https://www.dickenssearch.com/files/original/5/The_Hospital_Patient/1836-08-06-The_Hospital_Patient.pdf d3c78ac353a70e855ed4468cc8bbf419 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Carlton Chronicle Pseudonym The name under which the item was published BOZ Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18360806 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. In my rambles through the streets of London after evening has set in, I have often paused beneath the windows of some public hospital, and picture to myself the gloomy and mournful scenes that were passing within. The sudden moving of a taper as its feeble ray shot from window after window, until its light gradually disappeared, as if it were carried further back into the room to the bedside of some suffering patient, has been enough to awaken a whole crowd of reflections; the mere glimmering of the low-burning lamps which when all other habitations are wrapped in darkness and slumber, denote the chamber where so many forms are writhing with pain, or wasting with disease, has been sufficient to check the most boisterous merriment. Who can tell the anguish of those weary hours, when the only sound the sick man hears, is the disjointed wanderings of some feverish slumberer near him, the low moan of pain, or perhaps the muttered, long-forgotten prayer of a dying man? Who, but they who have felt it, can imagine the sense of loneliness and desolation which must be the portion of those who in the hour of dangerous illness are left to be tended by strangers,—what hands, be they ever so gentle, can wipe the clammy brow, or smooth the restless bed, like those of mother, wife, or child? Impressed with these thoughts, I have turned away through the nearly-deserted streets; and the sight of the few miserable creatures still hovering about them, has not tended to lessen the pain which such meditations awaken. The hospital is a refuge and resting-place for hundreds, who but for such institutions must die in the streets and doorways; but what can be the feelings of outcasts like these, when they are stretched on the bed of sickness with scarcely a hope of recovery? The wretched woman who lingers about the pavement, hours after midnight, and the miserable shadow of a man—the ghastly remnant that want and drunkenness have left—which crouches beneath a window-ledge, to sleep where there is some shelter from the rain, have little to bind them to life, but what have they to look back upon, in death? What are the unwonted comforts of a roof and a bed to them, when the recollections of a whole life of debasement, stalk before them; when repentance seems a mockery, and sorrow comes too late? About a twelvemonth ago, as I was strolling through Covent Garden (I had been thinking about these things overnight), I was attracted by the very prepossessing appearance of a pickpocket, who having declined to take the trouble of walking to the Police Office, on the ground that he hadn't the slightest wish to go there at all, was being conveyed thither in a wheelbarrow, to the huge delight of a crowd, but apparently not very much to his own individual gratification. Somehow, I never can resist joining a crowd—nature certainly intended me for a vagabond—so I turned back with the mob, and entered the office, in company with my friend the pickpocket, a couple of policemen, and as many dirty-faced spectators as could squeeze their way in. There was a powerful, ill-looking young fellow at the bar, who was undergoing an examination on the very common charge of having, on the previous night, ill-treated a woman with whom he lived in some court hard by. Several witnesses bore testimony to acts of the grossest brutality, and a certificate was read from the house-surgeon of a neighbouring hospital, describing the nature of the injuries the woman had received, and intimating that her recovery was extremely doubtful. Some question appeared to have been raised about the identity of the prisoner; for when it was agreed that the two magistrates should visit the hospital at eight o'clock that evening, to take her deposition, it was settled that the man should be taken there also. He turned deadly pale at this, and I saw him clench the bar very hard when the order was given. He was removed directly afterwards, and he spoke not a word. I felt an irrepressible curiosity to witness this interview, although I can hardly tell why, at this instant, for I knew it must be a painful one. It was no very difficult matter for me to gain permission, and I obtained it. The prisoner, and the officer who had him in custody, were already at the hospital when I reached it, and waiting the arrival of the magistrates in a small room below stairs. The man was handcuffed, and his hat was pulled forward over his eyes. I could tell though, by the livid whiteness of his countenance, and the constant twitching of the muscles of his face, that he dreaded what was to come. After a short interval, the magistrates and clerk were bowed in, by the house-surgeon, and a couple of young men who smelt very strongly of tobacco-smoke—"dressers" I think they call them"—and after one magistrate had complained bitterly of the cold, and the other of the absence of any news in the evening paper, it was announced that the patient was prepared, and we were conducted to the "casualty ward" in which she was lying. The dim light which burnt in the spacious room, increased rather than diminished the ghastly appearance of the hapless creatures in the beds, which were ranged in two long rows on either side. In one bed, lay a child enveloped in bandages, with its body half-consumed by fire; in another, a female, rendered hideous by some dreadful accident, was wildly beating her clenched fists on the coverlet, in an agony of pain; on a third, there lay stretched a young girl, apparently in the heavy stupor which is sometimes the immediate precursor of death: her face was stained with blood, and her breast and arms were bound up in folds of linen. Two or three of the beds were empty, and their recent occupants were sitting beside them, but with faces so wan, and eyes so bright and glassy, that it was fearful to meet their gaze. On every face was stamped the expression of anguish and suffering. The object of the visit was lying at the upper end of the room. She was a fine young woman of about two or three and twenty. Her long black hair had been hastily cut from about the wounds on her head, and streamed over the pillow in jagged and matted locks. Her face bore frightful marks of the ill-usage she had received: her hand was pressed upon her side, as if her chief pain was there, her breathing was short and heavy, and it was plain to see that she was dying fast. She murmured a few words in reply to the magistrate's inquiry, whether she was in great pain: and having been raised on the pillow by the nurse, looked anxiously into the strange countenances that surrounded her bed. The magistrate nodded to the officer, to bring the man forward. He did so, and stationed him at the bedside. The girl looked on with a wild and troubled expression of face, but her sight was dim, and she did not know him. "Take off his hat," said the magistrate. The officer did as he was desired, and the man's features were fully disclosed. The girl started up with an energy quite preternatural; the fire gleamed in her heavy eyes, and the blood rushed to her pale and sunken cheeks. It was a convulsive effort. She fell back upon her pillow, and covering her scarred and bruised face with her hands, burst into tears. The man cast an anxious look towards her, but otherwise appeared wholly unmoved. After a brief pause the nature of the errand was explained, and the oath tendered. "Oh, no, gentlemen," said the girl, raising herself once more, and folding her hands together; "no, gentlemen, for God's sake! I did it myself, it was nobody's fault, it was an accident. He didn't hurt me; he wouldn't for all the world. Jack, dear Jack, you know you wouldn't." Her sight was fast failing her, and her hand groped over the bedclothes in search of his, in vain. Brute as the man was, he was not prepared for this. He turned his face from the bed, and sobbed aloud. The girl's colour changed, and her breathing grew more difficult. She was evidently dying. "We respect the feelings which prompt you to this," said the gentleman who had spoken first "but let me warn you, not to persist in what you know to be untrue, until it is too late. It cannot save him." "Jack," murmured the girl, laying her hand upon his arm. "They shall not persuade me to swear your life away. He didn't do it, gentlemen He never hurt me." She grasped his arm tightly, and added, in a broken whisper, "I hope God Almighty will forgive me all the wrong I have done, and the life I have led. God bless you, Jack. Some kind gentleman take my love to my poor old father. Five years ago, he said he wished I had died a child. Oh, I wish I had! I wish I had!" We turned away; it was no sight for strangers to look upon. The nurse bent over the girl for a few seconds, and then drew the sheet over her face. It covered a corpse. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'The Hospital Patient' Description An account of the resource Published in The Carlton Chronicle, 6 August 1836, pp. 11. Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived Newspaper Archive, <a href="https://newspaperarchive.com/carlton-chronicle-aug-06-1836-p-11/">https://newspaperarchive.com/carlton-chronicle-aug-06-1836-p-11/</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1836-08-06 Type The nature or genre of the resource Short story Identifier An unambiguous reference to the resource within a given context 1836-08-06-The_Hospital_Patient Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'The Hospital Patient' (6 August 1836). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://www.dickenssearch.com/short-stories/1836-08-06-The_Hospital_Patient">https://www.dickenssearch.com/short-stories/1836-08-06-The_Hospital_Patient</a>. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. A brief preface states, 'LEAVES from an unpublished volume. By "BOZ," (which will be torn out once a fortnight). Scripto Transcription A written representation of a document. In my rambles through the streets of London after evening has set in, I have often paused beneath the windows of some public hospital, and picture to myself the gloomy and mournful scenes that were passing within. The sudden moving of a taper as its feeble ray shot from window after window, until its light gradually disappeared, as if it were carried further back into the room to the bedside of some suffering patient, has been enough to awaken a whole crowd of reflections; the mere glimmering of the low-burning lamps which when all other habitations are wrapped in darkness and slumber, denote the chamber where so many forms are writhing with pain, or wasting with disease, has been sufficient to check the most boisterous merriment. Who can tell the anguish of those weary hours, when the only sound the sick man hears, is the disjointed wanderings of some feverish slumberer near him, the low moan of pain, or perhaps the muttered, long-forgotten prayer of a dying man? Who, but they who have felt it, can imagine the sense of loneliness and desolation which must be the portion of those who in the hour of dangerous illness are left to be tended by strangers,—what hands, be they ever so gentle, can wipe the clammy brow, or smooth the restless bed, like those of mother, wife, or child? Impressed with these thoughts, I have turned away through the nearly-deserted streets; and the sight of the few miserable creatures still hovering about them, has not tended to lessen the pain which such meditations awaken. The hospital is a refuge and resting-place for hundreds, who but for such institutions must die in the streets and doorways; but what can be the feelings of outcasts like these, when they are stretched on the bed of sickness with scarcely a hope of recovery? The wretched woman who lingers about the pavement, hours after midnight, and the miserable shadow of a man—the ghastly remnant that want and drunkenness have left—which crouches beneath a window-ledge, to sleep where there is some shelter from the rain, have little to bind them to life, but what have they to look back upon, in death? What are the unwonted comforts of a roof and a bed to them, when the recollections of a whole life of debasement, stalk before them; when repentance seems a mockery, and sorrow comes too late? About a twelvemonth ago, as I was strolling through Covent Garden (I had been thinking about these things overnight), I was attracted by the very prepossessing appearance of a pickpocket, who having declined to take the trouble of walking to the Police Office, on the ground that he hadn't the slightest wish to go there at all, was being conveyed thither in a wheelbarrow, to the huge delight of a crowd, but apparently not very much to his own individual gratification. Somehow, I never can resist joining a crowd—nature certainly intended me for a vagabond—so I turned back with the mob, and entered the office, in company with my friend the pickpocket, a couple of policemen, and as many dirty-faced spectators as could squeeze their way in. There was a powerful, ill-looking young fellow at the bar, who was undergoing an examination on the very common charge of having, on the previous night, ill-treated a woman with whom he lived in some court hard by. Several witnesses bore testimony to acts of the grossest brutality, and a certificate was read from the house-surgeon of a neighbouring hospital, describing the nature of the injuries the woman had received, and intimating that her recovery was extremely doubtful. Some question appeared to have been raised about the identity of the prisoner; for when it was agreed that the two magistrates should visit the hospital at eight o'clock that evening, to take her deposition, it was settled that the man should be taken there also. He turned deadly pale at this, and I saw him clench the bar very hard when the order was given. He was removed directly afterwards, and he spoke not a word. I felt an irrepressible curiosity to witness this interview, although I can hardly tell why, at this instant, for I knew it must be a painful one. It was no very difficult matter for me to gain permission, and I obtained it. The prisoner, and the officer who had him in custody, were already at the hospital when I reached it, and waiting the arrival of the magistrates in a small room below stairs. The man was handcuffed, and his hat was pulled forward over his eyes. I could tell though, by the livid whiteness of his countenance, and the constant twitching of the muscles of his face, that he dreaded what was to come. After a short interval, the magistrates and clerk were bowed in, by the house-surgeon, and a couple of young men who smelt very strongly of tobacco-smoke—"dressers" I think they call them"—and after one magistrate had complained bitterly of the cold, and the other of the absence of any news in the evening paper, it was announced that the patient was prepared, and we were conducted to the "casualty ward" in which she was lying. The dim light which burnt in the spacious room, increased rather than diminished the ghastly appearance of the hapless creatures in the beds, which were ranged in two long rows on either side. In one bed, lay a child enveloped in bandages, with its body half-consumed by fire; in another, a female, rendered hideous by some dreadful accident, was wildly beating her clenched fists on the coverlet, in an agony of pain; on a third, there lay stretched a young girl, apparently in the heavy stupor which is sometimes the immediate precursor of death: her face was stained with blood, and her breast and arms were bound up in folds of linen. Two or three of the beds were empty, and their recent occupants were sitting beside them, but with faces so wan, and eyes so bright and glassy, that it was fearful to meet their gaze. On every face was stamped the expression of anguish and suffering. The object of the visit was lying at the upper end of the room. She was a fine young woman of about two or three and twenty. Her long black hair had been hastily cut from about the wounds on her head, and streamed over the pillow in jagged and matted locks. Her face bore frightful marks of the ill-usage she had received: her hand was pressed upon her side, as if her chief pain was there, her breathing was short and heavy, and it was plain to see that she was dying fast. She murmured a few words in reply to the magistrate's inquiry, whether she was in great pain: and having been raised on the pillow by the nurse, looked anxiously into the strange countenances that surrounded her bed. The magistrate nodded to the officer, to bring the man forward. He did so, and stationed him at the bedside. The girl looked on with a wild and troubled expression of face, but her sight was dim, and she did not know him. "Take off his hat," said the magistrate. The officer did as he was desired, and the man's features were fully disclosed. The girl started up with an energy quite preternatural; the fire gleamed in her heavy eyes, and the blood rushed to her pale and sunken cheeks. It was a convulsive effort. She fell back upon her pillow, and covering her scarred and bruised face with her hands, burst into tears. The man cast an anxious look towards her, but otherwise appeared wholly unmoved. After a brief pause the nature of the errand was explained, and the oath tendered. "Oh, no, gentlemen," said the girl, raising herself once more, and folding her hands together; "no, gentlemen, for God's sake! I did it myself, it was nobody's fault, it was an accident. He didn't hurt me; he wouldn't for all the world. Jack, dear Jack, you know you wouldn't." Her sight was fast failing her, and her hand groped over the bedclothes in search of his, in vain. Brute as the man was, he was not prepared for this. He turned his face from the bed, and sobbed aloud. The girl's colour changed, and her breathing grew more difficult. She was evidently dying. "We respect the feelings which prompt you to this," said the gentleman who had spoken first "but let me warn you, not to persist in what you know to be untrue, until it is too late. It cannot save him." "Jack," murmured the girl, laying her hand upon his arm. "They shall not persuade me to swear your life away. He didn't do it, gentlemen He never hurt me." She grasped his arm tightly, and added, in a broken whisper, "I hope God Almighty will forgive me all the wrong I have done, and the life I have led. God bless you, Jack. Some kind gentleman take my love to my poor old father. Five years ago, he said he wished I had died a child. Oh, I wish I had! I wish I had!" We turned away; it was no sight for strangers to look upon. The nurse bent over the girl for a few seconds, and then drew the sheet over her face. It covered a corpse.