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. 18640511 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, Fortunately for me, and fortunately for you, it is the duty of the chairman on an occasion of this nature, to be very careful that he does not anticipate those speakers who come after him. Like Falstaff, with a considerable difference, he has to be the cause of speaking in others. It is rather his duty to sit and hear speeches with exemplary attention than to stand up and make them; so I shall confine myself, in opening these proceedings as your business official, to as plain and short an exposition as I can possibly give you of the reasons why we come together. First of all I will take leave to remark that we do not come together in commemoration of Shakespeare. We have nothing to do with any commemoration, except that we are of course humble worshippers of that mighty genius, and that we propose by-and-by to take his name, but by no means to take it in vain. If, however, the Tercentenary celebration were a hundred years hence, or a hundred years past, we should still be pursuing precisely the same object, though we could not pursue it under precisely the same circumstances. Well, then, the facts are these. – There is, as you know, in existence an admirable institution called the Royal Dramatic College, which is a place of honourable rest and repose for veterans in the dramatic art. The charter of this college, which dates some five or six years back, expressly provides for the establishment of schools in connexion with it; and I may venture to add that this feature of the scheme, when it was explained to him, was especially interesting to his Royal Highness the late Prince Consort, who hailed it as evidence of the desire of the promoters to look forward as well as to look back; to found educational establishments for the rising generation, as well as to establish a harbour of refuge for the generation going out, or at least having their faces turned towards the setting sun. The leading members of the dramatic art, applying themselves first to the more pressing necessity of the two, set themselves to work on the construction of their harbour of refuge, and this they did with the zeal, energy, good-will, and good faith that always honourably distinguish them in their efforts to help one another. Those efforts were very powerfully aided by the respected gentleman under whose roof we are assembled, and who, I hope, may be only half as glad of seeing me on these boards as I always am to see him there. With such energy and determination did Mr. Webster and his brothers and sisters in art proceed with their work, that at this present time all the dwelling-houses of the Royal Dramatic College are built, completely furnished, fitted with every appliance, and many of them inhabited. The central hall of the College is built, the grounds are beautifully planned and laid out, and the estate has become the nucleus of a prosperous neighbourhood. This much achieved, Mr. Webster was revolving in his mind how he should next proceed towards the establishment of the schools when, this Tercentenary celebration being in hand, it occurred to him to represent to the National Shakespeare Committee their just and reasonable claim to participate in the results of any subscription for a monument to Shakespeare. He represented to the committee that the social recognition and elevation of the followers of Shakespeare’s own art, through the education of their children, was surely a monument worthy even of that great name. He urged upon the committee that it was certainly a sensible, tangible project, which the public good sense would immediately appreciate and approve. This claim the committee at once acknowledged; but I wish you distinctly to understand that if the committee had never been in existence, if the Tercentenary celebration had never been attempted, those schools, as a design anterior to both, would still have solicited public support. Now, ladies and gentlemen, what it is proposed to do is, in fact, to found a new self-supporting public school; with this additional feature, that it is to be available for both sexes. This, of course, presupposes two separate distinct schools. As these schools are to be built on land belonging to the Dramatic College, there will be from the first no charge, no debt, no incumbrance of any kind under that important head. It is, in short, proposed simply to establish a new self-supporting public school, in a rapidly increasing neighbour-hood, where there is a large and fast accumulating middle-class population, and where property in land is fast rising in value. But, inasmuch as the project is a project of the Royal Dramatic College, and inasmuch as the schools are to be built on their estate, it is proposed evermore to give the followers of Shakespeare’s art a prominent place in them. With this view, it is confidently believed that the public will endow a foundation, say, for forty foundation scholars – say, twenty girls and twenty boys – who shall always receive their education gratuitously, and who shall always be the children of actors, actresses, or dramatic writers. This school, you will understand, is to be equal to the best existing public school. It is to be made to impart a sound, liberal, comprehensive education, and it is to address the whole great middle class at least as freely, as widely, and as cheaply as any existing public school. Broadly, ladies and gentlemen, this is the whole design. There are foundation scholars at Eton, foundation scholars at most or all our old schools, and if the public, in remembrance of a noble part of our standard national literature, and in remembrance of a great humanizing art, will do this thing for these children, it will at the same time be doing a wise and good thing for itself, and will unquestionably find its account in it. Taking this view of the case – and I cannot be satisfied to take any lower one – I cannot make a sorry face about ‘the poor player’. I think it is a term very much misused and very little understood, being I venture to say appropriated in a wrong sense by the players themselves. Therefore, ladies and gentlemen, I can only present the player to you exceptionally in this wise: that he follows a peculiar and precarious vocation, a vocation very rarely affording the means of accumulating money: that that vocation must, from the nature of things, have in it many undistinguished men and women to one distinguished one; that it is not a vocation the exerciser of which can profit by the labours of others, but in which he must earn every loaf of his bread in his own person, with the aid of his own face, his own limbs, his own voice, his own memory, and his own life and spirits; and these failing, he fails. Surely this is reason enough to render him some little help in opening for his children their paths through life. I say their paths advisedly, because it is not often found, except under the pressure of necessity, or where there is strong hereditary talent – which is always an exceptional case – that the children of actors and actresses take to the stage. Persons, therefore, need not in the least fear that by helping to endow these schools they would help to overstock the dramatic market. They would do directly the reverse, for they would divert into channels of public distinction and usefulness those good qualities which would otherwise languish in that market’s over rich superabundance. This project has received the support of the head of the most popular of our English public schools. On the committee stands the name of that eminent scholar and gentleman, the Provost of Eton. You justly admire this liberal spirit, and your admiration – which I cordially share – brings me naturally to what I wish to say, that I believe there is not in England any institution so socially liberal as a public school. It has been called a little cosmos of life outside, and I think it is so, with the exception of one of life’s worst foibles – for, as far as I know, nowhere in this country is there so complete an absence of servility to mere rank, to mere position, to mere riches as in a public school. A boy there is always what his abilities or his personal qualities make him. We may differ about the curriculum and other matters, but of the frank, free, manly, independent spirit preserved in our public schools, I apprehend there can be no kind of question. It has happened in these latter times that objection has been made to children of dramatic artists in certain little snivelling private schools, but in public schools never. Therefore, I hold that the actors are wise, and gratefully wise, in recognizing the capacious liberality of a public school, in seeking not a little hole-and-corner place of education for their children exclusively, but in addressing the whole of the great middle class, and proposing to them to come and join them, the actors, on their own property, in a public school, in a part of the country where no such advantage is now to be found. I have now done. The attempt has been a very timid one. I have endeavoured to confine myself within my means, or, rather, like the possessor of an extended estate, to hand it down in an unembarrassed condition. I have laid a trifle of timber here and there, and grubbed up a little brushwood, but merely to open the view, and I think I can descry in the eye of the gentleman who is to move the first resolution that he distinctly sees his way. Thanking you for the courtesy with which you have heard me, and not at all doubting that we shall lay a strong foundation of these schools today, I will call, as the mover of the first resolution, on Mr. Robert Bell. As master of the school now breaking up, I am very happy to dismiss you for a holiday. I beg to assure my young friends that their patient and unremitting attention to their studies has afforded me the liveliest satisfaction. 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 Public Meeting for the Establishment of the Shakespeare Foundation Schools Description An account of the resource Speech at the Public Meeting for the Establishment of the Shakespeare Foundation Schools (11 May 1864). 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 1864-05-11 Identifier An unambiguous reference to the resource within a given context 1864-05-11_Speech_Public-Meeting-for-the-Establishment-of-the-Shakespeare-Foundation-Schools 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 Public Meeting for the Establishment of the Shakespeare Foundation Schools' (11 May 1864). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/speeches/1864-05-11_Speech_Public-Meeting-for-the-Establishment-of-the-Shakespeare-Foundation-Schools">https://dickenssearch.com/speeches/1864-05-11_Speech_Public-Meeting-for-the-Establishment-of-the-Shakespeare-Foundation-Schools</a>. Scripto Transcription A written representation of a document. Ladies and Gentlemen, Fortunately for me, and fortunately for you, it is the duty of the chairman on an occasion of this nature, to be very careful that he does not anticipate those speakers who come after him. Like Falstaff, with a considerable difference, he has to be the cause of speaking in others. It is rather his duty to sit and hear speeches with exemplary attention than to stand up and make them; so I shall confine myself, in opening these proceedings as your business official, to as plain and short an exposition as I can possibly give you of the reasons why we come together. First of all I will take leave to remark that we do not come together in commemoration of Shakespeare. We have nothing to do with any commemoration, except that we are of course humble worshippers of that mighty genius, and that we propose by-and-by to take his name, but by no means to take it in vain. If, however, the Tercentenary celebration were a hundred years hence, or a hundred years past, we should still be pursuing precisely the same object, though we could not pursue it under precisely the same circumstances. Well, then, the facts are these. – There is, as you know, in existence an admirable institution called the Royal Dramatic College, which is a place of honourable rest and repose for veterans in the dramatic art. The charter of this college, which dates some five or six years back, expressly provides for the establishment of schools in connexion with it; and I may venture to add that this feature of the scheme, when it was explained to him, was especially interesting to his Royal Highness the late Prince Consort, who hailed it as evidence of the desire of the promoters to look forward as well as to look back; to found educational establishments for the rising generation, as well as to establish a harbour of refuge for the generation going out, or at least having their faces turned towards the setting sun. The leading members of the dramatic art, applying themselves first to the more pressing necessity of the two, set themselves to work on the construction of their harbour of refuge, and this they did with the zeal, energy, good-will, and good faith that always honourably distinguish them in their efforts to help one another. Those efforts were very powerfully aided by the respected gentleman under whose roof we are assembled, and who, I hope, may be only half as glad of seeing me on these boards as I always am to see him there. With such energy and determination did Mr. Webster and his brothers and sisters in art proceed with their work, that at this present time all the dwelling-houses of the Royal Dramatic College are built, completely furnished, fitted with every appliance, and many of them inhabited. The central hall of the College is built, the grounds are beautifully planned and laid out, and the estate has become the nucleus of a prosperous neighbourhood. This much achieved, Mr. Webster was revolving in his mind how he should next proceed towards the establishment of the schools when, this Tercentenary celebration being in hand, it occurred to him to represent to the National Shakespeare Committee their just and reasonable claim to participate in the results of any subscription for a monument to Shakespeare. He represented to the committee that the social recognition and elevation of the followers of Shakespeare’s own art, through the education of their children, was surely a monument worthy even of that great name. He urged upon the committee that it was certainly a sensible, tangible project, which the public good sense would immediately appreciate and approve. This claim the committee at once acknowledged; but I wish you distinctly to understand that if the committee had never been in existence, if the Tercentenary celebration had never been attempted, those schools, as a design anterior to both, would still have solicited public support. Now, ladies and gentlemen, what it is proposed to do is, in fact, to found a new self-supporting public school; with this additional feature, that it is to be available for both sexes. This, of course, presupposes two separate distinct schools. As these schools are to be built on land belonging to the Dramatic College, there will be from the first no charge, no debt, no incumbrance of any kind under that important head. It is, in short, proposed simply to establish a new self-supporting public school, in a rapidly increasing neighbour-hood, where there is a large and fast accumulating middle-class population, and where property in land is fast rising in value. But, inasmuch as the project is a project of the Royal Dramatic College, and inasmuch as the schools are to be built on their estate, it is proposed evermore to give the followers of Shakespeare’s art a prominent place in them. With this view, it is confidently believed that the public will endow a foundation, say, for forty foundation scholars – say, twenty girls and twenty boys – who shall always receive their education gratuitously, and who shall always be the children of actors, actresses, or dramatic writers. This school, you will understand, is to be equal to the best existing public school. It is to be made to impart a sound, liberal, comprehensive education, and it is to address the whole great middle class at least as freely, as widely, and as cheaply as any existing public school. Broadly, ladies and gentlemen, this is the whole design. There are foundation scholars at Eton, foundation scholars at most or all our old schools, and if the public, in remembrance of a noble part of our standard national literature, and in remembrance of a great humanizing art, will do this thing for these children, it will at the same time be doing a wise and good thing for itself, and will unquestionably find its account in it. Taking this view of the case – and I cannot be satisfied to take any lower one – I cannot make a sorry face about ‘the poor player’. I think it is a term very much misused and very little understood, being I venture to say appropriated in a wrong sense by the players themselves. Therefore, ladies and gentlemen, I can only present the player to you exceptionally in this wise: that he follows a peculiar and precarious vocation, a vocation very rarely affording the means of accumulating money: that that vocation must, from the nature of things, have in it many undistinguished men and women to one distinguished one; that it is not a vocation the exerciser of which can profit by the labours of others, but in which he must earn every loaf of his bread in his own person, with the aid of his own face, his own limbs, his own voice, his own memory, and his own life and spirits; and these failing, he fails. Surely this is reason enough to render him some little help in opening for his children their paths through life. I say their paths advisedly, because it is not often found, except under the pressure of necessity, or where there is strong hereditary talent – which is always an exceptional case – that the children of actors and actresses take to the stage. Persons, therefore, need not in the least fear that by helping to endow these schools they would help to overstock the dramatic market. They would do directly the reverse, for they would divert into channels of public distinction and usefulness those good qualities which would otherwise languish in that market’s over rich superabundance.  This project has received the support of the head of the most popular of our English public schools. On the committee stands the name of that eminent scholar and gentleman, the Provost of Eton. You justly admire this liberal spirit, and your admiration – which I cordially share – brings me naturally to what I wish to say, that I believe there is not in England any institution so socially liberal as a public school. It has been called a little cosmos of life outside, and I think it is so, with the exception of one of life’s worst foibles – for, as far as I know, nowhere in this country is there so complete an absence of servility to mere rank, to mere position, to mere riches as in a public school. A boy there is always what his abilities or his personal qualities make him. We may differ about the curriculum and other matters, but of the frank, free, manly, independent spirit preserved in our public schools, I apprehend there can be no kind of question. It has happened in these latter times that objection has been made to children of dramatic artists in certain little snivelling private schools, but in public schools never. Therefore, I hold that the actors are wise, and gratefully wise, in recognizing the capacious liberality of a public school, in seeking not a little hole-and-corner place of education for their children exclusively, but in addressing the whole of the great middle class, and proposing to them to come and join them, the actors, on their own property, in a public school, in a part of the country where no such advantage is now to be found.  I have now done. The attempt has been a very timid one. I have endeavoured to confine myself within my means, or, rather, like the possessor of an extended estate, to hand it down in an unembarrassed condition. I have laid a trifle of timber here and there, and grubbed up a little brushwood, but merely to open the view, and I think I can descry in the eye of the gentleman who is to move the first resolution that he distinctly sees his way. Thanking you for the courtesy with which you have heard me, and not at all doubting that we shall lay a strong foundation of these schools today, I will call, as the mover of the first resolution, on Mr. Robert Bell. As master of the school now breaking up, I am very happy to dismiss you for a holiday. I beg to assure my young friends that their patient and unremitting attention to their studies has afforded me the liveliest satisfaction.