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 Summary Occasionally speeches are summarised in sources in third person. Include that here, so that everything in the text transcription is only Dickens's words. In reply the chairman begged to be allowed to offer them his deepest thanks for the manner in which the last toast had been responded to. He deeply felt the honour conferred upon him, having attended the meeting as a matter of duty, though placed from peculiar circumstances in a highly painful and difficult position. If his services were of any value to the institution, he said, he could assure its members that those services were always freely and heartily at their disposal. He would say no more upon the subject, but proceed to a toast which he doubted not would be warmly received and responded to. He had always taken the highest interest in the prosperity of the Drama, because he believed that a noble Drama tended to purify the human heart, and was the most important agent in the work of education and civilization. He would not dismiss the hope that the British Drama would ultimately ‘look up’, after a pretty long contemplation of its feet; because he could not believe that any art which so appealed to the various passions and affections of human nature could become extinct. A love of the Drama in some shape was implanted in the breast of all people. When the officers of Captain Cook’s ships, who had left their children enacting mimic plays in this country, arrived in the South Sea Uslands, they found the untutored natives doing the same beneath the shadow of their broad-leaved trees. It constituted one of the distinctions which separated man from the brute creation, and he should continue in that belief until he heard of the monkeys producing a play, or the elephants coming out in a good jog-trot, see-saw comedy. It had often been his misfortune to hear the Drama decried by people of the best intentions because of its abuses. Now doubt the Drama had its abuses like other institutions, but so far from that being a reason why they should decry it, it was a reason why they should endeavour to improve and elevate it. In some shape you would always have it; and, depend upon it, if you would not have it at its best, with your own help and consent, you would have it at its worst in your own despite. Perhaps the one reason why the Drama did not hold so good a position in this country as it ought to do, was to be found in the fact that, up to a comparatively recent period, English legislation had drearily discouraged it, and its professors had not been looked upon with respect to which they were justly entitled. But notwithstanding all discouragement, he hoped that it could, and believed that it would, be restored to its proper position among the Arts; and in no way could they better assist the endeavour to raise it, than by extending their support and assistance to those who had always shown their anxiety to maintain the respectability and honour of Dramatic Profession. The chairman then said that the next toast he had to give was the Professional Ladies and Gentlemen who delighted them with their exertions that evening. After what they had heard and witnessed he felt sure that he need do no more to recommend that toast to them, than to remind them that the whole of those Ladies and Gentlemen gave their assistance, not only gratuitously, but cheerfully, to aid the cause which they had met to promote, and he was sure that they wished for no greater reward than the knowledge that they had been instrumental in promoting the prosperity of the General Theatrical Fund. The Chairman said that he had now come to the last toast of the evening. There was a story told of an Eastern potentate, that when any intelligence of mischief having occurred was brought to him, he always used to exclaim, ‘Who is she?’ – invariably anticipating that it must be caused by a woman. In this country they had a somewhat better application of the same idea, for whenever there was a cause of benevolence to be served, they had only to say ‘Where is she?’ and the answer was sure to be ‘She is here'. The Drama was full of beautiful specimens of woman’s love and woman’s wit, but without stopping to draw comparisons between the characters of Desdemona, Juliet, or other interesting creatures of the poet's brain, he would conclude by giving them, ‘The Ladies’. 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. 18510414 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. Gentlemen, in offering to you the loyal and always acceptable toast, ‘The Queen’, I have the pleasure of informing you that the Secretary has, this morning, received Her Majesty’s usual annual donation of one hundred pounds to the funds of the Institution. ‘The Queen.’ Gentlemen, I am sure it will not be necessary for me in presenting to you the next toast, to remind any gentleman present – it being sufficiently known to all parties – of the great interest taken by the illustrious individual whose health I am about to propose, in all the arts and sciences, or the zealous co-operation which His Royal Highness Prince Albert has always shown to any measure devised for their encouragement. At the present time, that is more particularly brought under the attention of the public through the exertions now being made on the suggestion of His Royal highness, to open within a few days, an Exhibition of the world’s progress in the arts and sciences in the magnificent and surprising Palace of Glass, which is, of itself, one of the most remarkable works of art of the age. ‘His Royal Highness Prince Albert, Albert Prince of Wales, and the rest of the Royal Family.’ Gentlemen, the next toast which I have to propose is one, in reference to which the gallant deeds of the members of the professions that are the subjects of it, speak sufficiently in themselves, and need no words of mine, – ‘The Army and Navy.’ Gentlemen, I have so often have the gratification of bearing my testimony in this place to the usefulness of the excellent institution in whose behalf we are assembled, that I should be sensible of the disadvantage of having nothing new to say to you in proposing the toast you all anticipate, if I were not relieved by the conviction that nothing new needs to be said, inasmuch as its old grounds of appeal to you can neither be weakened or strengthened by any advocacy of mine. Although the General Theatrical Fund, unlike some similar public institutions, is represented by no fabric of stone, or brick, or glass – like that wonderful achievement of my ingenious friend Mr. Paxton, of which the great demerit, as we learn from the best authorities, is, that it ought to have fallen down before it was quite built, and would by no means consent to do it. Although, I say, the General Theatrical Fund is represented by no great architectural edifice, it is nevertheless as plain a fact, rests upon as solid a foundation, and carries as erect a front as any building in the world. And the best that its exponent, standing in this place, can do, is to point it out to all beholders, saying simply, ‘There it is! Judge of it for yourselves.’ But, gentlemen, though there may be no necessity for me to state what the General Theatrical Fund is, it may be desirable (with reference to that portion of the present company who have hitherto had but a limited acquaintance with it), that I should state what it is not. It is not a theatrical association whose benefits are confined to a small body of actors, while its claims to public supports are uniformly preferred in the name of the whole histrionic art. It is not a theatrical association adapted to a state of things entirely past and gone, and no more a feature of the present time than groves of highwaymen hanging in chains on Hounslow Heath, or strings of packhorses between London and Birmingham. It is not a rich old gentlemen, with the gout in his vitals, brushed up once a year to look as vigorous as possible, and taken out for a public airing by the few survivors of a large family of nephews and nieces, who keep him laid up in lavender all the rest of the year as a mighty delicate old gentleman: then ask his poor relations, whom they lock out with a double turn of the street door key, why they don't come in and enjoy his money? It is not a theatrical association, which says to the poor actor, ‘You have only to strut and fret your hour, for so many consecutive nights and for so many seasons, on this stage – whereon it is impossible you ever can set foot; you have only to declaim for so many consecutive nights, in English – here, upon these boards where the English tongue is never heard; you have only to force yourself between these bars (of music), and to make your way – you, an unwieldy Swan of Avon, into this aviary of singing birds – you have only to do this, and you shall come into your share of the advantages of the fund which was raised from the public, in the name, and for the love, of your all-embracing art.’ No, gentlemen, if there be any such funds, this Fund is not of that kind. This Fund is a theatrical association, addressed to the means, and adapted to the wants – and sore and dire those often are – of the whole theatrical profession throughout England. It is a society in which the word ‘exclusiveness’ is unknown. It is a society which says to the actor, ‘You may be the Brigand, or the Hamlet, or the Ghost, or the Court Physician, or the King's whole army; you may do the light business, or the heavy business, or the comic business, or the serious business, or the eccentric business; you may be the captain who courts the young lady, whose guardian unaccountably persists in dressing himself a hundred years behind the time; or you may be the lady's younger brother, in white kid gloves and trousers, whose position in the family would appear to be to listen to all the female members of it when they sing, and to shake hands with them between all the verses; or you may be the Baron who gives the fête, and who sits on the sofa under the canopy, with the Baroness, to behold the fête; or you may be the peasant who swells the drinking chorus at the fête, and who may usually be observed to turn his glass upside-down immediately before drinking the Baron’s health; or you may be the Clown who takes away the door-step of the house where there's a dinner party; or you may be the first stout gentleman who issues forth out of that house, on the false alarm of fire, and precipitates himself into the area; or you may be a Fairy, residing for ever in a revolving Star, in the Regions of Pleasure, or the Palaces of Delight; or you may even be a Witch in Macbeth, bearing a marvellous resemblance to the Malcolm or Donalbain of the previous scenes with his wig hind-side before. But, be you what you may; be your path in the profession never so high or never so humble, this institution addresses you, and offers you the means of doing good to yourself, and doing good to other people.’ Nor let it be forgotten, gentlemen, that the General Theatrical Fund is essentially a Provident Institution. Its members are of a class whose earnings are, at the best, precarious; and they are required to lay by, out of their weekly salary, when they get it, a certain small weekly sum. This they do through every difficulty, with constancy that cannot be too much admired; and the first effect of the institution on them, is, to engender a habit of forethought and self-denial. By becoming a member of this society the actor is placing himself in a position to secure his own right at no man's wrong; and when in old age or times of distress he makes his claim to it, he will be entitled to say, ‘I do not compromise my independence herein; I do not disgrace my children; I am neither a beggar nor a suppliant; I come to reap the harvest from the seed which I sowed long ago.’ Therefore it is, gentlemen, that in asking you to support this Institution, I never will hold out to you the inducement, that you are performing an act of charity in the common acceptation of the word. Of all the abuses of that much abused term, none have so raised my indignation as some that I have heard in this room. If you help this Fund you will not be performing an act of charity, but you will be helping those who help themselves, and you will be coming to the aid of men who put their own shoulders to the wheel of their sunken carriage, and did not stand idly by while it sank deeper in the mire. Have you help this Fund you will not be performing an act of charity, but you will do an act of Christian kindness, benevolence, encouragement. You will do an act of justice – you will do an act of gratitude. But I will not so wrong a body of men struggling so manfully for independence, as to solicit you to perform, in their behalf, an act of charity. Gentlemen, I have used the term ‘gratitude’. Let any of us look back upon his past life, and say whether he owes no gratitude to the actor’s art! Not because it is often exercised in the midst of sickness, poverty, and misfortune, – other arts, God knows, are liable to the like distresses! Not because the actor sometimes comes from scenes of affliction and misfortune – even from death itself – to play his part before us; all men must do that violence to their feelings, in passing on to the fulfilment of their duties in the great strife and fight of life. But because in the relief afforded to us by the actor’s art, we always find some reflection, humorous or pathetic, sombre or grotesque, of all the best things that we feel and know. If any man were to tell me that he owed no great acknowledgement to the stage, I would ask him the one question, whether he remembered his first play? Oh, gentlemen, if you can but carry back your thoughts to that night, and think a little of the bright and harmless world it opened to your view, full well assured am I that we shall hear of it expressively from Mr. Cullenford, when he comes to read out the donations by and by! Gentlemen, this is the sixth year the members of this society have met together in this room. This is the sixth time your child has been brought down and introduced to the company after dinner. His nurse, a very worthy person of the name of Buckstone, with excellent characters from several places, is here, and will presently speak to you regarding the health of the child; and will, I have no doubt, be able to tell you that is chest is perfectly sound, and its general health in the best condition. Long may it continue so – long may it thrive and grow! Long may we meet here to congratulate each other on its increased and increasing prosperity, and longer than the line of Banquo may the line of figures be, in which its patriotic share in the National Debt shall be stated a hundred years hence, in the account books of the Governor and Company of the Bank of England! I beg to give you, ‘Prosperity to the General Theatrical Fund!’ 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 1851 Description An account of the resource Chairman's speeches at the General Theatrical Fund Anniversary Festival (14 April 1851). 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 1851-04-14 Identifier An unambiguous reference to the resource within a given context 1851-04-14_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. 'Chairman's speeches at the General Theatrical Fund Anniversary Festival' (14 April 1851). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1851-04-14_Speech_General-Theatrical-Fund-Anniversary-Festival">https://dickenssearch.com/speeches/1851-04-14_Speech_General-Theatrical-Fund-Anniversary-Festival</a>. Scripto Transcription A written representation of a document. Gentlemen, in offering to you the loyal and always acceptable toast, ‘The Queen’, I have the pleasure of informing you that the Secretary has, this morning, received Her Majesty’s usual annual donation of one hundred pounds to the funds of the Institution. ‘The Queen.’ Gentlemen, I am sure it will not be necessary for me in presenting to you the next toast, to remind any gentleman present – it being sufficiently known to all parties – of the great interest taken by the illustrious individual whose health I am about to propose, in all the arts and sciences, or the zealous co-operation which His Royal Highness Prince Albert has always shown to any measure devised for their encouragement. At the present time, that is more particularly brought under the attention of the public through the exertions now being made on the suggestion of His Royal highness, to open within a few days, an Exhibition of the world’s progress in the arts and sciences in the magnificent and surprising Palace of Glass, which is, of itself, one of the most remarkable works of art of the age. ‘His Royal Highness Prince Albert, Albert Prince of Wales, and the rest of the Royal Family.’ Gentlemen, the next toast which I have to propose is one, in reference to which the gallant deeds of the members of the professions that are the subjects of it, speak sufficiently in themselves, and need no words of mine, – ‘The Army and Navy.’ Gentlemen, I have so often have the gratification of bearing my testimony in this place to the usefulness of the excellent institution in whose behalf we are assembled, that I should be sensible of the disadvantage of having nothing new to say to you in proposing the toast you all anticipate, if I were not relieved by the conviction that nothing new needs to be said, inasmuch as its old grounds of appeal to you can neither be weakened or strengthened by any advocacy of mine. Although the General Theatrical Fund, unlike some similar public institutions, is represented by no fabric of stone, or brick, or glass – like that wonderful achievement of my ingenious friend Mr. Paxton, of which the great demerit, as we learn from the best authorities, is, that it ought to have fallen down before it was quite built, and would by no means consent to do it. Although, I say, the General Theatrical Fund is represented by no great architectural edifice, it is nevertheless as plain a fact, rests upon as solid a foundation, and carries as erect a front as any building in the world. And the best that its exponent, standing in this place, can do, is to point it out to all beholders, saying simply, ‘There it is! Judge of it for yourselves.’ But, gentlemen, though there may be no necessity for me to state what the General Theatrical Fund is, it may be desirable (with reference to that portion of the present company who have hitherto had but a limited acquaintance with it), that I should state what it is not. It is not a theatrical association whose benefits are confined to a small body of actors, while its claims to public supports are uniformly preferred in the name of the whole histrionic art. It is not a theatrical association adapted to a state of things entirely past and gone, and no more a feature of the present time than groves of highwaymen hanging in chains on Hounslow Heath, or strings of packhorses between London and Birmingham. It is not a rich old gentlemen, with the gout in his vitals, brushed up once a year to look as vigorous as possible, and taken out for a public airing by the few survivors of a large family of nephews and nieces, who keep him laid up in lavender all the rest of the year as a mighty delicate old gentleman: then ask his poor relations, whom they lock out with a double turn of the street door key, why they don't come in and enjoy his money? It is not a theatrical association, which says to the poor actor, ‘You have only to strut and fret your hour, for so many consecutive nights and for so many seasons, on this stage – whereon it is impossible you ever can set foot; you have only to declaim for so many consecutive nights, in English – here, upon these boards where the English tongue is never heard; you have only to force yourself between these bars (of music), and to make your way – you, an unwieldy Swan of Avon, into this aviary of singing birds – you have only to do this, and you shall come into your share of the advantages of the fund which was raised from the public, in the name, and for the love, of your all-embracing art.’ No, gentlemen, if there be any such funds, this Fund is not of that kind. This Fund is a theatrical association, addressed to the means, and adapted to the wants – and sore and dire those often are – of the whole theatrical profession throughout England. It is a society in which the word ‘exclusiveness’ is unknown. It is a society which says to the actor, ‘You may be the Brigand, or the Hamlet, or the Ghost, or the Court Physician, or the King's whole army; you may do the light business, or the heavy business, or the comic business, or the serious business, or the eccentric business; you may be the captain who courts the young lady, whose guardian unaccountably persists in dressing himself a hundred years behind the time; or you may be the lady's younger brother, in white kid gloves and trousers, whose position in the family would appear to be to listen to all the female members of it when they sing, and to shake hands with them between all the verses; or you may be the Baron who gives the fête, and who sits on the sofa under the canopy, with the Baroness, to behold the fête; or you may be the peasant who swells the drinking chorus at the fête, and who may usually be observed to turn his glass upside-down immediately before drinking the Baron’s health; or you may be the Clown who takes away the door-step of the house where there's a dinner party; or you may be the first stout gentleman who issues forth out of that house, on the false alarm of fire, and precipitates himself into the area; or you may be a Fairy, residing for ever in a revolving Star, in the Regions of Pleasure, or the Palaces of Delight; or you may even be a Witch in Macbeth, bearing a marvellous resemblance to the Malcolm or Donalbain of the previous scenes with his wig hind-side before. But, be you what you may; be your path in the profession never so high or never so humble, this institution addresses you, and offers you the means of doing good to yourself, and doing good to other people.’ Nor let it be forgotten, gentlemen, that the General Theatrical Fund is essentially a Provident Institution. Its members are of a class whose earnings are, at the best, precarious; and they are required to lay by, out of their weekly salary, when they get it, a certain small weekly sum. This they do through every difficulty, with constancy that cannot be too much admired; and the first effect of the institution on them, is, to engender a habit of forethought and self-denial. By becoming a member of this society the actor is placing himself in a position to secure his own right at no man's wrong; and when in old age or times of distress he makes his claim to it, he will be entitled to say, ‘I do not compromise my independence herein; I do not disgrace my children; I am neither a beggar nor a suppliant; I come to reap the harvest from the seed which I sowed long ago.’ Therefore it is, gentlemen, that in asking you to support this Institution, I never will hold out to you the inducement, that you are performing an act of charity in the common acceptation of the word. Of all the abuses of that much abused term, none have so raised my indignation as some that I have heard in this room. If you help this Fund you will not be performing an act of charity, but you will be helping those who help themselves, and you will be coming to the aid of men who put their own shoulders to the wheel of their sunken carriage, and did not stand idly by while it sank deeper in the mire. Have you help this Fund you will not be performing an act of charity, but you will do an act of Christian kindness, benevolence, encouragement. You will do an act of justice – you will do an act of gratitude. But I will not so wrong a body of men struggling so manfully for independence, as to solicit you to perform, in their behalf, an act of charity. Gentlemen, I have used the term ‘gratitude’. Let any of us look back upon his past life, and say whether he owes no gratitude to the actor’s art! Not because it is often exercised in the midst of sickness, poverty, and misfortune, – other arts, God knows, are liable to the like distresses! Not because the actor sometimes comes from scenes of affliction and misfortune – even from death itself – to play his part before us; all men must do that violence to their feelings, in passing on to the fulfilment of their duties in the great strife and fight of life. But because in the relief afforded to us by the actor’s art, we always find some reflection, humorous or pathetic, sombre or grotesque, of all the best things that we feel and know. If any man were to tell me that he owed no great acknowledgement to the stage, I would ask him the one question, whether he remembered his first play? Oh, gentlemen, if you can but carry back your thoughts to that night, and think a little of the bright and harmless world it opened to your view, full well assured am I that we shall hear of it expressively from Mr. Cullenford, when he comes to read out the donations by and by! Gentlemen, this is the sixth year the members of this society have met together in this room. This is the sixth time your child has been brought down and introduced to the company after dinner. His nurse, a very worthy person of the name of Buckstone, with excellent characters from several places, is here, and will presently speak to you regarding the health of the child; and will, I have no doubt, be able to tell you that is chest is perfectly sound, and its general health in the best condition. Long may it continue so – long may it thrive and grow! Long may we meet here to congratulate each other on its increased and increasing prosperity, and longer than the line of Banquo may the line of figures be, in which its patriotic share in the National Debt shall be stated a hundred years hence, in the account books of the Governor and Company of the Bank of England! I beg to give you, ‘Prosperity to the General Theatrical Fund!’