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 Speeches Identifier An unambiguous reference to the resource within a given context speeches Description An account of the resource <h4>This collection brings together Dickens’s collected and uncollected speeches, making an under-explored body of work searchable for the first time. </h4> Dickens made more than a hundred speeches between 1837 and 1870 at events ranging from charitable dinners and award ceremonies to banquets in his honour or brief words of thanks before a public reading. In these speeches, the author touched on topics including his own life and professional development as well as other subjects such as politics, education, literature, public health and the development of the railway. Efforts to collect Dickens’s speeches prior to 1960 were incomplete at best, and misleading and fragmentary at worst. John Camden Hotten’s collection of speeches, begun without the author’s consent (although he never responded to Hotten’s letters, Dickens did begin efforts to block their publication) and published together with a hastily-compiled biography shortly after the author’s death, remained the primary collected version of the speeches until the Nonesuch Dickens of 1938-39 (a limited print run). Finally, K. J. Fielding brought all known speeches together in 1960, correcting shoddy transcriptions by Hotten using contemporary newspaper accounts, and nearly doubling the total number of speeches attributed to Dickens (The Speeches of Charles Dickens [Oxford: Clarendon Press, 1960]): Hotten had only featured the text of 56 speeches, the Nonesuch edition of the speeches provided an additional nine, and Fielding presented more than a hundred. Since this monumental work, a handful have also appeared in The Dickensian;<a href="#fn1" id="ref1">1</a> there are certainly more to be found, as the volume of digitised newspapers and periodicals increases, and corrections to be made to existing transcriptions. No effort to collect the speeches has been made since Fielding; this collection thus represents the most complete body of Dickens's speeches ever assembled. Dickens did not write his speeches beforehand, nor did he speak from notes. George Dolby recounted his imaginative process in 1884: <blockquote>[S]upposing the speech was to be delivered in the evening, his habit was to take a long walk in the morning, during which he would decide on the various heads to be dealt with. These being arranged in their proper order, he would in his 'mind's eye,' liken the whole subject to the tire of a cart wheel – he being the hub. From the hub to the tire he would run as many spokes as there were subjects to be treated, and during the progress of the speech he would deal with each spoke separately, elaborating them as he went round the wheel; and when all the spokes dropped out one by one, and nothing but the tire and space remained […] his speech was at an end. (Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America, pp. 273-74)</blockquote> However, on important occasions, Dickens might personally correct transcriptions of speeches for major London newspapers like The Times. As such, these newspaper accounts are as accurate a source as we can hope to have for what Dickens said (or meant to say). Our Transcription field will only include words attributed directly to Dickens rather than third-person reports or paraphrases of his speeches. Where only such reports exist, we will provide the text in the 'Summary' field. Ngram search and other text analysis tools will be applied to what are given as Dickens's words only, to avoid skewing the results, but of course we are reliant on the quality of the reporting: we recommend analysing topics, themes, quotations and concepts rather than granular detail such as prepositions, punctuation, capitalisation and the intricacies of grammar, as different newspaper accounts can vary on these points. Please <a href="https://dickenssearch.com/contact">contact us</a> with any errors, corrections, suggestions, or to contribute other uncollected speeches by Dickens. 1. These are Philip Collins, 'Some Uncollected Speeches by Dickens', The Dickensian 73.382 (1977): pp. 89-99; David A. Roos, 'Dickens at the Royal Academy of Arts: A New Speech and Two Eulogies', The Dickensian 73.382 (1977): pp. 100-107; and William F. Long, 'Dickens and the Coming of Rail to Deal: An Uncollected Speech and its Context', The Dickensian 85.418 (1989): pp. 66-80. <a href="#ref1" title="Jump back to footnote 1 in the text.">↩</a> Contributor An entity responsible for making contributions to the resource Emily Middleton; Ellie-Louise Crampton; Maisie Howard; Adam Woods Speech Location The location London Venue Where the speech was given London Tavern 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. 18500325 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. Mr. Chairman and Gentlemen, Before I proceed to discharge the very simple office entrusted to me, you will perhaps allow me to congratulate you upon the very agreeable mode of spending Quarter Day – a day not always connected with agreeable associations, or devoted to such hilarity. Perhaps we will also allow me, gentlemen, to renew my annual congratulations on the prosperity of the General Theatrical Fund, and the courage and perseverance with which its members, many of them under very unpropitious circumstances indeed, continue to fulfil their task. I never go into any of our smaller London theatres, or even into country theatres – such a one for instance as I was at the other night, where no particular piece belonged to the immense night in the bill, where generally people walked in and out, where a sailor fought a combat with anyone he chanced to meet and who happened to be in possession of a sword, – I never go into any of the neglected temples of the drama, where it is so hard to get a living, but I come out again with a considerably strengthened and increased admiration of those who are the members of this Fund, and who, with constancy and perseverance, bear up under the greatest difficulties. It is, I say, an extraordinary and a remarkable fact, and an excellent example to the members of other and more lauded professions. Gentlemen, I now come to the toast which I have to propose to you. I shall not express, as I ought to express according to all precedent, my sorrow that it has not fallen into better hands; although it might easily have done that, to tell the truth, I am exceedingly glad to hold it in mine, as it gives me the opportunity of publicly rendering my humble tribute of respect to the character and exertions of a gentleman to whom this fund is much indebted, who is connected in no slight degree with the public enjoyment, and in no slight degree with the successes and hopes of the English Drama, its literature and art. I mean our chairman, Mr. Webster. I knew very well you would give a cordial reception to his name. I was well assured of it because I esteem, as every friend of this institution must esteem, the very great importance of his encouragement, because I feel it is honourable to him and to it, that setting aside all considerations of this Fund or that Fund, of this theatre or that theatre, he puts himself at the head of a society which comprehends all theatres, and which includes all the members of the profession of which he is an old and great supporter. I felt assured, gentlemen, of the sympathy of all this company who are not connected with the profession, because our chairman has been now, for a long time, the manager of two admirably conducted theatres; because he has never been behind the public requirements in any respect, but has even outstripped them; because he has a very strong demand upon our respect and admiration. My friend, Mr. Buckstone, admirably expressed in one sentence a capital summary of his merits, that ‘he not only employed a great number of actors, but paid them too’; and really, gentlemen, in drinking such a toast as the present, we must not forget what a very difficult and arduous career such a manager has to encounter; what untoward circumstances and great difficulties he has to struggle against, and how likely he is to be injured by any depression in the public mind, from whatever cause. Yet, notwithstanding all this, he has evinced a steadiness of purpose not to close his theatre, night after night, whatever may be the great temptations he has had to do so, being too mindful of the poor hangers-on dependent upon him for their daily bread, and who hope for the public support. Such a manager as this, gentlemen, Mr. Webster has always been; And when we add to this, that for many years he has fought a manly, stand-up English battle against very powerful rivals of various countries, English, Swedish, French, Italian, and has encountered all kinds of strange animals, lions, tigers, Ethiopians and Nightingales; and when we add to this list that it is sometimes softly whispered, though I do not believe it myself, that certain members of the theatrical profession, on rare and particular occasions, at great distances apart, are a little capricious and difficult to deal with: when we take all these circumstances into our consideration, I think we shall agree that he has come very nobly through his difficulties, and looks exceedingly well tonight after all that he has gone through. I cannot, gentlemen, in conclusion, express my sense of Mr. Webster's position in reference to the Drama, and in reference to this society , more to my own satisfaction, at all events, than by relating little story (a very short one) that was told to me last night of an exceedingly intelligent and strictly veracious friend of mine, an American Sea Captain. Gentlemen, once upon a time, he had as a passenger upon board his ship a young lady of great personal attractions, they used that phrase as one entirely new to you, and five young gentlemen, also passengers, and who in the course of a short voyage all fell desperately in love with the young lady. The young lady, liking all the five young gentlemen, and liking them all equally well, felt herself placed in a position of some difficulty, and in this emergency applied for advice to my friend the Captain. My friend the Captain, himself a man of an original turn of mind, proposed to the young lady that she should jump overboard, he having a well-manned boat alongside to prevent the possibility of accidents, and that she should marry the man that jumped in after her. She was very much struck by it, and it being summer time and fine weather, and naturally fond of bathing, decided to accept the proposition. Accordingly, on a certain morning, when her five admirers were all on deck, she went over the side head foremost. Four of the five immediately plunged in after her; and, said the young lady to the Captain when they were all on deck again, ‘What am I to do now? See how wet they are.’ Said the Captain to the young lady, ‘Take the dry one!’ Which she did. Now the way in which I adapt this story to the present purpose is simply by reversing it: that the British drama having gone overboard, and a great many admirers having looked on coolly, and one having gone in and kept his head above water for a long time, my advice to this society would have been, ‘Take the wet one.’ And you have got him. I am thoroughly glad you have, and I beg to propose to you, in all sincerity, to drink his health with acclamation. On behalf of the Hon. Mr. Justice Talfourd, and my brother Trustee, I beg to return you my best thanks, and particularly to my friend Mr. Webster, for his kind mention of my name. The only embarrassment that I feel on these occasions is that I really don't know what we have to do. I might illustrate our position by a theatrical case. Perhaps you may have observed that when a young lady performs a piece of horsemanship, there are generally two or three ambiguous looking gentleman who follow Mr. Widdicombe about, and who are indispensable to the performance, though the lady never knows why or in what particular, but she is perfectly satisfied that they must be there, and that without them the thing could not possibly be done. I might suppose my friend Mr. Buckstone, in reference to this institution, to be the party representing Mr. Widdicombe, and Mr. Cullenford performing the pleasing act of Secretaryship upon the highly trained charger: well we, the Trustees, represent those attendants looking on so very hard after them. 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 General Theatrical Fund Anniversary Festival 1850 Description An account of the resource Speech at the General Theatrical Fund Anniversary Festival (25 March 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 1850-03-25 Identifier An unambiguous reference to the resource within a given context 1850-03-25_Speech_General-Theatrical-Fund-Anniversary-Festival 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. 'Speech at the General Theatrical Fund Anniversary Festival' (25 March 1850). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1850-03-25_Speech_General-Theatrical-Fund-Anniversary-Festival">https://dickenssearch.com/speeches/1850-03-25_Speech_General-Theatrical-Fund-Anniversary-Festival</a>. Scripto Transcription A written representation of a document. Mr. Chairman and Gentlemen, Before I proceed to discharge the very simple office entrusted to me, you will perhaps allow me to congratulate you upon the very agreeable mode of spending Quarter Day – a day not always connected with agreeable associations, or devoted to such hilarity. Perhaps we will also allow me, gentlemen, to renew my annual congratulations on the prosperity of the General Theatrical Fund, and the courage and perseverance with which its members, many of them under very unpropitious circumstances indeed, continue to fulfil their task. I never go into any of our smaller London theatres, or even into country theatres – such a one for instance as I was at the other night, where no particular piece belonged to the immense night in the bill, where generally people walked in and out, where a sailor fought a combat with anyone he chanced to meet and who happened to be in possession of a sword, – I never go into any of the neglected temples of the drama, where it is so hard to get a living, but I come out again with a considerably strengthened and increased admiration of those who are the members of this Fund, and who, with constancy and perseverance, bear up under the greatest difficulties. It is, I say, an extraordinary and a remarkable fact, and an excellent example to the members of other and more lauded professions. Gentlemen, I now come to the toast which I have to propose to you. I shall not express, as I ought to express according to all precedent, my sorrow that it has not fallen into better hands; although it might easily have done that, to tell the truth, I am exceedingly glad to hold it in mine, as it gives me the opportunity of publicly rendering my humble tribute of respect to the character and exertions of a gentleman to whom this fund is much indebted, who is connected in no slight degree with the public enjoyment, and in no slight degree with the successes and hopes of the English Drama, its literature and art. I mean our chairman, Mr. Webster. I knew very well you would give a cordial reception to his name. I was well assured of it because I esteem, as every friend of this institution must esteem, the very great importance of his encouragement, because I feel it is honourable to him and to it, that setting aside all considerations of this Fund or that Fund, of this theatre or that theatre, he puts himself at the head of a society which comprehends all theatres, and which includes all the members of the profession of which he is an old and great supporter. I felt assured, gentlemen, of the sympathy of all this company who are not connected with the profession, because our chairman has been now, for a long time, the manager of two admirably conducted theatres; because he has never been behind the public requirements in any respect, but has even outstripped them; because he has a very strong demand upon our respect and admiration. My friend, Mr. Buckstone, admirably expressed in one sentence a capital summary of his merits, that ‘he not only employed a great number of actors, but paid them too’; and really, gentlemen, in drinking such a toast as the present, we must not forget what a very difficult and arduous career such a manager has to encounter; what untoward circumstances and great difficulties he has to struggle against, and how likely he is to be injured by any depression in the public mind, from whatever cause. Yet, notwithstanding all this, he has evinced a steadiness of purpose not to close his theatre, night after night, whatever may be the great temptations he has had to do so, being too mindful of the poor hangers-on dependent upon him for their daily bread, and who hope for the public support. Such a manager as this, gentlemen, Mr. Webster has always been; And when we add to this, that for many years he has fought a manly, stand-up English battle against very powerful rivals of various countries, English, Swedish, French, Italian, and has encountered all kinds of strange animals, lions, tigers, Ethiopians and Nightingales; and when we add to this list that it is sometimes softly whispered, though I do not believe it myself, that certain members of the theatrical profession, on rare and particular occasions, at great distances apart, are a little capricious and difficult to deal with: when we take all these circumstances into our consideration, I think we shall agree that he has come very nobly through his difficulties, and looks exceedingly well tonight after all that he has gone through. I cannot, gentlemen, in conclusion, express my sense of Mr. Webster's position in reference to the Drama, and in reference to this society , more to my own satisfaction, at all events, than by relating little story (a very short one) that was told to me last night of an exceedingly intelligent and strictly veracious friend of mine, an American Sea Captain. Gentlemen, once upon a time, he had as a passenger upon board his ship a young lady of great personal attractions, they used that phrase as one entirely new to you, and five young gentlemen, also passengers, and who in the course of a short voyage all fell desperately in love with the young lady. The young lady, liking all the five young gentlemen, and liking them all equally well, felt herself placed in a position of some difficulty, and in this emergency applied for advice to my friend the Captain. My friend the Captain, himself a man of an original turn of mind, proposed to the young lady that she should jump overboard, he having a well-manned boat alongside to prevent the possibility of accidents, and that she should marry the man that jumped in after her. She was very much struck by it, and it being summer time and fine weather, and naturally fond of bathing, decided to accept the proposition. Accordingly, on a certain morning, when her five admirers were all on deck, she went over the side head foremost. Four of the five immediately plunged in after her; and, said the young lady to the Captain when they were all on deck again, ‘What am I to do now? See how wet they are.’ Said the Captain to the young lady, ‘Take the dry one!’ Which she did. Now the way in which I adapt this story to the present purpose is simply by reversing it: that the British drama having gone overboard, and a great many admirers having looked on coolly, and one having gone in and kept his head above water for a long time, my advice to this society would have been, ‘Take the wet one.’ And you have got him. I am thoroughly glad you have, and I beg to propose to you, in all sincerity, to drink his health with acclamation. On behalf of the Hon. Mr. Justice Talfourd, and my brother Trustee, I beg to return you my best thanks, and particularly to my friend Mr. Webster, for his kind mention of my name. The only embarrassment that I feel on these occasions is that I really don't know what we have to do. I might illustrate our position by a theatrical case. Perhaps you may have observed that when a young lady performs a piece of horsemanship, there are generally two or three ambiguous looking gentleman who follow Mr. Widdicombe about, and who are indispensable to the performance, though the lady never knows why or in what particular, but she is perfectly satisfied that they must be there, and that without them the thing could not possibly be done. I might suppose my friend Mr. Buckstone, in reference to this institution, to be the party representing Mr. Widdicombe, and Mr. Cullenford performing the pleasing act of Secretaryship upon the highly trained charger: well we, the Trustees, represent those attendants looking on so very hard after them.