signe of ye Sonne;" Richard Pynson, the title-pages or colophons of whose
works bore the inscription, "emprynted by me Richard Pynson at the temple
barre of London (1493);" Rastell, "at the sign of the Star;" Richard
Tottel, "within Temple-bar, at the signe of the Hande and Starre," which
in Dickens' day had become the shop of a low bookseller by the name of
Butterworth, who it was said still held the original leases. Others who
printed and published in the vicinity were W. Copeland, "at the signe of
the Rose Garland;" Bernard Lintot, "at the Cross Keys;" Edmund Curll, "at
the Dial and Bible," and Lawton Gulliver, "at Homer's Head," against St.
Dunstan's Church; and Jacob Robinson, on the west side of the gateway
"leading down the Inner Temple Lane," an establishment which Dickens must
have known as Groom's, the confectioner's. Here Pope and Warburton first
met, and cultivated an acquaintanceship which afterward developed into as
devoted a friendship as ever existed between man and man. The fruit of
this was the publication (in 1739) of a pamphlet which bore the title, "A
Vindication of Mr. Pope's 'Essay on Man,' by the Author of 'The Divine
Legation of Moses,' printed for J. Robinson."
At Collins' shop, "at the Black Boy in Fleet Street," was published the
first "Peerage," while other names equally famous were the publishers, T.
White, H. Lowndes, and John Murray.
Another trade which was firmly established here was the bankers,
"Child's," at Temple Bar, being the oldest existing banking-house in
London to-day. Here Richard Blanchard and Francis Child, "at the Marygold
in Fleet Street,"--who were goldsmiths with "_running cashes_,"--were
first established in the reign of Charles II. "In the hands of Mr.
Blanchard, goldsmith, next door to Temple Bar," Dryden deposited his £50
received for the discovery of the "bullies" by whom Lord Rochester had
been barbarously assaulted in Covent Garden.
Another distinctive feature of Fleet Street was the taverns and
coffee-houses. "The Devil," "The King's Head," at the corner of Chancery
Lane, "The Bolt-in-Tun," "The Horn Tavern," "The Mitre," "The Cock," and
"The Rainbow," with "Dick's," "Nando's," and "Peele's," at the corner of
Fetter Lane--its descendant still existing,--completes the list of the
most famous of these houses of entertainment.
To go back to a still earlier time, to connect therewith perhaps the most
famous name of English literature, bar Shakespeare, it is recorded that
Chaucer "once beat a Franciscan friar in Fleet Street," and was fined two
shillings for the privilege by the Honourable Society of the Inner Temple.
As the chroniclers have it: "So Speght heard from Master Barkly, who had
seen the entry in the records of the Inner Temple."
A rather gruesome anecdote is recounted by Hughson in his "Walks through
London" (1817), concerning Flower-de-Luce Court (Fleur-de-Lis Court), just
off Fetter Lane in Fleet Street. This concerned the notorious Mrs.
Brownrigg, who was executed in 1767 for the murder of Mary Clifford, her
apprentice. "The grating from which the cries of the poor child issued"
being still existent at the time when Hughson wrote and presumably for
some time after. Canning, in imitation of Southey, recounts it thus in
verse:
"... Dost thou ask her crime?
She whipp'd two female 'prentices to death,
And hid them in the coal-hole. For this act
Did Brownrigg swing. Harsh laws! But time shall come,
When France shall reign and laws be all repeal'd."
Which gladsome (?) day has fortunately not yet come.
No résumé of the attractions of Fleet Street can well be made without some
mention of Whitefriars, that region comprehended between the boundaries of
the Temple on one side, and where once was the Fleet Ditch on the other.
Its present day association with letters mostly has to do with journalism,
Carmelite Street, Whitefriars Street, and other lanes and alleys of the
immediate neighbourhood being given over to the production of the great
daily and weekly output of printed sheets. This ancient precinct formerly
contained the old church of the White Friars, a community known in full as
_Fratres Beatæ Mariæ de Mont Carmeli_.
Founded by Sir Richard Grey in 1241, the church was surrendered at the
Reformation, and the Hall was made into the first Whitefriars Theatre, and
the precinct newly named Alsatia, celebrated in modern literature by Scott
in the "Fortunes of Nigel." "The George Tavern," mentioned in Shadwell's
play, "The Squire of Alsatia," became later the printing shop of one
Bowyer, and still more recently the printing establishment of Messrs.
Bradbury and Evans, the publishers and proprietors of _Punch_, which
building was still more recently removed for the present commodious
structure occupied by this firm. In Dickens' time it was in part at least
the old "George Tavern." It is singular perhaps that Dickens' connection
with the famous "Round Table" of _Punch_ was not more intimate than it
was. It is not known that a single article of his was ever printed in its
pages, though it is to be presumed he contributed several, and one at
least is definitely acknowledged.
Ram Alley and Pye Corner were here in Alsatia, the former a passage
between the Temple and Sergeant's Inn, which existed until recently.
Mitre Court is perhaps the most famous and revered of all the purlieus of
Fleet Street. "The Mitre Tavern," or rather a reminiscence of it, much
frequented by the London journalist of to-day and of Dickens' time, still
occupies the site of a former structure which has long since disappeared,
where Johnson used to drink his port, and where he made his famous remark
to Ogilvie with regard to the noble prospects of Scotland: "I believe, sir,
you have a great many ... but, sir, let me tell you the noblest prospect
which a Scotchman ever sees is the highroad that leads him to England."
Of all the old array of taverns of Fleet Street, "The Cock" most recently
retained a semblance, at least, of its former characteristics, which
recalls one of Tennyson's early poems, "A Monologue of Will Waterproof,"
which has truly immortalized this house of refreshment:
_"Thou plump head-waiter at the Cock_
_To which I most resort,_
_How goes the time? Is't nine o'clock?_
_Then fetch a pint of port."_
Salisbury Court, or Salisbury Square as it has now become, is another of
those literary suburbs of Fleet Street--if one may so call it--where
modern literature was fostered and has prospered. It occupies the
courtyard of Salisbury or Dorset House. Betterton, Cave, and Sandford, the
actors, lived here; Shadwell, Lady Davenant, the widow of the laureate;
Dryden and Richardson also. Indeed Richardson wrote "Pamela" here, and
Goldsmith was his "press corrector."
DICKENS' CONTEMPORARIES
When Scott was at the height of his popularity and reputation, cultivated
and imaginative prose was but another expression of the older poesy. But
within twenty-five years of Scott's concluding fictions, Dickens and
Thackeray, and still later, George Eliot and Kingsley, had come into the
mart with an entirely new brand of wares, a development unknown to Scott,
and of a tendency which was to popularize literature far more than the
most sanguine hopes of even Scott's own ambition.
There was more warmth, geniality, and general good feeling expressed in
the printed page, and the people--that vast public which must ever make or
mar literary reputations, if they are to be financially successful ones,
which, after all, is the standard by which most reputations are
valued--were ready and willing to support what was popularly supposed to
stand for the spread of culture.
Biographers and critics have been wont to attribute this wide love for
literature to the influence of Scott. Admirable enough this influence
was, to be sure, and the fact is that since his time books have been more
pleasingly frank, candid, and generous. But it was not until Dickens
appeared, with his almost immediate and phenomenal success, that the real
rage for the novel took form.
The first magazine, _The Gentleman's_, and the first review, _The
Edinburgh_, were contemporary with Scott's productions, and grew up quite
independently, of course, but their development was supposed, rightly or
wrongly, to be coincident with the influences which were set in motion by
the publication of Scott's novels. Certainly they were sent broadcast, and
their influence was widespread, likewise Scott's devotees, but his books
were "hard reading" for the masses nevertheless, and his most ardent
champion could hardly claim for him a tithe of the popularity which came
so suddenly to Charles Dickens.
"Pickwick Papers" (1837) appeared only six years later than Scott's last
works, and but eight years before Thackeray's "Vanity Fair." It was,
however, a thing apart from either, with the defects and merits of its
author's own peculiar and energetic style.
Jealousies and bickerings there doubtless were, in those days, as ever,
among literary folk, but though there may have been many who were
envious, few were impolite or unjust enough not to recognize the new
expression which had come among them. One can well infer this by recalling
the fact that Thackeray himself, at a Royal Academy banquet, had said that
he was fearful of what "Pickwick's" reputation might have been had he
succeeded in getting the commission, afterward given to Seymour, to
illustrate the articles.
There appears to have been, at one time, some misunderstanding between
Dickens and his publishers as to who really was responsible for the birth
of "Pickwick," one claim having been made that Dickens was only
commissioned to write up Seymour's drawings. This Dickens disclaimed
emphatically in the preface written to a later edition, citing the fact
that Seymour only contributed the few drawings to the first serial part,
unfortunately dying before any others were even put in hand.
There is apparently some discrepancy between the varying accounts of this
incident, but Dickens probably had the right of it, though the idea of
some sort of a "Nimrod Club," which afterward took Dickens' form in the
"Pickwickians," was thought of between his publishers and Seymour. In
fact, among others, besides Dickens, who were considered as being able to
do the text, were Theodore Hook, Leigh Hunt, and Tom Hood.
As originally planned, it was undoubtedly a piece of what is
contemptuously known as hack work. What it afterward became, under
Dickens' masterful power, all the parties concerned, and the world in
general, know full well.
The statement that Dickens is "out of date," "not read now," or is "too
verbose," is by the mark when his work is compared with that of his
contemporaries. In a comparative manner he is probably very much read, and
very well read, too, for that matter. Far more so, doubtless, than most of
his contemporaries; certainly before George Eliot, Wilkie Collins, Bulwer,
or even Carlyle or Thackeray.
The very best evidence of this, if it is needed, is to recall to what
great extent familiarity with the works of Dickens has crept into the
daily life of "the people," who more than ever form the great majority of
readers.
True, times and tastes have changed from even a quarter of a century ago.
Fashions come and go with literature, novels in particular, as with all
else, and the works of Dickens, as a steady fare, would probably pall on
the most enthusiastic of his admirers. On the other hand, he would be a
dull person indeed who could see no humour in "Pickwick," whatever his
age, creed, or condition.
Admirers of the great novelist have been well looked after in respect to
editions of his works. New ones follow each other nowadays in an
extraordinarily rapid succession, and no series of classics makes its
appearance without at least three or four of Dickens' works finding places
in its list.
In England alone there have been twenty-four complete copyright editions,
from "the cheap edition," first put upon the market in 1847, to the dainty
and charming India paper edition printed at the Oxford University Press in
1901.
"In the Athenæum Club," says Mr. Percy Fitzgerald, "where many a pleasant
tradition is preserved, we may see at a window a table facing the United
Service Club at which Dickens was fond of having his lunch.... In the hall
by the coats (after their Garrick quarrel), Dickens and Thackeray met,
shortly before the latter's death. A moment's hesitation, and Thackeray
put out his hand ... and they were reconciled."
It has been said, and justly, that Thackeray--Dickens' contemporary, not
rival--had little of the topographical instinct which led to no small
degree of Dickens' fame. It has, too, been further claimed that Thackeray
was in debt to Dickens for having borrowed such expressions as "_the
opposite side of Goswell Street was over the way_." And such suggestions
as the "Two jackals of Lord Steyne and Mess. Wegg and Wenham, reminiscent
of Pike and Pluck, and Sedley's native servant, who was supposed to have
descended from Bagstock's menial." Much more of the same sort might be
recounted, all of which, if it is true, is perhaps no sin, but rather a
compliment.
The relics and remains of Dickens exist to a remarkable degree of numbers.
As is well known, the omnific American collector is yearly, nay daily,
acquiring many of those treasures of literature and art which the old
world has treasured for generations; to the gratification of himself and
the pride of his country, though, be it said, to the disconcern of the
Briton.
The American, according to his English cousin, it seems, has a pronounced
taste for acquiring the rarest of Dickens' books, and the choicest of
Dickens' holographs, and his most personal relics.
The committee of the "Dickens Fellowship," a newly founded institution to
perpetuate the novelist's name and fame, recently sought to bring together
in an exhibition held in Memorial Hall, London, as many of those souvenirs
as possible; and a very attractive and interesting show it proved to be.
The catalogue of this exhibition, however, had tacked on to it this
significant note: "The Committee's quest for literary memorabilia of the
immortal 'Boz' indicates the distressing fact that many of the rarest
items are lost to us for ever."
All of which goes again to show that the great interest of Americans in
the subject is, in a way, the excuse for being of this monograph on London
during the life and times of Dickens.
Various exhibitions of Dickens' manuscripts have been publicly held in
London from time to time, at The Exhibition of the Works of the English
Humourists in 1889, at the Victorian Exhibition of 1897, and the British
Museum has generally on show, in the "King's Library," a manuscript or two
of the novels; there are many more always to be seen in the "Dyce and
Forster Collection" at South Kensington. Never, before the exhibition held
in 1902 by the "Dickens Fellowship," has there been one absolutely
restricted to Dickens.
It is, of course, impossible to enumerate the various items, and it would
not be meet that the attempt should be made here. It will be enough to say
that among the many interesting numbers was the first portion of an
unpublished travesty on "Othello," written in 1833, before the first
published "Boz" sketch, and a hitherto unknown (to experts) page of
"Pickwick," this one fragment being valued, says the catalogue, at £150
sterling. First editions, portraits, oil paintings, miniatures, and what
not, and autographs were here in great numbers, presentation copies of
Dickens' books, given to his friends, and autographs and portraits of his
contemporaries, as well as the original sketches of illustrations to the
various works by Seymour, "Phiz," Cruikshank, Stone, Leech, Barnard, and
Pailthorpe, not forgetting a reference to the excellent work of our own
Darley, and latterly Charles Dana Gibson.
Among the most interesting items of contemporary interest in this
exhibition, which may be classed as unique, were presentation copies of
the novels made to friends and acquaintances by Dickens himself.
Among them were "David Copperfield," a presentation copy to the Hon. Mrs.
Percy Fitzgerald; "Oliver Twist," with the following inscription on the
title-page, "From George Cruikshank to H. W. Brunton, March 19, 1872;" "A
Child's History of England," with an autograph letter to Marcus Stone,
R. A.; "A Tale of Two Cities," presented to Mrs. Macready, with autograph;
"The Chimes" (Christmas Book, 1845), containing a unique impression of
Leech's illustration thereto.
Other interesting and valuable _ana_ were the Visitors' Book of "Watts'
Charity," at Rochester, containing the signatures of "C. D." and Mark
Lemon; the quill pen belonging to Charles Dickens, and used by him just
previous to his death; a paper-knife formerly belonging to "C. D.," and
the writing-desk used by "C. D." on his last American tour; silver
wassail-bowl and stand presented to "C. D." by members of the
Philosophical Institution of Edinburgh in 1858; walking-stick formerly
belonging to "C. D.;" a screen belonging to Moses Pickwick, of Bath--the
veritable Moses Pickwick of Chap. XXXV. of "Pickwick Papers;" the oak
balustrade from the old "White Hart" (pulled down in 1889); pewter
tankards from various of the Pickwickian Inns; the entrance door of
Newgate Prison, of which mention is made in "Barnaby Rudge," Chap. LXIV.;
warrant officer's staff, formerly in use in the Marshalsea Prison;
original sign of "The Little Wooden Midshipman" ("Dombey and Son"),
formerly over the doorway of Messrs. Norie and Wilson, the nautical
publishers in the Minories. This varied collection, of which the above is
only a mere selection, together with such minor _personalia_ as had been
preserved by friends and members of the family, formed a highly
interesting collection of Dickens' reliques, and one whose like will
hardly be got together again.
Innumerable portraits, photographs, lithographs, and drawings of the
novelist were included, as well as of his friends and contemporaries.
Letters and documents referring to Dickens' relations with Shirley Brooks,
Richard Bentley, Hablôt K. Browne, Frederic Chapman, J. P. Harley, Mark
Lemon, Samuel Rogers, Newby, John Forster, David Maclise, and many others,
mostly unpublished, were shown, and should form a valuable fund of
material for a biographer, should he be inclined to add to Dickens'
literature of the day, and could he but have access to and the privilege
of reprinting them.
A word on the beginnings of what is commonly called serial literature is
pertinent to the subject. The first publication with which Dickens'
identity was solely connected was the issue of "Pickwick" in monthly parts
in 1836-37.
A literary critic, writing in 1849, had this to say on the matter in
general, with a further reference to the appearance of "David
Copperfield," whose author was the chief and founder of the serial novel:
"The small library which issues from the press on the first of every
month is a new and increasing fashion in literature, which carves out
works into slices and serves them up in fresh portions twelve times in the
year. Prose and poetry, original and selected, translations and
republications, of every class and character, are included. The mere
enumeration of titles would require a vast space, and any attempt to
analyze the contents, or to estimate the influence which the class exerts
upon the literary taste of the day would expand into a volume of itself.
As an event of importance must be mentioned the appearance of the first
number of a new story, 'David Copperfield,' by Charles Dickens. His rival
humourist, Mr. Thackeray, has finished one and begun another of his
domestic histories within the twelve-month, his new story, 'Pendennis,'
having journeyed seven-twentieths of the way to completion. Mr. Lever
rides double with 'Roland Cashel' and 'Con Cregan,' making their punctual
appearance upon the appointed days. Of another order is Mr. Jerrold's 'Man
Made of Money.' Incidents are of little consequence to this author, except
by way of pegs to hang reflections and conclusions upon.
"Passing over the long list of magazines and reviews as belonging to
another class of publication, there is a numerous series of reprints, new
editions, etc., issued in monthly parts, and generally in a cheap and
compendious form. Shakespeare and Byron among the poets, Bulwer, Dickens,
and James among the novelists, appear pretty regularly,--the poets being
enriched with notes and illustrations. Other writers and miscellaneous
novels find republication in the 'Parlour Library of Fiction,' with so
rigid an application of economy that for two shillings we may purchase a
guinea and a half's worth of the most popular romances at the original
price of publication. Besides the works of imagination, and above them in
value, stand Knight's series of 'Monthly Volumes,' Murray's 'Home and
Colonial Library,' and the 'Scientific' and 'Literary Libraries' of Mr.
Bohn. The contents of these collections are very diversified; many volumes
are altogether original, and others are new translations of foreign works,
or modernized versions of antiquarian authors. A large mass of the most
valuable works contained in our literature may be found in Mr. Bohn's
'Library.' The class of publications introduced in them all partakes but
little of the serial character. It is only the form of their appearance
which gives them a place among the periodicals."
In the light of more recent events and tendencies, this appears to have
been the first serious attempt to popularize and broaden the sale of
literature to any considerable extent, and it may be justly inferred that
the cheap "Libraries," "Series," and "Reprints" of the present day are but
an outgrowth therefrom.
As for Dickens' own share in this development, it is only necessary to
recall the demand which has for many years existed for the original issues
of such of the novels as appeared in parts. The earliest issues were: "The
Pickwick Papers," in 20 parts, 1836-37, which contained the two suppressed
Buss plates; "Nicholas Nickleby," in 20 parts, 1838-39; "Master Humphrey's
Clock," in 88 weekly numbers, 1840-41; "Master Humphrey's Clock," in 20
monthly parts, 1840-41; "Martin Chuzzlewit," in 20 parts, 1843-44; "Oliver
Twist," in 10 octavo parts, 1846.
At the time when "Oliver Twist" had scarce begun, Dickens was already
surrounded by a large circle of literary and artistic friends and
acquaintances. His head might well have been turned by his financial
success, many another might have been so affected. His income at this time
(1837-38) was supposed to have increased from £400 to £2,000 per annum,
surely an independent position, were it an assured one for any litterateur
of even the first rank, of Dickens' day or of any other.
In November of 1837 "Pickwick" was finished, and the event celebrated by a
dinner "at the Prince of Wales" in Leicester Place, off Leicester Square.
To this function Dickens had invited Talfourd, Forster, Macready, Harrison
Ainsworth, Jerdan, Edward Chapman, and William Hall.
Dickens' letter to Macready was in part as follows:
"It is to celebrate (that is too great a word, but I can think of no
better) the conclusion of my 'Pickwick' labours; and so I intend, before
you take that roll upon the grass you spoke of, to beg your acceptance of
one of the first complete copies of the work. I shall be much delighted if
you would join us."
Of "Nicholas Nickleby," written in 1838-39, Sydney Smith, one of its many
detractors, finally succumbed and admitted: "'Nickleby' is very good--I
held out against Dickens as long as I could, but he has conquered me."
Shortly after the "Pickwick" dinner, and after the death of his wife's
sister Mary, who lived with them, Dickens, his wife, and "Phiz,"--Hablôt
K. Browne,--the illustrator of "Pickwick," journeyed together abroad for a
brief time. On his return, Dickens first made acquaintance with the
seaside village of Broadstairs, where his memory still lives, preserved by
an ungainly structure yclept "Bleak House."
[Illustration: CHARLES DICKENS, HIS WIFE, AND SISTER GEORGINA.
_From a pencil drawing by D. Maclise._]
It may be permissible here to make further mention of Broadstairs. The
town itself formed the subject of a paper which he wrote for _Household
Words_ in 1851, while as to the structure known as "Bleak House," it
formed, as beforesaid, his residence for a short time in 1843.
Writing to an American friend, Professor Felton, at that time, he said: