Speeches: Literary and Social - Charles Dickens (books for new readers TXT) 📗

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