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 Adelphi Theatre 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. 18560313 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. Ladies and Gentlemen, My part in the proceedings of today I apprehend will not be so much to talk myself, as to be the cause of talk – and I trust of action also – in others. I shall merely endeavour to present to you as plain and just a summary as I can possibly make of the circumstances under which we are assembled together, being as careful as I possibly can not to trench upon the part of this day's proceedings which has been assigned to those distinguished gentlemen and ornaments of the theatrical profession by whom I have the honour to find myself surrounded. The ideas which most people about London associate with Dulwich College are, probably, of the very vaguest kind. They associate it chiefly, I dare say, with a charming gallery of interesting pictures – very freely and laudably open to the public – which pictures are seen with an unusual absence of glare and bustle; with pleasant gardens outside and a beautiful country, rich in all the attractions of Surrey and Kent. They have, I dare say, certain indistinct associations with some musty old men, in black gowns, all bearing the name of Alleyn, and an embowered college where, without blame to anyone, I dare say a snug thing or two has been transacted in the way of a good place, which we should all be very happy to get if we were only fortunate enough, and were ‘Alleyn’ enough to obtain it. They have probably no more distinct idea of the founder of Dulwich College than that he was rather an ancient personage, who lived many years ago, and who, somehow or other, bequeathed to posterity an excuse for passing an occasional pleasant holiday in a pretty country; and I make so bold to say for myself, if he had only done that for this working time, I think he would have done better service to it than is rendered by many majestic and noble personages of much loftier pretensions. But it becomes us, and the object for which we are here today, to look a little more closely into the history of Dulwich College, and in particular to ascertain whether he had any peculiar and close associations with the stage. He lived by the name of Edward Alleyn, and he lived too, in the days of a remarkable man who, though he died a commoner, who, though he was not honoured with a patent of nobility, nevertheless did the state some service – one William Shakespeare. His mother was the wife of an actor; he was himself bred to the stage; his brother  engaged in theatrical pursuits; he married the daughter of the wife of an actor, who was herself an actress. He was himself a famous actor, and a great and prosperous theatrical manager. He was the manager of the Rose Theatre, and afterwards of the Fortune Theatre, and besides which he had a very large share – supposed to have been purchased from Shakespeare himself – in the Blackfriars Theatre; he was also one of the two appointed Masters of the King's Games; and besides inheriting considerable property, he acquired by the actor’s art and the manager's enterprise a great deal of money. Retiring from the stage before he was fifty years old, and being already Lord of the Manor of Dulwich, he founded there a college for the maintenance and support of one master, one warden, four fellows, six old men, and six old women, and twelve boys to be educated in good literature. To this college, after its completion, he himself retired, and there, wearing its habiliments and conducting himself in observance of its rules, he lived-and there he died, and there was buried in the year 1626, when he was sixty years of age. Now, when his ashes have lain under the chapel of that institution for more than two hundred years, a certain useful and very much needed public body – called the Charity Commission – discovered that the endowment of this college was extremely rich, and capable of great extension-which extension they recommended to the Legislature. Hereupon up rises, true to his art and true to his trust, a great theatrical manager of our own times, who prays – always keeping within the proposed extensions – prays that one fourth of the benefits may be extended to poor players of both sexes, and also to the children of poor players. This appeal this gentleman makes in remembrance of the stage which Edward Alleyn embraced; in remembrance of the means by which he acquired fame and fortune; in remembrance of his unvarying interest in, and kindness to, poor actors during the whole course of his life; and in remembrance of the desire which such a man must in all reason be assumed to have had to benefit his own class, amongst others, when he devoted his munificent spirit to the foundation of Dulwich College. Now, ladies and gentlemen, to array against the very moderate suspicion that the founder of Dulwich College, in the great act of his life, did not at once give the go-by to all the sympathies and associations of his whole existence, we have what the authors of romance in the present day might call one diabolical anecdote and one remarkable fact. Now to dispose of this diabolical anecdote; in the first place it is sufficient to mention that as the tale goes it was how that once Alleyn played the Devil, and that thereupon he found upon the stage with him an original devil, which apparition so terrified him – as well it might – that he immediately retired from the theatre, and, as an expiation for ever having belonged to it and for the part he had played in it, founded this ‘God’s Gift’, or Dulwich College. Now, as far as I have been able to learn, there is not the smallest reason to believe that Edward Alleyn even so much as played the Devil at all, indeed I find there is an angel's suit among the list of his wardrobe; and as this story is handed down to us by an old gentleman who wrote charming stories about ghosts coming out of the wainscot and who went back again with a melodious twang, perhaps, under these circumstances, without disrespect to this particular devil, we might venture to dispose of him with a melodious twang of general consent. The remarkable fact is, however, of much greater importance. It is in the original gift that Edward Alleyn limited the benefits to inhabitants of certain particular parishes, including his own. These parishes, I should mention, expressly included the very districts about the theatres in which the actors of that time habitually resided. Not to embarrass you with the names of persons, and places, and dates, it may be enough to say that the name of Edward Alleyn appears among the ratepayers of the liberty of the Clink, in Southwark; and, in addition we find the names of some ten thoroughly well-known actors rated to the relief of the poor – prominent amongst them appearing the names of Edward Alleyn and William Shakespeare? Surely we could hardly have a more striking corroboration of the intention that must have been in the mind of such a man than the express naming of those districts in which the players chiefly lived. Added to this, there is the fact that Edward Alleyn, himself an actor, was the first master of Dulwich College; and there is strong reason to believe – I say believe, because the spelling of the age renders the positive identification of names rather difficult – there is strong reason to believe, that two of the original officers of the College were also actors. Added to that, that at every period of his life, long after his retirement from the stage, and after his retirement to Dulwich, Edward Alleyn never forgot his brothers in the profession, nor ceased to be remembered by them as an actor; for we find on one occasion, a couple of years after he had built Dulwich College, he forgave a debt to a company of actors of £200 at a blow. One actor writes to him in this style: ‘I commend my love and humble duty to you, geving you thankes for your great bounty bestoed upon me in my sicknes, when I was in great want: god blese you for it.’ Lord Bacon writes of the College and of the founder – the actor – ‘I like well that Alleyn playeth the last act of his life so well.’ Alleyn himself writes to the former possessor of that ground on which the College now stands, and in which his ashes now repose, the following words in answer to such a taunt as a mean soul might be supposed to have thrown out upon his old profession: That I was a player I can not deny, and I am sure I will not. My meanes of living were honest, and with the poore abilytyes wherewith god blesst me I was able to doe something for my selfe, my relatives, and my frendes, many of them now lyving at this day will not refuse to owne what they owght me. Therefore am I not ashamed. Now, ladies and gentlemen, it would certainly be a grievous wrong to the writer of these noble words, and a great injury to the possessor of so manly a nature, to suppose him capable of having spurned the ladder by which he had risen, or to have set his face against the road by which he had come. I venture to say that in all biography there is not an instance of any man of honest self-reliance and self composure that was ever guilty of so base an action; accordingly Edward Alleyn never was. The industry of my friend, Mr. John Payne Collier, shows him to us in his habit as he lived; and it is easy, even in his secluded life at Dulwich, to trace many pleasant tenderings of his feet towards the old paths, and many delicate tenderings of his mind towards the old occupations. When he goes upon an occasional visit from Dulwich to London on horseback his delight is to dine at the theatrical ordinary, and surround himself with the old familiar theatrical faces; and at the Twelfth Night parties at Dulwich, the boys have to play before the good old player. Late in life his theatre is burnt down, and forthwith he applies himself with energy to its reconstruction. One of his old parts, copied by the theatre copyist, is found amongst his papers ages after he is dead. Everything testifies to the truth and fidelity of his simple heart. Gentle presences which I observe in the boxes, remind me that last night, when I was refreshing my memory with a reperusal of his good life, I found I had one uneasy doubt about him, and I mated that the follows of his college should be single men. This appeared to me uncomfortable. I soon found, however, his intention was to console them, and to recompense them for their miserable solitude, inasmuch as he had a wife of his own, to whom he was tenderly attached, and whom he was accustomed to address by the endearing epithet of ‘Mouse’, and when that grisly cat who is our common foe dispatched her he provided himself with another ‘Mouse’, with all convenient speed. Now, ladies and gentlemen, it will be most conducive to the order and effect of our proceedings that you should hear from the lips which have the best right to relate it to you, what encouraging communication has been had with the Charity Commissioners. Therefore, venturing to express my great admiration of the man who has an honest respect for his calling and a generous and disinterested sympathy with the professors of his art, and who moreover does the great public service – by no means an unimportant one in these times – of endeavouring to restore anything to its plain, original, truthful position, I beg to commend to your attention, Mr. Benjamin Webster. 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 Meeting of the Dramatic Profession on Dulwich College Description An account of the resource Speech at the Meeting of the Dramatic Profession on Dulwich College (13 March 1856). 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 1856-03-13 Identifier An unambiguous reference to the resource within a given context 1856-03-13_Speech_Meeting-of-the-Dramatic-Profession-on-Dulwich-College Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Speech at the Meeting of the Dramatic Profession on Dulwich College (13 March 1856). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1856-03-13_Speech_Meeting-of-the-Dramatic-Profession-on-Dulwich-College">https://dickenssearch.com/speeches/1856-03-13_Speech_Meeting-of-the-Dramatic-Profession-on-Dulwich-College</a>. Scripto Transcription A written representation of a document. Ladies and Gentlemen, My part in the proceedings of today I apprehend will not be so much to talk myself, as to be the cause of talk – and I trust of action also – in others. I shall merely endeavour to present to you as plain and just a summary as I can possibly make of the circumstances under which we are assembled together, being as careful as I possibly can not to trench upon the part of this day's proceedings which has been assigned to those distinguished gentlemen and ornaments of the theatrical profession by whom I have the honour to find myself surrounded. The ideas which most people about London associate with Dulwich College are, probably, of the very vaguest kind. They associate it chiefly, I dare say, with a charming gallery of interesting pictures – very freely and laudably open to the public – which pictures are seen with an unusual absence of glare and bustle; with pleasant gardens outside and a beautiful country, rich in all the attractions of Surrey and Kent. They have, I dare say, certain indistinct associations with some musty old men, in black gowns, all bearing the name of Alleyn, and an embowered college where, without blame to anyone, I dare say a snug thing or two has been transacted in the way of a good place, which we should all be very happy to get if we were only fortunate enough, and were ‘Alleyn’ enough to obtain it. They have probably no more distinct idea of the founder of Dulwich College than that he was rather an ancient personage, who lived many years ago, and who, somehow or other, bequeathed to posterity an excuse for passing an occasional pleasant holiday in a pretty country; and I make so bold to say for myself, if he had only done that for this working time, I think he would have done better service to it than is rendered by many majestic and noble personages of much loftier pretensions. But it becomes us, and the object for which we are here today, to look a little more closely into the history of Dulwich College, and in particular to ascertain whether he had any peculiar and close associations with the stage. He lived by the name of Edward Alleyn, and he lived too, in the days of a remarkable man who, though he died a commoner, who, though he was not honoured with a patent of nobility, nevertheless did the state some service – one William Shakespeare. His mother was the wife of an actor; he was himself bred to the stage; his brother engaged in theatrical pursuits; he married the daughter of the wife of an actor, who was herself an actress. He was himself a famous actor, and a great and prosperous theatrical manager. He was the manager of the Rose Theatre, and afterwards of the Fortune Theatre, and besides which he had a very large share – supposed to have been purchased from Shakespeare himself – in the Blackfriars Theatre; he was also one of the two appointed Masters of the King's Games; and besides inheriting considerable property, he acquired by the actor’s art and the manager's enterprise a great deal of money. Retiring from the stage before he was fifty years old, and being already Lord of the Manor of Dulwich, he founded there a college for the maintenance and support of one master, one warden, four fellows, six old men, and six old women, and twelve boys to be educated in good literature. To this college, after its completion, he himself retired, and there, wearing its habiliments and conducting himself in observance of its rules, he lived-and there he died, and there was buried in the year 1626, when he was sixty years of age. Now, when his ashes have lain under the chapel of that institution for more than two hundred years, a certain useful and very much needed public body –  called the Charity Commission – discovered that the endowment of this college was extremely rich, and capable of great extension-which extension they recommended to the Legislature. Hereupon up rises, true to his art and true to his trust, a great theatrical manager of our own times, who prays – always keeping within the proposed extensions – prays that one fourth of the benefits may be extended to poor players of both sexes, and also to the children of poor players. This appeal this gentleman makes in remembrance of the stage which Edward Alleyn embraced; in remembrance of the means by which he acquired fame and fortune; in remembrance of his unvarying interest in, and kindness to, poor actors during the whole course of his life; and in remembrance of the desire which such a man must in all reason be assumed to have had to benefit his own class, amongst others, when he devoted his munificent spirit to the foundation of Dulwich College.  Now, ladies and gentlemen, to array against the very moderate suspicion that the founder of Dulwich College, in the great act of his life, did not at once give the go-by to all the sympathies and associations of his whole existence, we have what the authors of romance in the present day might call one diabolical anecdote and one remarkable fact. Now to dispose of this diabolical anecdote; in the first place it is sufficient to mention that as the tale goes it was how that once Alleyn played the Devil, and that thereupon he found upon the stage with him an original devil, which apparition so terrified him – as well it might – that he immediately retired from the theatre, and, as an expiation for ever having belonged to it and for the part he had played in it, founded this ‘God’s Gift’, or Dulwich College. Now, as far as I have been able to learn, there is not the smallest reason to believe that Edward Alleyn even so much as played the Devil at all, indeed I find there is an angel's suit among the list of his wardrobe; and as this story is handed down to us by an old gentleman who wrote charming stories about ghosts coming out of the wainscot and who went back again with a melodious twang, perhaps, under these circumstances, without disrespect to this particular devil, we might venture to dispose of him with a melodious twang of general consent. The remarkable fact is, however, of much greater importance. It is in the original gift that Edward Alleyn limited the benefits to inhabitants of certain particular parishes, including his own. These parishes, I should mention, expressly included the very districts about the theatres in which the actors of that time habitually resided. Not to embarrass you with the names of persons, and places, and dates, it may be enough to say that the name of Edward Alleyn appears among the ratepayers of the liberty of the Clink, in Southwark; and, in addition we find the names of some ten thoroughly well-known actors rated to the relief of the poor –  prominent amongst them appearing the names of Edward Alleyn and William Shakespeare? Surely we could hardly have a more striking corroboration of the intention that must have been in the mind of such a man than the express naming of those districts in which the players chiefly lived. Added to this, there is the fact that Edward Alleyn, himself an actor, was the first master of Dulwich College; and there is strong reason to believe – I say believe, because the spelling of the age renders the positive identification of names rather difficult – there is strong reason to believe, that two of the original officers of the College were also actors. Added to that, that at every period of his life, long after his retirement from the stage, and after his retirement to Dulwich, Edward Alleyn never forgot his brothers in the profession, nor ceased to be remembered by them as an actor; for we find on one occasion, a couple of years after he had built Dulwich College, he forgave a debt to a company of actors of £200 at a blow. One actor writes to him in this style: ‘I commend my love and humble duty to you, geving you thankes for your great bounty bestoed upon me in my sicknes, when I was in great want: god blese you for it.’ Lord Bacon writes of the College and of the founder – the actor – ‘I like well that Alleyn playeth the last act of his life so well.’ Alleyn himself writes to the former possessor of that ground on which the College now stands, and in which his ashes now repose, the following words in answer to such a taunt as a mean soul might be supposed to have thrown out upon his old profession:   That I was a player I can not deny, and I am sure I will not. My meanes of living were honest, and with the poore abilytyes wherewith god blesst me I was able to doe something for my selfe, my relatives, and my frendes, many of them now lyving at this day will not refuse to owne what they owght me. Therefore am I not ashamed. Now, ladies and gentlemen, it would certainly be a grievous wrong to the writer of these noble words, and a great injury to the possessor of so manly a nature, to suppose him capable of having spurned the ladder by which he had risen, or to have set his face against the road by which he had come. I venture to say that in all biography there is not an instance of any man of honest self-reliance and self composure that was ever guilty of so base an action; accordingly Edward Alleyn never was. The industry of my friend, Mr. John Payne Collier,  shows him to us in his habit as he lived; and it is easy, even in his secluded life at Dulwich, to trace many pleasant tenderings of his feet towards the old paths, and many delicate tenderings of his mind towards the old occupations. When he goes upon an occasional visit from Dulwich to London on horseback his delight is to dine at the theatrical ordinary, and surround himself with the old familiar theatrical faces; and at the Twelfth Night parties at Dulwich, the boys have to play before the good old player. Late in life his theatre is burnt down, and forthwith he applies himself with energy to its reconstruction. One of his old parts, copied by the theatre copyist, is found amongst his papers ages after he is dead. Everything testifies to the truth and fidelity of his simple heart. Gentle presences which I observe in the boxes, remind me that last night, when I was refreshing my memory with a reperusal of his good life, I found I had one uneasy doubt about him, and I mated that the follows of his college should be single men. This appeared to me uncomfortable. I soon found, however, his intention was to console them, and to recompense them for their miserable solitude, inasmuch as he had a wife of his own, to whom he was tenderly attached, and whom he was accustomed to address by the endearing epithet of ‘Mouse’, and when that grisly cat who is our common foe dispatched her he provided himself with another ‘Mouse’, with all convenient speed.  Now, ladies and gentlemen, it will be most conducive to the order and effect of our proceedings that you should hear from the lips which have the best right to relate it to you, what encouraging communication has been had with the Charity Commissioners. Therefore, venturing to express my great admiration of the man who has an honest respect for his calling and a generous and disinterested sympathy with the professors of his art, and who moreover does the great public service – by no means an unimportant one in these times – of endeavouring to restore anything to its plain, original, truthful position, I beg to commend to your attention, Mr. Benjamin Webster.