Works of Charles Dickens (200+ Works) The Adventures of Oliver Twist, Great Expectations, A Christmas Carol, A Tale of Two Cities, Bleak House, David Copperfield & more (mobi)

by Charles Dickens

  [Later in the evening, in proposing the health of the Chairman, Mr. Dickens said:]

  There may be a great variety of conflicting opinions with regard to farming, and especially with reference to the management of a clay farm; but, however various opinions as to the merits of a clay farm may be, there can be but one opinion as to the merits of a clay farmer,--and it is the health of that distinguished agriculturist which I have to propose.

  In my ignorance of the subject, I am bound to say that it may be, for anything I know, indeed I am ready to admit that it IS, exceedingly important that a clay farm should go for a number of years to waste; but I claim some knowledge as to the management of a clay farmer, and I positively object to his ever lying fallow. In the hope that this very rich and teeming individual may speedily be ploughed up, and that, we shall gather into our barns and store- houses the admirable crop of wisdom, which must spring up when ever he is sown, I take leave to propose his health, begging to assure him that the kind manner in which he offered to me your very valuable present, I can never forget.

  SPEECH: LONDON, MARCH 29, 1862.

  [At a Dinner of the Artists' General Benevolent Institution, the following Address was delivered by Mr. Charles Dickens from the chair.-]

  Seven or eight years ago, without the smallest expectation of ever being called upon to fill the chair at an anniversary festival of the Artists' General Benevolent Institution, and without the remotest reference to such an occasion, I selected the administration of that Charity as the model on which I desired that another should be reformed, both as regarded the mode in which the relief was afforded, and the singular economy with which its funds were administered. As a proof of the latter quality during the past year, the cost of distributing 1,126 pounds among the recipients of the bounty of the Charity amounted to little more than 100 pounds, inclusive of all office charges and expenses. The experience and knowledge of those entrusted with the management of the funds are a guarantee that the last available farthing of the funds will be distributed among proper and deserving recipients. Claiming, on my part, to be related in some degree to the profession of an artist, I disdain to stoop to ask for charity, in the ordinary acceptation of the term, on behalf of the Artists. In its broader and higher signification of generous confidence, lasting trustfulness, love and confiding belief, I very readily associate that cardinal virtue with art. I decline to present the artist to the notice of the public as a grown-up child, or as a strange, unaccountable, moon-stricken person, waiting helplessly in the street of life to be helped over the road by the crossing- sweeper; on the contrary, I present the artist as a reasonable creature, a sensible gentleman, and as one well acquainted with the value of his time, and that of other people, as if he were in the habit of going on high 'Change every day. The Artist whom I wish to present to the notice of the Meeting is one to whom the perfect enjoyment of the five senses is essential to every achievement of his life. He can gain no wealth nor fame by buying something which he never touched, and selling it to another who would also never touch or see it, but was compelled to strike out for himself every spark of fire which lighted, burned, and perhaps consumed him. He must win the battle of life with his own hand, and with his own eyes, and was obliged to act as general, captain, ensign, non- commissioned officer, private, drummer, great arms, small arms, infantry, cavalry, all in his own unaided self. When, therefore, I ask help for the artist, I do not make my appeal for one who was a cripple from his birth, but I ask it as part payment of a great debt which all sensible and civilised creatures owe to art, as a mark of respect to art, as a decoration--not as a badge--as a remembrance of what this land, or any land, would be without art, and as the token of an appreciation of the works of the most successful artists of this country. With respect to the society of which I am the advocate, I am gratified that it is so liberally supported by the most distinguished artists, and that it has the confidence of men who occupy the highest rank as artists, above the reach of reverses, and the most distinguished in success and fame, and whose support is above all price. Artists who have obtained wide-world reputation know well that many deserving and persevering men, or their widows and orphans, have received help from this fund, and some of the artists who have received this help are now enrolled among the subscribers to the Institution.

  SPEECH: LONDON, MAY 20, 1862.

  [The following speech was made by Mr. Dickens, in his capacity as chairman, at the annual Festival of the Newsvendors' and Provident Institution, held at the Freemasons' Tavern on the above date.]

  When I had the honour of being asked to preside last year, I was prevented by indisposition, and I besought my friend, Mr. Wilkie Collins, to reign in my stead. He very kindly complied, and made an excellent speech. Now I tell you the truth, that I read that speech with considerable uneasiness, for it inspired me with a strong misgiving that I had better have presided last year with neuralgia in my face and my subject in my head, rather than preside this year with my neuralgia all gone and my subject anticipated. Therefore, I wish to preface the toast this evening by making the managers of this Institution one very solemn and repentant promise, and it is, if ever I find myself obliged to provide a substitute again, they may rely upon my sending the most speechless man of my acquaintance.

  The Chairman last year presented you with an amiable view of the universality of the newsman's calling. Nothing, I think, is left for me but to imagine the newsman's burden itself, to unfold one of those wonderful sheets which he every day disseminates, and to take a bird's-eye view of its general character and contents. So, if you please, choosing my own time--though the newsman cannot choose his time, for he must be equally active in winter or summer, in sunshine or sleet, in light or darkness, early or late--but, choosing my own time, I shall for two or three moments start off with the newsman on a fine May morning, and take a view of the wonderful broadsheets which every day he scatters broadcast over the country. Well, the first thing that occurs to me following the newsman is, that every day we are born, that every day we are married--some of us--and that every day we are dead; consequently, the first thing the newsvendor's column informs me is, that Atkins has been born, that Catkins has been married, and that Datkins is dead. But the most remarkable thing I immediately discover in the next column, is that Atkins has grown to be seventeen years old, and that he has run away; for, at last, my eye lights on the fact that William A., who is seventeen years old, is adjured immediately to return to his disconsolate parents, and everything will be arranged to the satisfaction of everyone. I am afraid he will never return, simply because, if he had meant to come back, he would never have gone away. Immediately below, I find a mysterious character in such a mysterious difficulty that it is only to be expressed by several disjointed letters, by several figures, and several stars; and then I find the explanation in the intimation that the writer has given his property over to his uncle, and that the elephant is on the wing. Then, still glancing over the shoulder of my industrious friend, the newsman, I find there are great fleets of ships bound to all parts of the earth, that they all want a little more stowage, a little more cargo, that they have a few more berths to let, that they have all the most spacious decks, that they are all built of teak, and copper-bottomed, that they all carry surgeons of experience, and that they are all A1 at Lloyds', and anywhere else. Still glancing over the shoulder of my friend the newsman, I find I am offered all kinds of house-lodging, clerks, servants, and situations, which I can possibly or impossibly want. I learn, to my intense gratification, that I need never grow old, that I may always preserve the juvenile bloom of my complexion; that if ever I turn ill it is entirely my own fault; that if I have any complaint, and want brown cod-liver oil or Turkish baths, I am told where to get them, and that, if I want an income of seven pounds a-week, I may have it by sending half-a- crown in postage-stamps. Then I look to the police intelligence, and I can discover that I may bite off a human living nose cheaply, but if I take off the dead nose of a pig or a calf from a
shop- window, it will cost me exceedingly dear. I also find that if I allow myself to be betrayed into the folly of killing an inoffensive tradesman on his own door-step, that little incident will not affect the testimonials to my character, but that I shall be described as a most amiable young man, and as, above all things, remarkable for the singular inoffensiveness of my character and disposition. Then I turn my eye to the Fine Arts, and, under that head, I see that a certain "J. O." has most triumphantly exposed a certain "J. O. B.," which "J. O. B." was remarkable for this particular ugly feature, that I was requested to deprive myself of the best of my pictures for six months; that for that time it was to be hung on a wet wall, and that I was to be requited for my courtesy in having my picture most impertinently covered with a wet blanket. To sum up the results of a glance over my newsman's shoulder, it gives a comprehensive knowledge of what is going on over the continent of Europe, and also of what is going on over the continent of America, to say nothing of such little geographical regions as India and China.

  Now, my friends, this is the glance over the newsman's shoulders from the whimsical point of view, which is the point, I believe, that most promotes digestion. The newsman is to be met with on steamboats, railway stations, and at every turn. His profits are small, he has a great amount of anxiety and care, and no little amount of personal wear and tear. He is indispensable to civilization and freedom, and he is looked for with pleasurable excitement every day, except when he lends the paper for an hour, and when he is punctual in calling for it, which is sometimes very painful. I think the lesson we can learn from our newsman is some new illustration of the uncertainty of life, some illustration of its vicissitudes and fluctuations. Mindful of this permanent lesson, some members of the trade originated this society, which affords them assistance in time of sickness and indigence. The subscription is infinitesimal. It amounts annually to five shillings. Looking at the returns before me, the progress of the society would seem to be slow, but it has only been slow for the best of all reasons, that it has been sure. The pensions granted are all obtained from the interest on the funded capital, and, therefore, the Institution is literally as safe as the Bank. It is stated that there are several newsvendors who are not members of this society; but that is true in all institutions which have come under my experience. The persons who are most likely to stand in need of the benefits which an institution confers, are usually the persons to keep away until bitter experience comes to them too late.

  SPEECH: LONDON, MAY 11, 1864.

  [On the above date Mr. Dickens presided at the Adelphi Theatre, at a public meeting, for the purpose of founding the Shakespeare Schools, in connexion with the Royal Dramatic College, and delivered the following address:]

  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 to make them; so I shall confine myself, in opening these proceedings as your business official, to as plain and as 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 should not pursue it under precisely the same circumstances. 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 specially 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 institutions 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 {14} 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 here. 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 find 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 neighbourhood, 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 their schools the great name of Shakespeare, and 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 nearly 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 humanising 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 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 later 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.