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Showing posts with label Charles Dickens. Show all posts
Showing posts with label Charles Dickens. Show all posts

Thursday, 20 October 2011

“Picks, Spades, Fire-Irons, Musical Instruments, Cabmens' Whips, Umbrellas — Yes, Even a Tiny Pair of Child's Shoes — Everything.” Or: The Victorian Pawnbroking Trade.

There was a lot of poverty in the nineteenth century, and people in the working classes could easily fall into a desperate cycle involving one of the most curious, and yet popular establishments of the Victorian city. For a struggling man or woman with a partner and / or children to keep, there was always one option open if some fast and relatively easy money was required to tide you over until payday – as long as you didn’t mind losing a possession for a short while – and in these cases, relief came by way of the pawnbroker.

Pawnbroker’s shops could be found in most poor districts of London and other major cities. The idea was that the person or family in want of cash would take one of their possessions to the pawnbrokers, and the pawnbroker himself would assess the article – whether it be a ring, a brooch, a watch, or, more likely in the cases of the poor, a pair of boots or a shawl – and give the owner a small amount of money for it, along with a ticket (a kind of receipt). When the owner had been paid – or found some money by another means – he could return to the pawnbroker with his ticket and buy his item back.

If the owner of the item did not return to ‘buy back’ his item, it became the legal property of the pawnbroker, depending on the item’s value. By law, an item pawned for fifty pence or less and not bought back in the time allowed would belong to the pawnbroker.
An item worth more than fifty pence which was not bought back in time would be sold to the public by the pawnbroker.
The pawnbrokers did a great trade, and made their money not only by selling the items back to their owners or the public, but they also charged a halfpenny for the pawn ticket, and could also charge interest, starting at a halfpenny per month on every 2s lent.

This means that if a man took an item into a pawnbroker and was given 2s for it, he would actually pay 2s and halfpence. (halfpence being the price of the ticket)
If he did not return for his item for twelve months, he then owed the pawnbroker a further sixpence (half a penny per month interest) and so would be paying 2s 6d, or half a crown.

I wont go into Victorian currency and money – it’s too confusing, but to give some idea of the amount of interest, sixpence was roughly enough money to feed a family of between four and six people. The pawnbroker worked in a similar way to today’s bank loans, what with the interest and such.

 The Pawnbrokers were governed by certain restrictions set out by law to stop them ripping people off or taking advantage of people. These restrictions included:


-          A Pawnbroker must not take in pawn any article from a person under the age of twelve, or intoxicated.

-          Must not take in pawn any linen or apparel or unfinished goods or materials entrusted to wash, make up, etc.

-          A new pawnbroker must produce a magistrate's certificate before he can receive a licence.

-          The permit cannot be refused if the applicant gives sufficient evidence that he is a person of good character.

-          The word "pawnbroker" must always be inscribed in large letters over the door of the shop.

I’ve found two articles – one from the year before the start of Victoria’s reign, and one from the year after, which give more details about the pawnbrokers, and how little they seem to have changed over the entire Victorian period.

The first is from Charles Dickens’ ‘Sketches by Boz’ from 1836:

The Pawnbrokers Shop
Of the numerous receptacles for misery and distress with which the streets of London unhappily abound, there are, perhaps, none which present such striking scenes as the pawnbrokers’ shops. The very nature and description of these places occasions their being but little known, except to the unfortunate beings whose profligacy or misfortune drives them to seek the temporary relief they offer. The subject may appear, at first sight, to be anything but an inviting one, but we venture on it nevertheless, in the hope that, as far as the limits of our present paper are concerned, it will present nothing to disgust even the most fastidious reader.

There are some pawnbrokers’ shops of a very superior description. There are grades in pawning as in everything else, and distinctions must be observed even in poverty. The aristocratic Spanish cloak and the plebeian calico shirt, the silver fork and the flat iron, the muslin cravat and the Belcher neckerchief, would but ill assort together; so, the better sort of pawnbroker calls himself a silver-smith, and decorates his shop with handsome trinkets and expensive jewellery, while the more humble money-lender boldly advertises his calling, and invites observation. It is with pawnbrokers’ shops of the latter class, that we have to do. We have selected one for our purpose, and will endeavour to describe it.

The pawnbroker’s shop is situated near Drury-Lane, at the corner of a court, which affords a side entrance for the accommodation of such customers as may be desirous of avoiding the observation of the passers-by, or the chance of recognition in the public street. It is a low, dirty-looking, dusty shop, the door of which stands always doubtfully, a little way open: half inviting, half repelling the hesitating visitor, who, if he be as yet uninitiated, examines one of the old garnet brooches in the window for a minute or two with affected eagerness, as if he contemplated making a purchase; and then looking cautiously round to ascertain that no one watches him, hastily slinks in: the door closing of itself after him, to just its former width.
The shop front and the window-frames bear evident marks of having been once painted; but, what the colour was originally, or at what date it was probably laid on, are at this remote period questions which may be asked, but cannot be answered. Tradition states that the transparency in the front door, which displays at night three red balls on a blue ground, once bore also, inscribed in graceful waves, the words ‘Money advanced on plate, jewels, wearing apparel, and every description of property,’ but a few illegible hieroglyphics are all that now remain to attest the fact.

The plate and jewels would seem to have disappeared, together with the announcement, for the articles of stock, which are displayed in some profusion in the window, do not include any very valuable luxuries of either kind. A few old china cups; some modern vases, adorned with paltry paintings of three Spanish cavaliers playing three Spanish guitars; or a party of boors carousing: each boor with one leg painfully elevated in the air, by way of expressing his perfect freedom and gaiety; several sets of chessmen, two or three flutes, a few fiddles, a round-eyed portrait staring in astonishment from a very dark ground; some gaudily-bound prayer-books and testaments, two rows of silver watches quite as clumsy and almost as large as Ferguson’s first; numerous old-fashioned table and tea spoons, displayed, fan-like, in half-dozens; strings of coral with great broad gilt snaps; cards of rings and brooches, fastened and labelled separately, like the insects in the British Museum; cheap silver penholders and snuff-boxes, with a masonic star, complete the jewellery department; while five or six beds in smeary clouded ticks, strings of blankets and sheets, silk and cotton handkerchiefs, and wearing apparel of every description, form the more useful, though even less ornamental, part, of the articles exposed for sale.

An extensive collection of planes, chisels, saws, and other carpenters’ tools, which have been pledged, and never redeemed, form the foreground of the picture; while the large frames full of ticketed bundles, which are dimly seen through the dirty casement up-stairs—the squalid neighbourhood—the adjoining houses, straggling, shrunken, and rotten, with one or two filthy, unwholesome-looking heads thrust out of every window, and old red pans and stunted plants exposed on the tottering parapets, to the manifest hazard of the heads of the passers-by—the noisy men loitering under the archway at the corner of the court, or about the gin-shop next door—and their wives patiently standing on the curb-stone, with large baskets of cheap vegetables slung round them for sale, are its immediate auxiliaries.

If the outside of the pawnbroker’s shop be calculated to attract the attention, or excite the interest, of the speculative pedestrian, its interior cannot fail to produce the same effect in an increased degree. The front door, which we have before noticed, opens into the common shop, which is the resort of all those customers whose habitual acquaintance with such scenes renders them indifferent to the observation of their companions in poverty. The side door opens into a small passage from which some half-dozen doors (which may be secured on the inside by bolts) open into a corresponding number of little dens, or closets, which face the counter. Here, the more timid or respectable portion of the crowd shroud themselves from the notice of the remainder, and patiently wait until the gentleman behind the counter, with the curly black hair, diamond ring, and double silver watch-guard, shall feel disposed to favour them with his notice—a consummation which depends considerably on the temper of the aforesaid gentleman for the time being.

At the present moment, this elegantly-attired individual is in the act of entering the duplicate he has just made out, in a thick book: a process from which he is diverted occasionally, by a conversation he is carrying on with another young man similarly employed at a little distance from him, whose allusions to ‘that last bottle of soda-water last night,’ and ‘how regularly round my hat he felt himself when the young ’ooman gave ’em in charge,’ would appear to refer to the consequences of some stolen joviality of the preceding evening. The customers generally, however, seem unable to participate in the amusement derivable from this source, for an old sallow-looking woman, who has been leaning with both arms on the counter with a small bundle before her, for half an hour previously, suddenly interrupts the conversation by addressing the jewelled shopman—

 ‘Now, Mr. Henry, do make haste, there’s a good soul, for my two grandchildren’s locked up at home, and I’m afeer’d of the fire.’ The shopman slightly raises his head, with an air of deep abstraction, and resumes his entry with as much deliberation as if he were engraving.
‘You’re in a hurry, Mrs. Tatham, this ev’nin’, an’t you?’ is the only notice he deigns to take, after the lapse of five minutes or so.
‘Yes, I am indeed, Mr. Henry; now, do serve me next, there’s a good creetur. I wouldn’t worry you, only it’s all along o’ them botherin’ children.’
‘What have you got here?’ inquires the shopman, unpinning the bundle—‘old concern, I suppose—pair o’ stays and a petticut. You must look up somethin’ else, old ’ooman; I can’t lend you anything more upon them; they’re completely worn out by this time, if it’s only by putting in, and taking out again, three times a week.’
‘Oh! you’re a rum un, you are,’ replies the old woman, laughing extremely, as in duty bound; ‘I wish I’d got the gift of the gab like you; see if I’d be up the spout so often then! No, no; it an’t the petticut; it’s a child’s frock and a beautiful silk ankecher, as belongs to my husband. He gave four shillin’ for it, the werry same blessed day as he broke his arm.’—
‘What do you want upon these?’ inquires Mr. Henry, slightly glancing at the articles, which in all probability are old acquaintances. ‘What do you want upon these?’—
‘Eighteenpence.’—
‘Lend you ninepence.’—
‘Oh, make it a shillin’; there’s a dear—do now?’—
‘Not another farden.’—
‘Well, I suppose I must take it.’ The duplicate is made out, one ticket pinned on the parcel, the other given to the old woman; the parcel is flung carelessly down into a corner, and some other customer prefers his claim to be served without further delay.

The choice falls on an unshaven, dirty, sottish-looking fellow, whose tarnished paper-cap, stuck negligently over one eye, communicates an additionally repulsive expression to his very uninviting countenance. He was enjoying a little relaxation from his sedentary pursuits a quarter of an hour ago, in kicking his wife up the court. He has come to redeem some tools:- probably to complete a job with, on account of which he has already received some money, if his inflamed countenance and drunken staggers may be taken as evidence of the fact. Having waited some little time, he makes his presence known by venting his ill-humour on a ragged urchin, who, being unable to bring his face on a level with the counter by any other process, has employed himself in climbing up, and then hooking himself on with his elbows—an uneasy perch, from which he has fallen at intervals, generally alighting on the toes of the person in his immediate vicinity. In the present case, the unfortunate little wretch has received a cuff which sends him reeling to this door; and the donor of the blow is immediately the object of general indignation.

‘What do you strike the boy for, you brute?’ exclaims a slipshod woman, with two flat irons in a little basket. ‘Do you think he’s your wife, you willin?’
‘Go and hang yourself!’ replies the gentleman addressed, with a drunken look of savage stupidity, aiming at the same time a blow at the woman which fortunately misses its object. ‘Go and hang yourself; and wait till I come and cut you down.’—
‘Cut you down,’ rejoins the woman, ‘I wish I had the cutting of you up, you wagabond! (loud.) Oh! you precious wagabond! (rather louder.) Where’s your wife, you willin? (louder still; women of this class are always sympathetic, and work themselves into a tremendous passion on the shortest notice.) Your poor dear wife as you uses worser nor a dog—strike a woman—you a man! (very shrill;) I wish I had you—I’d murder you, I would, if I died for it!’—
‘Now be civil,’ retorts the man fiercely.
‘Be civil, you wiper!’ ejaculates the woman contemptuously. ‘An’t it shocking?’ she continues, turning round, and appealing to an old woman who is peeping out of one of the little closets we have before described, and who has not the slightest objection to join in the attack, possessing, as she does, the comfortable conviction that she is bolted in. ‘Ain’t it shocking, ma’am? (Dreadful! says the old woman in a parenthesis, not exactly knowing what the question refers to.) He’s got a wife, ma’am, as takes in mangling, and is as ’dustrious and hard-working a young ’ooman as can be, (very fast) as lives in the back parlour of our ’ous, which my husband and me lives in the front one (with great rapidity)—and we hears him a beaten’ on her sometimes when he comes home drunk, the whole night through, and not only a beaten’ her, but beaten’ his own child too, to make her more miserable—ugh, you beast! and she, poor creater, won’t swear the peace agin him, nor do nothin’, because she likes the wretch arter all—worse luck!’ Here, as the woman has completely run herself out of breath, the pawnbroker himself, who has just appeared behind the counter in a gray dressing-gown, embraces the favourable opportunity of putting in a word:-

‘Now I won’t have none of this sort of thing on my premises!’ he interposes with an air of authority. ‘Mrs. Mackin, keep yourself to yourself, or you don’t get fourpence for a flat iron here; and Jinkins, you leave your ticket here till you’re sober, and send your wife for them two planes, for I won’t have you in my shop at no price; so make yourself scarce, before I make you scarcer.’

This eloquent address produces anything but the effect desired; the women rail in concert; the man hits about him in all directions, and is in the act of establishing an indisputable claim to gratuitous lodgings for the night, when the entrance of his wife, a wretched, worn-out woman, apparently in the last stage of consumption, whose face bears evident marks of recent ill-usage, and whose strength seems hardly equal to the burden—light enough, God knows!—of the thin, sickly child she carries in her arms, turns his cowardly rage in a safer direction.
‘Come home, dear,’ cries the miserable creature, in an imploring tone; ‘do come home, there’s a good fellow, and go to bed.’—
‘Go home yourself,’ rejoins the furious ruffian.
‘Do come home quietly,’ repeats the wife, bursting into tears.
‘Go home yourself,’ retorts the husband again, enforcing his argument by a blow which sends the poor creature flying out of the shop. Her ‘natural protector’ follows her up the court, alternately venting his rage in accelerating her progress, and in knocking the little scanty blue bonnet of the unfortunate child over its still more scanty and faded-looking face.

In the last box, which is situated in the darkest and most obscure corner of the shop, considerably removed from either of the gas-lights, are a young delicate girl of about twenty, and an elderly female, evidently her mother from the resemblance between them, who stand at some distance back, as if to avoid the observation even of the shopman. It is not their first visit to a pawnbroker’s shop, for they answer without a moment’s hesitation the usual questions, put in a rather respectful manner, and in a much lower tone than usual, of ‘What name shall I say?—Your own property, of course?—Where do you live?—Housekeeper or lodger?’ They bargain, too, for a higher loan than the shopman is at first inclined to offer, which a perfect stranger would be little disposed to do; and the elder female urges her daughter on, in scarcely audible whispers, to exert her utmost powers of persuasion to obtain an advance of the sum, and expatiate on the value of the articles they have brought to raise a present supply upon. They are a small gold chain and a ‘Forget me not’ ring: the girl’s property, for they are both too small for the mother; given her in better times; prized, perhaps, once, for the giver’s sake, but parted with now without a struggle; for want has hardened the mother, and her example has hardened the girl, and the prospect of receiving money, coupled with a recollection of the misery they have both endured from the want of it—the coldness of old friends—the stern refusal of some, and the still more galling compassion of others—appears to have obliterated the consciousness of self-humiliation, which the idea of their present situation would once have aroused.

In the next box, is a young female, whose attire, miserably poor, but extremely gaudy, wretchedly cold, but extravagantly fine, too plainly bespeaks her station. The rich satin gown with its faded trimmings, the worn-out thin shoes, and pink silk stockings, the summer bonnet in winter, and the sunken face, where a daub of rouge only serves as an index to the ravages of squandered health never to be regained, and lost happiness never to be restored, and where the practised smile is a wretched mockery of the misery of the heart, cannot be mistaken. There is something in the glimpse she has just caught of her young neighbour, and in the sight of the little trinkets she has offered in pawn, that seems to have awakened in this woman’s mind some slumbering recollection, and to have changed, for an instant, her whole demeanour. Her first hasty impulse was to bend forward as if to scan more minutely the appearance of her half-concealed companions; her next, on seeing them involuntarily shrink from her, to retreat to the back of the box, cover her face with her hands, and burst into tears.

There are strange chords in the human heart, which will lie dormant through years of depravity and wickedness, but which will vibrate at last to some slight circumstance apparently trivial in itself, but connected by some undefined and indistinct association, with past days that can never be recalled, and with bitter recollections from which the most degraded creature in existence cannot escape.
There has been another spectator, in the person of a woman in the common shop; the lowest of the low; dirty, unbonneted, flaunting, and slovenly. Her curiosity was at first attracted by the little she could see of the group; then her attention. The half-intoxicated leer changed to an expression of something like interest, and a feeling similar to that we have described, appeared for a moment, and only a moment, to extend itself even to her bosom.

Who shall say how soon these women may change places? The last has but two more stages—the hospital and the grave. How many females situated as her two companions are, and as she may have been once, have terminated the same wretched course, in the same wretched manner! One is already tracing her footsteps with frightful rapidity. How soon may the other follow her example! How many have done the same!
            - Charles Dickens, Sketches By Boz, 1836

The second example, from 1902, is from George R. Sims’ ‘Living London’ Volume 2. The second of a three volume set of many aspects of London life, published between 1901 and 1903. The articles are written by many different people and edited by Sims.

The following article, entitled ‘Pawnbroking London’ is written by C.A Cuthbert Keeson, who, from what I can see, only published one book of his own; ‘History and Records of Queen Victoria's Rifles 1792-1922’

Back to pawnbroking:

‘Pawnbroking London’
 LONG before the inhabitants of London were blessed with a County Council the at one time universal practice of attracting customers to a shop by means of a sign had fallen into almost complete disuse; but even in this twentieth century no enterprising pawnbroker would think of opening a shop without there hung over it, conspicuous from every point of view, "The Three Brass Balls," " The Swinging Dumplings," "The Sign of the Two to One."

It is the fashion in the trade to speak of these emblems as the insignia of the
old Lombard Merchants, and the arms of the Medici. What, however, do those three bright globes mean to thousands of people who walk the streets of London?
Some perhaps may pass them unnoticed, but to the poor — the working man who finds it difficult to properly apportion his weekly wage, the clerk out of a berth, the racing man who has had a spell of bad luck, to the small shopkeeper and the costermonger in want of ready money to replenish their stock, to the actor and actress not "in the bill"—they mean a great deal.
They mean food for the wife and children when cupboard and pocket are empty — a little money to keep things going till next payday; they mean to thousands shelter, warmth, and something to eat; and although many may consider the pawnbroker's shop an encouragement to improvidence and unthriftiness, every philanthropist who would abolish it admits that he would have to substitute some municipal or charitable pawnshop in its place.

It has been asserted that "to one in every two persons in London the pawnbroker has been in some period of his or her life a stern and unavoidable reality." This estimate may appear to be somewhat exaggerated, but investigations into the amount of business done in the pawnshops of London show that the statement is not very wide of the mark. Within a radius of ten miles from the Royal Exchange are 692 pawnbrokers shops. From figures obtained from a trustworthy source it appears that the average number of pledges taken in per month at each shop is 5000, making an aggregate for all the shops of 3,460,000, or 41,520,000 pledges per year, or rather more than six to each head of the population. In these figures pledges of more than £10 in amount are not taken into account, and a very large proportion of the London pawnbrokers do a big business of this kind.

Inquiries made at some seventeen shops in different parts of the Metropolis show that out of a million and a-quarter pledges extending over a period of twelve months 66,700 only were for amounts above ten shillings. In the trade these are known as "Auctions," having, if left unredeemed at the end of twelve months and seven days, to be disposed of at public auction. All pledges for sums under ten shillings at a like period become the absolute property of the pawnbroker.
In the seventeen shops referred to the average amount lent upon each pledge worked out at four shillings — 250,000 in all. Taking the total number of pledges made annually in London upon the same basis, viz. 41,520,000 at four shillings each, it will be seen that the pawnbrokers supply the "hard-ups" of London annually with the very large sum of £8,304,000.

There are few things in the ordinary way of life more calculated to unnerve a man than a first visit to the pawnshop. Hence most pawnbrokers, to put their customers as much at ease as possible, have their shops divided into separate compartments known as "the boxes," with the entrance up a side street, or rendered as inconspicuous as the character of the house will permit. For the better class customers the modern pawnbroker provides a comfortable "private office."

The nervous pledger, dreading he knows not what, surveys for some minutes the
contents of the window, and only after much hesitation and many false starts finds himself within the shop of that mysterious "Uncle" of whom his companions have talked so glibly. What his business was is known only to that "Uncle" and himself, and as he walks triumphantly down the street, relieved in mind and circumstance, he asks himself why he made all that fuss about so simple a matter. Yet it takes a good many visits before he feels quite at his ease.
The interview usually lasts less than a couple of minutes, and as a memorandum of it the obliging pawnbroker hands his customer a neat little square-shaped envelope containing a piece of paste board bearing upon its face a description of the article deposited and on the back an abridged version of the Pawnbrokers' Act.

Very differently does it pawner of stolen property, broker in what way his
aroused. He will tell you that he does not know.
"There is generally something," he says, "about the pawner's manner or in his replies to questions that sets the pawnbroker on his guard." He cannot define precisely what that "something" is, but he plies the would-be pledger with more pertinent queries, sets a junior hand to run over the "Police List," looks again at the article offered and at the offerer. Experience may not have made him infallible, but his daily dealings have made him wary. If the man is a "wrong 'un" the long delay makes him fidgety, and then "Uncle," confirmed in his suspicions, secretly sends for the man in blue.
Sometimes a thief will stay and try to brave the matter out, at others he makes a dash for liberty, frequently only to run into the arms of an officer waiting at the shop door.
If the article be not in the "Police List," or if the pawnbroker be not satisfied in his own mind that the goods have been dishonestly come by, he may decline the goods and let the man depart, for it is a dangerous thing to be too hasty in delivering anyone into custody.

Pawnbrokers know that if they take in a stolen article they will have to restore it to the owner, lose the money lent upon it, and attend the courts. That knowledge makes them cautious. Many magistrates and public officials contend that a considerable portion of the property stolen in the Metropolis finds its way into the hands of the pawnbrokers.
Every day reports appear in the papers in which stolen goods have been pawned, and there are a still larger number of cases which are not reported. Unquestionably quantities of stolen articles find their way to the pawnbroker, and it is generally a good thing for their owners when they do, for by means of that "automatic detective," the pawn-ticket, they are generally traced and restored.
A pawnbroker has to keep a pledge by him for twelve months and give a ticket, which many thieves seem to have a peculiar fondness for preserving. Stolen articles, however, form but an infinitesimal item in the forty one millions of pledges made yearly.
Statistics prepared for the House of Commons show that they fall far short of one per month for each of the 692 pawnbrokers in London.

To redeem a watch or an article of jewellery is an easy matter, and for even the nervous man it has usually no terrors. There are times, however, when the act of redemption is not so easy. Come with me to a busy working neighbourhood like Walworth, where pawnbrokers' shops abound and thousands of homes are dependent upon them. It is Saturday night, and the shop and stall keepers are doing a roaring trade. We turn down a side street, where the lamps do not burn so brightly, and meet a continuous procession of women hurrying away with bundles of all sorts and sizes. Some carry but one, others, assisted by children, have as many as half-a-dozen. They all come from that little door by the side of a pawnbroker's.
Standing in the background of the shop, we are confronted by a row of faces peering over the counter, the shop is one that, possibly for the convenience of so large a throng, dispenses with the boxes, and the customers all mingle together. It is a strangely animated scene, with nearly all the characters played by women. It is a rarity to see a man among them, though children are too many for our liking. Girls and even boys are there, all ready with their money, for they may redeem pledges, though the law forbids the pawnbroker to receive a pledge from anyone under the age of sixteen.

The women are mostly bare-armed, and look as though they had just come from the wash-tub. They betray no sense of shame if they feel it. They talk and gossip while waiting for their bundles, and are wonderfully polite to the perspiring assistants behind the counter. Though everybody is in a hurry there is little noise or unseemly jostling. An assistant seizes a battered tin bowl, and the front rank of pledgers toss their tickets therein. He then rapidly sorts them out, and gives .some to a boy, who darts away to the far end of the counter. The remainder he places in a canvas bag which we have noticed dangling at the end of a string at the back of the shop; he shakes the rope, and immediately the bag is whisked out of sight up the well of the lift used for conveying pledges from the shop to the warehouse above. In a minute it begins to rain bundles until the floor is thickly strewn with them.

In a conspicuous spot on the wall is a notice that no furniture or heavy goods will be delivered after 4 p.m. From that time the rapid delivery of bundles has been
proceeding; and so it goes on, hour after hour, Saturday after Saturday, year after year; every pledge produced systematically; no disputes, no haggling about change; unexamined bundles exchanged for money; money swept into a huge till; the whole accompanied with a running fire of bundles from the unseen regions above, hurled down what the pawnbroker calls the "well," but what is more familiarly known as the "spout" — that Spout up which so many things have mysteriously disappeared.

The year round there is an average of 2,000 bundles delivered each Saturday night from this shop, and if we chance that way on the following Monday and Tuesday we shall meet that same procession of women, though this time trooping towards that little side door. Occasionally a man comes on the same errand, shamefacedly trying to conceal his bundle beneath his coat. It is undoubtedly a sad scene for the moralist, but these people know no other way of living, have no place where their Sunday clothes will be safe, have no one but the pawnbroker to apply to when they feel the pinch of hunger. He is their banker and their safe-deposit, and although they know they pay dearly for it in the long run, they are thankful that they have him to turn to in their need.

They might easily be worse off, might have no other resource but to sell their sticks and clothes, or, what is as bad, take them to a "Dolly" or "Leaving" shop, so named after the "Black Doll," the conventional sign of the small brokers and rag shops, where articles that a pawnbroker will not receive may be "left" for a short term at high interest. Thanks to the provisions of the Pawnbrokers' Act, the police, so far as London is concerned, have stamped these latter pests out of existence.

The nature of a pawnbroker's business can, perhaps, be best estimated by a visit to his warehouse and an inspection of the heterogeneous collection of pledged articles. This differs, however, with the character of the shop. There are the chief pawnbrokers of London, who lend only on plate, jewellery, and property of the highest description. By the courtesy of Mr. Henry Arthur Attenborough, we were permitted to inspect the well-known premises of Messrs. George Attenborough and Son, at the junction of Chancery Lane with Fleet Street. As in most pawnbrokers', there are the boxes for the general pledger, and in addition there are two or three small offices for the reception of persons who wish to transact their business private.

All sorts and descriptions of men, and women too, come to Messrs. Attenborough. They have lent £7,000 upon a diamond necklet, a present from a royal personage to a celebrated member of the demi-monde, the said necklet being redeemed and deposited again time after time. The coronet of an Austrian nobleman remained in their custody for several years with a loan of £15,000 upon it. A savant pawned the fore-arm and hand of a mummy wearing a fine turquoise scarabaeus ring on one of the fingers. Upon the day of our visit we saw that an advance of 6d. had been made on a ring, and we were shown an application for a loan of £40,000 upon jewellery.
The seamy side of the picture is presented by the warehouse of the pawnbroker, whose chief business consists of pledges of "soft" goods. The whole house from basement to roof is built up in skeleton frames or "stacks" in which the pledges, each carefully done up in a wrapper, are neatly packed, the tickets to the front. On the first floor the weekly pledges are usually stored, that they may be ready at hand for Saturday night. There is one room devoted to the storage of furniture; in another are rows and rows of pictures, looking-glasses and overmantels. There are shelves for china and glass, ornaments and clocks; tools of every kind, sufficient to start many workshops. In odd corners we come across odd sights — sea boots and the huge boots of a sewerman; a bundle of sweeps' brooms, apparently not very long retired from active employment, picks, spades, fire-irons, musical instruments, cabmens' whips, umbrellas — yes, even a tiny pair of child's shoes — everything.

Of the thousands of pledges stored in a pawnbroker's warehouse the majority are redeemed, but there are many, variously estimated at from 20 to 33 per cent, of the whole, which remain unredeemed at the expiration of the twelve months and seven days' grace. These are known in the trade as "forfeits," and are disposed of in diverse ways. Forfeited pledges, upon which sums of less than 10s. have been advanced, become, as already stated, the pawnbroker's property. Some are placed in the sale stock; occasionally the whole bulk of two or three months' forfeits are sold to a dealer at a discount of 15 or 20 per cent off the price marked upon the tickets, the pawnbroker being anxious to get rid of them at almost any price. The remainder are sent to public auction.

Of the auctioneers who make a speciality of this business the rooms of Messrs. Debenham, Storr and Sons, King Street, Covent Garden, are, perhaps, best known to the public. On the first floor a sale of "fashionable jewellery," silver plate, watches, plated ware, etc., is proceeding. Suspended upon hooks at the far end of the room near the auctioneer's rostrum are watches too numerous to count. You may buy a bundle of them for little more than a sovereign. An irregular horseshoe of glass-topped cases, in which the more important lots are stored, form the boundary of an inner ring, into which the privileged and well-known buyers are alone allowed to enter; wooden desks or tables form the outer boundary for the smaller dealers and that peculiar class of people who haunt the auction-rooms — people who display an interest in every lot, yet have never been known to buy.

Simultaneously a miscellaneous sale of "sporting goods" is taking place on the
ground floor. People of quite a different type attend this sale: men of sporting
tendencies and horsey appearance take the place of the Jews, who form a large proportion of the buyers at the jewellery sales. Here are sportsmen's knives and bicycles, guns by the score, walking sticks, shooting boots, billiard cues and fishing rods, boxes of cigars, and bottles of champagne or burgundy; all things which no true sportsman should be without.

Incredible as it may seem to the uninitiated, there are thousands of persons in London alone who are making a comfortable living out of "Uncle" by buying or manufacturing and pledging goods. There are regular manufactories where clothing can be purchased at a price which the unwary pawnbroker will advance upon, and several pledges in the course of a day will bring a handsome profit.
Plate and jewellery are manufactured for the same purpose. Now it is a gold charm for the watch chain; again it is a silver cigarette box, the weight of which has been considerably increased by the insertion of a piece of base metal between the cedar wood lining and the silver exterior. Everything that the pawnbroker will lend money upon — that is to say everything that has any market value whatever — is manufactured for the sole purpose of deceiving him, while sometimes even the natural beauties of goods are artificially enhanced by the aid of scientific knowledge.

To please his clients, to be careful without giving offence, to prevent fraud, and to detain the guilty while trying to make a little for himself, is no light task. If "Uncle" does not give satisfaction all round it is scarcely to be wondered at. He does his best under difficult and often disagreeable circumstances, and those who are too prone to blame him for a mistake are generally quite ignorant of the nature and extent of his business.
-          C.A Cuthbert Keeson, 1902

Pawn shops are still around now, but not in anything near the same density as in the nineteenth and early twentieth century. Looking upon them and their customers as an outsider it can be easy to see them as somehow taking advantage of the poor who used them, especially when you read that a little pair of child’s shoes had been pawned, and can picture in your mind the little tot running about the streets barefoot so that the family could have a meal, or pay the rent – whatever the money was for.

But, if you try and see it from the point of view of the poor, it would be interesting to know how many lives were saved by the pawnbrokers. How many empty stomachs were filled by money given out by him for an old shawl or a broom? How many roofs were kept over little heads after he paid poor mothers for their petticoats?

Besides, if faced with the choice of either selling an item we owned for a little money or turning up at the gates of a workhouse, how many of us today would throw ourselves upon the mercy of the parish and spend our days separate from our loved ones and eating gruel in between working tirelessly for no reward? 

Thursday, 10 February 2011

The Cleveland Street Workhouse, Or: An Appeal

Some weeks ago I was urged to sign a petition for a good cause. The petition was to prevent redevelopment to a site in Cleveland Street, London, upon which currently stands an old workhouse.

The Cleveland Street workhouse, however, is not a typical workhouse. Here is some information taken from the petition site:

The Cleveland Street workhouse was originally built in 1775 and it is the best preserved Georgian era workhouse in Central London, one of only three remaining in the Capital.
The building has witnessed a unique evolution in the medical care of the sick and poor, being a workhouse infirmary for most of its existence, with purpose-built Nightingale wards added a century after its inception. Then, at the end of the workhouse era in the 1920s, it became part of the charitable Middlesex Hospital.
The Cleveland Street Workhouse has survived largely unchanged since the Georgian era. Its austere appearance is a rare testimony to the bleak and utilitarian institution it was designed to be. Its back yard was a graveyard for the poor, full of dead to a depth of at least 20 feet.

The Workhouse Today
The building embodies the evolution of health-care for ordinary Londoners since the days of King George III and is rich in historical interest.
Complete redevelopment of the workhouse site has been proposed. If these plans go ahead, this important historical building will be totally demolished.  A very large-scale private residential development, quite out of character with the street and its historical surroundings, will take its place.

Yesterday, I received an email from the Cleveland Street Workhouse group with further news regarding the Workhouse, coinciding somewhat with my last post here. The email contained the following news:

Charles Dickens lived only 9 doors away from the workhouse!! His address was in a street called Norfolk Street, which is now the southerly part of Cleveland Street, and is now included in its numbering. None of the biographers seems to have noticed this - they knew the address, but did not notice the workhouse. Remarkably, the house still stands, on the corner with Tottenham Street. The fact that there was a workhouse so close to his home (he lived there twice before he wrote Oliver Twist, and for over four years in all) of course means that your support for the workhouse was not for just any old workhouse, but for the very one which may have been the inspiration for the most famous workhouse in the world!!

The Dickens Fellowship is supporting our efforts to get a blue plaque on the house.

we have made an appeal with new evidence to the government Minister, which thankfully 
has been greeted with a request to English Heritage to re-consider its earlier report. The earlier report recommended listing for preservation, and we are hoping the reconsideration will too - especially as the new evidence includes the Dickens connection. English Heritage is about to submit its report any day, and the Minister will then consider it. Of course we are hoping for the best.

Being the kind of thing that interests me, I signed it happily. The petition to save the workhouse currently has in excess of 2000 signatures, but before the petition is given to the minister mentioned, the group would like to achieve at least 2,500 signatures.

So, please visit the links below, all of which contain the petition, and please sign it to save an important bit of our heritage.

The Cleveland Street Workhouse Petition can be found here here

You can keep up to date with news about the workhouse (and read about workhouses in general) AND sign the petition at www.workhouses.org - the petition is there too!

Finally, you can read a bit more about the workhouse, and Dickens at the Dickens Fellowship Website

Hopefully you can help!

Monday, 7 February 2011

“Happy 199th Birthday to You”, The Early Life of Charles John Huffam Dickens

Today, 7th February, would have been the birthday of Charles Dickens. I suspect a lot of history blogs and sites will do a post about him, and it may even make a footnote in some newspapers. Those blogs and sites, I’m sure, will contain wonderfully detailed descriptions of Dickens’ life, his family, his inspirations and his novels.
With that in mind, I decided not to do a long post about his life and / or his work (I think that task would have been too daunting for me!) but instead I wanted to try and condense his early years – specifically the years between his birth and his becoming a successful author – into a fairly bite-size post.

That way, I hoped to make a short, succinct, readable post that contained all the key points about Dickens’ younger years that could be read in a matter of minutes.

Hopefully I’ve been successful…

John Dickens
On 7th February 1812, Charles John Huffam Dickens was born in Portsea, Portsmouth. His father, John, was a clerk working in the Navy Pay Office, his mother Elizabeth was the daughter of a senior clerk in the same Pay Office. Charles was the second of ten children, only five of whom survived childhood.
Charles’ childhood was unsettled, with the family moving around extensively. They first moved when he was four years old, from Portsmouth to Norfolk Street in Bloomsbury, London in 1816. A year later they moved from London to Chatham, in Kent, and then back to London in 1822 where the family settled in Camden Town.
Elizabeth Dickens
Charles would always consider Chatham to be his real home, being the place where his formative years were spent playing by the sea and observing the dockyard, and his first memories made.
Moving from home to home would be a pattern for the rest of Charles’ life.

His parents were neither particularly affectionate nor loving toward him, and he would go on to describe himself in his childhood as a "very small and not-over-particularly-taken-care-of boy". As such, he spent much time alone between the ages on ten and twelve, which helped little Charles to develop a vivid imagination that he would return to again and again in his work. John was a poor father, who neglected the educational needs of Charles and his siblings. Even with the funds the family had at their disposal, the boy was denied any schooling.

At the time of Charles’ birth the Dickens’ were a perfectly ordinary middle class family in a financially comfortable position. Charles’ father, John, was earning a decent salary of £350, which would have been sufficient for the family to live a comfortable middle class lifestyle. John, however, was a man who lived beyond his means and in 1824 the family ran out of money. Bankruptcy descended, and all the Dickens’ possessions had to be pawned. In February of the same year, John Dickens was imprisoned in Marshalsea Debtors Prison, in Southwark. The Dickens family, with nowhere else to go, moved into the prison to live with John during his imprisonment, apart from young Charles, who had found lodgings in Camden with family friend Elizabeth Roylance.
Dickens in 1839
Living in lodgings and having to pay his way, twelve year old Charles was sent out to work.
He found a job in a shoe blacking factory on the north bank of the Thames, near Hungerford market doing terribly mundane labour for 6 to 7s a week. As one of a number of young, often shoe-less boys, he spent his days pasting labels onto bottles of shoe blacking from early morning until late at night. Quite a change in lifestyle for a young middle-class boy of twelve.

In the summer of 1824, John Dickens' grandmother, Elizabeth Dickens, died having bequeathed the family £450. With this money, John was granted release from prison and paid off his debts, allowing the Dickens family to leave Marshalsea Prison. They went to live with Charles in the home of Elizabeth Roylance.

With a little money now to their name, the family was able to remove Charles from the blacking factory. His employment there, thankfully for Charles, lasted only a few months, but he would remember the misery for the rest of his life, referring to the time as “the secret agony of my soul”.
Much later, Charles described the misery of working in the blacking factory to his biographer, John Forster, who published ‘The Life of Charles Dickens’ after the author died in 1870. Talking about his time in the blacking factory, Dickens told Forster:

The blacking-warehouse was the last house on the left-hand side of the way, at old Hungerford Stairs. It was a crazy, tumble-down old house, abutting of course on the river, and literally overrun with rats. Its wainscoted rooms, and its rotten floors and staircase, and the old grey rats swarming down in the cellars, and the sound of their squeaking and scuffling coming up the stairs at all times, and the dirt and decay of the place, rise up visibly before me, as if I were there again. The counting-house was on the first floor, looking over the coal-barges and the river. There was a recess in it, in which I was to sit and work. My work was to cover the pots of paste-blacking; first with a piece of oil-paper, and then with a piece of blue paper; to tie them round with a string; and then to clip the paper close and neat, all round, until it looked as smart as a pot of ointment from an apothecary's shop. When a certain number of grosses of pots had attained this pitch of perfection, I was to paste on each a printed label, and then go on again with more pots. Two or three other boys were kept at similar duty down-stairs on similar wages. One of them came up, in a ragged apron and a paper cap, on the first Monday morning, to show me the trick of using the string and tying the knot. His name was Bob Fagin; and I took the liberty of using his name, long afterwards, in Oliver Twist.

Things took a turn for the better for Charles when the family finally sent him to school at Wellington House Academy, where he enjoyed good schooling until 1827, when the family finances had once again been drained and he was withdrawn from the school, leaving Charles angry and disappointed.

After the disappointment of losing his school place, Charles, in May 1827, now aged fifteen, gained employment as a junior solicitor’s clerk at Ellis and Blackmore, attorneys, of Holborn Court, Gray’s Inn, where he earned just less than £1 a week. However, as with his job in the blacking factory, this position did not last long as he hated law, and six months later he left and sought a position in journalism. To achieve his goal, he learned shorthand in his spare time, and by the time he was seventeen he had acquired a job as a freelance reporter. Between 1831 and 1832 he sat in on Parliamentary debates, taking shorthand notes and writing reports which he sold to various London papers.

This job paid well with Charles sometimes earning up to £5 a week. In his private life, Charles was taken with a girl named Maria Beadnell, whom he wished to marry, only for her father, a banker, to refuse Charles permission to do so and end the relationship by sending her to school in Paris

Mary Beadnell
Despite enjoying some success with his reporting work, Charles was a creative personality, and contemplated a career on the stage. Ready to give up on writing and become an actor, it was only the publication of his story ‘A Dinner at Poplar Walk’ in London periodical Monthly Magazine’s December 1833 issue that changed his mind. This acceptance of his work changed his career course, and rather than become an actor, Charles returned to writing.

Catherine Hogarth
In 1834, Charles rented rooms at Furnival’s Inn, and, under the pseudonym of Boz (The Dickens’ family nickname for Charles’ youngest brother, Augustus) he started to write descriptive political sketch pieces for the newspaper the Morning Chronicle, for whom He travelled across the country reporting on election campaigns. In 1835 he submitted work to a newly established paper, the Evening Chronicle, and whilst doing so, met the daughter of the co-editor, George Hogarth; a young lady named Catherine Hogarth. A year later, they were married and moved in with Catherine’s youngest sister, Mary. Charles and Catherine would go on to have ten children.

Charles’ career as a writer appeared to be set for success when, in February 1836 his sketch pieces for the morning chronicle were compiled into one piece of work, named ‘Sketches by Boz’, and published by John Macrone. This collection was received with great success by the public, and two months later, his first full-length novel, ‘The Pickwick Papers’ was published in monthly instalments by publishers Chapman and Hall. ‘Pickwick Papers’ started off slowly, being released to a rather indifferent reception, but by November 1836, when its run came to an end, it was selling 40,000 copies of each installment.
Dickens in 1842
In the same month, Richard Bentley, owner of the new literary magazine, Bentley’s Miscellany, offered Charles the job of editor of the magazine. Charles accepted and as a contribution to its contents, serialized his second novel ‘Oliver Twist’ within its pages. This serialization was illustrated by the great George Cruikshank.
By the time Charles and Catherine’s first child was born (also named Charles), in 1837 Charles senior had become the most popular and best paid author in the country.
His third novel ‘Nicholas Nickleby’ was serialized monthly between April 1838 and October 1839, with publishers Chapman and Hall paying £150 per monthly part – a huge sum of money at the time.

By now, Charles was hugely busy, and in danger of suffering from exhaustion, or, as he put it ‘bursting my boiler.’ With that in mind, Charles bought out his publishing agreements with John Macrone, and, in 1839 left his post at Bentley’s Miscellany, a move encouraged by a fall-out with Richard Bentley over the rights to Oliver Twist.

From this moment, Charles Dickens’ literary career went from strength to strength, and he would go on to write prolifically for the rest of his life, turning out not just the novels for which he is famous, but also short stories, non-fictional works, plays and poetry. Looking at a list of his work, it’s difficult to see how he found the time to do anything BUT write. In the interest of keeping this post fairly short, I did not intend to list all of Dickens’ work here, but to illustrate his writing consistency and abundant productivity I have done just that.
If you wish, treat the following list as somewhat of an appendix:

Sketches By Boz – 1836 (Short Story Collection)
The Village Coquettes – 1836 (Plays)
The Pickwick Papers – serialised April 1836 to November 1837
The Mudfog Papers – 1837 (Short Story Collection)
Oliver Twist – serialised February 1837 to April 1839
Memoirs of Joseph Grimaldi – 1838 (Non Fiction)
Nicholas Nickleby  - serialised April 1838 to October 1839
The Old Curiosity Shop – serialised April 1840 to February 1841
Barnaby Rudge – February 1841 to November 1841
The Fine Old English Gentleman – 1841 (Poetry)
American Notes – 1842 (Non Fiction)
A Christmas Carol – 1843 (Christmas Book)
Martin Chuzzlewit – serialised January 1843 to July 1844
The Chimes – 1844 (Christmas Book)
The Cricket On the Hearth – 1845 (Christmas Book)
The Battle of Life – 1846 (Christmas Book)
Pictures From Italy – 1846 (Non Fiction)
Dombey and Son – serialised October 1846 to April 1848
The Haunted Man and the Ghosts Bargain – 1848 (Christmas Book)
The Life Of Our Lord: As Written for His Children – 1849 (Non Fiction)
David Copperfield – Serialised May 1849 to November 1850
Bleak House – serialised March 1852 to September 1853
A Child’s History of England – 1853 (Non Fiction)
Hard Times – serialised April 1854 to August 1854
Little Dorrit – serialised December 1855 to June 1857
The Frozen Deep – 1857 (Play)
A Tale of two Cities – serialised April 1859 to November 1859
Great Expectations – serialised December 1860 to August 1861
Our Mutual Friend – serialised May 1864 to November 1865
The Uncommercial Traveller – 1860 to 1869 (Short Story Collection)
Speeches, Letters and Sayings – 1870 (Non Fiction)
The Mystery of Edwin Drood – serialised April 1870 to September 1870 (Unfinished)

The only time the constant production line of work trailed off was after the Staplehurst Rail Crash in which he was involved.
You can read about the effect this accident had on Dickens here

I hope this post is what I set out for it to be; a digestible account of Dickens’ youth up until he acquired the fortune and fame we know him for today. All that remains is for us to wish him a happy 199th Birthday!

Friday, 14 January 2011

The Staplehurst Rail Crash, Or; How We Nearly Lost Charles Dickens Early:

Any fan of Dickens will know that he died before he could finish ‘The Mystery of Edwin Drood’. But, if not for him surviving a train accident in Kent in 1865, his last piece of work could well have been ‘Our Mutual Friend

On the 9th June 1865, Dickens was traveling back from a holiday in France in a first class carriage at the front of the Folkestone Boat Express train. Ellen Ternan, the actress for whom he had left his wife Catherine Hogarth two years previously, and her mother were traveling with him. Also accompanying them was another important passenger; the manuscript of the latest installment of the novel he was writing at the time; ‘Our Mutual Friend’.

The train tracks in an area immediately prior to a low cast iron girder bridge near Staplehurst were in the process of being renovated and repaired. The timber baulks of the bridge – which crossed the little River Beult – were in the process of being replaced, but at the time of the crash these replacements had not yet been fitted.
The Folkestone Boat Express train carried passengers who had arrived on the south coast of England on ferries and ships, and so its departure times were largely dependant on the tides, which often altered the times that boats arrived at port, and therefore the times at which the trains ran.

The foreman of the track works, John Benge, was carrying out the work in the time between trains, rather than close the track off. He had a copy of the timetable which showed the running times of normal trains and also the boat trains. He had been informed that there were two hours until the next train would be passing by the work site, and had posted a lookout, John Wiles, a little further down the track to give the workers and train driver warning, should a train unexpectedly appear chugging down the tracks toward the work site.

Unfortunately, John Benge had misread the timetable, thinking the train was due to pass by the works at 17:20. In fact, it was due at 15:15. 

John Wiles, the lookout, should have been posted a thousand yards from the work site, from which distance he may have effectively been able to warn the driver about the lack of track ahead in time. John Benge had placed him only 554 yards from the work site, meaning he was not far away enough from the works to give adequate warning to the fast approaching train.

As an additional safeguard for such situations, the standard practice was to place detonators on the track at 250 yard intervals over a distance of around a thousand metres. The detonators would explode under the wheels of any unexpected train as it drove over them and the driver would thus be warned of danger ahead. These detonators should have been placed on the track by John Wiles, but he had been given only two detonators rather than the three required. He had also been told that the detonators need not be placed on the track unless visibility was poor, saying that the driver would see the lookout and stop. It was a bright sunny afternoon; detonators were not put in place.

Work carried on at the site, where two 21ft lengths of rail still needed to be laid on the bridge, and the train trundled down the track on its way to London, everyone involved was unaware of what lay ahead – including Charles Dickens.

The driver of the train saw John Wiles waving his red warning flag, but, being only just over 550 yards from the work site and the unsafe – largely unsupported – bridge, it was too late for the driver to stop the train, which was traveling at 30mph. (Quite fast in a time when the only other means of transport was a horse – pulled cab or carriage)
The engine and the first part of the train went across the 21 foot breach, avoiding plunging into the River Beult through a mixture of momentum and luck. Coaches in the middle and the rear of the train, however, fell through the breach and plunged into the river below. All of the first class coaches fell into the river, apart from one: The coach that carried Charles Dickens and his companions.
Although their carriage did not fall through the gap, it was hanging dangerously off the bridge as the picture below - from the Illustrated London News - shows. Dickens and Ellen Ternan’s mother were unharmed, whilst Ellen suffered minor injuries. They were extremely lucky.

Ten people were killed and about fifty were injured.

The Illustrated London News Picture - Dickens' Carriage is to the Right of the Image, Hanging From the Bridge

Dickens helped Ellen and her mother from the coach before going about tending to fellow passengers and assisting people to escape from other carriages.

He bravely went back into the train where he managed to recover his top hat and a flask of brandy. He used his hat as a vessel, filling it with water for the injured to drink or wash their wounds and gave people mouthfuls of the brandy, including a badly injured lady he had found by a tree. The next time he passed this lady, she was dead. 

The already shocked passengers who recognized him must have thought they had received a particularly bad knock to the head – looking up to see this famous author tending to them.  
A male passenger could be seen, but nobody could reach him. He was pinned beneath the train. He later died where he lay. For three hours Dickens went about the survivors doing what he could to help and assist until help arrived.
As the accident site and the remaining carriages were being cleared and evacuated by the emergency services, Dickens remembered about the other important passenger that had accompanied he and the Ternans’.

He made the dangerous journey back into the wrecked carriage in which he had been traveling, which still hung precariously from the bridge. He risked his life, but managed to rescue his other companion: the latest installment of ‘Our Mutual Friend’.

In the post-script of the above novel, Dickens referenced the accident, writing:

On Friday the Ninth of June in the present year, Mr and Mrs Boffin (in their manuscript dress of receiving Mr and Mrs Lammle at breakfast) were on the South Eastern Railway with me, in a terribly destructive accident. When I had done what I could to help others, I climbed back into my carriage— turned over a viaduct, and caught aslant upon the turn—to extricate the worthy couple. They were much soiled, but otherwise unhurt. The same happy result attended Miss Bella Wilfer on her wedding day, and Mr Riderhood inspecting Bradley Headstone's red neckerchief as he lay asleep. I remember with devout thankfulness that I can never be much nearer parting company with my readers for ever, than I was then, until there shall be written against my life, the two words with which I have this day closed this book:—THE END

He became a public hero for his efforts in helping the dying and injured passengers, but the experience affected Dickens psychologically for the rest of his life. He wrote the short story ‘The Signal-Man’ a few years after the accident, in which a rail crash occurs in a tunnel. For the rest of his life Dickens would try to avoid travel by high speed rail, and even suffer from sudden feelings of anxiety when he was traveling by slower, stopping train services, which he made every effort to do in a bid to avoid faster, direct trains.  

Ellen Ternan and Dickens
Dickens wrote an account of the incident in a letter to an old school friend Thomas Mitton, five days after it occurred. In it, the author describes his experiences in helping the injured, and his distress can be keenly felt in his words. Note also how he does not refer to Ellen or his mother in any familiar terms:

My dear Mitton, 
I should have written to you yesterday or the day before, if I had been quite up to writing. I am a little shaken, not by the beating and dragging of the carriage in which I was, but by the hard work afterwards in getting out the dying and dead, which was most horrible.

I was in the only carriage that did not go over into the stream. It was caught upon the turn by some of the ruin of the bridge, and hung suspended and balanced in an apparently impossible manner. Two ladies were my fellow passengers; an old one, and a young one. This is exactly what passed:- you may judge from it the precise length of the suspense. Suddenly we were off the rail and beating the ground as the car of a half emptied balloon might. The old lady cried out “My God!” and the young one screamed.
I caught hold of them both (the old lady sat opposite, and the young one on my left) and said: “We can't help ourselves, but we can be quiet and composed. Pray don't cry out.” The old lady immediately answered, “Thank you. Rely upon me. Upon my soul, I will be quiet.” The young lady said in a frantic way, Let us join hands and die friends.”

We were then all tilted down together in a corner of the carriage, and stopped. I said to them thereupon: “You may be sure nothing worse can happen. Our danger must be over. Will you remain here without stirring, while I get out of the window?” They both answered quite collectedly, “Yes,” and I got out without the least notion of what had happened.

Fortunately, I got out with great caution and stood upon the step. Looking down, I saw the bridge gone and nothing below me but the line of the rail. Some people in the two other compartments were madly trying to plunge out of the window, and had no idea there was an open swampy field 15 feet down below them and nothing else! The two guards (one with his face cut) were running up and down on the down side of the bridge (which was not torn up) quite wildly. I called out to them “Look at me. Do stop an instant and look at me, and tell me whether you don't know me.” One of them answered, “We know you very well, Mr Dickens.” “Then,” I said, “my good fellow for God's sake give me your key, and send one of those labourers here, and I'll empty this carriage.”

We did it quite safely, by means of a plank or two and when it was done I saw all the rest of the train except the two baggage cars down in the stream. I got into the carriage again for my brandy flask, took off my travelling hat for a basin, climbed down the brickwork, and filled my hat with water. Suddenly I came upon a staggering man covered with blood (I think he must have been flung clean out of his carriage) with such a frightful cut across the skull that I couldn't bear to look at him. I poured some water over his face, and gave him some to drink, and gave him some brandy, and laid him down on the grass, and he said, “I am gone”, and died afterwards.

Then I stumbled over a lady lying on her back against a little pollard tree, with the blood streaming over her face (which was lead colour) in a number of distinct little streams from the head. I asked her if she could swallow a little brandy, and she just nodded, and I gave her some and left her for somebody else. The next time I passed her, she was dead.

Then a man examined at the Inquest yesterday (who evidently had not the least remembrance of what really passed) came running up to me and implored me to help him find his wife, who was afterwards found dead. No imagination can conceive the ruin of the carriages, or the extraordinary weights under which the people were lying, or the complications into which they were twisted up among iron and wood, and mud and water.

I don't want to be examined at the Inquests and I don't want to write about it. It could do no good either way, and I could only seem to speak about myself, which, of course, I would rather not do. I am keeping very quiet here. I have a – I don't know what to call it – constitutional (I suppose) presence of mind, and was not in the least flustered at the time. I instantly remembered that I had the MS of a Novel with me, and clambered back into the carriage for it. But in writing these scanty words of recollection, I feel the shake and am obliged to stop. 
Ever faithfully, 
Charles Dickens

It’s clear – particularly from the last few lines – the effect the crash had on the 53 year-old Dickens. For his entire career his writing had been prolific, but after the crash he finished ‘Our Mutual Friend’  and for the next four and a half years wrote very little, but performed public readings of his work. His next novel was ‘The Mystery of Edwin Drood’ which started serialization in April 1870.

On 9th June 1870 – on the five year anniversary of the Staplehurst crash – Charles Dickens suffered from the last of a series of strokes at his home at Gad’s Hill Place. This stroke was fatal and he never awoke, dying at the age of 58 leaving ‘The Mystery of Edwin Drood’ only half finished.

His last words according to his obituary in The Times were:
“Be natural my children. For the writer that is natural has fullfilled all the rules of art.”

Of course, nobody knows whether Dickens would have lived any longer had the Staplehurst crash not occurred, but it is something that will always be wondered. One of the real tragedies of Dickens dying when he did is that, had he lived only another seven years or so, we may have had a sound recording of him speaking, or even reading one of his novels at a public reading.