A Week's Tramp in Dickens-Land. William R. Hughes
497." And what is very relevant to our present purpose, Morley's revives associations of the hotels, or "Inns," as they were more generally called in Charles Dickens's early days. Strolling from Morley's eastward along the Strand, to which busy thoroughfare there are numerous references in the works of Dickens, we pass on our left the Golden Cross Hotel, a great coaching-house half a century ago, from whence the Pickwickians and Mr. Jingle started, on the 13th of May, 1827, by the "Commodore" coach for Rochester. "The low archway," against which Mr. Jingle thus prudently cautioned the passengers—"Heads! Heads! Take care of your heads!" with the addition of a very tragic reference to the head of a family, was removed in 1851, and the hotel has the same appearance now that it presented after that alteration. The house was a favourite with David Copperfield, who stayed there with his friend Steerforth on his arrival "outside the Canterbury coach;" and it was in one of the public rooms here, approached by "a side entrance to the stable-yard," that the affecting interview took place with his humble friend Mr. Peggotty, as touchingly recorded in the fortieth chapter of David Copperfield. The two famous "pudding shops" in the Strand, so minutely described in connection with David's early days, have of course long been removed:—
"One was in a court close to St. Martin's Church—at the back of the Church—which is now removed altogether. The pudding at that shop was made of currants, and was rather a special pudding, but was dear, two pennyworth not being larger than a pennyworth of more ordinary pudding. A good shop for the latter was in the Strand—somewhere in that part which has been rebuilt since. It was a stout pale pudding, heavy and flabby, and with great flat raisins in it, stuck in whole at wide distances apart. It came up hot at about my time every day, and many a day did I dine off it."
Nearly opposite the Golden Cross Hotel is Craven Street, where (says Mr. Allbut), at No. 39, Mr. Brownlow in Oliver Twist resided after removing from Pentonville, and where the villain Monks was confronted, and made a full confession of his guilt.
"Ruminating on the strange mutability of human affairs," after the manner of Mr. Pickwick, we call to mind, on the same side of the way, Hungerford Stairs, Market, and Bridge, all well remembered in the days of our youth, but now swept away to make room for the commodious railway terminus at Charing Cross. Here poor David Copperfield "served as a labouring hind," and acquired his grim experience with poverty in Murdstone and Grinby's (alias Lamert's) Blacking Warehouse. Hungerford Suspension Bridge many years ago was removed to Clifton, and we never pass by it on the Great Western line without recalling recollections of poor David's sorrows.
Next in order comes Buckingham Street, at the end house of which, on the east side (No. 15), lived Mrs. Crupp, who let apartments to David Copperfield in happier days. Here he had his "first dissipation," and entertained Steerforth and his two friends, Mrs. Crupp imposing on him frightfully as regards the dinner; "the handy young man" and the "young gal" being equally troublesome as regards the waiting. The description of "my set of chambers" in David Copperfield seems to point to the possibility of Dickens having resided here, but there is no evidence to prove it. At Osborn's Hotel, now the Adelphi, in John Street, Mr. Wardle and his daughter Emily stayed on their visit to London, after Mr. Pickwick was released from the Fleet Prison.
Durham Street, a little further to the right, leads to the "dark arches," which had attractions for David Copperfield, who "was fond of wandering about the Adelphi, because it was a mysterious place with those dark arches." He says:—"I see myself emerging one evening from out of these arches, on a little public-house, close to the river, with a space before it, where some coal-heavers were dancing." Nearly opposite is the Adelphi Theatre, notable as having been the stage whereon most of the dramas founded on Dickens's works were first produced, from Nicholas Nickleby in 1838, in which Mrs. Keeley, John Webster, and O. Smith took part, down to 1867, when No Thoroughfare was performed, "the only story," says Mr. Forster, "Dickens himself ever helped to dramatize," and which was rendered with such fine effect by Fechter, Benjamin Webster, Mrs. Alfred Mellon, and other important actors. He certainly assisted in Madame Celeste's production of A Tale of Two Cities, even if he had no actual part in the writing of the piece.
Mr. Allbut thinks that the residence of Miss La Creevy, the good-natured miniature painter (whose prototype was Miss Barrow, Dickens's aunt on his mother's side) in Nicholas Nickleby, was probably at No. 111, Strand. It was "a private door about half-way down that crowded thoroughfare."
We proceed onwards, passing Wellington Street North, where at No. 16, the office of the famous Household Words formerly stood; All the Year Round, its successor, conducted by Mr. Charles Dickens, the novelist's eldest son, now being at No. 26 in the same street.
A little further on, on the same side of the way, and almost facing Somerset House, at No. 332, was the office of the once celebrated Morning Chronicle, on the staff of which Dickens in early life worked as a reporter. The Chronicle was a great power in its day, when Mr. John Black ("Dear old Black!" Dickens calls him, "my first hearty out-and-out appreciator, … with never-forgotten compliments … coming in the broadest of Scotch from the broadest of hearts I ever knew,") was editor, and Mr. J. Campbell, afterwards Lord Chief-Justice Campbell, its chief literary critic. The Chronicle died in 1862.
The west corner of Arundel Street (No. 186, Strand, where now stand the extensive premises of Messrs. W. H. Smith and Son) was formerly the office of Messrs. Chapman and Hall, the publishers of almost all the original works of Charles Dickens. After 1850 the firm removed to 193, Piccadilly, their present house being at 11, Henrietta Street, Covent Garden. They own the copyright, and publish all Dickens's works; and they estimate that two million copies of Pickwick[1] have been sold in England alone, exclusive of the almost innumerable popular editions, from one penny upwards, published by other firms, the copyright of this work having expired. The penny edition was sold by hundreds of thousands in the streets of London some years ago.
This statement will probably be surprising to the remarkable class of readers thus described by that staunch admirer of Dickens, Mr. Andrew Lang, in "Phiz," one of his charming Lost Leaders. He says:—
"It is a singular and gloomy feature in the character of young ladies and gentlemen of a particular type, that they have ceased to care for Dickens, as they have ceased to care for Scott. They say they cannot read Dickens. When Mr. Pickwick's adventures are presented to the modern maid, she behaves like the Cambridge freshman. 'Euclide viso, cohorruit et evasit.' When he was shown Euclid he evinced dismay, and sneaked off. Even so do most young people act when they are expected to read Nicholas Nickleby and Martin Chuzzlewit. They call these master-pieces 'too gutterly gutter'; they cannot sympathize with this honest humour and conscious pathos. Consequently the innumerable references to Sam Weller, and Mrs. Gamp, and Mr. Pecksniff, and Mr. Winkle, which fill our ephemeral literature, are written for these persons in an unknown tongue. The number of people who could take a good pass in Mr. Calverley's Pickwick Examination Paper is said to be diminishing. Pathetic questions are sometimes put. Are we not too much cultivated? Can this fastidiousness be anything but a casual passing phase of taste? Are all people over thirty who cling to their Dickens and their Scott old fogies? Are we wrong in preferring them to Bootles' Baby, and The Quick or the Dead, and the novels of M. Paul Bourget?"
But this by the way. Turning down Essex Street, we visit the Temple, celebrated in several of Dickens's novels—Barnaby Rudge, A Tale of Two Cities, Great Expectations, and Our Mutual Friend—but in none more graphically than in Martin Chuzzlewit, in which is described the fountain in Fountain Court, where Ruth Pinch goes to meet her lover, "coming briskly up, with the best little laugh upon her face that ever played in opposition to the fountain; and beat it all to nothing." And when John Westlock came at last, "merrily the fountain leaped and danced, and merrily