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. He could assure them, he said, that he really was not using a common form of words, but was honestly expressing the feeling at the moment when he avowed himself at some loss, both to think the company for their hearty greeting, and to thank his generous friend in the Chair for the terms in which he had referred to him. Sir Anthony Absolute was of the opinion that in love of affairs it was best to begin with a little aversion; and if he (Mr. Dickens) could only have started with a little coldness on the part of his friend in the Chair, or even a moderate warmth on the part of the audience, it was quite unknown into what an admirable speech he should have presently soared. But a tribute so noble, and a welcome so cordial, he found to be very bad preparations indeed for such an achievement. Before referring to the Fund, which is the main object of interest with all of them my evening, he would take leave to say that he was exceedingly glad that his friend, the chairman, it happened to allude to him, and that company, in his Stage-Managerial capacity; because he did particularly desire to express his conviction in such a company, of all others, that the dramatic profession was very ill served by some misjudging friends, when they supposed that it could possibly be injured by, or could possibly regard with anything like resentment or jealousy, Amateur Theatricals. He had, for a brief space, assumed the functions of an amateur manager and actor, in furtherance of a cause in which his warmest sympathies and aspirations were (like those of his friend in the Chair) enlisted; and to represent that the stage could possibly be injured, or could fairly claim any right to consider itself injured by such performances was to exclude it from the liberal position assumed in such wise by every other liberal art. And literature there were received, freely, and, without cavil, amateurs of all kinds: physicians, lawyers, officers of the army and navy, merchants’ clerks who travelled and saw strange countries, lords and ladies of various degrees, – anybody who had anything to say, and possibly, now, and then, somebody had nothing to say. Through the whole of the last season, a gallery was opened in Pall Mall for the exhibition of pictures of amateur artists; he never heard that the members of the Royal Academy were much aggrieved by the circumstance, or very desperately alarmed by its public patronage, and success. So, in music: he believed it was generally acknowledged that some excellent lessons have been given to the public and the profession by the knowledge and patience of amateurs in chorus singing, and that the production of some of the most admired works of the old masters were due to the exertions of amateurs, without the least injury to the regular professors of the art. The liberal and generous feeling which thus distinguished other kindred arts, surely was to be claimed for the stage, as its just characteristic too; and could not be better claimed for it than at the anniversary celebration of its most comprehensive and its least restricted institution. With reference to the General Theatrical Fund, he had been so often before them as one of the Trustees, that he found it very difficult to say anything relative to it which he had not said before, or which they did not know as well as himself. Independently of the fact that their Fund had been established seven years, and that their position was improving every time they met, the eloquence of their chairman in proposing the toast of the evening, and their Treasurer’s admirable acknowledgement of it, had completely exhausted the subject, and he now stood before them a bankrupt Trustee without a leg to stand upon. If he could only have found one good vice in the management, he would have been well set up in business for the evening, and might have remained in a perfectly self-satisfied condition until next year. If, for instance, he could only have complained that the institution was expensively managed, that there was nobody connected with the management, who had any sympathy with the unfortunate members of the Dramatic profession: that none of them had had any experience of the habits or struggles of poor actors; if hr could only have said that the Treasurer was a stern, austere man, altogether a hard-favoured person, severe of countenance and very difficult to approach; or if he could have said that the institution was exclusive in its nature, one that required candidates for admission to its benefits to have complied with some trifling condition – reasonable, but not easy, such as having held an engagement for two or three consecutive years in the moon, or having appeared in Sir Edward Lytton’s Money two or three hundred nights before the Esquimaux – if he could have found any such trifling ground of complaint, he would have been at no loss for a topic. But, whereas in the General Theatrical Fund, the local comedian was not expected to have fulfilled those consecutive engagements in the moon; the tragedian was not expected to have played Evelyn two or three hundred consecutive nights in the icy regions of the North; Fenella, the sister of Masaniello, was not refused relief because she was only a dancer, nor Masaniello himself because he was only a singer. He had nothing left to say in lieu of that great speech he might, and indisputably would, under these happiest circumstances have made, but that he wanted a grievance. Indeed, he was so utterly utter loss for a grievance that he had had serious thoughts of abandoning these festivals altogether, and taking to attending those banquets which he sometimes saw advertised to take place in the neighbourhood of Freemasons’ Hall, where he was informed that he could find all these causes of complaint ready made to his hand. Like his friend, Mr. Buckstone, however, he did not wish to indulge in any unkind expressions towards the other theatrical funds, some old and esteemed friends of his were connected with them, and as he would wish to make them also the friends of this institution. What he would suggest, afar off, was that these Funds should make some change in their constitutions adopted to the altered times, and he thought there was nothing so likely to reconcile all differences, and to do so much good to all parties, as a happy marriage. All he would say in his official position was that the General Theatrical Fund was progressing steadily, that they had not the slightest difficulty to state to that company, and that the institution was steadily and gallantly supported by the members of the profession. All who had the least theatrical experience must know how necessary it was to any play, in order to ensure success, that it should possess some female interest. No institution could succeed that was not backed by that influence; and, therefore, it was with great pleasure that he learned from their worthy Secretary that a large portion of the subscribers consisted of the gentler sex. Nor were they wanting there, to shed on the assembly a grace which nothing else could give to it; for whether he looked before or behind him (and here he might be allowed to say that he almost regretted, to occupy one of the posts of honour, and wished he was situated among some of his friends in a more private situation at the side of the room) –, he met with nothing but beaming faces, encouraging and gentle looks. On the part of his brother Trustees, and on his own behalf, he begged to acknowledge the toast with many thanks; and he begged to assure those present that they need not be in the least afraid, that evening, of troubling the Treasurer or the Trustees by swelling their contributions and support of the fund to any inconvenient amount; for they were perfectly ready to bear, with the utmost cheerfulness, the heaviest total with which they might think fit to burden them. 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. 18520405 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 1852 Description An account of the resource Speech at the General Theatrical Fund Anniversary Festival (5 April 1852). 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 1852-04-05 Identifier An unambiguous reference to the resource within a given context 1852-05-04_Speech_General-Theatrical-Fund-Anniversary-Festival-1852 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' (5 April 1852). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1852-05-04_Speech_General-Theatrical-Fund-Anniversary-Festival-1852">https://dickenssearch.com/speeches/1852-05-04_Speech_General-Theatrical-Fund-Anniversary-Festival-1852</a>.