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 was sure, he said, that after the address they had just heard, he need say but little in proposing to them the health of their respected chairman, and prosperity to the Haymarket Theatre. If Mr. Buckstone were any ordinary chairman, he might pass the toast over without any further observations; but he was not so – he was a gentleman who had a special claim upon their regards. He could answer for it from his recollections as a boy, twenty-five years ago, how much the acting of that gentleman had enchanted him, as no doubt it then did many others, and how he went home to dream of his comicalities. When at the Adelphi, Mr. Buckstone was great in his most original boys, as he is excellent in everything. Who can forget at that time his leading home the inebriated Master Magog, the Beadle; or, in later days, his drunken man in Presented at Court; or his Rough Diamond, with his huge short collar and most natural account of the doings at his village home? It was gratifying to notice the progress Mr. Buckstone had made in his profession since that time, but that was not the only claim the chairman had upon them – he had always shown himself most ready to urge the claims of their benevolent fund, and to support and aid a brother actor. Mr. Buckstone had now become a manager, and it was to be hoped that by keeping everybody and everything in their proper places, he would command that success which he so much deserved. If in the Crimea, or in the East at the theatre of war, they had met with some checks, and nothing was to be found that was required, it was gratifying to know that such was not the case at the Haymarket Theatre. If Mr. Buckstone had some slight comestibles and luxuries to present to his patrons, if he had to bring his ships upon the stage, they might depend upon it that everything good would not be found packed under 500 tons of irons, nor would he be unable to fire a shot because they had all been left somewhere where they were not wanted. It had given him great delight to witness the spirit with which Mr. Buckstone had conducted his house – to enjoy the acting of Miss Cushman, or the twinkling of the feet of the Spanish Dancers. Again, wishing them every success, he begged to propose to them ‘The health of Mr. Buckstone, and success to the Haymarket Theatre’. 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. 18550402 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. I dare say, gentlemen, it is within the theatrical experience of most of us that upon some occasion when we have been at the play – when everything has progressed in the most satisfactory manner –when the principle actor has been a decided favourite – when every point has been told with the people in front – when no one has had the misfortune to make one of those little mistakes which we call ‘missing his tip' – I dare say that, within the theatrical experience of most of you, on some occasion, the act drop being down, there has unexpectedly appeared before it, on one side, a gentleman in plain clothes, with his hat feelingly clasped in both his hands, and not without some appearances of the street upon his boots – a gentleman of pale aspect insight of the audience which is partly referable to the agitation of his feelings, and partly to the strong action floating on features unprepared by the hare’s foot – but before that gentleman has opened his lips in reference to the ‘proverbial generosity of the British public’. You immediately perceive with dismay that he has come forward to apologize. Now, I am that gentleman on the present occasion. ‘Ladies and gentlemen, therefore, I am commissioned by the management to inform you that Mr. Buckstone, owing to circumstances over which he has no control, has been put up for two parts in this piece, and finds himself unable to appear in both of them at the same time. He is, at this present moment, making himself up for his favourite character – Treasurer to the General Theatrical Fund, in which arduous impersonation he has, through several successive seasons at this establishment, been sustained by your applause. He therefore finds himself unable, for the moment, to appear in that other character of Chairman, for which he would have delivered that well-known and spirit-stirring address, which would have so much affected you. In this dilemma, relying on that consideration which was never appealed to in vain – I allude to the consideration of a British audience – perhaps you will permit me to walk through Mr. Buckstone’s part.’ Therefore, ladies and gentlemen, I have to say to you in this way, that perhaps you will allow me to state to you what Mr. Buckstone would have said. Ladies and gentlemen, on receiving from Mr. Toole the key note, ‘Pray, silence – chair!’ Mr. Buckstone Would have risen to have proposed the toast of the evening, and in doing so he would have commenced by congratulating the members of the Theatrical Fund on the numerous and respectable assembly before him, testifying as it does to their sense of the merits of the institution itself, and to the fact that in the midst of wars and tumults the humanizing arts are not forgotten. Least of all, as is natural, that art, that through the means of 1 little play, has made the battles of Poitiers and Agincourt more renowned all the chroniclers and historians put together, and which – No disrespect to those ‘thoughts that breathe and words that burn’, referred to by our chairman – has done more to stir the bold English blood in a just cause, than all the parliamentary speeches that were ever delivered, than all the debates which ever made the night hideous. Surely you are not inappropriately asked to remember this object in a time of war, when it can present to you tangibly under its glowing pictures the joys of military triumph, the sorrows of defeat, the constancy of noble minds, the misfortunes and unspeakable calamities of war, and the inappreciable blessings of peace. You are besought most worthily to remember this object of maintaining and encouraging a society which comprehends every grade of actors without limitation, which is fettered by no hard restrictions or impossible conditions, which embraces all theatrical professors, high and low, equally training them to be provident before they are independent, and which succours all who are responsive to its appeal. The resources of the society become their right, so that the proudest spirit need not blush to accept its aid. Lastly, gentlemen, and in a word you are asked to help those who under trouble and difficulty have helped themselves. You want to do this in tender remembrance of those efforts which have lightened our cares and have placed us for the time in a wider and less selfish world in lieu of that which is so much with us early and late. This is the sum and substance of Mr. Buckstone’s case if he had been able to appear in that principle character for which he is put down in the bill. At the right moment you would have heard all that fervid eloquence which belongs to the part, and would have seen all the humour connected with it thoroughly performed. As I now have the pleasure of observing Mr. Buckstone at the wing, evidently well up in the part of Treasurer, with his property documents all ready, eager to come on, I will, with your permission, leave the stage to him, merely observing that I detect mischief in his treasury eye, and I would recommend to you the caution once regularly administered at the opening of the pit doors, ‘Take care of your pockets!’ I am now to propose to 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 Royal General Theatrical Fund Anniversary Festival 1855 Description An account of the resource Speeches at the Royal General Theatrical Fund Anniversary Festival (2 April 1855). 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 1855-04-02 Identifier An unambiguous reference to the resource within a given context 1855-04-02_Speech_Royal-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. 'Speeches at the Royal General Theatrical Fund Dinner' (2 April 1855). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1855-04-02_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival">https://dickenssearch.com/speeches/1855-04-02_Speech_Royal-General-Theatrical-Fund-Anniversary-Festival</a>. Scripto Transcription A written representation of a document. I dare say, gentlemen, it is within the theatrical experience of most of us that upon some occasion when we have been at the play – when everything has progressed in the most satisfactory manner –when the principle actor has been a decided favourite – when every point has been told with the people in front – when no one has had the misfortune to make one of those little mistakes which we call ‘missing his tip' – I dare say that, within the theatrical experience of most of you, on some occasion, the act drop being down, there has unexpectedly appeared before it, on one side, a gentleman in plain clothes, with his hat feelingly clasped in both his hands, and not without some appearances of the street upon his boots – a gentleman of pale aspect insight of the audience which is partly referable to the agitation of his feelings, and partly to the strong action floating on features unprepared by the hare’s foot – but before that gentleman has opened his lips in reference to the ‘proverbial generosity of the British public’. You immediately perceive with dismay that he has come forward to apologize. Now, I am that gentleman on the present occasion. ‘Ladies and gentlemen, therefore, I am commissioned by the management to inform you that Mr. Buckstone, owing to circumstances over which he has no control, has been put up for two parts in this piece, and finds himself unable to appear in both of them at the same time. He is, at this present moment, making himself up for his favourite character – Treasurer to the General Theatrical Fund, in which arduous impersonation he has, through several successive seasons at this establishment, been sustained by your applause. He therefore finds himself unable, for the moment, to appear in that other character of Chairman, for which he would have delivered that well-known and spirit-stirring address, which would have so much affected you. In this dilemma, relying on that consideration which was never appealed to in vain – I allude to the consideration of a British audience – perhaps you will permit me to walk through Mr. Buckstone’s part.’ Therefore, ladies and gentlemen, I have to say to you in this way, that perhaps you will allow me to state to you what Mr. Buckstone would have said. Ladies and gentlemen, on receiving from Mr. Toole the key note, ‘Pray, silence – chair!’ Mr. Buckstone Would have risen to have proposed the toast of the evening, and in doing so he would have commenced by congratulating the members of the Theatrical Fund on the numerous and respectable assembly before him, testifying as it does to their sense of the merits of the institution itself, and to the fact that in the midst of wars and tumults the humanizing arts are not forgotten. Least of all, as is natural, that art, that through the means of 1 little play, has made the battles of Poitiers and Agincourt more renowned all the chroniclers and historians put together, and which – No disrespect to those ‘thoughts that breathe and words that burn’, referred to by our chairman – has done more to stir the bold English blood in a just cause, than all the parliamentary speeches that were ever delivered, than all the debates which ever made the night hideous. Surely you are not inappropriately asked to remember this object in a time of war, when it can present to you tangibly under its glowing pictures the joys of military triumph, the sorrows of defeat, the constancy of noble minds, the misfortunes and unspeakable calamities of war, and the inappreciable blessings of peace. You are besought most worthily to remember this object of maintaining and encouraging a society which comprehends every grade of actors without limitation, which is fettered by no hard restrictions or impossible conditions, which embraces all theatrical professors, high and low, equally training them to be provident before they are independent, and which succours all who are responsive to its appeal. The resources of the society become their right, so that the proudest spirit need not blush to accept its aid. Lastly, gentlemen, and in a word you are asked to help those who under trouble and difficulty have helped themselves. You want to do this in tender remembrance of those efforts which have lightened our cares and have placed us for the time in a wider and less selfish world in lieu of that which is so much with us early and late. This is the sum and substance of Mr. Buckstone’s case if he had been able to appear in that principle character for which he is put down in the bill. At the right moment you would have heard all that fervid eloquence which belongs to the part, and would have seen all the humour connected with it thoroughly performed. As I now have the pleasure of observing Mr. Buckstone at the wing, evidently well up in the part of Treasurer, with his property documents all ready, eager to come on, I will, with your permission, leave the stage to him, merely observing that I detect mischief in his treasury eye, and I would recommend to you the caution once regularly administered at the opening of the pit doors, ‘Take care of your pockets!’ I am now to propose to you ‘Prosperity to the General Theatrical Fund!’