7 10 361 https://www.dickenssearch.com/files/original/3/Duett_Squire_Edmunds_and_Norton/1836-The_Village_Coquettes_Duett_Squire_Edmunds_and_Norton.pdf 63ddab5654e641ec77b83098bb7cf8a0 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 <em>Pickwick Papers</em> (1837), a story of time’s inexorable passing, was frequently republished in newspapers.<br /><br />Several poems written to young ladies of Dickens’s acquaintance are released on <em>Dickens Search</em> 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.<br /><br />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.<br /><br /><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 <em>The Strange Gentleman </em>and <em>Is She His Wife? Or, Something Singular! </em>before performance.<br /><br />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.<br /><br />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 <em>The Old Curiosity Shop</em>. 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 <em>Echoes of Infant Voices</em>. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of <em>Dickens Search</em>. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens <em>didn't </em>write.</a><br /><br />Occasionally, Dickens will quote a poem by another author, as in his burlesque <em>Is She his Wife? Or, Something Singular!</em> (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.<br /><br />Previous notable collections of some of Dickens's poetry include <em>The Plays and Poems of Charles Dickens</em> (1882) edited by Richard Herne Shepherd and <em>The Poems and Verses of Charles Dickens</em> (1903) edited by Frederic G. Kitton. In 2025, we published <em><a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> </em>(Edinburgh University Press), which includes an introduction and editorial apparatus for this verse. <br /><br />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.<br /><br />1. <em>The Verse of Charles Dickens.</em> Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' <em>The Dickensian</em> 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' <em>Dickens Quarterly</em> 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. <em>Dickens Studies Annual</em> 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18360101 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. Squire. Listen, though I do not fear you, Listen to me, ere we part. Edmunds. List to you! Yes, I will hear you. Squire. Yours alone is Lucy’s heart, I swear it, by that heav’n above me. Edmunds. What! can I believe my ears! Could I hope that she still loves me. Squire. Banish all these doubts and fears, If a love were e’er worth gaining, If love were ever fond and true, No disguise or passion feigning, Such is her young love for you. Squire. Listen, though I do not fear you, Listen to me, ere we part. Edmunds. List to you! yes, I will hear you. Mine alone is her young heart. Publication Type E.g. newspaper/serial Play Publication The title of the newspaper/serial (if applicable) The Village Coquettes, An Operatic Burletta in Two Acts TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1836_The_Village_Coquettes_Duett_Squire_Edmonds_and_Norton.xml" target="_blank" rel="noopener">'Duett: Squire, Edmunds, and Norton.' <em>The Village Coquettes, An Operatic Burletta in Two Acts</em> (1836).</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'Duett: Squire, Edmunds, and Norton' Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived <p class="p1"><i>The Village Coquettes, An Operatic Burletta in Two Acts </i>(1836). London: John Dicks, p.15.</p> Internet Archive, <a href="https://archive.org/details/villagecoquettes00dickuoft/page/12/mode/2up?view=theater" target="_blank" rel="noopener">https://archive.org/details/villagecoquettes00dickuoft/page/12/mode/2up?view=theater</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1836 Contributor An entity responsible for making contributions to the resource Hullah, John Rights Information about rights held in and over the resource <p class="p1"><i>Internet</i><span> <em>Archive</em>: Access to the Archive’s Collections is provided at no cost and is granted for scholarship and research purposes only (</span><span class="s1"><a href="https://archive.org/about/terms.php" target="_blank" rel="noopener">https://archive.org/about/terms.php</a>).</span></p> Type The nature or genre of the resource Song Identifier An unambiguous reference to the resource within a given context 1836-The_Village_Coquettes_Duett_Squire_Edmunds_and_Norton Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. <p class="p1">Dickens, Charles. 'Duett: Squire, Edmunds, and Norton.' <i>The Village Coquettes </i>(1836): p. 15. <i>Dickens Search. </i>Eds. Emily <span>Middleton </span>and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/verse/1836-The_Village_Coquettes_Duett_Squire_Edmunds_and_Norton">https://dickenssearch.com/verse/1836-The_Village_Coquettes_Duett_Squire_Edmunds_and_Norton</a>.</p> Description An account of the resource From <em>The Village Coquettes, An Operatic Burletta in Two Acts </em>(1836). Music by John Hullah. Scripto Transcription A written representation of a document. <p><span style="font-weight: 400;"><em>Squire.</em> Listen, though I do not fear you,</span></p> <p><span style="font-weight: 400;">Listen to me, ere we part.</span></p> <br /> <p><span style="font-weight: 400;"><em>Edmunds</em>. List to you! Yes, I will hear you.</span></p> <br /> <p><span style="font-weight: 400;"><em>Squire.</em> Yours alone is Lucy’s heart,</span></p> <p><span style="font-weight: 400;">I swear it, by that heav’n above me.</span></p> <br /> <p><span style="font-weight: 400;"><em>Edmunds.</em> What! can I believe my ears! </span></p> <p><span style="font-weight: 400;">Could I hope that she still loves me.</span></p> <br /> <p><span style="font-weight: 400;"><em>Squire.</em> Banish all these doubts and fears,</span></p> <p><span style="font-weight: 400;">If a love were e’er worth gaining,</span></p> <p><span style="font-weight: 400;">If love were ever fond and true,</span></p> <p><span style="font-weight: 400;">No disguise or passion feigning,</span></p> <p><span style="font-weight: 400;">Such is her young love for you.</span></p> <br /> <p><span style="font-weight: 400;"><em>Squire.</em> Listen, though I do not fear you,</span></p> <p><span style="font-weight: 400;">Listen to me, ere we part.</span></p> <p><span style="font-weight: 400;"><em>Edmunds.</em> List to you! yes, I will hear you.</span></p> <p><span style="font-weight: 400;">Mine alone is her young heart.</span></p> 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 <em>Pickwick Papers</em> (1837), a story of time’s inexorable passing, was frequently republished in newspapers.<br /><br />Several poems written to young ladies of Dickens’s acquaintance are released on <em>Dickens Search</em> 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.<br /><br />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.<br /><br /><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 <em>The Strange Gentleman </em>and <em>Is She His Wife? Or, Something Singular! </em>before performance.<br /><br />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.<br /><br />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 <em>The Old Curiosity Shop</em>. 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 <em>Echoes of Infant Voices</em>. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of <em>Dickens Search</em>. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens <em>didn't </em>write.</a><br /><br />Occasionally, Dickens will quote a poem by another author, as in his burlesque <em>Is She his Wife? Or, Something Singular!</em> (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.<br /><br />Previous notable collections of some of Dickens's poetry include <em>The Plays and Poems of Charles Dickens</em> (1882) edited by Richard Herne Shepherd and <em>The Poems and Verses of Charles Dickens</em> (1903) edited by Frederic G. Kitton. In 2025, we published <em><a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> </em>(Edinburgh University Press), which includes an introduction and editorial apparatus for this verse. <br /><br />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.<br /><br />1. <em>The Verse of Charles Dickens.</em> Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' <em>The Dickensian</em> 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' <em>Dickens Quarterly</em> 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. <em>Dickens Studies Annual</em> 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Publication Type E.g. newspaper/serial Play Publication The title of the newspaper/serial (if applicable) The Strange Gentleman TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1836_The_Strange_Gentleman_Duett.xml" target="_blank" rel="noopener">'Duett.' <em>The Strange Gentleman </em>(Lord Chamberlain’s Copy, 1836).</a> Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18360101 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. Around the feet of smiling love In Wanton Gambols Myriads play – Like Summer Zephyr’s in the Sun And scatter roses in his way. – A wreath entwine Of bays divine To Crown the boy. With songs of praise Our voice we’ll raise To sing love’s joy. 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 'Duett' Description An account of the resource From Act 1, Scene 1 of <em>The Strange Gentleman</em> (Lord Chamberlain’s Copy, 1836). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived Lord Chamberlain’s Copy, British Library. <span>'Duett.' <em>The Strange</em> <em>Gentleman</em>. </span><em>The Letters of Charles Dickens. The</em><span> </span><em>Pilgrim Edition.<span> </span></em><span>Edited by Madeline House and Graham Storey. Volume 1 (1820-1839), p. 696. Oxford University Press, 1965.</span> Date A point or period of time associated with an event in the lifecycle of the resource 1836 Identifier An unambiguous reference to the resource within a given context 1836_The_Strange_Gentleman_Duett 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. 'Duett.' <em>The Strange Gentleman</em> (1836). <em>Dickens Search</em>. Eds. Emily <span>Middleton</span> and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/verse/1836_The_Strange_Gentleman_Duett">https://dickenssearch.com/verse/1836_The_Strange_Gentleman_Duett</a>. Type The nature or genre of the resource Song Scripto Transcription A written representation of a document. Around the feet of smiling love<br />In Wanton Gambols Myriads play –<br />Like Summer Zephyr’s in the Sun<br />And scatter roses in his way. –<br />A wreath entwine<br />Of bays divine<br />To Crown the boy.<br />With songs of praise<br />Our voice we’ll raise<br />To sing love’s joy. 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 <em>Pickwick Papers</em> (1837), a story of time’s inexorable passing, was frequently republished in newspapers.<br /><br />Several poems written to young ladies of Dickens’s acquaintance are released on <em>Dickens Search</em> 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.<br /><br />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.<br /><br /><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 <em>The Strange Gentleman </em>and <em>Is She His Wife? Or, Something Singular! </em>before performance.<br /><br />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.<br /><br />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 <em>The Old Curiosity Shop</em>. 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 <em>Echoes of Infant Voices</em>. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of <em>Dickens Search</em>. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens <em>didn't </em>write.</a><br /><br />Occasionally, Dickens will quote a poem by another author, as in his burlesque <em>Is She his Wife? Or, Something Singular!</em> (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.<br /><br />Previous notable collections of some of Dickens's poetry include <em>The Plays and Poems of Charles Dickens</em> (1882) edited by Richard Herne Shepherd and <em>The Poems and Verses of Charles Dickens</em> (1903) edited by Frederic G. Kitton. In 2025, we published <em><a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> </em>(Edinburgh University Press), which includes an introduction and editorial apparatus for this verse. <br /><br />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.<br /><br />1. <em>The Verse of Charles Dickens.</em> Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' <em>The Dickensian</em> 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' <em>Dickens Quarterly</em> 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. <em>Dickens Studies Annual</em> 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Publication Type E.g. newspaper/serial Letter TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1849-12-03_Letter_To_Mary_Boyle_Elegy.xml" target="_blank" rel="noopener"><span>'Elegy' (3 December 1849).</span></a> Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18491203 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. Written in a country churchyard. The small dog Spitz has given a shrill bark, And gone off with her tail uprais’d in air; I don’t know where she’s gone, it is so dark, And (what is more) I don’t think that I care. Now the gloom deepens like to that thick gloom Of which the Master of the School once spoke, Which can’t be swept away by any broom, And hangs enshrouding all things, like dense smoke. Within yon Castle Walls, of old admired, Where winking tapers in the windows doze, Each to a chamber snug and warm retir’d, Toe royst’ring wights of Rockingham repose! From them no more does Lady Teazle win Applause, fit tribute to her graces quaint: For them no more Sir Peter daubs his skin And looks out from a mist of flour and paint. The modest check and mien of “the young man”, The lunatic in custody next door, The mirth which Mrs Nickleby began, No longer interrupt their low-drawn snore. No more the host, as if he dealt at cards, Smiling deals lighted candles all about: No more the Fair inclusive of the Bard’s) Persist in blowing all the candles out. No more the Fair prolong the cheerful tread Of dancing feet until the lights low burn: No more the host, when they are gone to bed, Quickly retreats, foreboding their return. Let not Convention mock the cap and bells Which certain heads are not too wise to wear, Nor loftily disdain the voice that tells How harmless trifling purifies the air! Full many an impulse, generous and good, Has sprung from a light heart in cheery hours: Full many a wounded creature has withstood The thorns of life, rememb’ring its wild flowers. And so, may conjurors within that hall Again large watches cut, from loaves of bread: Again hot puddings bring, with magic call, From the hat sacred to a rev’rend head! For him who, mindful of that honored time, Does in these lines its artless tale relate, So read his fate in very feeble rhyme Written in chalk upon the churchyard Gate! The Epitaph Here rests his head upon his native soil A Youth who lived once, in the public whim: His death occasion’d by a mortal Boil, Which settled on his brain, and settled him. 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 'Elegy' Description An account of the resource From a letter to Mary Boyle (3 December 1849). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived 'Elegy.' <em>The Letters of Charles Dickens. The Pilgrim Edition. </em><span>Edited by Graham Storey and K. J. Fielding. Volume 5 (1847-1849), p. 708-709. Oxford University Press, 1980.</span> Date A point or period of time associated with an event in the lifecycle of the resource 1849-12-03 Relation A related resource Parody of Thomas Gray's 'Elegy Written in a Country Churchyard'. Type The nature or genre of the resource Poem Identifier An unambiguous reference to the resource within a given context 1849-12-03_Letter_To_Mary_Boyle_Elegy Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. <span>Dickens, Charles. 'Elegy' (3 December 1849). </span><em>Dickens Search.</em><span> Eds. Emily Middleton and Lydia Craig. Accessed [date]. </span><a href="https://dickenssearch.com/verse/1849-12-03_Letter_To_Mary_Boyle_Elegy" target="_blank" rel="noopener">https://dickenssearch.com/verse/1849-12-03_Letter_To_Mary_Boyle_Elegy</a>. Scripto Transcription A written representation of a document. Written in a country churchyard.<br /><br />The small dog Spitz has given a shrill bark,<br />And gone off with her tail uprais’d in air;<br />I don’t know where she’s gone, it is so dark,<br />And (what is more) I don’t think that I care.<br /><br />Now the gloom deepens like to that thick gloom<br />Of which the Master of the School once spoke,<br />Which can’t be swept away by any broom,<br />And hangs enshrouding all things, like dense smoke.<br /><br />Within yon Castle Walls, of old admired,<br />Where winking tapers in the windows doze,<br />Each to a chamber snug and warm retir’d,<br />Toe royst’ring wights of Rockingham repose!<br /><br />From them no more does Lady Teazle win<br />Applause, fit tribute to her graces quaint:<br />For them no more Sir Peter daubs his skin<br />And looks out from a mist of flour and paint.<br /><br />The modest check and mien of “the young man”,<br />The lunatic in custody next door,<br />The mirth which Mrs Nickleby began,<br />No longer interrupt their low-drawn snore.<br /><br />No more the host, as if he dealt at cards,<br />Smiling deals lighted candles all about:<br />No more the Fair inclusive of the Bard’s)<br />Persist in blowing all the candles out.<br /><br />No more the Fair prolong the cheerful tread<br />Of dancing feet until the lights low burn:<br />No more the host, when they are gone to bed,<br />Quickly retreats, foreboding their return.<br /><br />Let not Convention mock the cap and bells<br />Which certain heads are not too wise to wear,<br />Nor loftily disdain the voice that tells<br />How harmless trifling purifies the air!<br /><br />Full many an impulse, generous and good,<br />Has sprung from a light heart in cheery hours:<br />Full many a wounded creature has withstood<br />The thorns of life, rememb’ring its wild flowers.<br /><br />And so, may conjurors within that hall<br />Again large watches cut, from loaves of bread:<br />Again hot puddings bring, with magic call,<br />From the hat sacred to a rev’rend head!<br /><br />For him who, mindful of that honored time,<br />Does in these lines its artless tale relate,<br />So read his fate in very feeble rhyme<br />Written in chalk upon the churchyard Gate!<br /><br /> <h4>The Epitaph</h4> Here rests his head upon his native soil<br />A Youth who lived once, in the public whim:<br />His death occasion’d by a mortal Boil,<br />Which settled on his brain, and settled him. 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 <em>Pickwick Papers</em> (1837), a story of time’s inexorable passing, was frequently republished in newspapers.<br /><br />Several poems written to young ladies of Dickens’s acquaintance are released on <em>Dickens Search</em> 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.<br /><br />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.<br /><br /><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 <em>The Strange Gentleman </em>and <em>Is She His Wife? Or, Something Singular! </em>before performance.<br /><br />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.<br /><br />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 <em>The Old Curiosity Shop</em>. 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 <em>Echoes of Infant Voices</em>. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of <em>Dickens Search</em>. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens <em>didn't </em>write.</a><br /><br />Occasionally, Dickens will quote a poem by another author, as in his burlesque <em>Is She his Wife? Or, Something Singular!</em> (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.<br /><br />Previous notable collections of some of Dickens's poetry include <em>The Plays and Poems of Charles Dickens</em> (1882) edited by Richard Herne Shepherd and <em>The Poems and Verses of Charles Dickens</em> (1903) edited by Frederic G. Kitton. In 2025, we published <em><a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> </em>(Edinburgh University Press), which includes an introduction and editorial apparatus for this verse. <br /><br />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.<br /><br />1. <em>The Verse of Charles Dickens.</em> Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' <em>The Dickensian</em> 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' <em>Dickens Quarterly</em> 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. <em>Dickens Studies Annual</em> 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Publication Type E.g. newspaper/serial Letter TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1842-04-04_Epitaph_Charles_Irving.xml" target="_blank" rel="noopener"><span>'Epitaph of Charles Irving' (4 April 1842).</span></a> Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. This is the Grave of A Little Child, Whom God in his goodness Called to a Bright Eternity, When he was very young. Hard as it is For Human Affection To reconcile itself To Death, In any shape; (And most of all, perhaps, At First, In This) His parents Can even now believe That it will be a consolation to them, Throughout Their Lives, And when they shall have grown old And grey, Always to think of him As a Child, In Heaven. “And Jesus called a little child unto Him, and set him in the midst of them” He was the son of A and M Thornton. Christened CHARLES IRVING He was born on the 20th day of January 1841, And he died on the 12th day of March 1842. Having lived only Thirteen Months, and nine days. 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. 18420404 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 'Epitaph of Charles Irving' Description An account of the resource From a letter to Dr F. H. Deane (4 April 1842). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived 'To Dr F. H. Deane.' <em>The Letters of Charles Dickens. The Pilgrim Edition. </em>Edited by Madeline House, Graham Storey and Kathleen Tillotson. Volume 3 (1842-1843), p. 187. Oxford University Press, 1974. Date A point or period of time associated with an event in the lifecycle of the resource 1842-04-04 Type The nature or genre of the resource Epitaph Identifier An unambiguous reference to the resource within a given context 1842-04-04_Epitaph_Charles_Irving Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. <span>Dickens, Charles. 'Epitaph of Charles Irving' (4 April 1842). </span><em>Dickens Search.</em><span> Eds. Emily Middleton and Lydia Craig. Accessed [date]. </span><a href="https://dickenssearch.com/verse/1842-04-04_Epitaph_Charles_Irving">https://dickenssearch.com/verse/1842-04-04_Epitaph_Charles_Irving</a>. Scripto Transcription A written representation of a document. <div style="text-align: center;">This is the Grave</div> <div style="text-align: center;">of</div> <div style="text-align: center;">A Little Child,</div> <div style="text-align: center;">Whom God in his goodness</div> <div style="text-align: center;">Called to a Bright Eternity,</div> <div style="text-align: center;">When he was very young.</div> <div style="text-align: center;">Hard as it is</div> <div style="text-align: center;">For Human Affection</div> <div style="text-align: center;">To reconcile itself</div> <div style="text-align: center;">To Death,</div> <div style="text-align: center;">In any shape;</div> <div style="text-align: center;">(And most of all, perhaps,</div> <div style="text-align: center;">At First,</div> <div style="text-align: center;">In This)</div> <div style="text-align: center;">His parents</div> <div style="text-align: center;">Can even now believe</div> <div style="text-align: center;">That it will be a consolation to them,</div> <div style="text-align: center;">Throughout Their Lives,</div> <div style="text-align: center;">And when they shall have grown old</div> <div style="text-align: center;">And grey,</div> <div style="text-align: center;">Always to think of him</div> <div style="text-align: center;"><em>As a Child</em>,</div> <div style="text-align: center;">In Heaven. </div> <div style="text-align: center;"><br /><br /></div> <div style="text-align: center;">“And Jesus called a little child unto</div> <div style="text-align: center;">Him, and set him in the midst of them” </div> <div style="text-align: center;"><br /><br /></div> <div style="text-align: center;">He was the son of A    and M    Thornton.</div> <div style="text-align: center;">Christened CHARLES IRVING</div> <div style="text-align: center;">He was born on the 20<sup>th</sup> day of January 1841,</div> <div style="text-align: center;">And he died on the 12<sup>th</sup> day of March 1842.</div> <div style="text-align: center;">Having lived only Thirteen Months, and nine days.</div> 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 <em>Pickwick Papers</em> (1837), a story of time’s inexorable passing, was frequently republished in newspapers.<br /><br />Several poems written to young ladies of Dickens’s acquaintance are released on <em>Dickens Search</em> 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.<br /><br />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.<br /><br /><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 <em>The Strange Gentleman </em>and <em>Is She His Wife? Or, Something Singular! </em>before performance.<br /><br />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.<br /><br />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 <em>The Old Curiosity Shop</em>. 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 <em>Echoes of Infant Voices</em>. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of <em>Dickens Search</em>. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens <em>didn't </em>write.</a><br /><br />Occasionally, Dickens will quote a poem by another author, as in his burlesque <em>Is She his Wife? Or, Something Singular!</em> (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.<br /><br />Previous notable collections of some of Dickens's poetry include <em>The Plays and Poems of Charles Dickens</em> (1882) edited by Richard Herne Shepherd and <em>The Poems and Verses of Charles Dickens</em> (1903) edited by Frederic G. Kitton. In 2025, we published <em><a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> </em>(Edinburgh University Press), which includes an introduction and editorial apparatus for this verse. <br /><br />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.<br /><br />1. <em>The Verse of Charles Dickens.</em> Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' <em>The Dickensian</em> 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' <em>Dickens Quarterly</em> 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. <em>Dickens Studies Annual</em> 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Publication Type E.g. newspaper/serial Letter TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1841-11-26_Epitaph_Katherine_Thomson.xml" target="_blank" rel="noopener"><span>'Epitaph of Katherine Thomson' (26 November 1841).</span></a> Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18411126 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. Sacred to the ashes of Katherine Thomson, For Sixty Years The dear Wife of George Thomson of Edinburgh. She died at Brompton on the Thirteenth of October 1841; Closing at the age of Seventy Five, a life of affectionate devotion and domestic excellence. Reader! The adjoining grave Is that of her Grandchild who died In the early bloom of womanhood. This Is the resting-place of one whose honoured head was gray. It is hard to lose Those whom we fondly love at any time; But it is a happy thing To believe That in Eternity There is perpetual youth and happiness For all. The will of God be done! 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 'Epitaph of Katherine Thomson' Description An account of the resource From a letter to George Thomson (26 November 1841). Creator An entity primarily responsible for making the resource Dickens, Charles. Source A related resource from which the described resource is derived Sack, O. 'An Epitaph by Charles Dickens.' <em>The Dickensian</em> 10.9 (1914): 234-237. Date A point or period of time associated with an event in the lifecycle of the resource 1841-11-26 Type The nature or genre of the resource Epitaph Identifier An unambiguous reference to the resource within a given context 1841-11-26_Epitaph_Katherine_Thomson Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. <span>Dickens, Charles. 'Epitaph of Katherine Thomson' (26 November 1841). </span><em>Dickens Search.</em><span> Eds. Emily Middleton and Lydia Craig. Accessed [date]. </span><a href="https://dickenssearch.com/verse/ 1841-11-26_Epitaph_Katherine_Thomson" target="_blank" rel="noopener">https://dickenssearch.com/verse/1841-11-26_Epitaph_Katherine_Thomson</a>. Scripto Transcription A written representation of a document. <div style="text-align: center;">Sacred to the ashes</div> <div style="text-align: center;">of</div> <div style="text-align: center;">Katherine Thomson,</div> <div style="text-align: center;">For Sixty Years</div> <div style="text-align: center;">The dear Wife</div> <div style="text-align: center;">of</div> <div style="text-align: center;">George Thomson</div> <div style="text-align: center;">of Edinburgh.</div> <div style="text-align: center;">She died at Brompton</div> <div style="text-align: center;">on the Thirteenth of October 1841; Closing</div> <div style="text-align: center;">at the age of Seventy Five,</div> <div style="text-align: center;">a life</div> <div style="text-align: center;">of affectionate devotion</div> <div style="text-align: center;">and domestic excellence. Reader!</div> <div style="text-align: center;">The adjoining grave</div> <div style="text-align: center;">Is that of her Grandchild</div> <div style="text-align: center;">who died</div> <div style="text-align: center;">In the early bloom of womanhood.</div> <div style="text-align: center;">This</div> <div style="text-align: center;">Is the resting-place</div> <div style="text-align: center;">of one</div> <div style="text-align: center;">whose honoured head</div> <div style="text-align: center;">was gray.</div> <div style="text-align: center;">It is hard to lose</div> <div style="text-align: center;">Those whom we fondly love</div> <div style="text-align: center;">at any time;</div> <div style="text-align: center;">But it is a happy thing</div> <div style="text-align: center;">To believe</div> <div style="text-align: center;">That in Eternity</div> <div style="text-align: center;">There is perpetual youth</div> <div style="text-align: center;">and happiness</div> <div style="text-align: center;">For all.</div> <div style="text-align: center;">The will of God be done!</div> 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 <em>Pickwick Papers</em> (1837), a story of time’s inexorable passing, was frequently republished in newspapers.<br /><br />Several poems written to young ladies of Dickens’s acquaintance are released on <em>Dickens Search</em> 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.<br /><br />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.<br /><br /><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 <em>The Strange Gentleman </em>and <em>Is She His Wife? Or, Something Singular! </em>before performance.<br /><br />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.<br /><br />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 <em>The Old Curiosity Shop</em>. 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 <em>Echoes of Infant Voices</em>. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of <em>Dickens Search</em>. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens <em>didn't </em>write.</a><br /><br />Occasionally, Dickens will quote a poem by another author, as in his burlesque <em>Is She his Wife? Or, Something Singular!</em> (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.<br /><br />Previous notable collections of some of Dickens's poetry include <em>The Plays and Poems of Charles Dickens</em> (1882) edited by Richard Herne Shepherd and <em>The Poems and Verses of Charles Dickens</em> (1903) edited by Frederic G. Kitton. In 2025, we published <em><a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> </em>(Edinburgh University Press), which includes an introduction and editorial apparatus for this verse. <br /><br />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.<br /><br />1. <em>The Verse of Charles Dickens.</em> Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' <em>The Dickensian</em> 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' <em>Dickens Quarterly</em> 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. <em>Dickens Studies Annual</em> 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 TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1837-05_Epitaph_Mary_Hogarth.xml" target="_blank" rel="noopener"><span>'Epitaph of Mary Hogarth' (May 1837).</span></a> Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18370512 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. Mary Scott Hogarth Died 7th May 1837 Young Beautiful And Good God In His Mercy Numbered Her With His Angels At the Early Age Of Seventeen 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 'Epitaph of Mary Hogarth' Description An account of the resource Composed after the death of Mary Hogarth on 7 May 1837 (May 1837). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived <div id="dublin-core-source" class="element"> <div class="element-text"><span>'Epitaph of Mary Hogarth.' </span><em>The Letters of Charles Dickens. The</em><span> </span><em>Pilgrim Edition.<span> </span></em><span>Edited by Madeline House and Graham Storey. Volume 1 (1820-1839), p. 259<em>n</em>. Oxford University Press, 1965.</span></div> </div> Date A point or period of time associated with an event in the lifecycle of the resource 1837-05 Type The nature or genre of the resource Epitaph Identifier An unambiguous reference to the resource within a given context 1837-05_Epitaph_Mary_Hogarth Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. <span>Dickens, Charles. 'Epitaph of Mary Hogarth' (May 1837). </span><em>Dickens Search.</em><span> Eds. Emily Middleton and Lydia Craig. Accessed [date]. </span><a href="https://dickenssearch.com/verse/ 1837-05_Epitaph_Mary_Hogarth" target="_blank" rel="noopener">https://dickenssearch.com/verse/<br />1837-05_Epitaph_Mary_Hogarth</a>. Scripto Transcription A written representation of a document. <div style="text-align: center;">Mary Scott Hogarth</div> <div style="text-align: center;">Died 7th May 1837</div> <div style="text-align: center;">Young Beautiful And Good</div> <div style="text-align: center;">God In His Mercy</div> <div style="text-align: center;">Numbered Her With His Angels</div> <div style="text-align: center;">At the Early Age Of</div> <div style="text-align: center;">Seventeen</div> 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 <em>Pickwick Papers</em> (1837), a story of time’s inexorable passing, was frequently republished in newspapers.<br /><br />Several poems written to young ladies of Dickens’s acquaintance are released on <em>Dickens Search</em> 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.<br /><br />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.<br /><br /><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 <em>The Strange Gentleman </em>and <em>Is She His Wife? Or, Something Singular! </em>before performance.<br /><br />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.<br /><br />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 <em>The Old Curiosity Shop</em>. 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 <em>Echoes of Infant Voices</em>. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of <em>Dickens Search</em>. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens <em>didn't </em>write.</a><br /><br />Occasionally, Dickens will quote a poem by another author, as in his burlesque <em>Is She his Wife? Or, Something Singular!</em> (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.<br /><br />Previous notable collections of some of Dickens's poetry include <em>The Plays and Poems of Charles Dickens</em> (1882) edited by Richard Herne Shepherd and <em>The Poems and Verses of Charles Dickens</em> (1903) edited by Frederic G. Kitton. In 2025, we published <em><a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> </em>(Edinburgh University Press), which includes an introduction and editorial apparatus for this verse. <br /><br />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.<br /><br />1. <em>The Verse of Charles Dickens.</em> Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' <em>The Dickensian</em> 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' <em>Dickens Quarterly</em> 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. <em>Dickens Studies Annual</em> 40 (2009): pp. 231-364. Identifier An unambiguous reference to the resource within a given context verse Contributor An entity responsible for making contributions to the resource Lydia Craig; Emily Middleton Poem Publication Type E.g. newspaper/serial Letter TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1861-10-09_Epitaph_Arthur_Smith.xml" target="_blank" rel="noopener"><span>'Epitaph of Mr. Arthur Smith' (9 October 1861).</span></a> Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18611009 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. Here also lie the remains of MR. ARTHUR SMITH, In the Grave of his brother and father. He died, 1st October 1861, Aged 36 Years. For his zeal, integrity, and fidelity, He was widely beloved and honoured. And it is believed By those who knew him best, That he had the clearest head In affairs of business, And the clearest heart In all the affairs of life, That were ever united to The simple tastes, The sweet temper and gentleness, Of an affectionate child. 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 'Epitaph of Mr. Arthur Smith' Description An account of the resource From a letter to Mrs Arthur Smith (9 October 1861). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived 'To Mrs Arthur Smith.' <em>The Letters of Charles Dickens. The Pilgrim Edition. </em>Edited by Graham Storey. Volume 9 (1859-1861), p. 473. Oxford University Press, 1997. Date A point or period of time associated with an event in the lifecycle of the resource 1861-10-09 Type The nature or genre of the resource Epitaph Identifier An unambiguous reference to the resource within a given context 1861-10-09_Epitaph_Arthur_Smith Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. <span>Dickens, Charles. 'Epitaph of Mr. Arthur Smith' (9 October 1861). </span><em>Dickens Search.</em><span> Eds. Emily Middleton and Lydia Craig. Accessed [date]. </span><a href="https://dickenssearch.com/verse/1861-10-09_Epitaph_Arthur_Smith" target="_blank" rel="noopener">https://dickenssearch.com/verse/1861-10-09_Epitaph_Arthur_Smith</a>. Scripto Transcription A written representation of a document. <div style="text-align: center;">Here also lie the remains of</div> <div style="text-align: center;">MR. ARTHUR SMITH,</div> <div style="text-align: center;">In the Grave of his brother and father.</div> <div style="text-align: center;">He died, 1st October 1861,</div> <div style="text-align: center;">Aged 36 Years.</div> <div style="text-align: center;">For his zeal, integrity, and fidelity,</div> <div style="text-align: center;">He was widely beloved and honoured.</div> <div style="text-align: center;">And it is believed</div> <div style="text-align: center;">By those who knew him best,</div> <div style="text-align: center;">That he had the clearest head</div> <div style="text-align: center;">In affairs of business,</div> <div style="text-align: center;">And the clearest heart</div> <div style="text-align: center;">In all the affairs of life,</div> <div style="text-align: center;">That were ever united to</div> <div style="text-align: center;">The simple tastes,</div> <div style="text-align: center;">The sweet temper and gentleness,</div> <div style="text-align: center;">Of an affectionate child.</div> 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 <em>Pickwick Papers</em> (1837), a story of time’s inexorable passing, was frequently republished in newspapers.<br /><br />Several poems written to young ladies of Dickens’s acquaintance are released on <em>Dickens Search</em> 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.<br /><br />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.<br /><br /><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 <em>The Strange Gentleman </em>and <em>Is She His Wife? Or, Something Singular! </em>before performance.<br /><br />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.<br /><br />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 <em>The Old Curiosity Shop</em>. 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 <em>Echoes of Infant Voices</em>. Because Dickens did not intend for this passage to be structured in verse form, the poem is not included in the poetry collection of <em>Dickens Search</em>. <a href="https://dickenssearch.com/poetry-dickens-didnt-write">Read our blog post for more on poetry Dickens <em>didn't </em>write.</a><br /><br />Occasionally, Dickens will quote a poem by another author, as in his burlesque <em>Is She his Wife? Or, Something Singular!</em> (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.<br /><br />Previous notable collections of some of Dickens's poetry include <em>The Plays and Poems of Charles Dickens</em> (1882) edited by Richard Herne Shepherd and <em>The Poems and Verses of Charles Dickens</em> (1903) edited by Frederic G. Kitton. In 2025, we published <em><a href="https://edinburghuniversitypress.com/book-the-verse-of-charles-dickens.html" target="_blank" rel="noopener">The Verse of Charles Dickens</a> </em>(Edinburgh University Press), which includes an introduction and editorial apparatus for this verse. <br /><br />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.<br /><br />1. <em>The Verse of Charles Dickens.</em> Edited by Lydia Craig and Emily Middleton. Edinburgh University Press, 2025; Robert Butterworth. 'The Hymn of the Wiltshire Labourers.' <em>The Dickensian</em> 516.118.1 (Spring 2022): pp. 43-56; Eva-Charlotta Mebius. 'Dreams of Dying Girls: The Poetry of Thomas J. Ouseley and Charles Dickens.' <em>Dickens Quarterly</em> 34.3 (September 2017): pp. 256-261; Robert C. Hanna. 'Before Boz; The Juvenilia and Early Writings of Charles Dickens, 1820-1833'. <em>Dickens Studies Annual</em> 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 TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1864-02_Epitaph_Walter_Landor_Dickens.xml" target="_blank" rel="noopener"><span>'Epitaph of Walter Landor Dickens' (February 1864).</span></a> Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18640201 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. In memory of Lieut. WALTER LANDOR DICKENS, The second son of CHARLES DICKENS, who died At the Officers’ Hospital, Calcutta, On his way home on sick leave, December 31st, 1863, Aged 23 years 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 'Epitaph of Walter Landor Dickens' Description An account of the resource Composed after the death of Walter Landor Dickens on the 31 December 1863 (February 1864). Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived 'Walter Savage Landor Dickens.' <em>The Dickensian</em> 7.2 (1911): 41-42. Date A point or period of time associated with an event in the lifecycle of the resource 1864-02 Type The nature or genre of the resource Epitaph Identifier An unambiguous reference to the resource within a given context 1864-02_Epitaph_Walter_Landor_Dickens Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. <span>Dickens, Charles. 'Epitaph of Walter Landor Dickens' (February 1864). </span><em>Dickens Search.</em><span> Eds. Emily Middleton and Lydia Craig. Accessed [date]. </span><a href="https://dickenssearch.com/verse/1864-02_Epitaph_Walter_Landor_Dickens" target="_blank" rel="noopener">https://dickenssearch.com/verse/1864-02_Epitaph_Walter_Landor_Dickens</a>. Scripto Transcription A written representation of a document. <div style="text-align: center;">In memory of</div> <div style="text-align: center;">Lieut. WALTER LANDOR DICKENS,</div> <div style="text-align: center;">The second son of</div> <div style="text-align: center;">CHARLES DICKENS,</div> <div style="text-align: center;">who died</div> <div style="text-align: center;">At the Officers’ Hospital, Calcutta,</div> <div style="text-align: center;">On his way home on sick leave,</div> <div style="text-align: center;">December 31st, 1863,</div> <div style="text-align: center;">Aged 23 years</div> https://www.dickenssearch.com/files/original/12/From_the_Raven_in_the_Happy_Family_[No.1]/1850-05-11-From_the_Raven_in_the_Happy_Family_No1.pdf 55d6ba3e02f0a3410219aa55b9f43c7a 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. 18500511 Publication The title of the newspaper/serial (if applicable) <em>Household Words</em> Publication Type E.g. newspaper/serial Weekly magazine 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 won’t bear it, and I don't see why I should. Having begun to commit my grievances to writing, I have made up my mind to go on. You men have a saying, ‘I may as well be hung for a sheep as a lamb.’ Very good. I may as well get into a false position with our proprietor for a ream of manuscript as a quire. Here goes! I want to know who BUFFON was. I’ll take my oath he wasn’t a bird. Then what did he know about birds especially about Ravens? He pretends to know all about Ravens. Who told him? Was his authority a Raven? I should think not. There never was a Raven yet, who committed himself, you’ll find, if you look into the precedents. There’s a schoolmaster in dusty black knee-breeches and stockings, who comes and stares at our establishment every Saturday, and brings a lot of boys with him. He is always bothering the boys about BUFFON. That’s the way I know what BUFFON says. He is a nice man, BUFFON; and you’re all nice men together, ain’t you? What do you mean by saying that I am inquisitive and impudent, that I go everywhere, that I affront and drive off the dogs, that I play pranks on the poultry, and that I am particularly assiduous in cultivating the good-will of the cook? That’s what your friend BUFFON says, and you adopt him it appears. And what do you mean by calling me ‘a glutton by nature, and a thief by habit?’ Why, the identical boy who was being told this, on the strength of BUFFON, as he looked through our wires last Saturday, was almost out of his mind with pudding, and had got another boy’s top in his pocket! I tell you what. I like the idea of you men, writing histories of us, and settling what we are, and what we are not, and calling us any names you like best. What colors do you think you would show in, yourselves, if some of us were to take it into our heads to write histories of you? I know something of Astley’s Theatre, I hope; I was about the stables there, a few years. Ecod! if you heard the observations of the Horses after the performance, you’d have some of the conceit taken out of you! I don’t mean to say that I admire the Cat. I don’t admire her. On the whole, I have a personal animosity towards her. But, being obliged to lead this life, I condescend to hold communication with her, and I have asked her what her opinion is. She lived with an old lady of property before she came here, who had a number of nephews and nieces. She says she could show you up to that extent, after her experience in that situation, that even you would be hardly brazen enough to talk of cats being sly and selfish any more. I am particularly assiduous in cultivating the good-will of the cook, am I? Oh! I suppose you never do anything of this sort, yourselves? No politician among you was ever particularly assiduous in cultivating the good-will of a minister, eh? No clergyman in cultivating the goodwill of a bishop, humph? No fortune-seeker in cultivating the good-will of a patron, hah? You have no toad-eating, no time-serving, no place-hunting, no lacqueyship of gold and silver sticks, or anything of that sort, I suppose? You haven’t too many cooks, in short, whom you are all assiduously cultivating, till you spoil the general broth? Not you. You leave that to the Ravens. Your friend BUFFON, and some more of you, are mighty ready, it seems, to give us characters. Would you like to hear about your own temper and forbearance? Ask the Dog. About your never overloading or ill-using a willing creature? Ask my brother-in-law’s friend, the Camel, up in the Zoological. About your gratitude to, and your provision for, old servants? I wish I could refer you to the last Horse I dined off (he was very tough), up at a knacker’s yard in Battle Bridge. About your mildness, and your abstinence from blows and cudgels? Wait till the Donkey’s book comes out! You are very fond of laughing at the parrot, I observe. Now, I don’t care for the parrot. I don't admire the parrot’s voice – it wants hoarseness. And I despise the parrot’s livery – considering black the only true wear. I would as soon stick my bill into the parrot’s breast as look at him. Sooner. But if you come to that, and you laugh at the parrot because the parrot says the same thing over and over again, don't you think you could get up a laugh at yourselves ? Did you ever know a Cabinet Minister say of a flagrant job or great abuse, perfectly notorious to the whole country, that he had never heard a word of it himself, but could assure the honourable gentleman that every enquiry should be made? Did you ever hear a Justice remark, of any extreme example of ignorance, that it was a most extraordinary case, and he couldn't have believed in the possibility of such a case – when there had been, all through his life, ten thousand such within sight of his chimney-pots? Did you ever hear, among yourselves, anything approaching to a parrot repetition of the words, Constitution, Country, Public Service, Self-Government, Centralisation, Un-English, Capital, Balance of Power, Vested Interests, Corn, Rights of Labor, Wages, or so forth ? Did you ever? No! Of course you never! But to come back to that fellow BUFFON. He finds us Ravens to be most extraordinary creatures. We have properties so remarkable, that you’d hardly believe it. ‘A piece of money, a teaspoon, or a ring,’ he says, ‘are always tempting baits to our avarice. These we will slily seize upon; and, if not watched, carry to our favorite hole.’ How odd! Did you ever hear of a place called California? I have. I understand there are a number of animals over there, from all parts of the world, turning up the ground with their bills, grubbing under the water, sickening, moulting, living in want and fear, starving, dying, tumbling over on their backs, murdering one another, and all for what? Pieces of money that they want to carry to their favourite holes. Ravens every one of ‘em! Not a man among ‘em, bless you! Did you ever hear of Railway Scrip? I have. We made a pretty exhibition of ourselves about that, we feathered creatures! Lord, how we went on about that Railway Scrip! How we fell down, to a bird, from the Eagle to the Sparrow, before a scarecrow, and worshipped it for the love of the bits of rag and paper uttering from its dirty pockets! If it hadn’t tumbled down in its rottenness, we should have clapped a title on it within ten years, I’ll be sworn! - Go along with you, and your BUFFON, and don’t talk to me! ‘The Raven don’t confine himself to petty depredations on the pantry or the larder’ here you are with your BUFFON again ‘but he soars at more magnificent plunder, that he can neither exhibit nor enjoy. This must be very strange to you men more than it is to the Cat who lived with that old lady, though! Now, I am not going to stand this. You shall not have it all your own way. I am resolved that I won’t have Ravens written about by men, without having men written about by Ravens – at all events by one Raven, and that’s me. I shall put down my opinions about you. As leisure and opportunity serve, I shall collect a natural history of you. You are a good deal given to talk about your missions. That’s my mission. How do you like it? I am open to contributions from any animal except one of your set; bird, beast, or fish, may assist me in my mission, if he will. I have mentioned it to the Cat, intimated it to the Mouse, and proposed it to the Dog. The Owl shakes his head when I confide it to him, and says he doubts. He always did shake his head, and doubt. Whenever he brings himself before the public, he never does anything except shake his head and doubt. I should have thought he had got himself into a sufficient mess by doing that, when he roosted for a long time in the Court of Chancery. But he can’t leave off. He’s always at it. Talking of missions, here’s our Proprietor’s Wife with a mission now! She has found out that she ought to go and vote at elections; ought to be competent to sit in Parliament; ought to be able to enter the learned professions the army and navy, too, I believe. She has made the discovery that she has no business to be the comfort of our Proprietor’s life, and to have the hold upon him of not being mixed up in all the janglings and wranglings of men, but is quite ill-used in being the solace of his home, and wants to go out speechifying. That’s our Proprietor’s Wife’s new mission. Why, you never heard the Dove go on in that ridiculous way. She knows her true strength better. You are mighty proud about your language; but it seems to me that you don’t deserve to have words, if you can’t make a better use of ‘em. You know you are always fighting about ‘em. Do you never mean to leave that off, and come to things a little? I thought you had high authority for not tearing each other's eyes out, about words. You respect it, don’t you? I declare I am stunned with words, on my perch in the Happy Family. I used to think the cry of a Peacock bad enough, when I was on sale in a menagerie, but I had rather live in the midst of twenty peacocks, than one Gorham and a Privy Council. In the midst of your wordy squabbling, you don't think of the lookers-on. But if you heard what I hear in my public thoroughfare, you’d stop a little of that noise, and leave the great bulk of the people something to believe in peace. You are overdoing it, I assure you. I don’t wonder at the Parrot picking words up and occupying herself with them. She has nothing else to do. There are no destitute parrots, no uneducated parrots, no foreign parrots in a contagious state of distraction, no parrots in danger of pestilence, no festering heaps of miserable parrots, no parrots crying to be sent away beyond the sea for dear life. But among you! – Well! I repeat, I am not going to stand it. Tame submission to injustice is unworthy of a Raven. I croak the croak of revolt, and call upon the Happy Family to rally round me. You men have had it all your own way for a long time. Now, you shall hear a sentiment or two about yourselves. I find my last communication gone from the corner where I hid it. I rather suspect the magpie, but he says, ‘Upon his honor.’ If Mr. Rowland Hill has got it, he will do me justice – more justice than you have done him lately, or I am mistaken in my man. 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 'From the Raven in the Happy Family' (No.1) 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 1850-05-11 Rights Information about rights held in and over the resource <em>Dickens Journals Online, </em>used by permission Type The nature or genre of the resource Journalism article Identifier An unambiguous reference to the resource within a given context 1850-05-11-From_the_Raven_in_the_Happy_Family_No1 Contributor An entity responsible for making contributions to the resource Lydia Craig Source A related resource from which the described resource is derived <em>Household Words,</em><span> </span><span>vol. 1, no. 7, 11 May 1850, pp. 156-158.</span><span> </span><em>Dickens Journals Online,</em><span> </span><a href="https://www.djo.org.uk/household-words/volume-i/page-156.html">https://www.djo.org.uk/household-words/volume-i/page-156.html</a><span>.</span> Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. <span>Dickens, Charles. 'From the Raven in the Happy Family' (No.1). </span><em>Dickens Search.<span> </span></em><span>Eds. Emily Middleton and Lydia Craig. Accessed [date]. </span><a href="https://dickenssearch.com/journalism/1850-05-11-From_the_Raven_in_the_Happy_Family_No1">https://dickenssearch.com/journalism/1850-05-11-From_the_Raven_in_the_Happy_Family_No1</a>. Description An account of the resource Published in Household Words (11 May 1850) Scripto Transcription A written representation of a document. <p>I won’t bear it, and I don't see why I should.</p> <p>Having begun to commit my grievances to writing, I have made up my mind to go on. You men have a saying, ‘I may as well be hung for a sheep as a lamb.’ Very good. <em>I </em>may as well get into a false position with our proprietor for a ream of manuscript as a quire. Here goes! I want to know who BUFFON was. I’ll take my oath he wasn’t a bird. Then what did <em>he</em> know about birds especially about Ravens? He pretends to know all about Ravens. Who told him? Was his authority a Raven? I should think not. There never was a Raven yet, who committed himself, you’ll find, if you look into the precedents.</p> <p>There’s a schoolmaster in dusty black knee-breeches and stockings, who comes and stares at our establishment every Saturday, and brings a lot of boys with him. He is always bothering the boys about BUFFON. That’s the way I know what BUFFON says. He is a nice man, BUFFON; and you’re all nice men together, ain’t you?</p> <p>What do you mean by saying that I am inquisitive and impudent, that I go everywhere, that I affront and drive off the dogs, that I play pranks on the poultry, and that I am particularly assiduous in cultivating the good-will of the cook? That’s what your friend BUFFON says, and you adopt him it appears. And what do you mean by calling me ‘a glutton by nature, and a thief by habit?’ Why, the identical boy who was being told this, on the strength of BUFFON, as he looked through our wires last Saturday, was almost out of his mind with pudding, and had got another boy’s top in his pocket!</p> <p>I tell you what. I like the idea of you men, writing histories of <em>us,</em> and settling what we are, and what we are not, and calling us any names you like best. What colors do you think you would show in, yourselves, if some of us were to take it into our heads to write histories of <em>you</em>?</p> <p>I know something of Astley’s Theatre, I hope; I was about the stables there, a few years. Ecod! if you heard the observations of the Horses after the performance, you’d have some of the conceit taken out of you! I <em>don’t </em>mean to say that I admire the Cat. I don’t admire her. On the whole, I have a personal animosity towards her. But, being obliged to lead this life, I condescend to hold communication with her, and I have asked her what <em>her</em> opinion is. She lived with an old lady of property before she came here, who had a number of nephews and nieces. She says she could show you up to that extent, after her experience in that situation, that even you would be hardly brazen enough to talk of cats being sly and selfish any more.</p> <p>I am particularly assiduous in cultivating the good-will of the cook, am I? Oh! I suppose you never do anything of this sort, yourselves? No politician among you was ever particularly assiduous in cultivating the good-will of a minister, eh? No clergyman in cultivating the goodwill of a bishop, humph? No fortune-seeker in cultivating the good-will of a patron, hah? You have no toad-eating, no time-serving, no place-hunting, no lacqueyship of gold and silver sticks, or anything of that sort, I suppose? You haven’t too many cooks, in short, whom you are all assiduously cultivating, till you spoil the general broth? Not you. You leave that to the Ravens.</p> <p>Your friend BUFFON, and some more of you, are mighty ready, it seems, to give us characters. Would you like to hear about your own temper and forbearance? Ask the Dog. About your never overloading or ill-using a willing creature? Ask my brother-in-law’s friend, the Camel, up in the Zoological. About your gratitude to, and your provision for, old servants? I wish I could refer you to the last Horse I dined off (he was very tough), up at a knacker’s yard in Battle Bridge. About your mildness, and your abstinence from blows and cudgels? Wait till the Donkey’s book comes out!</p> <p>You are very fond of laughing at the parrot, I observe. Now, I don’t care for the parrot. I don't admire the parrot’s voice – it wants hoarseness. And I despise the parrot’s livery – considering black the only true wear. I would as soon stick my bill into the parrot’s breast as look at him. Sooner. But if you come to that, and you laugh at the parrot because the parrot says the same thing over and over again, don't you think you could get up a laugh at yourselves ? Did you ever know a Cabinet Minister say of a flagrant job or great abuse, perfectly notorious to the whole country, that he had never heard a word of it himself, but could assure the honourable gentleman that every enquiry should be made? Did you ever hear a Justice remark, of any extreme example of ignorance, that it was a most extraordinary case, and he couldn't have believed in the possibility of such a case – when there had been, all through his life, ten thousand such within sight of his chimney-pots? Did you ever hear, among yourselves, anything approaching to a parrot repetition of the words, Constitution, Country, Public Service, Self-Government, Centralisation, Un-English, Capital, Balance of Power, Vested Interests, Corn, Rights of Labor, Wages, or so forth ? <em>Did </em>you ever? No! Of course you never!</p> <p>But to come back to that fellow BUFFON. He finds us Ravens to be most extraordinary creatures. We have properties so remarkable, that you’d hardly believe it. ‘A piece of money, a teaspoon, or a ring,’ he says, ‘are always tempting baits to our avarice. These we will slily seize upon; and, if not watched, carry to our favorite hole.’ How odd!</p> <p>Did you ever hear of a place called California? <em>I</em> have. I understand there are a number of animals over there, from all parts of the world, turning up the ground with their bills, grubbing under the water, sickening, moulting, living in want and fear, starving, dying, tumbling over on their backs, murdering one another, and all for what? Pieces of money that they want to carry to their favourite holes. Ravens every one of ‘em! Not a man among ‘em, bless you!</p> <p>Did you ever hear of Railway Scrip? <em>I </em>have. We made a pretty exhibition of ourselves about that, we feathered creatures! Lord, how we went on about that Railway Scrip! How we fell down, to a bird, from the Eagle to the Sparrow, before a scarecrow, and worshipped it for the love of the bits of rag and paper uttering from its dirty pockets! If it hadn’t tumbled down in its rottenness, we should have clapped a title on it within ten years, I’ll be sworn! - Go along with you, and your BUFFON, and don’t talk to me!</p> <p>‘The Raven don’t confine himself to petty depredations on the pantry or the larder’ here you are with your BUFFON again ‘but he soars at more magnificent plunder, that he can neither exhibit nor enjoy. This must be very strange to you men more than it is to the Cat who lived with that old lady, though!</p> <p>Now, I am not going to stand this. You shall not have it all your own way. I am resolved that I won’t have Ravens written about by men, without having men written about by Ravens – at all events by one Raven, and that’s me. I shall put down my opinions about you. As leisure and opportunity serve, I shall collect a natural history of you. You are a good deal given to talk about <em>your </em>missions. That’s my mission. How do you like it?</p> <p>I am open to contributions from any animal except one of your set; bird, beast, or fish, may assist me in my mission, if he will. I have mentioned it to the Cat, intimated it to the Mouse, and proposed it to the Dog. The Owl shakes his head when I confide it to him, and says he doubts. He always did shake his head, and doubt. Whenever he brings himself before the public, he never does anything except shake his head and doubt. I should have thought he had got himself into a sufficient mess by doing that, when he roosted for a long time in the Court of Chancery. But he can’t leave off. He’s always at it.</p> <p>Talking of missions, here’s our Proprietor’s Wife with a mission now! She has found out that she ought to go and vote at elections; ought to be competent to sit in Parliament; ought to be able to enter the learned professions the army and navy, too, I believe. She has made the discovery that she has no business to be the comfort of our Proprietor’s life, and to have the hold upon him of not being mixed up in all the janglings and wranglings of men, but is quite ill-used in being the solace of his home, and wants to go out speechifying. That’s our Proprietor’s Wife’s new mission. Why, you never heard the Dove go on in that ridiculous way. She knows her true strength better.</p> <p>You are mighty proud about your language; but it seems to me that you don’t deserve to have words, if you can’t make a better use of ‘em. You know you are always fighting about ‘em. Do you never mean to leave that off, and come to things a little? I thought you had high authority for <em>not</em> tearing each other's eyes out, about words. You respect it, don’t you? I declare I am stunned with words, on my perch in the Happy Family. I used to think the cry of a Peacock bad enough, when I was on sale in a menagerie, but I had rather live in the midst of twenty peacocks, than one Gorham and a Privy Council. In the midst of your wordy squabbling, you don't think of the lookers-on. But if you heard what <em>I </em>hear in my public thoroughfare, you’d stop a little of that noise, and leave the great bulk of the people something to believe in peace. You are overdoing it, I assure you.</p> <p>I don’t wonder at the Parrot picking words up and occupying herself with them. She has nothing else to do. There are no destitute parrots, no uneducated parrots, no foreign parrots in a contagious state of distraction, no parrots in danger of pestilence, no festering heaps of miserable parrots, no parrots crying to be sent away beyond the sea for dear life. But among you! –</p> <p>Well! I repeat, I am not going to stand it. Tame submission to injustice is unworthy of a Raven. I croak the croak of revolt, and call upon the Happy Family to rally round me. You men have had it all your own way for a long time. <em>Now, </em>you shall hear a sentiment or two about yourselves.</p> <p>I find my last communication gone from the corner where I hid it. I rather suspect the magpie, but he says, ‘Upon his honor.’ If Mr. Rowland Hill has got it, he will do me justice – more justice than you have done him lately, or I am mistaken in my man.</p> https://www.dickenssearch.com/files/original/12/From_the_Raven_in_the_Happy_Family_[No.2]/1850-05-08-From_the_Raven_in_the_Happy_Family_No2.pdf 88a01503efab170bebe0f9e9be71a383 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. 18500608 Publication The title of the newspaper/serial (if applicable) <em>Household Words</em> Publication Type E.g. newspaper/serial Weekly magazine 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. HALLOA! You won’t let me begin that Natural History of you, eh? You will always be doing something or other, to take off my attention? Now, you have begun to argue with the Undertakers, have you? What next! Ugh! you are a nice set of fellows to be discussing, at this time of day, whether you shall countenance that humbug any longer. “Performing” funerals, indeed! I have heard of performing dogs and cats, performing goats and monkeys, performing ponies, white-mice, and canary-birds; but, performing drunkards at so much a day, guzzling over your dead, and throwing half of you into debt for a twelvemonth, beats all I ever heard of. Ha, ha! The other day there was a person “went and died” (as our Proprietor’s wife says) close to our establishment. Upon my beak I thought I should have fallen off my perch, you made me laugh so, at the funeral! Oh my crop and feathers, what a scene it was! I never saw the Owl so charmed. It was just the thing for him. First of all, two dressed-up fellows came trying to look sober, but they couldn’t do it – and stuck themselves outside the door. There they stood, for hours, with a couple of crutches covered over with drapery: cutting their jokes on the company as they went in, and breathing such strong rum and water into our establishment over the way, that the Guinea Pig (who has a poor little head) was drunk in ten minutes. You are so proud of your humanity. Ha, ha! As if a pair of respectable crows wouldn’t have done it much better? By-and-bye, there came a hearse and four, and then two carriages and four; and on the tops of ‘em, and on all the horses’ heads, were plumes of feathers, hired at so much per plume; and everything, horses and all, was covered over with black velvet, till you couldn’t see it. Because there were not feathers enough yet, there was a fellow in the procession carrying a board of ‘em on his head, like Italian images; and there were about five-and-twenty or thirty other fellows (all hot and red in the face with eating and drinking) dressed up in scarves and hat-bands, and carrying – shut-up fishing-rods, I believe – who went draggling through the mud, in a manner that I thought would be the death of me; while the “Black Jobmaster” – that’s what he calls himself – who had let the coaches and horses to a furnishing undertaker, who had let ‘em to a haberdasher, who had let ‘em to a carpenter, who had let ‘em to the parish-clerk, who had let ‘em to the sexton, who had let ‘em to the plumber painter and glazier who had got the funeral to do, looked out of the public-house window at the corner, with his pipe in his mouth, and said – for I heard him – “that was the sort of turn-out to do a gen-teel party credit.” That! As if any two-and-sixpenny masquerade, tumbled into a vat of blacking, wouldn’t be quite as solemn, and immeasurably cheaper! Do you think I don’t know you? You’re mistaken if you think so. But perhaps you do. Well! Shall I tell you what I know? Can you bear it? Here it is then. The Black Jobmaster is right. The root of all this, is the gen-teel party. You don’t mean to deny it, I hope? You don’t mean to tell me that this nonsensical mockery isn’t owing to your gentility. Don’t I know a Raven in a Cathedral Tower, who has often heard your service for the Dead? Don’t I know that you almost begin it with the words, “We brought nothing into this world, and it is certain that we can carry nothing out”? Don't I know that in a monstrous satire on those words, you carry your hired velvets, and feathers, and scarves, and all the rest of it, to the edge of the grave, and get plundered (and serve you right!) in every article, because you WILL be gen-teel parties to the last? Eh? Think a little! Here’s the plumber painter and glazier come to take the funeral order which he is going to give to the sexton, who is going to give it to the clerk, who is going to give it to the carpenter, who is going to give it to the haberdasher, who is going to give it to the furnishing undertaker, who is going to divide it with the Black Jobmaster. “Hearse and four, Sir?” says he. “No, a pair will be sufficient.” “I beg your pardon, Sir, but when we buried Mr. Grundy at number twenty, there was four on ‘em, Sir; I think it right to mention it.” “Well, perhaps there had better be four.” “Thank you, Sir. Two coaches and four, Sir, shall we say?” “No. Coaches and pair.” “You’ll excuse my mentioning it, Sir, but pairs to the coaches, and four to the hearse, would have a singular appearance to the neighbours. When we put four to anything, we always carry four right through.” “Well! say four!” “Thank you, Sir. Feathers of course?” “No. No feathers. They’re absurd.” “Very good, Sir. No feathers?” “No.” “Very good, Sir. We can do fours without feathers, Sir, but it’s what we never do. When we buried Mr. Grundy, there was feathers, and – I only throw it out, Sir – Mrs. Grundy might think it strange.” “Very well! Feathers!” “Thank you, Sir,” – and so on. Is it and so on, or not, through the whole black job of jobs, because of Mrs. Grundy and the gen-teel party? I suppose you’ve thought about this? I suppose you’ve reflected on what you’re doing, and what you’ve done? When you read about those poisonings for the burial society money, you consider how it is that burial societies ever came to be, at all? You perfectly understand you who are not the poor, and ought to set ‘em an example – that, besides making the whole thing costly, you’ve confused their minds about this burying, and have taught ‘em to confound expence and show, with respect and affection. You know all you’ve got to answer for, you genteel parties? I’m glad of it. I believe it’s only the monkeys who are servile imitators, is it? You reflect! To be sure you do. So does Mrs. Grundy and she casts reflections – don’t she? What animals are those who scratch shallow holes in the ground in crowded places, scarcely hide their dead in ‘em, and become unnaturally infected by their dead, and die by thousands? Vultures, I suppose. I think you call the Vulture an obscene bird? I don’t consider him agreeable, but I never caught him misconducting himself in that way. My honourable friend, the dog – I call him my honourable friend in your Parliamentary sense, because I hate him – turns round three times before he goes to sleep. I ask him why? He says he don’t know; but he always does it. Do you know how you ever came to have that board of feathers carried on a fellow’s head? Come. You’re a boastful race. Show yourselves superior to the dog, and tell me! Now, I don’t love many people; but I do love the undertakers. I except them from the censure I pass upon you in general. They know you so well, that I look upon ‘em as a sort of Ravens. They are so certain of your being genteel parties, that they stick at nothing. They are sure they’ve got the upper hand of you. Our proprietor was reading the paper, only last night, and there was an advertisement in it from a sensitive and libelled undertaker, to wit, that the allegation “that funerals were unnecessarily expensive, was an insult to his professional brethren.” Ha! ha! Why he knows he has you on the hip. It’s nothing to him that their being unnecessarily expensive is a fact within the experience of all of you as glaring as the sun when there’s not a cloud. He is certain that when you want a funeral “performed,” he has only to be down upon you with Mrs. Grundy, to do what he likes with you and then he’ll go home, and laugh like a Hyæna. I declare (supposing I wasn’t detained against my will by our proprietor) that, if I had any arms, I’d take the undertakers to ‘em! There's another, in the same paper, who says they’re libelled, in the accusation of having disgracefully disturbed the meeting in favour of what you call your General Interment Bill. Our establishment was in the Strand, that night. There was no crowd of undertakers’ men there, with circulars in their pockets, calling on ‘em to come in coloured clothes to make an uproar; it wasn’t undertakers’ men who got in with forged orders to yell and screech; it wasn’t undertakers’ men who made a brutal charge at the platform, and overturned the ladies like a troop of horse. Of course not. I know all about it. But and lay this well to heart, you Lords of the creation, as you call yourselves! it is these undertakers’ men to whom, in the last trying, bitter grief of life, you confide the loved and honoured forms of your sisters, mothers, daughters, wives. It is to these delicate gentry, and to their solemn remarks, and decorous behaviour, that you entrust the sacred ashes of all that has been the purest to you, and the dearest to you, in this world. Don’t improve the breed! Don't change the custom! Be true to my opinion of you, and to Mrs. Grundy! I nail the black flag of the black Jobmaster to our cage – figuratively speaking – and I stand up for the gen-teel parties. So (but from different motives) does the Owl. You’ve got a chance, by means of that bill I’ve mentioned – by the bye, I call my own a General Interment Bill, for it buries everything it gets hold of – to alter the whole system; to avail yourselves of the results of all improved European experience; to separate death from life; to surround it with everything that is sacred and solemn, and to dissever it from everything that is shocking and sordid. You won’t read the bill? You won’t dream of helping it? You won’t think of looking at the evidence on which it’s founded – Will you? No. That’s right! Gen-teel parties, step forward, if you please, to the rescue of the black Jobmaster! The rats are with you. I am informed that they have unanimously passed a resolution that the closing of the London churchyards will be an insult to their professional brethren, and will oblige ‘em “to fight for it.” The Parrots are with you. The Owl is with you. The Raven is with you. No General Interments. Carrion for ever! Ha, ha! Halloa! 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 'From the Raven in the Happy Family' (No.2) Description An account of the resource Published in<em> Household Words</em> (8 June 1850) 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 1850-06-08 Contributor An entity responsible for making contributions to the resource Lydia Craig Rights Information about rights held in and over the resource <em>Dickens Journals Online</em>, used by permission. Type The nature or genre of the resource Journalism article Identifier An unambiguous reference to the resource within a given context 1850-05-08-From_the_Raven_in_the_Happy_Family_No2 Source A related resource from which the described resource is derived <em>Household Words,</em><span> </span><span>vol. 1, no. 11, 8 June 1850, pp. 241-242.</span><span> </span><em>Dickens Journals Online,</em><span> </span><a href="https://www.djo.org.uk/household-words/volume-i/page-241.html">https://www.djo.org.uk/household-words/volume-i/page-241.html</a><span>.</span> Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. <span>Dickens, Charles. 'From the Raven in the Happy Family' (No.2). </span><em>Dickens Search.<span> </span></em><span>Eds. Emily Middleton and Lydia Craig. Accessed [date]. </span><a href="https://dickenssearch.com/journalism/1850-06-08-From_the_Raven_in_the_Happy_Family_No2">https://dickenssearch.com/journalism/1850-06-08-From_the_Raven_in_the_Happy_Family_No2</a><span>.</span> Scripto Transcription A written representation of a document. <p>HALLOA! You <em>won’t </em>let me begin that Natural History of you, eh? You <em>will</em> always be doing something or other, to take off my attention? Now, you have begun to argue with the Undertakers, have you? What next!</p> <p>Ugh! you are a nice set of fellows to be discussing, at this time of day, whether you shall countenance that humbug any longer. “Performing” funerals, indeed! I have heard of performing dogs and cats, performing goats and monkeys, performing ponies, white-mice, and canary-birds; but, performing drunkards at so much a day, guzzling over your dead, and throwing half of you into debt for a twelvemonth, beats all I ever heard of. Ha, ha!</p> <p>The other day there was a person “went and died” (as our Proprietor’s wife says) close to our establishment. Upon my beak I thought I should have fallen off my perch, you made me laugh so, at the funeral!</p> <p>Oh my crop and feathers, what a scene it was! <em>I </em>never saw the Owl so charmed. It was just the thing for him.</p> <p>First of all, two dressed-up fellows came trying to look sober, but they couldn’t do it – and stuck themselves outside the door. There they stood, for hours, with a couple of crutches covered over with drapery: cutting their jokes on the company as they went in, and breathing such strong rum and water into our establishment over the way, that the Guinea Pig (who has a poor little head) was drunk in ten minutes. You are so proud of your humanity. Ha, ha! As if a pair of respectable crows wouldn’t have done it much better?</p> <p>By-and-bye, there came a hearse and four, and then two carriages and four; and on the tops of ‘em, and on all the horses’ heads, were plumes of feathers, hired at so much per plume; and everything, horses and all, was covered over with black velvet, till you couldn’t see it. Because there were not feathers enough yet, there was a fellow in the procession carrying a board of ‘em on his head, like Italian images; and there were about five-and-twenty or thirty other fellows (all hot and red in the face with eating and drinking) dressed up in scarves and hat-bands, and carrying – shut-up fishing-rods, I believe – who went draggling through the mud, in a manner that I thought would be the death of me; while the “Black Jobmaster” – that’s what he calls himself – who had let the coaches and horses to a furnishing undertaker, who had let ‘em to a haberdasher, who had let ‘em to a carpenter, who had let ‘em to the parish-clerk, who had let ‘em to the sexton, who had let ‘em to the plumber painter and glazier who had got the funeral to do, looked out of the public-house window at the corner, with his pipe in his mouth, and said – for I heard him – “that was the sort of turn-out to do a gen-teel party credit.” That! As if any two-and-sixpenny masquerade, tumbled into a vat of blacking, wouldn’t be quite as solemn, and immeasurably cheaper!</p> <p>Do you think I don’t know you? You’re mistaken if you think so. But perhaps you do. Well! Shall I tell you what I know? Can you bear it? Here it is then. The Black Jobmaster is right. The root of all this, is the gen-teel party.</p> <p>You don’t mean to deny it, I hope? You don’t mean to tell me that this nonsensical mockery isn’t owing to your gentility. Don’t I know a Raven in a Cathedral Tower, who has often heard your service for the Dead? Don’t I know that you almost begin it with the words, “We brought nothing into this world, and it is certain that we can carry nothing out”? Don't I know that in a monstrous satire on those words, you carry your hired velvets, and feathers, and scarves, and all the rest of it, to the edge of the grave, and get plundered (and serve you right!) in every article, because you WILL be gen-teel parties to the last?</p> <p>Eh? Think a little! Here’s the plumber painter and glazier come to take the funeral order which he is going to give to the sexton, who is going to give it to the clerk, who is going to give it to the carpenter, who is going to give it to the haberdasher, who is going to give it to the furnishing undertaker, who is going to divide it with the Black Jobmaster. “Hearse and four, Sir?” says he. “No, a pair will be sufficient.” “I beg your pardon, Sir, but when we buried Mr. Grundy at number twenty, there was four on ‘em, Sir; I think it right to mention it.” “Well, perhaps there had better be four.” “Thank you, Sir. Two coaches and four, Sir, shall we say?” “No. Coaches and pair.” “You’ll excuse my mentioning it, Sir, but pairs to the coaches, and four to the hearse, would have a singular appearance to the neighbours. When we put four to anything, we always carry four right through.” “Well! say four!” “Thank you, Sir. Feathers of course?” “No. No feathers. They’re absurd.” “Very good, Sir. No feathers?” “No.” “Very good, Sir. We <em>can</em> do fours without feathers, Sir, but it’s what we never do. When we buried Mr. Grundy, there was feathers, and – I only throw it out, Sir – Mrs. Grundy might think it strange.” “Very well! Feathers!” “Thank you, Sir,” – and so on.</p> <p><em>Is </em>it and so on, or not, through the whole black job of jobs, because of Mrs. Grundy and the gen-teel party? I suppose you’ve thought about this? I suppose you’ve reflected on what you’re doing, and what you’ve done? When you read about those poisonings for the burial society money, you consider how it is that burial societies ever came to be, at all? You perfectly understand you who are not the poor, and ought to set ‘em an example – that, besides making the whole thing costly, you’ve confused their minds about this burying, and have taught ‘em to confound expence and show, with respect and affection. You know all you’ve got to answer for, you genteel parties? I’m glad of it.</p> <p>I believe it’s only the monkeys who are servile imitators, is it? You reflect! To be sure you do. So does Mrs. Grundy and she casts reflections – don’t she?</p> <p>What animals are those who scratch shallow holes in the ground in crowded places, scarcely hide their dead in ‘em, and become unnaturally infected by their dead, and die by thousands? Vultures, I suppose. I think you call the Vulture an obscene bird? I don’t consider him agreeable, but I never caught him misconducting himself in that way.</p> <p>My honourable friend, the dog – I call him my honourable friend in your Parliamentary sense, because I hate him – turns round three times before he goes to sleep. I ask him why? He says he don’t know; but he always does it. Do you know how you ever came to have that board of feathers carried on a fellow’s head? Come. You’re a boastful race. Show yourselves superior to the dog, and tell me!</p> <p>Now, I don’t love many people; but I do love the undertakers. I except them from the censure I pass upon you in general. They know you so well, that I look upon ‘em as a sort of Ravens. They are so certain of your being genteel parties, that they stick at nothing. They are sure they’ve got the upper hand of you. Our proprietor was reading the paper, only last night, and there was an advertisement in it from a sensitive and libelled undertaker, to wit, that the allegation “that funerals were unnecessarily expensive, was an insult to his professional brethren.”</p> <p>Ha! ha! Why he knows he has you on the hip. It’s nothing to him that their being unnecessarily expensive is a fact within the experience of all of you as glaring as the sun when there’s not a cloud. He is certain that when you want a funeral “performed,” he has only to be down upon you with Mrs. Grundy, to do what he likes with you and then he’ll go home, and laugh like a Hyæna.</p> <p>I declare (supposing I wasn’t detained against my will by our proprietor) that, if I had any arms, I’d take the undertakers to ‘em! There's another, in the same paper, who says they’re libelled, in the accusation of having disgracefully disturbed the meeting in favour of what you call your General Interment Bill. Our establishment was in the Strand, that night. There was no crowd of undertakers’ men there, with circulars in their pockets, calling on ‘em to come in coloured clothes to make an uproar; it wasn’t undertakers’ men who got in with forged orders to yell and screech; it wasn’t undertakers’ men who made a brutal charge at the platform, and overturned the ladies like a troop of horse. Of course not. <em>I</em> know all about it.</p> <p>But and lay this well to heart, you Lords of the creation, as you call yourselves! it is these undertakers’ men to whom, in the last trying, bitter grief of life, you confide the loved and honoured forms of your sisters, mothers, daughters, wives. It <em>is</em> to these delicate gentry, and to their solemn remarks, and decorous behaviour, that you entrust the sacred ashes of all that has been the purest to you, and the dearest to you, in this world. Don’t improve the breed! Don't change the custom! Be true to my opinion of you, and to Mrs. Grundy!</p> <p>I nail the black flag of the black Jobmaster to our cage – figuratively speaking – and I stand up for the gen-teel parties. So (but from different motives) does the Owl. You’ve got a chance, by means of that bill I’ve mentioned – by the bye, I call my own a General Interment Bill, for it buries everything it gets hold of – to alter the whole system; to avail yourselves of the results of all improved European experience; to separate death from life; to surround it with everything that is sacred and solemn, and to dissever it from everything that is shocking and sordid. You won’t read the bill? You won’t dream of helping it? You won’t think of looking at the evidence on which it’s founded – Will you? No. That’s right!</p> <p>Gen-teel parties, step forward, if you please, to the rescue of the black Jobmaster! The rats are with you. I am informed that they have unanimously passed a resolution that the closing of the London churchyards will be an insult to their professional brethren, and will oblige ‘em “to fight for it.” The Parrots are with you. The Owl is with you. The Raven is with you. No General Interments. Carrion for ever!</p> <p>Ha, ha! Halloa!</p>