, there were the very darns, with which old acquaintance had made us familiar. The hat, too—nobody could mistake the shape of that hat, with its high crown, gradually increasing in circumference towards the top. Long service had imparted to it a reddish-brown tint, but now it was as black as the coat. The truth flashed suddenly upon us—they had been "revived." 'Tis a deceitful liquid that black and blue reviver; we have watched its effects on many a shabby-genteel man. It betrays its victims into a temporary assumption of importance, possibly into the purchase of a new pair of gloves, or a cheap stock, or some other trifling article of dress. It elevates their spirits for a week, only to depress them, if possible, below their original level. It was so in this case; the transient dignity of the unhappy man decreased in exact proportion as the "reviver" wore off. The knees of the unmentionables, and the elbows of the coat, and the seams generally, soon began to get alarmingly white; the hat was once more deposited under the table, and its owner crept into his seat as quietly as ever. There was a week of incessant small rain and mist. At its expiration the "reviver" had entirely vanished, and the shabby-genteel man never afterwards attempted to effect any improvement in his outward appearance. It would be difficult to name any particular part of town as the principal resort of shabby-genteel men. We have met a great many persons of this description in the neighbourhood of the Inns of Court. They may be met with in Holborn, between eight and ten any morning; and whoever has the curiosity to enter the Insolvent Debtors’ Court, will observe, both among spectators and practitioners, a great variety of them. We never went on ‘Change, by any chance, without seeing some shabby-genteel men, and we have often wondered what earthly business they can have there. They will sit there for hours, leaning on great, dropsical, mildewed umbrellas, or eating Abernethy biscuits; nobody speaks to them, nor they to any one. On consideration, we remember to have occasionally seen two shabby-genteel men conversing together on ‘Change; but our experience assures us that this is an uncommon circumstance, occasioned by the offer of a pinch of snuff, or some such civility. It would be a task of equal difficulty either to assign any particular spot for the residence of these beings, or to endeavour to enumerate their general occupations. We were never engaged in business with more than one shabby-genteel man; and he was a drunken engraver, and lived in a damp back parlour, in a new row of houses at Camden-town, half street, half brick-field, somewhere near the canal. A shabby-genteel man may have no occupation at all, or he may be a corn agent, or a coal agent, or a wine agent, or a collector of debts, or a broker’s assistant, or a broken-down attorney. He may be a clerk of the lowest description, or a contributor to the press of the same grade. Whether our readers have noticed these men in their walks as often as we have, we know not; this we know—that the miserably poor man (no matter whether he owes his distresses to his own conduct, or that of others) who feels his poverty, and vainly strives to conceal it, is one of the most pitiable objects in human nature. Such objects, with few exceptions, are "shabby-genteel people." https://www.dickenssearch.com/files/original/5/Street_Sketches._No._III._The_Old_Bailey/1834-10-23-The_Old_Bailey.pdf fb07c360f2c1b2dd6cecbb08c6b5267b 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. 18341023 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 shall never forget the mingled feelings of awe and respect with which we used to gaze on the exterior of Newgate in our schoolboy days. How dreadful its rough, heavy walls, and low massive doors, appeared to us—the latter looking as if they were made for the express purpose of letting people in, and never letting them out again. Then the fetters over the debtors’ door, which we used to think were a bonâ fide set of irons, just hung up there, for convenience sake, ready to be taken down at a moment’s notice, and rivetted on the limbs of some refractory felon! We used to wonder how the hackney-coachmen on the opposite stand could cut jokes in the presence of such horrors, and drink pots of half-and-half so near the last drop. Often have we strayed here in sessions time, to catch a glimpse of the whipping-place, and that dark building on one side of the yard, in which is kept the gibbet, with all its dreadful apparatus, and on the door of which we half expected to see a brass plate, with the inscription "Mr. Ketch;" for we never imagined that the distinguished functionary could by possibility live anywhere else. The days of these childish dreams have passed away, and with them, many other boyish ideas of a gayer nature. But we still retain so much of our original feeling, that to this hour we never pass the building without something like a shudder. What London pedestrian is there who has not, at some time or other, cast a hurried glance through the wicket at which prisoners are admitted into this gloomy mansion, and surveyed the few objects he could discern, with an indescribable feeling of curiosity? The thick door, plated with iron, and mounted with spikes, just low enough to enable you to see, leaning over them, an ill-looking fellow in a broad-brimmed hat, belcher handkerchief, and top boots, with a brown coat, something between a great-coat and a "sporting" jacket, on his back, and an immense key in his left hand. Perhaps you are lucky enough to pass just as the gate is being opened, then, you see on the other side of the lodge another gate, the image of its predecessor, and two or three more turnkeys, who look like multiplications of the first one, seated round a fire which just lights up the whitewashed apartment sufficiently to enable you to catch a hasty glimpse of these different objects. We have a great respect for Mrs. Fry, but she certainly ought to have written more romances than Mrs. Radcliffe. We were walking leisurely down the Old Bailey, a few weeks ago, when, just as we passed this identical gate, it was opened by the officiating turnkey. We turned quickly round, as a matter of course, and saw two persons descending the steps. We could not help stopping, and observing them. They were an elderly woman, of decent appearance, though evidently poor, and a boy of about fourteen or fifteen. The woman was crying bitterly; she carried a small bundle in her hand, and the boy followed at a short distance behind her; their little history was obvious. The boy was her son, to whose early comfort she had perhaps sacrificed her own; for whose sake she had borne misery without repining, and poverty without a murmur; looking steadily forward to the time, when he who had so long witnessed her struggles for himself, might be enabled to make some exertions for their joint support. He had formed dissolute connexions; idleness had led to crime; and he had been committed to take his trial for some petty theft. He had been long in prison, and, after receiving some trifling additional punishments, had been ordered to be discharged that morning. It was his first offence, and his poor old mother, still hoping to reclaim him, had been waiting at the gate to implore him to return home. We cannot forget the boy; he descended the steps with a dogged look, shaking his head with an air of bravado, and obstinate determination. They walked a few paces, and paused. The woman put her hand upon his shoulder in an agony of entreaty; the boy sullenly raised his head as if in refusal; it was a brilliant morning, and every object looked fresh and happy in the broad, gay sun-light; he gazed around him for a few moments, bewildered with the brightness of the scene—it was long since he had beheld anything save the gloomy walls of a prison. The contrast was powerful; perhaps the wretchedness of his mother made some impression on the boy’s heart; perhaps some undefined recollection of the time when he was a happy child, and she his only friend, and best companion, crowded on him—he burst into tears; and covering his face with one hand, and hurriedly placing the other in his mother’s, they walked away together. Curiosity has occasionally led us into both Courts at the Old Bailey. Nothing is so likely to strike the person who enters them for the first time, as the calm indifference with which the proceedings are conducted; every trial seems a mere matter of business. There is a great deal of form, but no compassion; considerable interest, but no sympathy. Take the Old Court for example. There sit the Judges, with whose great dignity everybody is acquainted, and of whom therefore we need say no more. Then, there is the Lord Mayor in the centre, looking as cool as a Lord Mayor can look, with an immense bouquet before him, and habited in all the splendour of his office. We can never help thinking that a full-dressed Lord Mayor looks like a South Sea Idol, on which grateful devotees have hung a variety of georgeous ornaments without the slightest regard to the general effect of the whole. Then there are the Sheriffs, who are almost as dignified as the Lord Mayor himself; and the Barristers, who are quite dignified enough in their own opinion; and the spectators, who having paid for their admission, look upon the whole scene as if it were got up especially for their amusement. Look upon the whole group in the body of the Court—some wholly engrossed in the morning papers, others carelessly conversing in low whispers, and others, again, quietly dozing away an hour—and you can scarcely believe that the result of the trial is a matter of life or death to one wretched being present. Turn your eyes to the dock; watch the prisoner attentively for a few moments; and the fact is before you in all its painful reality. Mark how restlessly he has been engaged for the last ten minutes, in forming all sorts of fantastic figures with the herbs which are strewed upon the ledge before him; observe the ashy paleness of his face when a particular witness appears, and how he changes his position and wipes his clammy forehead, and feverish hands, when the case for the prosecution is closed, as if it were a relief to him to feel that the jury knew the worst. The defence is concluded; the judge proceeds to sum up the evidence, and the prisoner watches the countenances of the jury, as a dying man, clinging to life to the very last, vainly looks in the face of his physician for one slight ray of hope. They turn round to consult; you can almost hear the man’s heart beat, as he bites the stalk of rosemary, with a desperate effort to appear composed. They resume their places; a dead silence prevails as the foreman delivers in the verdict—"Guilty!" An appalling shriek bursts from a female in the gallery; the prisoner casts one bitter look of agony at the quarter from whence the noise proceeded, and is immediately hurried from the dock by the gaoler. The clerk directs one of the officers of the court to "take the woman out," and fresh business is proceeded with as if nothing had occurred. No imaginary contrast to a case like this, could be as complete as that which is constantly presented in the New Court, the gravity of which is frequently disturbed in no small degree by the cunning and pertinacity of juvenile offenders. A boy of thirteen is tried, say for picking the pocket of some subject of his Majesty, and the offence is about as clearly proved as an offence can be. He is called upon for his defence, and contents himself with a little declamation about the jurymen and his country—asserts that all the witnesses have committed perjury, and hints that the police force generally have entered into a conspiracy "again" him. However probable this statement may be, it fails to convince the Court, and some such scene as the following then takes place:— Court: Have you any witnesses to speak to your character, boy?—Boy: Yes, my Lord; fifteen gen’lm’n is a vaten outside, and vos a vaten all day yesterday, vich they told me the night afore my trial vos a comin’ on. Court. Inquire for these witnesses.—Here, a stout beadle runs out, and vociferates for the witnesses at the very top of his voice; you hear his cry grow fainter and fainter as he descends the steps into the court-yard below. After an absence of five minutes he returns very warm, and hoarse, and informs the Court of what it was perfectly well aware of before—namely, that there are no such witnesses in attendance. Hereupon the boy sets up the most awful howling ever heard within or without the walls of a court; screws the lower part of the palms of his hands into the corners of his eyes, and endeavours to look the picture of injured innocence. The jury at once find him "guilty," and his endeavours to squeeze out a tear or two are redoubled. The governor of the gaol then states, in reply to an inquiry from the bench, that the prisoner has been under his care twice before. This the urchin resolutely denies in some such terms as—"S’elp me, gen’lm’n, I never vos in trouble afore—indeed, my Lord, I never vos. It’s all a howen to my having a twin brother, vich has wrongfully taken to prigging, and vich is so exactly like me, that no vun ever knows the difference atween us." This representation, like the defence, fails in producing the desired effect, and the boy is sentenced, perhaps, to seven years’ transportation. Finding it impossible to excite compassion, he gives vent to his feelings in an indignant cry of "Flare up, old big vig!" and as he declines to take the trouble of walking from the dock, is forthwith carried out by two men, congratulating himself on having succeeded in giving everybody as much trouble as possible. 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 'Street Sketches. No. III. The Old Bailey' Description An account of the resource Published in The Morning Chronicle (23 October 1834), 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/0000082/18341023/013/0003">https://www.britishnewspaperarchive.co.uk/viewer/BL/0000082/18341023/013/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1834-10-23 Type The nature or genre of the resource Short story Identifier An unambiguous reference to the resource within a given context 1834-10-23-Street_Sketches_No3_The_Old_Bailey 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. 'Street Sketches. No. III. The Old Bailey' (23 October 1834). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1834-10-23-Street_Sketches_No3_The_Old_Bailey">https://www.dickenssearch.com/short-stories/1834-10-23-Street_Sketches_No3_The_Old_Bailey</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. We shall never forget the mingled feelings of awe and respect with which we used to gaze on the exterior of Newgate in our schoolboy days. How dreadful its rough, heavy walls, and low massive doors, appeared to us—the latter looking as if they were made for the express purpose of letting people in, and never letting them out again. Then the fetters over the debtors’ door, which we used to think were a bonâ fide set of irons, just hung up there, for convenience sake, ready to be taken down at a moment’s notice, and rivetted on the limbs of some refractory felon! We used to wonder how the hackney-coachmen on the opposite stand could cut jokes in the presence of such horrors, and drink pots of half-and-half so near the last drop. Often have we strayed here in sessions time, to catch a glimpse of the whipping-place, and that dark building on one side of the yard, in which is kept the gibbet, with all its dreadful apparatus, and on the door of which we half expected to see a brass plate, with the inscription "Mr. Ketch;" for we never imagined that the distinguished functionary could by possibility live anywhere else. The days of these childish dreams have passed away, and with them, many other boyish ideas of a gayer nature. But we still retain so much of our original feeling, that to this hour we never pass the building without something like a shudder. What London pedestrian is there who has not, at some time or other, cast a hurried glance through the wicket at which prisoners are admitted into this gloomy mansion, and surveyed the few objects he could discern, with an indescribable feeling of curiosity? The thick door, plated with iron, and mounted with spikes, just low enough to enable you to see, leaning over them, an ill-looking fellow in a broad-brimmed hat, belcher handkerchief, and top boots, with a brown coat, something between a great-coat and a "sporting" jacket, on his back, and an immense key in his left hand. Perhaps you are lucky enough to pass just as the gate is being opened, then, you see on the other side of the lodge another gate, the image of its predecessor, and two or three more turnkeys, who look like multiplications of the first one, seated round a fire which just lights up the whitewashed apartment sufficiently to enable you to catch a hasty glimpse of these different objects. We have a great respect for Mrs. Fry, but she certainly ought to have written more romances than Mrs. Radcliffe. We were walking leisurely down the Old Bailey, a few weeks ago, when, just as we passed this identical gate, it was opened by the officiating turnkey. We turned quickly round, as a matter of course, and saw two persons descending the steps. We could not help stopping, and observing them. They were an elderly woman, of decent appearance, though evidently poor, and a boy of about fourteen or fifteen. The woman was crying bitterly; she carried a small bundle in her hand, and the boy followed at a short distance behind her; their little history was obvious. The boy was her son, to whose early comfort she had perhaps sacrificed her own; for whose sake she had borne misery without repining, and poverty without a murmur; looking steadily forward to the time, when he who had so long witnessed her struggles for himself, might be enabled to make some exertions for their joint support. He had formed dissolute connexions; idleness had led to crime; and he had been committed to take his trial for some petty theft. He had been long in prison, and, after receiving some trifling additional punishments, had been ordered to be discharged that morning. It was his first offence, and his poor old mother, still hoping to reclaim him, had been waiting at the gate to implore him to return home. We cannot forget the boy; he descended the steps with a dogged look, shaking his head with an air of bravado, and obstinate determination. They walked a few paces, and paused. The woman put her hand upon his shoulder in an agony of entreaty; the boy sullenly raised his head as if in refusal; it was a brilliant morning, and every object looked fresh and happy in the broad, gay sun-light; he gazed around him for a few moments, bewildered with the brightness of the scene—it was long since he had beheld anything save the gloomy walls of a prison. The contrast was powerful; perhaps the wretchedness of his mother made some impression on the boy’s heart; perhaps some undefined recollection of the time when he was a happy child, and she his only friend, and best companion, crowded on him—he burst into tears; and covering his face with one hand, and hurriedly placing the other in his mother’s, they walked away together.  Curiosity has occasionally led us into both Courts at the Old Bailey. Nothing is so likely to strike the person who enters them for the first time, as the calm indifference with which the proceedings are conducted; every trial seems a mere matter of business. There is a great deal of form, but no compassion; considerable interest, but no sympathy. Take the Old Court for example. There sit the Judges, with whose great dignity everybody is acquainted, and of whom therefore we need say no more. Then, there is the Lord Mayor in the centre, looking as cool as a Lord Mayor can look, with an immense bouquet before him, and habited in all the splendour of his office. We can never help thinking that a full-dressed Lord Mayor looks like a South Sea Idol, on which grateful devotees have hung a variety of georgeous ornaments without the slightest regard to the general effect of the whole. Then there are the Sheriffs, who are almost as dignified as the Lord Mayor himself; and the Barristers, who are quite dignified enough in their own opinion; and the spectators, who having paid for their admission, look upon the whole scene as if it were got up especially for their amusement. Look upon the whole group in the body of the Court—some wholly engrossed in the morning papers, others carelessly conversing in low whispers, and others, again, quietly dozing away an hour—and you can scarcely believe that the result of the trial is a matter of life or death to one wretched being present. Turn your eyes to the dock; watch the prisoner attentively for a few moments; and the fact is before you in all its painful reality. Mark how restlessly he has been engaged for the last ten minutes, in forming all sorts of fantastic figures with the herbs which are strewed upon the ledge before him; observe the ashy paleness of his face when a particular witness appears, and how he changes his position and wipes his clammy forehead, and feverish hands, when the case for the prosecution is closed, as if it were a relief to him to feel that the jury knew the worst. The defence is concluded; the judge proceeds to sum up the evidence, and the prisoner watches the countenances of the jury, as a dying man, clinging to life to the very last, vainly looks in the face of his physician for one slight ray of hope. They turn round to consult; you can almost hear the man’s heart beat, as he bites the stalk of rosemary, with a desperate effort to appear composed. They resume their places; a dead silence prevails as the foreman delivers in the verdict—"Guilty!" An appalling shriek bursts from a female in the gallery; the prisoner casts one bitter look of agony at the quarter from whence the noise proceeded, and is immediately hurried from the dock by the gaoler. The clerk directs one of the officers of the court to "take the woman out," and fresh business is proceeded with as if nothing had occurred. No imaginary contrast to a case like this, could be as complete as that which is constantly presented in the New Court, the gravity of which is frequently disturbed in no small degree by the cunning and pertinacity of juvenile offenders. A boy of thirteen is tried, say for picking the pocket of some subject of his Majesty, and the offence is about as clearly proved as an offence can be. He is called upon for his defence, and contents himself with a little declamation about the jurymen and his country—asserts that all the witnesses have committed perjury, and hints that the police force generally have entered into a conspiracy "again" him. However probable this statement may be, it fails to convince the Court, and some such scene as the following then takes place:— Court: Have you any witnesses to speak to your character, boy?—Boy: Yes, my Lord; fifteen gen’lm’n is a vaten outside, and vos a vaten all day yesterday, vich they told me the night afore my trial vos a comin’ on. Court.  Inquire for these witnesses.—Here, a stout beadle runs out, and vociferates for the witnesses at the very top of his voice; you hear his cry grow fainter and fainter as he descends the steps into the court-yard below. After an absence of five minutes he returns very warm, and hoarse, and informs the Court of what it was perfectly well aware of before—namely, that there are no such witnesses in attendance. Hereupon the boy sets up the most awful howling ever heard within or without the walls of a court; screws the lower part of the palms of his hands into the corners of his eyes, and endeavours to look the picture of injured innocence. The jury at once find him "guilty," and his endeavours to squeeze out a tear or two are redoubled. The governor of the gaol then states, in reply to an inquiry from the bench, that the prisoner has been under his care twice before. This the urchin resolutely denies in some such terms as—"S’elp me, gen’lm’n, I never vos in trouble afore—indeed, my Lord, I never vos. It’s all a howen to my having a twin brother, vich has wrongfully taken to prigging, and vich is so exactly like me, that no vun ever knows the difference atween us." This representation, like the defence, fails in producing the desired effect, and the boy is sentenced, perhaps, to seven years’ transportation. Finding it impossible to excite compassion, he gives vent to his feelings in an indignant cry of "Flare up, old big vig!" and as he declines to take the trouble of walking from the dock, is forthwith carried out by two men, congratulating himself on having succeeded in giving everybody as much trouble as possible. https://www.dickenssearch.com/files/original/12/A_Card_from_Mr._Booley/1850-05-18-A_Card_from_Mr_Booley.pdf ed05492c1ccfa2dc1f07c08fc2763753 Journalism 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. 18500518 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. MR. BOOLEY (the great traveller) presents his compliments to the conductor of Household Words, and begs to call his attention to an omission in the account given in that delightful journal, of MR. BOOLEY’S remarks, in addressing the Social Oysters. MR. BOOLEY, in proposing the health of MR. THOMAS GRIEVE, in connexion with the beautiful diorama of the route of the Overland Mail to India, expressly added (amid much cheering from the Oysters) the names of MR. TELBIN his distinguished coadjutor; MR. ABSOLON, who painted the figures; and MR. HERRING, who painted the animals. Although MR. BOOLEY’S tribute of praise can be of little importance to those gentlemen, he is uneasy in finding them left out of the delightful Journal referred to. MR. BOOLEY has taken the liberty of endeavouring to give this communication an air of novelty, by omitting the words ‘Now, Sir,’ which are generally supposed to be essential to all letters written to Editors for publication. It may be interesting to add, in fact, that the Social Oysters considered it impossible that MR. BOOLEY could, by any means, throw off the present communication, without availing himself of that established form of address. Highbury Barn, Monday Evening. Publication The title of the newspaper/serial (if applicable) Household Words Publication Type E.g. newspaper/serial Weekly magazine Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'A Card from Mr. Booley' Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived Household Words, vol. 1, no. 8, 18 May 1850, pp. 175-176. Dickens Journals Online, <a href="https://www.djo.org.uk/household-words/volume-i/page-175.html">https://www.djo.org.uk/household-words/volume-i/page-175.html</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1850-05-18 Contributor An entity responsible for making contributions to the resource Lydia Craig Rights Information about rights held in and over the resource Dickens Journals Online, used by permission. Type The nature or genre of the resource Journalism article Identifier An unambiguous reference to the resource within a given context 1850-05-18-A_Card_from_Mr_Booley Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'A Card from Mr. Booley'. Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/journalism/1850-05-18-A_Card_from_Mr_Booley">https://dickenssearch.com/journalism/1850-05-18-A_Card_from_Mr_Booley</a>. Description An account of the resource Published in Household Words (18 May 1850) Scripto Transcription A written representation of a document. MR. BOOLEY (the great traveller) presents his compliments to the conductor of Household Words, and begs to call his attention to an omission in the account given in that delightful journal, of MR. BOOLEY’S remarks, in addressing the Social Oysters. MR. BOOLEY, in proposing the health of MR. THOMAS GRIEVE, in connexion with the beautiful diorama of the route of the Overland Mail to India, expressly added (amid much cheering from the Oysters) the names of MR. TELBIN his distinguished coadjutor; MR. ABSOLON, who painted the figures; and MR. HERRING, who painted the animals. Although MR. BOOLEY’S tribute of praise can be of little importance to those gentlemen, he is uneasy in finding them left out of the delightful Journal referred to. MR. BOOLEY has taken the liberty of endeavouring to give this communication an air of novelty, by omitting the words ‘Now, Sir,’ which are generally supposed to be essential to all letters written to Editors for publication. It may be interesting to add, in fact, that the Social Oysters considered it impossible that MR. BOOLEY could, by any means, throw off the present communication, without availing himself of that established form of address. Highbury Barn, Monday Evening. https://www.dickenssearch.com/files/original/5/A_Child_s_Dream_of_a_Star/1850-04-06-A_Childs_Dream_Star.pdf 7e887feaa5a6773e1a582fb0d447ac7e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Periodical Publication The title of the newspaper/serial (if applicable) Household Words Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18500406 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. There was once a child, and he strolled about a good deal, and thought of a number of things. He had a sister, who was a child too, and his constant companion. These two used to wonder all day long. They wondered at the beauty of the flowers; they wondered at the height and blueness of the sky; they wondered at the depth of the bright water; they wondered at the goodness and the power of GOD who made the lovely world. They used to say to one another, sometimes, Supposing all the children upon earth were to die, would the flowers, and the water, and the sky, be sorry? They believed they would be sorry. For, said they, the buds are the children of the flowers, and the little playful streams that gambol down the hill-sides are the children of the water; and the smallest bright specks, playing at hide and seek in the sky all night, must surely be the children of the stars; and they would all be grieved to see their playmates, the children of men, no more. There was one clear shining star that used to come out in the sky before the rest, near the church spire, above the graves. It was larger and more beautiful, they thought, than all the others, and every night they watched for it, standing hand in hand at a window. Whoever saw it first, cried out, "I see the star!" And often they cried out both together, knowing so well when it would rise, and where. So they grew to be such friends with it, that, before lying down in their beds, they always looked out once again, to bid it good night; and when they were turning round to sleep, they used to say, "God bless the star!" But while she was still very young, oh very very young, the sister drooped, and came to be so weak that she could no longer stand in the window at night; and then the child looked sadly out by himself, and when he saw the star, turned round and said to the patient pale face on the bed, "I see the star!" and then a smile would come upon the face, and a little weak voice used to say, "God bless my brother and the star!" And so the time came, all too soon! when the child looked out alone, and when there was no face on the bed; and when there was a little grave among the graves, not there before; and when the star made long rays down towards him, as he saw it through his tears. Now, these rays were so bright, and they seemed to make such a shining way from earth to Heaven, that when the child went to his solitary bed, he dreamed about the star; and dreamed that, lying where he was, he saw a train of people taken up that sparkling road by angels. And the star, opening, showed him a great world of light, where many more such angels waited to receive them. All these angels, who were waiting, turned their beaming eyes upon the people who were carried up into the star; and some came out from the long rows in which they stood, and fell upon the people's necks, and kissed them tenderly, and went away with them down avenues of light, and were so happy in their company, that lying in his bed he wept for joy. But, there were many angels who did not go with them, and among them one he knew. The patient face that once had lain upon the bed was gloried and radiant, but his heart found out his sister among all the host. His sister's angel lingered near the entrance of the star, and said to the leader among those who had brought the people thither: "Is my brother come?" And he said "No." She was turning hopefully away, when the child stretched out his arms, and cried "O, sister, I am here! Take me!" and then she turned her beaming eyes upon him, and it was night; and the star was shining into the room, making long rays down towards him as he saw it through his tears. From that hour forth, the child looked out upon the star as on the Home he was to go to, when his time should come; and he thought that he did not belong to the earth alone, but to the star too, because of his sister's angel gone before. There was a baby born to be a brother to the child; and while he was so little that he never yet had spoken word, he stretched his tiny form out on his bed, and died. Again the child dreamed of the opened star, and of the company of angels, and the train of people, and the rows of angels with their beaming eyes all turned upon those people's faces. Said his sister's angel to the leader: "Is my brother come?" And he said "Not that one, but another." As the child beheld his brother's angel in her arms, he cried, "O, sister, I am here! Take me! "And she turned and smiled upon him, and the star was shining. He grew to be a young man, and was busy at his books, when an old servant came to him, and said: "Thy mother is no more. I bring her blessing on her darling son!" Again at night he saw the star, and all that former company. Said his sister's angel to the leader: "Is my brother come?" And he said, "Thy mother!" A mighty cry of joy went forth through all the star, because the mother was re-united to her two children. And he stretched out his arms and cried, "O, mother, sister, and brother, I am here! Take me!" And they answered him "Not yet," and the star was shining. He grew to be a man, whose hair was turning grey, and he was sitting in his chair by the reside, heavy with grief, and with his face bedewed with tears, when the star opened once again. Said his sister's angel to the leader, "Is my brother come?" And he said, "Nay, but his maiden daughter." And the man who had been the child saw his daughter, newly lost to him, a celestial creature among those three, and he said "My daughter's head is on my sister's bosom, and her arm is round my mother's neck, and at her feet there is the baby of old time, and I can bear the parting from her, GOD be praised!" And the star was shining. Thus the child came to be an old man, and his once smooth face was wrinkled, and his steps were slow and feeble, and his back was bent. And one night as he lay upon his bed, his children standing round, he cried, as he had cried so long ago: "I see the star!" They whispered one another "He is dying." And he said, "I am. My age is falling from me like a garment, and I move towards the star as a child. And O, my Father, now I thank thee that it has so often opened, to receive those dear ones who await me!" And the star was shining; and it shines upon his grave. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'A Child's Dream of a Star' Description An account of the resource Published in Household Words, Vol. I, No. 2, 6 April 1850, pp. 25-26 Creator An entity primarily responsible for making the resource Dickens, Charles Date A point or period of time associated with an event in the lifecycle of the resource 1850-04-06 Type The nature or genre of the resource Short story Identifier An unambiguous reference to the resource within a given context 1850-04-06-A_Childs_Dream_Star Source A related resource from which the described resource is derived Dickens Journals Online, <a href="https://www.djo.org.uk/household-words/volume-i/page-25.html">https://www.djo.org.uk/household-words/volume-i/page-25.html</a>. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'A Child's Dream of a Star' (6 April 1850). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1850-04-06-A_Childs_Dream_Star">https://www.dickenssearch.com/short-stories/1850-04-06-A_Childs_Dream_Star</a>. Rights Information about rights held in and over the resource Scanned material from Dickens Journals Online, <a href="http://www.djo.org.uk/" id="LPNoLPOWALinkPreview" contenteditable="false" title="http://www.djo.org.uk">www.djo.org.uk</a>. Available under CC BY licence. Scripto Transcription A written representation of a document. There was once a child, and he strolled about a good deal, and thought of a number of things. He had a sister, who was a child too, and his constant companion. These two used to wonder all day long. They wondered at the beauty of the �flowers; they wondered at the height and blueness of the sky; they wondered at the depth of the bright water; they wondered at the goodness and the power of GOD who made the lovely world. They used to say to one another, sometimes, Supposing all the children upon earth were to die, would the �flowers, and the water, and the sky, be sorry? They believed they would be sorry. For, said they, the buds are the children of the �flowers, and the little playful streams that gambol down the hill-sides are the children of the water; and the smallest bright specks, playing at hide and seek in the sky all night, must surely be the children of the stars; and they would all be grieved to see their playmates, the children of men, no more. There was one clear shining star that used to come out in the sky before the rest, near the church spire, above the graves. It was larger and more beautiful, they thought, than all the others, and every night they watched for it, standing hand in hand at a window. Whoever saw it first, cried out, "I see the star!" And often they cried out both together, knowing so well when it would rise, and where. So they grew to be such friends with it, that, before lying down in their beds, they always looked out once again, to bid it good night; and when they were turning round to sleep, they used to say, "God bless the star!" But while she was still very young, oh very very young, the sister drooped, and came to be so weak that she could no longer stand in the window at night; and then the child looked sadly out by himself, and when he saw the star, turned round and said to the patient pale face on the bed, "I see the star!" and then a smile would come upon the face, and a little weak voice used to say, "God bless my brother and the star!" And so the time came, all too soon! when the child looked out alone, and when there was no face on the bed; and when there was a little grave among the graves, not there before; and when the star made long rays down towards him, as he saw it through his tears. Now, these rays were so bright, and they seemed to make such a shining way from earth to Heaven, that when the child went to his solitary bed, he dreamed about the star; and dreamed that, lying where he was, he saw a train of people taken up that sparkling road by angels. And the star, opening, showed him a great world of light, where many more such angels waited to receive them. All these angels, who were waiting, turned their beaming eyes upon the people who were carried up into the star; and some came out from the long rows in which they stood, and fell upon the people's necks, and kissed them tenderly, and went away with them down avenues of light, and were so happy in their company, that lying in his bed he wept for joy. But, there were many angels who did not go with them, and among them one he knew. The patient face that once had lain upon the bed was gloried and radiant, but his heart found out his sister among all the host. His sister's angel lingered near the entrance of the star, and said to the leader among those who had brought the people thither: "Is my brother come?" And he said "No." She was turning hopefully away, when the child stretched out his arms, and cried "O, sister, I am here! Take me!" and then she turned her beaming eyes upon him, and it was night; and the star was shining into the room, making long rays down towards him as he saw it through his tears. From that hour forth, the child looked out upon the star as on the Home he was to go to, when his time should come; and he thought that he did not belong to the earth alone, but to the star too, because of his sister's angel gone before. There was a baby born to be a brother to the child; and while he was so little that he never yet had spoken word, he stretched his tiny form out on his bed, and died. Again the child dreamed of the opened star, and of the company of angels, and the train of people, and the rows of angels with their beaming eyes all turned upon those people's faces. Said his sister's angel to the leader: "Is my brother come?" And he said "Not that one, but another." As the child beheld his brother's angel in her arms, he cried, "O, sister, I am here! Take me! "And she turned and smiled upon him, and the star was shining. He grew to be a young man, and was busy at his books, when an old servant came to him, and said: "Thy mother is no more. I bring her blessing on her darling son!" Again at night he saw the star, and all that former company. Said his sister's angel to the leader: "Is my brother come?" And he said, "Thy mother!" A mighty cry of joy went forth through all the star, because the mother was re-united to her two children. And he stretched out his arms and cried, "O, mother, sister, and brother, I am here! Take me!" And they answered him "Not yet," and the star was shining. He grew to be a man, whose hair was turning grey, and he was sitting in his chair by the �reside, heavy with grief, and with his face bedewed with tears, when the star opened once again. Said his sister's angel to the leader, "Is my brother come?" And he said, "Nay, but his maiden daughter." And the man who had been the child saw his daughter, newly lost to him, a celestial creature among those three, and he said "My daughter's head is on my sister's bosom, and her arm is round my mother's neck, and at her feet there is the baby of old time, and I can bear the parting from her, GOD be praised!" And the star was shining. Thus the child came to be an old man, and his once smooth face was wrinkled, and his steps were slow and feeble, and his back was bent. And one night as he lay upon his bed, his children standing round, he cried, as he had cried so long ago: "I see the star!" They whispered one another "He is dying." And he said, "I am. My age is falling from me like a garment, and I move towards the star as a child. And O, my Father, now I thank thee that it has so often opened, to receive those dear ones who await me!" And the star was shining; and it shines upon his grave. https://www.dickenssearch.com/files/original/3/A_Child_s_Hymn/1856-12-06_Household_Words_A_Childs_Hymn.pdf bb5463206c186adcf47fcdc5f05a5375 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. 18561206 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. Hear my prayer, O! Heavenly Father, Ere I lay me down to sleep; Bid thy Angels, pure and holy, Round my bed their vigil keep. My sins are heavy, but Thy mercy Far outweighs them every one; Down before Thy Cross I cast them, Trusting in Thy help alone. Keep me through this night of peril Underneath its boundless shade; Take me to Thy rest, I pray Thee, When my pilgrimage is made. None shall measure out Thy patience By the span of human thought; None shall bound the tender mercies Which Thy Holy Son has bought. Pardon all my past transgressions, Give me strength for days to come; Guide and guard me with Thy blessing Till Thy Angels bid me home. Publication Type E.g. newspaper/serial Periodical Publication The title of the newspaper/serial (if applicable) Household Words TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1856-12-06_Household_Words_A_Childs_Hymn.xml" target="_blank" rel="noopener">'A Child's Hymn.' Household Words vol. XIV (6 December 1856): p. 593.</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 'A Child's Hymn' Creator An entity primarily responsible for making the resource Charles, Dickens Source A related resource from which the described resource is derived Household Words Volume XIV (6 December 1856): p. 21. Dickens Journals Online, <a href="https://www.djo.org.uk/household-words/volume-xiv/page-593.html" target="_blank" rel="noopener">https://www.djo.org.uk/household-words/volume-xiv/page-593.html</a>. Type The nature or genre of the resource Poem Identifier An unambiguous reference to the resource within a given context 1856-12-06_Household_Words_A_Childs_Hymn Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'A Child's Hymn' from The Wreck of the Golden Mary (6 December 1856), Household Words, Volume XIV, p. 21. Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/verse/1856-12-06_Household_Words_A_Childs_Hymn">https://dickenssearch.com/verse/1856-12-06_Household_Words_A_Childs_Hymn</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1856-12-06 Description An account of the resource Published in Household Words vol. XIV (6 December 1856). Rights Information about rights held in and over the resource Scanned material from Dickens Journals Online, <a href="http://www.djo.org.uk" id="LPNoLPOWALinkPreview" contenteditable="false" title="http://www.djo.org.uk">www.djo.org.uk</a>. Available under CC BY licence. Scripto Transcription A written representation of a document. Hear my prayer, O! Heavenly Father, Ere I lay me down to sleep; Bid thy Angels, pure and holy, Round my bed their vigil keep. My sins are heavy, but Thy mercy Far outweighs them every one; Down before Thy Cross I cast them, Trusting in Thy help alone. Keep me through this night of peril Underneath its boundless shade; Take me to Thy rest, I pray Thee, When my pilgrimage is made. None shall measure out Thy patience By the span of human thought; None shall bound the tender mercies Which Thy Holy Son has bought. Pardon all my past transgressions, Give me strength for days to come; Guide and guard me with Thy blessing Till Thy Angels bid me home. https://www.dickenssearch.com/files/original/3/A_Christmas_Carol/1836-12_Pickwick_Papers_A_Christmas_Carol.pdf ccfa496801a548d8ec9092ea580c9353 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. 18361201 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. I care not for Spring; on his fickle wing, Let the blossoms and buds be borne: He wooes them amain with his treacherous rain, And he scatters them ere the morn. An inconstant elf, he knows not himself, Nor his own changing mind an hour, He’ll smile in your face, and, with wry grimace, He’ll wither your youngest flower. Let the Summer sun to his bright home run, He shall never be sought by me; When he’s dimmed by a cloud I can laugh aloud, And care not how sulky he be! For his darling child is the madness wild That sports in fierce fever’s train; And when love is too strong, it don’t last long, As many have found to their pain. A mild harvest night, by the tranquil light Of the modest and gentle moon, Has a far sweeter sheen, for me, I ween, Than the broad and unblushing noon. But every leaf awakens my grief, As it lieth beneath the tree; So let Autumn air be never so far, It by no means agrees with me. But my song I troll out, for CHRISTMAS stout, The heart, the true, and the bold; A bumper I drain, and with might and main Give three cheers for this Christmas old! We’ll usher him in with a merry din That shall gladden his joyous heart, And we’ll keep him up, while there’s bite or sup, And in fellowship good, we’ll part. In his fine honest pride, he scorns to hide One jot of his hard-weather scars; They’re no disgrace, for there’s much the same trace On the cheeks of our bravest tars. Then again I sing till the roof doth ring, And it echoes from wall to wall – To the stout old wight, fair welcome to-night, As the King of the Seasons all! Publication Type E.g. newspaper/serial Serial Publication The title of the newspaper/serial (if applicable) The Pickwick Papers TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1836-12_Pickwick_Papers_A_Christmas_Carol.xml" target="_blank" rel="noopener">'A Christmas Carol.' The Pickwick Papers. Issue 10, ch. 28 (December 1836): p. 298.</a> Pseudonym The name under which the item was published BOZ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'A Christmas Carol' Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The Posthumous Papers of the Pickwick Club, Chapter 28. Number 10 (December 1836), pp. 297-298. UVic Libraries, <a href="https://vault.library.uvic.ca/concern/generic_works/003c9690-060f-4e1a-bc46-712154b6a510?">https://vault.library.uvic.ca/concern/generic_works/003c9690-060f-4e1a-bc46-712154b6a510?</a>. Publisher An entity responsible for making the resource available Chapman and Hall Date A point or period of time associated with an event in the lifecycle of the resource 1836-12 Rights Information about rights held in and over the resource UVic Libraries, Creative Commons Attribution NonCommercial, <a href="https://creativecommons.org/lice%20nses/by-nc/4.0/" target="_blank" rel="noopener">https://creativecommons.org/lice nses/by-nc/4.0/</a>. Type The nature or genre of the resource Poem Identifier An unambiguous reference to the resource within a given context 1836-12_Pickwick_Papers_A_Christmas_Carol Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'A Christmas Carol' from The Posthumous Papers of the Pickwick Club. Issue 10, Chapter 28 (December 1836): pp. 297-298. Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/verse/1836-12_Pickwick_Papers_A_Christmas_Carol">https://dickenssearch.com/verse/1836-12_Pickwick_Papers_A_Christmas_Carol</a>. Description An account of the resource From The Pickwick Papers, ch. 28, no. 10 (December 1836). Scripto Transcription A written representation of a document. I care not for Spring; on his fickle wing, Let the blossoms and buds be borne: He wooes them amain with his treacherous rain, And he scatters them ere the morn. An inconstant elf, he knows not himself, Nor his own changing mind an hour, He’ll smile in your face, and, with wry grimace, He’ll wither your youngest flower. Let the Summer sun to his bright home run, He shall never be sought by me; When he’s dimmed by a cloud I can laugh aloud, And care not how sulky he be! For his darling child is the madness wild That sports in fierce fever’s train; And when love is too strong, it don’t last long, As many have found to their pain. A mild harvest night, by the tranquil light Of the modest and gentle moon, Has a far sweeter sheen, for me, I ween, Than the broad and unblushing noon. But every leaf awakens my grief, As it lieth beneath the tree; So let Autumn air be never so far, It by no means agrees with me. But my song I troll out, for CHRISTMAS stout, The heart, the true, and the bold; A bumper I drain, and with might and main Give three cheers for this Christmas old! We’ll usher him in with a merry din That shall gladden his joyous heart, And we’ll keep him up, while there’s bite or sup, And in fellowship good, we’ll part. In his fine honest pride, he scorns to hide One jot of his hard-weather scars; They’re no disgrace, for there’s much the same trace On the cheeks of our bravest tars. Then again I sing till the roof doth ring, And it echoes from wall to wall –   To the stout old wight, fair welcome to-night, As the King of the Seasons all!