Introduction

How Dialect Works in Victorian Literature

NORTH AND SOUTH

SCENE--Small town in manufacturing district.
SWELL (just arrived--stranger to locality--addresses rustic): Aw say, can
you direct me to the “White Lion”?
RUSTIC: Aw should think aw could. Aw’ve drunk mony a quart there;
an’ if yo’ve no objection aw’ve none, for it’s rather warm. Bu’ that’s
nowt to do wi’ wot yo’ axt me. Yo’ mun goo straight past th’ “Co-op.,”
an’ yo’ll be there i’ no toime.
SWELL (puzzled): But--aw--wheere’s the “Co-op.,” and--aw--what is it
like?
RUSTIC (amazed): Well, aw’ll goo to Owdham! An’ dunnot yo’ ralley
know wot a “Co-op.’s” like?
SWELL: Fact! Never saw one in my life.
RUSTIC (more in sorrow than in anger): Ther’s a deeal o’ wark for th’
Skoo Board fort’ do yet. (To Swell.) Well, meisther, aw’st ha’ fort’ tak’
yo’ bi th’ hond an’ show yo’ th’ pleck mysel. Aw wonder at yo’r folk
areno’ feert o’ yo’ gettin’ lost. Come on! (Exeunt omnes.)

This humorous dialogue between a northern “rustic” and a southern “swell,”

published in the 10 July 1875 issue of Manchester’s Ben Brierley’s Journal, is the

familiar form of a classic joke based on a cultural or linguistic misunderstanding. In this

version, it seems as though North and South are about to be brought together over “mony

a quart” at the local pub, until the Londoner displays not only his unfamiliarity with the

geography of southeast Lancashire--we might imagine the “small town” is Rochdale,

where the famous Co-operative was founded by working men in 1844--but also his

ignorance of cultural, social, and political significance of Co-operatives and their

birthplace. “Ther’s a deeal o’ wark for th’ Skoo Board fort’ do yet,” laments the

Lancastrian. The School Board has their work cut out for them if the populace remains

1
this uneducated; the history of the Rochdale Pioneers and the Co-operative movement

should be as rudimentary as the three R’s.

The irony of the “rustic”’s lament, of course, is that the form of his speech, an

orthographical representation of a nonstandard variety of English, reveals what the

southern “swell” would likely view as uneducated or at the very least provincial. By the

1870s, the use of Standard English to signal prestige and education was well-established.1

As Richard W. Bailey and Lynda Mugglestone have shown, in nineteenth-century

Britain, Standard English came to be regarded as not only the desired norm, but also as

the “proper” and “correct” way to speak; in direct correlation, other dialects and their

speakers came to be viewed not only as nonstandard but substandard. Schools were

called upon to “correct” the “faults” of regional and class accents and dialects. Yet here

is this “rustic,” expressing his dismay at the failures of “Skoo Board.”

The joke, however, is not on the “rustic” who values his knowledge of the Co-

operative movement over an ability to speak so-called “refined” English. The

Lancastrian is proud of his county’s progressive thinking and industriousness, and this

pride is figured in not only what he says but also how he says it. For him, and his local

audience, the Lancashire dialect is the embodiment of those qualities. As philologists

such as the Reverend William Gaskell, George Milner, and John H. Nodal argued, this

variety of English is not “vulgar” or “corrupt.” For example, the Northerner’s elision of

the glide /l/ is a regular grammatical feature of the dialect and his use of “aks” and

1
Tony Fairman (2000) argues for the use of the terms open/schooled and vulgar/refined over
standard/nonstandard, in part because the latter pair were not in use in the nineteenth century. I have
chosen to use standard and nonstandard, even though they are anachronisms, because the open/schooled
binary is more appropriate for discussing letter writing, whereas I am discussing the representation of
spoken dialogue, and because the terms vulgar/refined could mean different things for the Victorians,
making that dichotomy troublesome as well.

2
“pleck” for “ask” and “place” are not malapropisms but rather legitimate dialect forms of

those words, based in Anglo-Saxon no less.2 This unassuming six-line dialogue, situated

amongst other humorous dialogues, epigrams and verse, does a tremendous amount of

cultural work. It valorizes local dialect as much as it does local values; the local dialect

out performs the national “standard” just as the views of the “rustic” trump those of the

“swell.”

“Working Dialect” argues that the effort to upstage Standard English and its

increasing power is at work in a variety of nineteenth-century British texts, from local

journals to canonical novels, from North to South, from working- to middle-class readers.

Though the abundance of grammar and elocution guides would suggest that many

speakers were clamoring to acquire the phonology, morphology, and grammar of the

standard, not everyone subscribed to the prescriptivist views that would relegate

nonstandard dialects to the linguistic and literary margins. As we shall see, however, the

relationship between dialect, class, and prestige was not an easy one. To begin with,

nineteenth-century language attitudes were complicated. Nonstandard dialects could be

simultaneously deemed “vulgar” and “authentic” depending on the speaker, interlocutor,

or context. A linguistic feature that was considered a remnant of Anglo-Saxon in the

mouth of a Lancashire weaver might be judged as “slovenly” speech in the mouth of a

Londoner. For the editors of A Glossary of the Lancashire Dialect (1875), for example,

the word afeard is a legitimate English word, derived from the Anglo-Saxon afaeran, ‘to

frighten,’ and used by the writers of the Anglo Saxon bible, Chaucer, and Shakespeare.

Whereas, according to Walton Burgess in his Never Too Late To Learn! Five Hundred

Mistakes of Daily Occurrence in Speaking, Pronouncing, and Writing the English

2
Aks, often spelled ax, and pleck are from the Old English acsian and plæc, respectively.

3
Language, Corrected (1856), the use of afeard for afraid is a “mistake.” Burgess warns,

“Never say kiver for cover; afeard for afraid; or debbuty for deputy; which are three very

common mistakes among the citizens of London” (59).

These disparate attitudes towards afeard reflect how pressures to conform to an

“educated” standard clashed with expectations to remain “authentic,” that is, true to one’s

roots. Speakers of all classes understood that they could and would be judged by the way

they spoke. The upper-working and lower-middle classes had the most at stake and,

especially in the days before compulsory education, many turned to conduct manuals and

pronunciation and grammar guides to aid in their “self improvement” and social

mobility.3 However, upper- and middle-class males in London could “patter flash,” or

pepper their speech with lexis derived from cant and slang, without fear of their linguistic

“slumming” doing any real damage to their reputations or class standing, whereas a

young middle-class London woman might find such language would label her as “fast.”

A working-class woman in the North, on the other hand, might find that her local dialect

offered her a kind of protection and respectability. Just what features were deemed

acceptable was yet another complication; dropping a few flash terms into one’s lexicon

might be acceptable, whereas dropping an /h/ was not. Nor, apparently, was substituting

the perfect form of a verb for the past, especially in the post-Education Act 1890s. A

piece titled “Mistakes in Grammar” in the 1 March 1890 issue of Ben Brierley’s Journal

asks, “What shall be said of the woman who says ‘I done it’? She has certainly placed

3
The first Education Act was passed in 1870 but attendance between the ages of five and ten was not made
compulsory until the second Education Act was passed in 1880. Mugglestone documents that “Five times
as many works on elocution appeared between the years 1760 and 1800 than had done so in the years
before 1760, and this tendency did not abate with the coming nineteenth century” (TP 3). Circulation of
such manuals was equally impressive. For example, by its fortieth edition Poor Letter H. Its Use and
Abuse had sold over 40,000 copies (TP 3).

4
herself between the horns of a dilemma. Her hearers will infer either that her early

education was neglected, or that she associated with uneducated people during her

childhood” (71).

“Working Dialect” aims to tease out these complications and contradictions

through an interdisciplinary analysis of nonstandard dialect as it appears in Victorian

texts. This project is literary criticism inflected by both historical and modern

sociolinguistics; it brings the insights of one discipline to bear on the other to interrogate

and revalue dialect’s role in Victorian literature. Like the relationship between dialect,

class, and prestige, the marriage of linguistics and literary criticism is not always an easy

one. For example, I have had to make decisions regarding whose terminology to use.

Although all varieties of English are dialects, including standard varieties, and therefore

“dialect” in linguistic terms is somewhat of a misnomer, in literary criticism “dialect” is

used as shorthand for nonstandard dialect. In keeping with literary critical conventions, I

use the term dialect throughout the dissertation to refer to nonstandard dialect. I have

chosen my case studies with the eye (or ear) of a literary critic; mine is not a quantitative

study of dialectal features in the texts I analyze but rather an explication of particular

passages, chosen for what they can tell us about the text itself and about Victorian

literature and culture. Similarly, my extensive archival work has not led to discoveries

about how the people actually spoke in the Victorian period, nor was it meant to; it does,

however, contribute to the study of dialect literature as a vital feature of nineteenth-

century culture.

The texts I examine comprise both working- and middle-class attempts to

represent the speech and culture of the rural and industrial labourers of the North, as well

5
as the servant class and independent entrepreneurs of London. In some cases, as in the

works of the Lancashire dialect writers Ben Brierley (1825-1896) and Edwin Waugh

(1817-1890), the subject of Chapter 2, the speech represented on the page is the writer’s

home language, the language they grew up speaking. In other cases, as in the works of

Elizabeth Gaskell (1810-1865), George Eliot (1819-1880), Charles Dickens (1812-1870),

and Henry Mayhew (1812-1887), whose works are the focus of the other three chapters,

the writers were familiar with the dialects they captured on the page through both literary

conventions of representing speech and their own keen listening. In drawing this contrast

in class and linguistic competency, I do not mean to suggest that Brierley and Waugh

were necessarily more accurate and authentic in their portrayal of working-class

characters and their speech than their middle-class colleagues. To my mind, questions of

accuracy and authenticity have too long preoccupied literary criticism, a problem I delve

into more deeply below.

While the various representations of working-class voices I examine are neither as

accurate nor authentic as they often claimed or aspired to be, they reveal not only the

importance nineteenth-century philologists placed on preserving nonstandard varieties of

English but also the fascination for linguistic variation that writers and readers of all

classes had. As the pressure to speak Standard English grew, so did the appeal of

nonstandard dialect, if only on the printed page. Fear that variations of the English

tongue might be lost in the wake of the march of intellect fueled written dialect’s allure.

Captured in the pages of literature, the nation’s dialects might survive relatively

unscathed from either education’s ironing out or migration’s potentially polluting effects.

The resulting textual specimens, pinned and mounted on the page, may not have been

6
authentic or even accurate but they both captivated audiences and often ameliorated

dialect’s character. Dialect drew readers in and brought them closer to both familiar and

unfamiliar characters. The works I discuss in chapters 1 and 4 introduced readers to

worlds they would otherwise not know, while those I explore in chapters 2 and 3 gave

readers access to their own worlds and to versions of themselves that they could use to

make sense of and construct their identities in their quickly changing linguistic and social

landscapes. Throughout this dissertation I have chosen specific scenes that feature direct

dialogue in dialect, and with the tools of close reading, illuminate the various functions of

dialect in Victorian literature and culture.

In his 1996 study of nineteenth-century English, Richard W. Bailey documents

the dramatic transformation the English language underwent with that century’s vast

cultural changes: the increase in population, dispersion of English speakers, increase in

bilingualism, extension of literacy, emergence of English teaching, exaltation of Standard

English, enlargement of history, growth of communication, spread of democracy, and

ownership of information contributed to changes not only in lexicon, syntax, morphology

and phonology but also people’s attitudes toward these changes. For example, Bailey

points out that efforts to regulate and standardize English coexisted with “a fascination

with the colloquial” (183). In her account of the rise of Standard English as a status

symbol, Lynda Mugglestone (2003) focuses on phonological features and their changing

social meaning, how accent became the “dominant social construct of the age” (211).

Rife with paradox, however, language attitudes in the nineteenth century were anything

but straightforward. For example, as Mugglestone shows, women were simultaneously

cast as villains and heroines, blamed for passing on errors in speech in the nursery yet

7
called upon to be “guardians of the language” (159; 144), elite groups set the standard for

proper speech yet the aristocracy continued to drop their g’s (131-2), and more “stalwart

individuals” retained their regional accents despite their public school educations (232).

For all the nineteenth-century talk about talking proper, there seemed to be a lot

of disagreement about what was considered acceptable English. Writing two decades

before the Oxford English Dictionary (begun in 1857), in October of 1834, a reviewer for

the Westminster Review asserts that dictionaries and grammars are not the authorities on

the English language that we would have them to be: “dictionaries contain only selections

from the language;--the number of words in them by no means rendering them worthy to

be considered collections of the language;--and [...] the English of grammars and schools

is likewise but a chosen portion of an existing whole” (“Variations of the English

Tongue” 335). “It is in England alone,” the reviewer continues, “and by means of an

investigation of the idioms, dialects, provincialisms, and vulgarisms which are used by its

various classes of inhabitants, that the language of England can be correctly understood,

or its fullness and energy rightly valued” (335-6). It is not only the received standard that

counts as English--the idioms, dialects, provincialisms, and vulgarisms must be included.

And what’s more, the language is better for them. In fact, this reviewer argues, “the

changes of a language, especially those which are made by the refining and mollifying of

old words for the more easy and graceful sound, are gradual corruptions of it” (340).

Upending the prescriptivists’ argument that nonstandard varieties of English are the

corrupting force, the reviewer claims that Standard English is largely a collection of

corruptions of Anglo-Saxon. He even comes to the defense of afeard, showing that it is

unfairly “condemned as incorrect” due to a “misapprehension of [its] origin” (349).

8
According to the author, afeard is not a corruption of afraid but rather a separate word--

the former is derived from the Anglo-Saxon afferde while the latter is from the French

effrayer (349). Pointing out the terms’ disparate etymology is a clever strategy; it was

not uncommon for patriotic Victorian philologists to contend that nonstandard dialects

were more purely English than those “standard” varieties that were polluted by Norman

French.

Two decades later, in a review of Burgess’s Never Too Late To Learn! (1856) in

the 29 August 1857 issue of Household Words, the novelist James Payn (1830-1898)

takes humorous issue with the very need for such usage guides. “We [...] under the

influence of excitement,” Payn jokes, “are too apt to give vent to our feelings in

expressions which Horne Tooke and Lindley Murray would equally reprobate; such as,

‘It’s me--just open the door;’ or, ‘It’s them--say we are not at home’” (“Our P’s and Q’s”

204). Of course, the Victorians were, as we are today, guilty of these “mistakes,” and

here Payn pokes fun at the pedants who would have us use the nominative case, “I,”

rather than the accusative, “me,” because that is how Latin works. As for errors in

pronunciation, the reviewer is dubious that such mistakes are uttered: “241. ‘Rinse your

mouth; pronounce rinse, as it is written,--never rense.’ Who ever does pronounce it

rense? cries the astonished reader. Thousands of fairly educated persons, is the reply; and

even, ‘Wrench your mouth,’ observed a fashionable dentist once to the author of this little

volume” (204). And what about those troublesome pairs--kiver for cover; afeard for

afraid; or debbuty for deputy--that the citizens of London are particularly guilty? “Is this

a fact or a malicious scandal?” asks Payn, “Does the Lord Mayor talk like this? Do the

aldermen? The sheriffs? The debbuty sheriffs? Does the recorder?” (204). “This

9
‘Never Too Late to Learn’,” Payn concludes, “seems sometimes to raise ungrammatical

ghosts for the mere fun of laying them, and to exhibit the ignorance of our fairly educated

classes through the medium of a magnifier” (205). Payn, writing from the perspective

(and social status) of a middle-class novelist, can take a much lighter view of what

constitutes “mistakes” in English usage and who makes them than a philologist anxious

to demonstrate the long history of regional word usage. But what each of these examples

shows is that nineteenth-century language attitudes were multivalent and actively

debated. Literary criticism of the Victorian novel tends to ignore these debates, taking it

for granted that Standard English was the prestige norm to which Victorian speakers

aspired. Such a view has led to a rather narrow field for interpreting direct dialogue

written in dialect.

Norman Page’s pioneering study Speech in the English Novel (1973) opened the

door to this variety of literary criticism. His survey of thirty novelists’ varying uses of

both standard and nonstandard dialect in their dialogue closely examined how speech

reflects characters’ identities. Since then scholars have narrowed the field to focus on

specific time periods or varieties of English, including N.F. Blake’s Non-Standard

Language in English Literature (1981) and Raymond Chapman’s Forms of Speech in

Victorian Fiction (1994). Each of these critics discusses how authors use both standard

and nonstandard dialects for comic effect, to increase verisimilitude, as shorthand to

indicate a character’s social position and/or the region of England from which they hail,

or to illustrate their villainy or virtue. The problem with most literary criticism that

discusses the use of nonstandard dialect, however, is that it misses many of the nuances

of character speech. Blake, for example, comments on the differences in the speech of

10
characters in George Eliot’s Adam Bede (1859), but offers no explanation as to why,

beyond his comment that Eliot’s “intention in Adam Bede was artistic rather than strictly

linguistic,” and that “[t]here is no attempt at consistency or uniformity in the

representation of dialect” (154). I agree that there is little consistency or uniformity in

Eliot’s representation of dialect in Adam Bede, but I would argue that the differences in

character speech are quite purposeful. Through her rendering of character speech, Eliot

illustrates not only class and cultural differences between characters but also how shifts

in characters’ speech can have social meaning.

Page and Chapman do recognize nuances: both comment on changes in register,

depending upon the level of emotion in a character’s speech. Both cite Adam Bede’s

change in register when speaking with his mother: “whenever he wished to be especially

kind to his mother, he fell into his strongest native accent and dialect, with which at other

times his speech was less deeply tinged” (74; vol. 1, bk. 1, ch. 4). Chapman calls Adam’s

shift in register an “intensifying of dialect in emotion” (63), while Page writes that it

“signal[s] an increase in emotional pressure, since dialect is associated with childhood or

with one’s most intimate relationships and informal moods” (72). Chapman and Page are

not wrong that a speaker’s mother tongue can surface in times of emotional intensity--any

sociolinguist would tell you that--but to equate dialect only with emotion, childhood, and

informal moods seems limiting, not to mention condescending. In moments of

“solemnity,” Page argues, Standard English is the most appropriate and effective variety

of speech: “Adam’s speech [...] displays a quality to which that of many Victorian lower-

class heroines and heroes is prone: its approximation to the standard language varies in

11
relation to the intensity and solemnity of the moment” (127). As we shall see, however,

this is not always the case.

According to most critics, the speech of characters is “elevated” toward the

standard not only in serious moments and formal settings but also in relation to the

characters’ virtuousness. Susan Ferguson is perhaps the first literary critic to recognize

the narrative reasons for diverging from this Victorian convention. In “Drawing Fictional

Lines: Dialect and Narrative in the Victorian Novel” (1998), she coins the term “ficto-

linguistics” to describe the “systems of language that appear in novels and both deviate

from accepted or expected socio-linguistic patterns and indicate identifiable patterns

congruent to other aspects of the fictional world” (3). She uses Charles Dickens’s Bleak

House as an example. The speech of the virtuous poor characters Jo and Charley is not

elevated. Instead, Ferguson claims, Dickens establishes “characters in a metanarrative

system” in which the consistent differences between speech styles are more important

than the speech styles themselves. For example, “the precision of Sir Leicester’s speech

even when he is incapacitated contrasts strongly with the consistently slurred speech of

his healthy but indolent cousin” (8). I think in the case of Bleak House, Ferguson is

absolutely right, that there is a narrative system functioning in that novel above or beyond

the sociolinguistic system of nineteenth-century English language attitudes. But

Ferguson grants Standard English too much power, as if its hegemony forced Victorian

authors to circumvent it by fabricating speech variation. Rather than eliminating the

sociolinguistic system to explain what appear to be inconsistencies in character speech,

the treatment of dialect in nineteenth-century literature needs to acknowledge both the

uniqueness of each author’s methods of using dialect and the larger socio-cultural context

12
of the times. Therefore, we need the insights of historical and modern sociolinguistics to

make sense of these complexities.

Among the few literary critics that employ sociolinguistics in their work is

Patricia Howell Michaelson. In her study of women and language in late-eighteenth- and

early-nineteenth-century England, Speaking Volumes: Women, Reading, and Speech in

the Age of Austen (2002), Michaelson draws upon recent work in language and gender, a

subfield of sociolinguistics, to conduct conversational analysis within the pages of

literary texts. She points out that “eighteenth-century authors were very well aware of

the rules governing conversational interactions” and though literary texts “cannot tell us

how women ‘really’ spoke during the Regency period” she argues that “we can at least

examine the ways in which conversations were reported and the significance of various

representational strategies” (10; 16; 11). Michaelson is not interested in locating

unmonitored or authentic speech. Nor am I. On the contrary, we are both interested in

how represented speech is constructed and interpreted. For Michaelson, this focus on

constructedness is tied to her argument that novels took the place of conversation

manuals and served as models for women in constructing their own characters through

their speech. For my purposes, this focus on constructedness emphasizes the extent to

which class and gender identities were imagined, constructed, and performed in Victorian

writing through direct dialogue in dialect. For example, in case of the dialect writers of

the North, sketches and short stories, with their multiple layers of narration, served as a

space for their authors to negotiate their complex subject positions and for their readers to

construct their identities.

13
 As I argue throughout the dissertation, the concept of constructedness is a key to

understanding how dialect worked in nineteenth-century writing. Any attempt to locate a

true or authentic working-class voice in these texts would be futile. We should not,

however, discount the importance of the idea of authenticity in identity formation. Recent

scholarship in sociolinguistics shows us that although authenticity is an ideological

construct, it is nonetheless central to the way in which speakers and writers construct

their identities through language.4 As Nikolas Coupland explains, recent conversations in

sociolinguistics regarding authenticity involve a “shift away from static conceptions of

social identity to the dynamics of social identification, and from language seen as

behavior towards social meaning enacted in discourse” (427). One of the aims of this

dissertation is to encourage a similar shift in our conversations regarding nineteenth-

century categories of class. We should interpret language not as behavior emanating from

static identities but rather as enactments of social meaning performed through a dynamic

identification with multiple social categories. The voices that emerge from nineteenth-

century writing in dialect may not be authentic, but they carry powerful social meaning.

“Working Dialect” calls for a revaluation of nonstandard varieties of nineteenth-

century English in Victorian literature and a reassessment of some of the terms literary

critics use to talk about language in the nineteenth century. This dissertation examines

four aspects of dialect--vulgarity, authenticity, knowingness, and theatricality--each of

which is striking for its ability to give readerly pleasure. The texts I examine act as a

kind of pre-phonographic repository, however constructed, of the cacophony of voices

the Victorians heard. As Ivan Kreilkamp has shown, in Victorian Britain, the voice of the

4
See, for example, the series of papers that initiated the conversation at the NWAV 31 (New Ways of
Analyzing Variation) conference at Stanford in 2002: Bucholtz; Coupland; Eckert.

14
oral storyteller was perceived to be fading away, but, rather than being supplanted by

modern print culture, “the much-lamented storyteller came into being as a fiction within

the very medium that is accused of having killed him off” (2). The voices I examine have

the added dimension of being rendered in dialect. Contact between speakers of different

dialects was not new to the nineteenth century--indeed, Caxton describes the difficulty a

London merchant encounters when trying to order eggs in Kent--but with advances in

transportation and increased migration, the nineteenth century did see an acceleration in

this contact. Garnering knowledge about the various dialects of England, for some

Britons, was a way to show sophistication, and narrators and characters who spoke in

dialect could instruct with both the content and the form of their speech. Dialect writing

can recast vulgarity as authenticity to bestow both readerly pleasure and readerly

knowingness.

Recent work in eighteenth- and nineteenth-century studies has uncovered the

semantic range the term vulgar had for the British. For example, Janet Sorensen (2004)

has shown that for some late-eighteenth-century Britons vulgar not only meant ‘of the

people’ but also connoted British national culture (435). What’s more, Francis Grose’s

Classical Dictionary of the Vulgar Tongue (1785), Sorensen shows, not only redefines

and relabels as “vulgar” what earlier canting dictionaries deemed purely criminal, it also

lauds the language of the “common people” for its freedom of expression (446). The

contributors to the collected volume Victorian Vulgarity: Taste in Verbal and Visual

Culture (2009) find that for Victorians “vulgarity signified aggressive social aspirations

behind material accumulation” (2). Beth Newman shows how as social climbers or

arrivistes began to adopt refined language in an attempt to emulate their social betters,

15
that language began to be recast as vulgar and a more “plain and blunt” way of speaking

became “the new elegance” (24). The terms go topsy-turvy; what is “vulgar” in the sense

of ‘of the people’ becomes refined. What each of these studies reveals is not only that

vulgar was not necessarily a dirty word but also that there is something “authentic” about

plain speaking. To speak plainly and bluntly was a way of performing authenticity, a

way of saying, “I’m not trying to be something I’m not.”

I have already discussed some of the complexities of the term authenticity. Both

Victorian philologists and twentieth-century linguists have sought authentic speech.

Victorian philologists attempted to trace the lineage of the English language and the

English people; they defined authenticity as specific to lexicon and phonology whose

roots could be found in Anglo-Saxon and extended this idea to speakers of various

dialects. For present day sociolinguists, the quest for authenticity lies in attempts to

access unmonitored speech, that which is as “natural” and unmediated as possible. I

discuss above the importance of the idea of authenticity in identity formation. Here, I

would like to add that a presumed authenticity was a source of pleasure for readers in its

ability to bring them closer to characters. Whether or not an author’s rendering of

character speech was accurate matters little. To wonder at accuracy is to miss the point;

it is what the speech indexes for readers that matters.5

What a character knows is often conveyed in the novel through direct thought,

indirect thought, or free indirect discourse. In this dissertation I examine the ways in
5
Linguistic indexicality is the concept that the form of a speaker’s utterance indexes, or points to, social
categories and, therefore, marks the speaker as belonging to those social categories. For example, the
realization of the linguistic feature of word-initial /h/ deletion, (’ouse for house) marks a speaker as being
from a particular class and/or region of England. Upon hearing such an utterance, an interlocutor is able to
categorize a speaker and draw conclusions, consciously or unconsciously, about the speaker’s social
position and the speaker’s character. In other words, how something is spoken can carry more social
meaning than what is said.

16
which what characters know is conveyed through direct dialogue, through not only what

they say but how they say it. Novels convey a kind of double knowingness: what

characters know and what readers know. Often what readers know depends upon how

much narrators want to tell us; we may know more than the characters and revel in our

cleverness. A knowing character can evoke this sort of revelatory reaction as well,

especially, I would argue, if the character is a speaker of dialect. Because dialect is

marked phonetically, it offers readers an opportunity to imitate characters’ speech and its

attendant indexicality. Our “rustic” from Ben Brierley’s Journal, for example, shares a

knowingness about the Co-operative movement with readers. His Lancashire dialect at

once distances him from the uninformed London “swell” and brings him closer to readers

who not only know better but who also either speak or at least understand his dialect.

“Well, meister,” the “rustic” tells the “swell,” “aw’st ha’ fort’ tak’ yo’ bi th’ hond an’

show yo’ th’ pleck mysel.” Unlike the hapless Londoner, readers needn’t be taken by the

hand; they are as knowing as the Lancashire man.

This exchange between the “rustic” and the “swell” also illustrates the way in

which direct dialogue in dialect lends itself to theatrical performance, whether at home, in

the chapel, or on the public stage. The stage directions of this mini dialogue indicate that

it was meant to be read aloud, and it was likely read in many a chimney corner and

performed at many a penny reading. In longer works, dialogue in dialect frequently stops

the action of the plot; long passages in dialect are often interpolated tales or dialogues

that were easily excerpted, reprinted, and adapted. Dialect scenes from novels were often

reprinted for use in both public and parlor readings, as I discuss in Chapter 3 in regard to

the afterlife of Dickens’s Sam Weller. In the fourth chapter, I explore the afterlife of

17
Mayhew’s informants, or “characters,” who literally migrate onto the stage in the form of

Mayhew’s performances of London Labour and the London Poor. Each of these

theatrical aspects of dialect were precursors to the late-Victorian music hall, where the

Cockney comic vied for attention with the canny Scotsman, sentimental Irishman, and

tight-fisted Northerner.

This dissertation is organized in two parts. The first two chapters focus on rural

and industrial labourers in the North of England, speakers of the regional dialects of

Lancashire and Derbyshire. Chapters three and four look to the South, to the servant

class and independent entrepreneurs of London and their working-class dialects. This

wider set of examples allows for a closer look at the impact of the industrial revolution in

both the rural and burgeoning urban centers of the North and the long-standing culturally

diverse urban center, London. It also allows for a more comprehensive and diverse

examination of language attitudes across the country. Most previous studies have taken

the perspective of one or the other, but putting the North and South in dialogue with each

other, though it may not result in “mony a quart” shared down the pub, can illuminate

some of the seeming contradictory and curious ways dialect works in Victorian literature.

The first chapter of this dissertation “‘Some knowledge o’ th’ proper way o’

speaking’: The Local Prestige of Regional Dialects in Mary Barton and Adam Bede,”

explores the way in which Elizabeth Gaskell and George Eliot use dialect not only to

index working-class and regional authenticity, but also to signal the local prestige of

regional dialects. Rather than simply suggesting that Gaskell and Eliot construct

characters through their dialogue, I show that the authors represent their characters as

fashioning themselves linguistically. I argue that the minor characters, Job Legh and

18
Mrs. Poyser, emerge as major figures through their positions as authentic speakers of

regional dialects and linguistically-expressed ties to local community. I then explore the

cross-class conflict and gender dynamics at play through the linguistic style-shifting of

the novels’ female protagonists and argue that their potential for heroine-ship is located

in their use of regional dialects.

Chapter two, “‘Talk gradely, an’ then we con understond yo’: Narrative and the

Lancashire Dialect,” examines the narrative works of two of Lancashire’s most beloved

dialect writers, Ben Brierley and Edwin Waugh, and the works of their middle-class

social network, the Manchester Literary Club, in particular, the Papers of the Manchester

Literary Club from 1876 to 1896 and the Club’s A Glossary of the Lancashire Dialect

(1875). Through their manipulation and negotiation of the county’s linguistic and

cultural traditions, I argue, Waugh and Brierley not only broaden the range of uses of

dialect in literature, they make the traditions of Lancashire’s rural past relevant for

Lancashire’s industrial present. The writers’ textual and linguistic performance of

“authentic Lancashire man,” I suggest, was integral to the construction of working-class

Lancashire identity and to the success of the middle-class project to rewrite the county’s

literary history.

In chapter three, “Some Write Well, But He Writes Weller: Pickwick Papers and

the New Cockney,” I show how through the canny Sam Weller Dickens redefines the

Cockney character. Sam, through his knowingness and verbal agility, endows the

Cockney dialect with cultural capital and recasts what it could index for readers. In the

narrative world of Pickwick Papers, I argue, direct dialogue outshines other narrative

modes and the Cockney dialect upstages Standard English. Indeed, so popular did Weller

19
become that “flash” young men imitated his dress and mode of speaking; their speech

became inflected with “Wellerisms.”

The final chapter, “Pattering Hintellects: Working-Class Voices in Henry

Mayhew’s Investigative Journalism,” considers non-fictional representations of working-

class London speakers. In part one, I show how Mayhew’s use of literary techniques in

his letters to the Morning Chronicle (1849-50) construct his informants as the intelligent,

self-reflective subjects of their own narratives, despite their mediation by this middle-

class journalist. In part two, I examine how Mayhew represents the verbal agility of

patterers in London Labour and the London Poor and how his literary techniques capture

both the pleasures of voice and the pleasures of invention. Finally, I explore Mayhew’s

public readings of London Labour and the London Poor and show how Mayhew’s

movement from “lecture” to “personation” in these performances created a new genre of

public reading.

This project aims to amplify the nonstandard voices of Victorian literature in

order to parse the paradoxes and complexities attendant to them. The importance of

dialect in Victorian literature should not be underestimated. In listening intently to the

accents of class, gender, and region across genre and across the landscape of England,

“Working Dialect” challenges critical assumptions about how class, gender, and regional

identities were imagined, constructed, and performed in nineteenth-century England and

in the pages of its literature.

20
 Chapter 1

“Some knowledge o’ th’ proper way o’ speaking”:

The Local Prestige of Regional Dialects in Mary Barton and Adam Bede

In a 1859 letter to George Eliot, Elizabeth Gaskell wrote, “Since I came up from

Manchester to London I have had the greatest compliment paid me I ever had in my life, I

have been suspected of having written ‘Adam Bede’” (Letters of Mrs. Gaskell 559). That

Eliot’s first novel should be misattributed to Gaskell is not terribly surprising. Adam

Bede (1859) and Gaskell’s first novel, Mary Barton (1848), share striking similarities.

Both novels are set in the provinces, Mary Barton in Lancashire and Adam Bede in

Derbyshire. Both novels feature women characters whose romance plots have them

deciding between noble working-class heroes and middle- or upper-class rakes; Mary is

wooed by both her childhood sweetheart Jem Wilson and the mill owner’s son Harry

Carson, while Hetty of Adam Bede is pursued by both the novel’s artisan hero and the

future squire Arthur Donnithorne.

But perhaps most striking of the novels’ similarities is their authors’ use of dialect

in rendering the speech of their characters. Of course, the use of dialect is not unique to

the work of Gaskell and Eliot; indeed, dialect speakers abound in the works of their

contemporaries. In many Victorian novels, however, it is the minor characters alone who

are represented as speaking dialects: Joseph in Emily Brontë’s Wuthering Heights (1847)

or John Browdie in Charles Dickens’s Nicholas Nickleby (1838-39), who both speak

21
varieties of the Yorkshire dialect, for example, or Mrs. Yolland in Wilkie Collins’s The

Moonstone (1868), whose “Yorkshire language” is translated into “the English language”

by the narrator (125; ch. 15). What makes Mary Barton and Adam Bede exceptional is

that both minor and major characters, even the eponymous heroine and hero, are

represented as speaking the dialects of their home counties, Lancashire and Derbyshire,

respectively.

Critics have commented on the authors’ interest in and extensive use of dialects,

but what they fail to notice is the way in which Gaskell and Eliot use dialects as authorial

tools to represent positive attributes, such as wit, wisdom, virtue, respectability, and

loyalty. To illustrate this latter quality, Gaskell, for example, represents her heroine as

using Lancashire dialect terms at times when Mary’s allegiance to her working-class

Manchester community is especially important to her--often when it is at risk. Mary’s

use of local dialect at such times not only shows her loyalty to her local community, it

also reflects the local prestige associated with regional dialects that largely goes

unnoticed by outsiders.6 Standard English may have been the prestige dialect for many

speakers in Victorian England, especially those of the middle-classes, but Gaskell and

Eliot were well aware of the way in which the local prestige of the Lancashire and

Derbyshire dialects functioned in their communities and both illustrate this in the pages

of their novels.

Some critics of Mary Barton seem to ignore entirely the idea that dialect could

signal virtue for Gaskell and read the speech of the novel’s heroine as Standard English, a

“concession to novel-convention,” as Kathleen Tillotson calls the practice of elevating

6
I use “local prestige” rather than “covert prestige,” because the latter suggests the primacy of Standard
English as the carrier of “overt prestige,” when in local communities it may be nonstandard dialects, as I
will argue later in this chapter, that carry the overt prestige.

22
the speech of characters. Tillotson remarks that “Mary alone of the working-class

characters usually speaks ordinary English, not dialect” (213-14). Similarly, Raymond

Chapman suggests that Mary speaks Standard English due to her “virtue and importance

in the plot” (60). Neither of these assessments is entirely accurate, however, for there are

other quite virtuous characters in Mary Barton who are not represented as speaking

Standard English--the upwardly-mobile Jem Wilson, for example--and other less-than-

virtuous characters who are represented as speaking Standard English, including Mary’s

“fallen” aunt Esther. Gaskell does not bow to novelistic convention; on the contrary, she

breaks it and instead creates a fictional community of speakers whose voices differ from

one another, but all of which exhibit markers of the Lancashire dialect.

In both Mary Barton and Adam Bede, linguistic variation exists not only between

different characters but also within the speech of individual characters. For example, as I

touch on in the Introduction, Eliot represents Adam’s speech style as shifting during an

exchange with his mother, Lisbeth Bede:

Donna thee sit up, mother,’ said Adam in a gentle tone. He had worked

off his anger now, and whenever he wished to be especially kind to his

mother, he fell into his strongest native accent and dialect, with which at

other times his speech was less deeply tinged. ‘I’ll see to father when he

comes home; maybe he wonna come at all to-night. I shall be easier if

thee’t i’ bed.’ (74; vol. 1, bk. 1, ch. 4)

Prior to “working off his anger,” Adam speaks to his mother, Lisbeth, not with the

contracted modals, donna and wonna, that she consistently uses, but with the standard

contractions, don’t and haven’t. To show his kindness to his mother, Eliot represents

23
Adam using his home language, and to be sure his change in speech is not lost on readers,

she has her narrator make his intentions clear. The significance of this shift in Adam’s

speech style is not only that Eliot recognized nuances in speech and represented them in

her writing but also that she endowed her characters with linguistic agency. Though

linguistic variation often functions below the level of consciousness, as when a speaker’s

home language emerges in times of emotional duress, in the case of the representation of

characters’ speech in Mary Barton and Adam Bede, Gaskell and Eliot make conscious

decisions to mark their characters speech in ways that in turn shoe the characters’

conscious decisions. The above quotation from Adam Bede, for example, not only shows

Eliot’s intentions, it also illustrates the linguistic agency behind Adam’s decision to use

the modals donna and wonna “whenever he wished to be especially kind to his mother.”

In this chapter, I will show that this linguistic agency in the speech of characters

goes beyond shifts between formal and informal register to include the construction of

identity. In other words, rather than simply suggesting that Gaskell and Eliot construct

characters through direct dialogue, I will show that the authors represent their characters

as fashioning themselves linguistically. I argue that characters are represented as

performing7 their identities through speech and that these identities are related to their

connections to their local communities. I will begin by discussing the debates

surrounding English usage and consider contemporary reviews of Mary Barton and Adam

Bede to explore how Gaskell’s and Eliot’s contemporaries responded to their use of

7
I use the term “performing” in terms of the concept of linguistic performativity, which draws on speech
act theory to argue that speakers both create and cite social categories through their speech. In other words,
when a speaker produces an utterance she or he is both citing a performance of a social category, such as
gender or class, that has gone before and is also creating a new performance from which the conception of
those social categories is further constructed and perpetuated.

24
dialects. Second, I will show how minor characters emerge as major figures through their

linguistically-expressed ties to local community. Finally, I will explore the cross-class

conflict and gender dynamics at play through characters’ linguistic style-shifting.

What is the “Proper” Way of Speaking?

As I discuss in the Introduction, there was much debate in nineteenth-century

England about what was acceptable English. Talking “proper” was semantically

ambiguous term; its meaning could change dramatically depending on the speaker,

interlocutor, and linguistic, social, and geographic context. Both Gaskell and Eliot were

well aware of the prestige that local dialects held in their respective regions; for them,

regional dialects could signify the same positive qualities indexed by Standard English:

intelligence, wisdom, virtue, etc. In this chapter, using the insights of modern

sociolinguistics, I will explore how Gaskell and Eliot construct and convey this local

prestige in Mary Barton and Adam Bede. I will show that the characters of these novels

are portrayed as participating in alternative linguistic markets, markets in which a

different sort of linguistic currency is honored.

This concept of linguistic markets from which I draw was developed by

sociologist Pierre Bourdieu, who argues that speakers participate in an economy of social

exchanges where they engage in a production of self to maximize their value. In other

words, speakers shape their linguistic personae based upon what is valued in the

linguistic market. Upwardly mobile speakers in Victorian London, for example, might be

careful about not dropping their /h/s at the beginning of words, such as horse or house.

But, as sociolinguist Penelope Eckert points out, Bourdieu “speak[s] of only one market--

the market controlled by global elites, whose linguistic variety comes to be known as the

25
legitimate or standard language” (Linguistic Variation as Social Practice 13-14). There

are alternative markets, however, in which the norm in constituted by “forms other than

the global standard” (18). Eckert argues that

While formal style certainly involves greater attention to speech, and

while speakers have to pay careful attention when they’re speaking in the

most extremely standard end of their stylistic repertoire, there is every

reason to believe that a similar effort is required at the extremely non-

standard end of their repertoire as well. One might consider that the two

ends of the continuum require effort motivated by different—and even

conflicting—orientations, and that people have to work to ensure their

participation in either market. (18)

Assuming an across-the-board avoidance of linguistic forms marked for region and class,

then, is too narrow a view. Speakers in Victorian London might be equally careful to say

“’orse” rather than “horse,” depending on the linguistic market in which they are

participating.

The expectations of local markets are largely ignored by members of global8

markets, and criticism of the Victorian novel reflects this. As I mention above, criticism

has given much attention to characters’ relation to the global market and the way in

which authors were obliged to “elevate” the speech of their virtuous characters toward

the global prestige dialect, Standard English. Again, I aim to shift the focus away from

the dominance of Standard English and the global market and toward the value of

nonstandard English in local markets. I argue that the way in which Gaskell and Eliot

8
My use of “global” follows that of Bourdieu and Eckert; it connotes “mainstream,” rather than the
conventional sense of “worldwide.”

26
represent their characters’ speech taps into both first- and second-order indexicality; their

speech both points to a particular region (first order) and is imbued with social meaning

(second order), and that that social meaning must be read in terms of the close-knit social

networks of their local communities. One of the goals of this chapter is to bring to light

the local prestige of regional dialects and to explain how what might be considered covert

prestige is uncovered for a national audience.

Both Gaskell and Eliot were masters at using direct discourse in creating their

narrative worlds; while they may not have been linguists or even amateur dialectologists,

they had keen ears for language. Gaskell observed speech through her humanitarian

work in working-class Manchester, where she mingled with speakers of not only the

urban variety of the Lancashire dialect, but also speakers who migrated to Manchester

from the countryside of Lancashire and from other counties, such as Buckinghamshire to

the south and Cumberland to the north. Her husband, the Reverend William Gaskell, too,

was a great observer of dialects—he was known to leave the first-class car on the train to

join the Lancashire workmen in third class in order to hear “the true Lancashire dialect”

(Chadwick 210)—and, as I discuss in more detail below, wife and husband collaborated

in their work on dialects. Eliot, as she writes in a letter to William Allingham, “was born

and bred in Warwickshire, and heard the Leicestershire, North Staffordshire and

Derbyshire dialects during visits made in [her] childhood and youth” (Letters, vol. 4,

347). And it was the observation of her father and his brothers’ speech when they

“revert[ed] to the dialect of [their] native district, Derbyshire” (Letters, vol. 3, 427) that

was the source of the “Loamshire” dialect in Adam Bede. She was keenly aware of subtle

differences in dialects, which is evidenced by her remarks that “dialect, like other living

27
things, tends to become mongrel, especially in the central fertile and manufacturing

region attractive to migration: and hence the Midland talk presents less interesting relics

of elder grammar than the more northerly dialects” (Letters, vol. 4, 347) and her

discussion of language use among English peasants in “The Natural History of German

Life” (1856) where she laments the loss of dialect among many a farmer’s daughter

(274). In addition, as Blake points out, she had read Max Müller’s Lectures on the

Science of Language, further evidence that she “was genuinely interested in philological

matters” (153). Such keen observation in which both Gaskell and Eliot participated is

translated into the careful transcription of their characters’ voices in Mary Barton and

Adam Bede. And this attention to provincial dialects and their local prestige was not lost

on readers.

Contemporary reviews of Mary Barton and Adam Bede highlight their authors’

use of dialect in positive terms. Most reviews of Mary Barton comment on the ability of

the novel’s dialect to enhance its “graphic power” (British Quarterly Review 131) and

marvel at its author’s accuracy: “We believe that [the dialogues] approach very nearly,

both in tone and style, to the conversations actually carried on in the dingy cottages of

Lancashire” (Edinburgh Review 403). Reviewers of Adam Bede have similar reactions to

Eliot’s skillful use of dialect, and one such reviewer is even able to pinpoint the regions

from which the characters hail through their speech:

The author has chosen to conceal from us the exact situation of Hayslope,

by locating it in that large county, ‘Loamshire,’ a region which may be

taken to comprise the Midland Counties. We feel assured, however, that

Hayslope may be found by a diligent seeker in the northern part of

28
 Leicestershire, bordering on Derbyshire, and that the village of Snowfield,

placed by our author in the centre of a mining district in ‘Stonyshire,’ is

actually situate in the bleakest part of Derbyshire…. To any one who has

lived in the Midland Counties, the dialect of the inhabitants of those

villages resounds as the familiar language of childhood. (Westminster

Review 270)

The dialects of the Midland Counties “resound” in the pages of Adam Bede as do those of

Lancashire in Mary Barton. The aural quality of these novels lends itself to

verisimilitude, but perhaps more surprisingly, the authors’ use of dialect is credited with

creating concern for the laboring classes, as a reviewer of Mary Barton remarks:

The writer engages our interest in [the labouring classes], by leading us

amongst them, and making us spectators of their pleasures and their cares.

You feel immediately that you are amongst real operatives, and their

dialect is so faithfully reported, as to assure us that the study of the people

has been a work of love and time. (Eclectic Review 54)

This “faithful” representation of characters’ speech brings readers closer to those

characters in the sense that readers can imagine they are listening to actual conversations

and thereby allows them to develop care and concern for those characters. As a reviewer

for Atlantic Monthly put it, in commenting on Adam Bede’s “unaffected Saxon style,”

“the reader at once feels happy and at home among [the characters]” (522). The

characters’ speech, rather than distancing readers who do not belong to their respective

communities, as one might suspect, has quite the opposite effect. One way in which such

an effect is accomplished is through the authors’ prose, and reviewer comments reveal

29
this: the dialect of Mary Barton is described as “a work of love and time” and that of

Adam Bede is described as “the home-talk of shrewd and hearty men and women,” that is

“managed with skill, and show[s] the writer’s own thorough appreciation of a quiet,

country life” (North American Review 547-8). Critics appreciate the care and concern for

the residents, culture, and language of the provincial counties that Gaskell and Eliot show

in their novels. But Gaskell and Eliot’s use of dialects accomplishes more; it also lends

legitimacy to the language of the novels’ characters.

Simply putting provincial dialects in the mouths of their major characters

contributes to the legitimacy of those dialects, but Gaskell and Eliot do more than this. In

Mary Barton, Gaskell employs footnotes written by her philologist husband for

Lancashire dialect words to show their etymological roots. Rather than view regional

dialects as “corrupt” varieties of “pure” English, William Gaskell, and other philologists,

viewed them as remnants of Anglo-Saxon. In his Two Lectures on the Lancashire

Dialect (1854), William Gaskell argues for the legitimacy of the dialect of his home

county:

There are many forms of speech and peculiarities of pronunciation in

Lancashire that would yet sound strange, and, to use a Lancashire

expression, strangely ‘potter’ a southern; but these are often not, as some

ignorantly suppose, mere vulgar corruptions of modern English, but

genuine relics of the old mother tongue. They are bits of the old granite,

which have perhaps been polished into smoother forms, but lost in the

process a good deal of their original strength. (14)

30
William Gaskell’s rhetoric here is effective. With his concession to the “smoother

forms” of Standard English, he placates his audience, while simultaneously interpellating

them to his point of view by classifying dissenting views as “ignorant” and appealing to

their patriotism by referring to the “old mother tongue.” But, perhaps, most effective is

his legitimizing use of a Lancashire dialect term in a stream of Standard English. He

follows his use of “potter” with the suggestion that, though perhaps rougher to the non-

Lancastrian ear, such words have more expressive “strength.” Or, as he puts it earlier in

his lecture, “Old words, like some old fruits, are dying out from amongst us, and their

places are being fast taken by others, more showy and attractive, but not always by any

means so racy and full-flavoured” (5). This semantic succulence, to continue the

metaphor, reaches a level of expression unmatched by Standard English; when translated

into Standard English for a global audience, the Lancashire dialect loses some of its

expressive power.

Elizabeth Gaskell shared her husband’s views regarding regional dialects and

used similar strategies in arguing that they are not only legitimate, but also superior to

Standard English in some contexts. In a letter to Walter Savage Landor, she describes the

expressive qualities of the Warwickshire dialect word unked: “I can’t find any other

word to express the exact feeling of strange unusual desolate discomfort, and I sometimes

‘potter’ and ‘mither’ people by using it” (Letters of Mrs. Gaskell 292). Here, Gaskell

claims that for her, the dialect word unked is so nuanced it has no synonym in Standard

English. Indeed, it takes three Standard English adjectives in modification of discomfort

to even approach the meaning of unked.9 She follows her description of unked with the

9
Interestingly, strange, unusual, desolate, and discomfort are derived from French or Latin. The
juxtaposition of these inadequate Latinates with the incomparable Anglo-Saxon unked reflects both the

31
words potter and mither, further suggesting that their Standard English approximates,

‘trouble’ and ‘perplex’ are insufficient for conveying her meaning.

Gaskell uses a similar strategy in Mary Barton when her narrator describes the

Lancashire dialect word dazed: “Jane Wilson was (to use her own expression, so

expressive to a Lancashire ear) ‘dazed,’ that is to say, bewildered, lost in the confusion of

terrifying and distressing thoughts; incapable of concentrating her mind” (86-7; vol. 2,

ch. 6). Not only does the narrator comment on the word’s expressiveness, she also goes

on to gloss the term with three very descriptive definitions. Again, considerable

explication is required to convey the meaning of a Lancashire dialect word, suggesting

that such words exceed Standard English lexicon in their expressive ability. This

connotative precision of Lancashire dialect words seems especially important for

expressing physical and emotional states, which are so often ineffable. Many of the

lexical items footnoted in Mary Barton are such terms: nesh, ‘tender’ (6; vol. 1, ch. 1);

frabbit, ‘peevish’ (50; vol. 1, ch. 4); gloppened, ‘amazed, frightened’ (171; vol. 1, ch. 9);

clem, ‘starve with hunger’ (51; vol. 1, ch. 4); and dree, from the Anglo-Saxon dreogan,

‘to suffer, endure’ (165; vol. 1, ch. 9), to name but a few. Initially meaningless to many

readers, over the course of the novel, these words become semantically ample. Clem, for

example, is first introduced in a Lancashire song sung by Margaret Jennings called “The

Oldham Weaver”: “To be--clemmed, an do th’ best as yo con” (51; vol. 1, ch. 4). Its

meaning in this context is likely not transparent to many readers, but paired with its

footnote, “‘Clem’, to starve with hunger. ‘Hard is the choice, when the valiant must eat

nationalism and nostalgia that informed the Victorian championing of provincial dialects. Many
oppositions might be constructed from this linguistic contrast: English/French; domestic/foreign; Anglo-
Saxon/Norman; North/South; working-class/middle-class; etc. For my purposes, the most useful
opposition remains that of the local/global, for this distinction allows me to consider all of the above
formations in terms of the linguistic construction of self.

32
their arms or clem.’ –Ben Jonson” (51; vol. 1, ch. 4), this once empty signifier begins to

take on meaning. The comic line from Ben Jonson’s Every Man Out of His Humor

stands in stark contrast to the definition, ‘to starve with hunger’ and this juxtaposition

informs how “The Oldham Weaver” might be interpreted; the definition emphasizes the

weavers very real material conditions, giving both the song and the word clem a serious

tone. The semantic strengthening of clem continues with the word’s repetition

throughout the novel; it is used in increasingly grave situations, as the Bartons and

Wilsons witness their friends and families die from want of food. The word clem, then,

comes to carry a meaning beyond ‘starve with hunger’; it signifies the experience unique

to the poverty-stricken working classes of the industrial North, and more specifically the

working-class characters of Mary Barton.

But it is not just the semantic strength of Lancashire dialect words that is

illustrated in the novel; other words, such as dree, show semantic multivalence. First, the

term is used as an adjective to denote, as the footnote explains, ‘long and tedious’: “it

were dree work” (165; vol.1, ch. 9), “It’s very dree work, waiting” (228; vol. 1, ch. 12).

Later it takes on new meaning when Alice very poignantly uses the word to describe the

silence of deafness: “the fields seemed so dree and still; and at first I could na’ make out

what was wanting; and then it struck me it were th’ song o’ the birds” (189; vol.1, ch.

10). Finally, Jane Wilson uses it to denote ‘suffer’ or ‘endure’ when lamenting the arrest

of her son, Jem: “am I to leave him now to dree all the cruel slander they’ll put upon

him?” (125; vol. 2, ch. 8). Gaskell’s prose imbues the word dree with three quite

different denotations and connotations. Though the uses of dree in the first and last

quotations are glossed “long and tedious” and “A.S. [Anglo-Saxon] ‘dreogan’, to suffer,

33
endure,” respectively, Alice’s use does not seem to fit either of these definitions; her use

suggests neither tediousness nor suffering, but rather dolefulness or cheerlessness. These

varying uses of dree further show both the expressive power of Lancashire dialect words

and also their ability to claim semantic space.

Along with championing Lancashire lexicon, Gaskell legitimizes the use of its

phonology and morphology. The Lancashire pronunciation cowd for the Standard

English cold, for example, is glossed as deriving from the Teutonic kaud and the Dutch

koud (88; vol. 1, ch. 6). Similarly, the Lancashire morphology of cotched, which takes

the regular past tense ending –ed for the irregular Standard English caught, is glossed,

though its context makes its meaning transparent (136; vol. 1, ch. 8). Perhaps the most

surprising and powerful of Gaskell’s glosses is her valorization of the much-maligned

double negative. For its usage by Mary’s father, John Barton, in “I’ll not speak of it no

more,” Gaskell notes, “A similar use of the double negative is not unfrequent in Chaucer;

as in the ‘Miller’s Tale’: ‘That of no wife toke he non offering / For curtesie, he sayd, he

n’old non.’” (157; vol. 1, ch. 9). Prior to the rise of prescriptive grammar in the

eighteenth century this type of multiple negation10 was considered to have emphatic

properties: “[I]f we examine the history of the language, we perceive, that, since the date

of the authorized translation of the Bible,—the finest example of English,—the

alterations that have taken place have been, generally, for the worse. The double

negative has been abandoned, to the great injury of strength of expression” (London

Review 379-80). Citing Chaucer’s “frequent” use of the double negative allows the

grammatical construction to be viewed in terms of emphasis rather than in terms of

10
The prescriptive grammar rule that two negatives make a positive is based on a rule of Latin grammar
and was erroneously applied to English during the eighteenth century. Two of the eighteenth-century’s
most influential grammarians, Robert Lowth and Lindley Murray, promoted the rule.

34
“correctness.” In this way, the double negative is ameliorated; its expressive properties

and precision supersede any proscriptions against its use.

Gaskell’s etymological and grammatical footnotes seem to have served their

purpose. In a review of Mary Barton in Eclectic Review, the author comments: “The

notes show us the derivations of the terms that are too often regarded as vulgar

corruptions of our English, but which are genuine portions of those old tongues, for a

thousand years preserved here, of which our English itself is compounded” (54). In the

first four editions of Mary Barton, Gaskell lets the novel’s prose and footnotes do the

rhetorical work of legitimizing Lancashire speech, but to the fifth edition, her husband’s

Two Lectures on the Lancashire Dialect, with its persuasive prose, was added as an

appendix.

Rather than provide explanatory footnotes to gloss unfamiliar Derbyshire dialect

terms, Eliot has her narrator gloss them within her narration or lets context approximate

their meaning. She also relies on phonology and syntax to represent the dialects, and

while she doesn’t employ explanatory footnotes tying their use to revered authors or

venerable Anglo-Saxons, their use by the novel’s noble hero goes a long way toward

validating their use. But Eliot goes further and puts words critical of the local dialect in

the mouth of the superficial and ridiculous Mr. Casson: “They’re cur’ous talkers i’ this

country, sir; the gentry’s hard work to hunderstand ’em. I was brought hup among the

gentry, sir, an’ got the turn o’ their tongue when I was a bye” (20; vol. 1, bk. 1, ch. 2).11

It is evident, however, that Mr. Casson, though he was brought “hup” amongst the gentry,

has not in fact “got the turn o’ their tongue”; he only perceives that he has, and his

11
In “Grammatical Fair Ones,” Mugglestone points to Casson’s speech as a reflection of the moral
structure Eliot sets up in her novels, which is based on attitudes toward language usage; those who place
too much credence in the social value of Standard English are often also the least moral of the characters.

35
hypercorrection towards /h/-insertion betrays this. Juxtaposed with a narrator whose

wisdom seems boundless and who is not above using regional dialect terms herself, Mr.

Casson seems all the more ridiculous and his remarks all the more egregious. To feel the

way Mr. Casson feels toward the local dialect, then, is to be a ‘soft,’ to use a Loamshire

term, one who is incapable of reading the positive qualities of dialects.12

In contrast to the portrayal of Mr. Casson is that of Mrs. Poyser, a dialect speaker

whose wisdom, wit, and character drew much praise from reviewers:

[Mrs. Poyser] is the very sunlight by which we read the story of ‘Adam

Bede:’ we are glad to have heard something about the other personages,

but we thirst to know Mrs. Poyser. We would willingly set out on a

journey to Hayslope in hopes of finding her, but for the fear that

Donnithorne, like ‘George Eliot,’ may be an illusory name. (Edinburgh

Review 229)

The review goes on to compare Mrs. Poyser’s conversation, which he describes as “full

of sentences, yet never sententious, and full of the wisdom that is not preached, but seems

to drop with the ease of a summer shower to fertilise more barren minds” to the maxims

of George Herbert. “Take any of George Herbert’s sayings at random,” the reviewer

suggests, “Read these sentences, and such as these, and then meditate on Mrs. Poyser’s

superiority” (229).

The superiority of Mrs. Poyser’s sentences relies, I would argue, on the

expressive power and precision of her dialect. It is worth quoting her at length to show

12
Eliot made clear her feelings toward those who might balk at her heavy use of dialect in Adam Bede:
“one is not bound to respect the lazy obtuseness or snobbish ignorance of people who do not care to know
more of their native tongue than the vocabulary of the drawing-room and the newspaper” (qtd. in Skeat
viii).

36
the density of her marked speech and to allow for a feel of her prosody. In this scene she

is reminding her husband that her knowledge of farm economy surpasses that of other

farmers’ wives:

What’s it sinnify what Chowne’s wife likes? – a poor soft thing, wi’ no

more head-piece nor a sparrow. She’d take a big cullender to strain her

lard wi’, and then wonder as the scratchins run through. I’ve seen enough

of her to know as I’ll niver take a servant from her house again – all

hugger-mugger – and you’d niver know, when you went in, whether it was

Monday or Friday, the wash draggin’ on to th’ end o’ the week; and as for

her cheese, I know well enough it rose like a loaf in a tin last year. An’

then she talks o’ the weather bein’ i’ fault, as there’s folks ’ud stand on

their heads and then say the fault was i’ their boots. (26-27; vol. 2, bk. 2,

ch. 18)

This passage is brimming with aphorisms that are rich with descriptive and creative

metaphor based on farm life. Common sayings are transformed into clever and humorous

commentary: “bird brain” becomes “poor soft thing, wi’ no more head-piece nor a

sparrow” and “She hasn’t the sense to come in out of the rain” becomes “She’d take a big

cullender to strain her lard wi’, and then wonder as the scratchins run through.” Her

pronunciations of signify (“sinnify”) and colander are not mispronunciations or

malapropisms, but rather legitimate regional pronunciations. Her elision of phonemes in

the words with, the, of, and, in and would, and the way in which she “drops her gs” from

the ends of progressive participles lends credence to her assertions rather than detract

37
from them.13 Such pronunciations might be viewed as inarticulate, imprecise, and a

reflection of a slovenly and vulgar character, but in the mouth of Mrs. Poyser they carry

no such connotations. The content of Mrs. Poyser’s speech aids in dispelling potential

negative associations with its form; she displays her impeccable work ethic and superior

knowledge of farm economy, concerns that reflect both her moral propriety and intellect.

In this way, Eliot deftly weaves Mrs. Poyser’s characterization with the way she uses

language—form and content complement each other to re-characterize dialect and its

speakers in the minds of outsiders.

In some ways, Mrs. Poyser fulfills the role of comic truth-teller, in the tradition of

Sancho Panza, and not surprisingly, a reviewer for North American Review likens her to

that very character: “[T]he sententious wisdom of worthy Mrs. Poyser is set forth in

proverbs worthy of Sancho Panza” (548). But when the context of this comment is

considered, Mrs. Poyser’s role seems to take on a significance that exceeds that of a

comic character:

The sweet face and eloquent words of Dinah win positive admiration, and

the sententious wisdom of worthy Mrs. Poyser is set forth in proverbs

worthy of Sancho Panza. For pretty Hester we feel less sympathy than if

she had shown some slight inclination to struggle with her fate and agree

with the author in consigning her to quiet rest after her brief smiles and

tears have passed. (548)

The reviewer’s assessment of Mrs. Poyser is sandwiched between that of the competing

heroines Dinah and Hetty, as if she were also competing for that title. This reviewer is

13
Of course, Mrs. Poyser does not actually drop her gs; her pronunciation features the alveolar nasal [n]
rather than the more standard velar nasal [ŋ].

38
not alone in his estimation of Mrs. Poyser; she leaves such an impression on a reviewer

for Edinburgh Review that though, as he concedes, she “is not the heroine of the story,”

he “feel[s] her to be of more importance to us than all the other characters” (229) and he

dedicates seven pages to a discussion of her linguistic skills.

The speech of the pious Dinah and the tragic Hetty is far less marked for class and

region than that of Mrs. Poyser. Could this be why Mrs. Poyser emerges as a major

figure in contemporary reviews, despite her minor status? Though Dinah is described by

reviewer for North American Review as “eloquent” and by the narrator of Adam Bede as

having a remarkable ability to “master her audience” (167; vol. 1, bk. 1, ch. 8), it is not

she, with her formal text-like speech, but Mrs. Poyser whose words are quoted in

contemporary reviews. As Kathleen Watson points out, modern readers do not find the

character of Dinah any more compelling than readers of the mid-nineteenth century. She

quotes Joan Bennett who describes the way Dinah speaks as a “self-conscious and

irritating mode of speech” and W. J. Harvey as commenting that “[Dinah] is always more

convincing in what she does rather than what she says” (283). The problem with Dinah’s

speech, Watson concludes, is that Eliot’s depiction of it is more artistic than realistic,

which “reduces the depth of character” (294). In contrast, the realist depiction of Mrs.

Poyser’s speech gives depth to her character, and it is both what she says and how she

says it that makes her one of the novel’s most memorable characters. It is her speech that

allows Mrs. Poyser to emerge as a central figure despite her minor status.

Spoken in a Major Key

In this section, I will explore the speech of minor characters who emerge as major

figures: Mrs. Poyser in Adam Bede, and Job Legh in Mary Barton. Just how and why do

39
these minor characters command such narrative space and attention? Through both the

form and content of their speech, I will argue, Mrs. Poyser and Job Legh come to

represent “real” or “authentic” members of their local communities and this status affords

them both local authority and narrative space. To clarify what I mean by this, I will again

turn to modern sociolinguistics and touch on an important study that informs my work,

Milroy and Milroy’s study of three working-class speech communities in Belfast (carried

out between October 1975 and July 1977). Through this study, Lesley and James Milroy

showed that “a close-knit, territorially based network functions as a conservative force,

resisting pressures for change originating from outside the network” and that “Close-knit

networks…have the capacity to maintain and even enforce local conventions and norms –

including linguistic norms – and can provide a means of opposing dominant institutional

values and standardized linguistic norms” (“Social Network and Social Class” 5). In

other words, for members of both dense and multiplex social networks in working-class

communities, the hegemonic force of the local dialect can equal that of Standard English

in mainstream linguistic markets.14 In such speech communities, certain speakers emerge

as “authentic,” those who best represent the norms of local community. Though an

“Authentic Speaker,” as Eckert (2003) points out, is an ideological construct, the idea of

such a speaker is nevertheless central to speech communities. Authentic speakers are

viewed as “naturally” producing an “untainted” form of local dialect and lay linguistic

claim to representing a “real” member of said community. Such speakers come to

14
According to Lesley Milroy’s Social Network Theory, a close-knit network is both dense and multiplex.
In other words, a speaker in a dense network will have ties to other speakers who share those same ties with
each other (e.g. Casie has close ties with Jenny, Angie, and Elspeth, and Jenny, Angie, and Elspeth all have
close ties with each other). In addition, these speakers associate with each other in multiple ways; they
share in both work and leisure activities. In contrast to such networks are low-density networks, in which,
for example, Jenny, Angie, and Elspeth would not have close ties with each other, and uniplex networks, in
which, for example, Casie and Jenny would associate with each other only in the workplace.

40
embody the values of their communities and their speech acts as a badge certifying them

to represent and enforce said values.

Mrs. Poyser is such a speaker. Her speech marks her as an authentic speaker of

the Hayslope dialect and endows her with the authority to both stand for the values and

stand up for the welfare of her community. The way in which she repulses Squire

Donnithorne’s request that Hall Farm supply the Chase with dairy products illustrates

this. Her clever use of rhetoric that simultaneously acknowledges social hierarchy; “I

know there’s them as is born t’ own the land, and them as is born to sweat on’t,” yet

asserts her own subjectivity; “but I’ll not make a martyr o’ myself, and wear myself to

skin and bone, and worret myself as if I was a churn wi’ butter a-coming in’t, for no

landlord in England, not if he was King George himself,” (333; vol. 2, bk. 4, ch. 32) is all

the more effective for being rendered in dialect. Not only is it more believable for its

physical details, such as the narrator’s note that Mrs. Poyser “paused to gasp a little”

(333; vol. 2, bk. 4, ch. 32), it also links her to the land of which she speaks. Both the

content and form of her speech suggest that her position as one who was “born to sweat”

on the land lends her credibility to speak on the economics of farm life. Her use of the

pronoun “them,” rather than the more standard “those,” “worret,” which the OED notes is

“a vulgar alteration of worry,” and a-affixing, “a-coming,” mark her as an authentic and

reliable member of the local community of working people.

The Squire, in contrast, is out of touch with the realities of daily farm life and his

use of Standard English reflects this—what he suggests will be to their “mutual

advantage” (330; vol. 2, bk. 4, ch. 32), is to his advantage only, and a short-term

advantage at that. Mrs. Poyser’s actions serve to highlight the Squire’s failure to fulfill

41
his role as benevolent landlord and she, therefore, usurps his position as champion of the

people who work his land. Her “outbreak was discussed in all the farmhouses,” and

renders the news that “‘Bony’ was come back from Egypt…comparatively insipid” (342;

vol. 2, bk. 4, ch. 33). The concerns of the local supercede those of the global, as “the

repulse of the French in Italy was nothing compared to Mrs. Poyser’s repulse of the old

Squire” (342; vol. 2, bk. 4, ch. 33). The narrator may be gently ironizing Mrs. Poyser’s

heroism here, but the narrative results remain the same; Mrs. Poyser emerges as a major

figure.

In Job Legh, we find a character similar to Mrs. Poyser. He enters the narrative as

a comic character--an eccentric old man whose primary characteristic is his interest in

entomology--but as the narrative progresses, he emerges as a major figure and comes to

represent the values and norms of his local community. Job Legh is Mary Barton’s

authentic speaker; he is the “real” member of his speech community, and his status as

such allows him to usurp John Barton’s role as a central male character. Though John

Barton has the potential to achieve the status of authentic speaker at the narrative’s

opening, as he begins to orient himself with non-local institutions, he also begins to lose

credibility as a “real” member of his local community. And while I agree with

Gallagher’s assessment that “Barton’s tragic heroism gains poignancy from his working-

class dialect” (66), I would suggest that his use of dialect is not enough to save him from

descending into minor status. Though Barton’s language is still marked for local dialect,

it is less marked than that of Job Legh, and his use of biblical language and sweeping

dramatic speeches further removes him from the realm of realism and the status of

authentic speaker. Job’s speech, in contrast, possesses the qualities needed for both

42
narrative realism and linguistic authenticity, and these qualities afford him the status of

the novel’s moral center. He may use the “technical names” (58; vol. 1, ch. 5) of the

insects he collects, but they only pepper his otherwise “purely” Lancastrian speech, and

he may have the most logical and pragmatic suggestions for Barton to relay to

Parliament, but he expresses them in his plain way of speaking, between puffs of his pipe

(135; vol. 1, ch. 8).

Gallagher points to the “matter-of-fact spareness” of Job Legh’s speech, but reads

it as exemplary of the “domesticity” that “dominates” his narratives (79). Where

Gallagher reads a tension between genres, the domestic novel and melodrama, I see an

additional tension between linguistic markets, local and global. Job Legh’s narratives

stress both his domestic and local orientation. One such narrative relates Job Legh’s

experience in London, which comes on the heels of and nicely contrasts with John

Barton’s global tale of his delegation’s rejection by Parliament. Job’s story, though

ostensibly about London, shifts the conversation from the public, political, and global to

the private, domestic, and local. Barton’s narrative is riddled with accounts of the

negative reception he received in London, including his being struck by a policeman,

who cannot say his “a’s and i’s properly” (156; vol. 1, ch. 9) and ends with his refusal to

describe his experience at Parliament. In contrast, Job’s ends with his and Jennings’s

return to Manchester and illustrates that the closer to home they get, the kindlier the care

they receive from members of the communities they pass through. By the time they

reach a region of England where “folk began to have some knowledge o’ th’ proper way

o’ speaking,” they are invited into the home of a woman who “afore yo’ could say Jack

Robinson, she’d a pan on th’ fire, and bread and cheese on th’ table…she fed th’ poor

43
babby as gently and softly, and spoke to it as tenderly as its own poor mother could ha’

done” (165, 167; vol. 1, ch. 9). Whereas Barton’s narrative leaves his audience standing

dismayed, petition in hand, outside the gates of Parliament, Job’s narrative brings his

audience home to the comfort of Lancashire. Their contrasting narratives exemplify the

connection between the use of dialect and ties to local community. Gaskell makes this

connection explicit by juxtaposing Barton’s cruel treatment by the London policeman

(156; vol. 1, ch. 9) with Job’s kind treatment by Lancashire folk (167; vol. 1, ch. 9). In

the narrative community of Mary Barton, speakers of the Lancashire dialect are

compassionate and trustworthy, while speakers of Southern metropolitan varieties are

not. Their respective ways of speaking index contrasting characteristics and reflect

opposite orientations to the local.

As the narrative progresses, we see not only a shift in Barton’s orientation from

local to global, we see a shift in the way his speech is represented. At the novel’s

opening, Barton claims a considerable amount of narrative space and his position as

central figure correlates to the direct dialogue that dominates the way in which he is

presented. Prior to his involvement with the Trades’ Union, Barton’s allegiances are with

his friends and family and Gaskell is able to illustrate Barton’s merit through his speech;

she allows Barton to perform his characteristics linguistically. In comforting Mary after

the death of her mother, for example, the tenderness and concern in Barton’s words speak

for themselves. In this scene, both the content and form of Barton’s speech reflect his

concern for the local. He illustrates his dedication to caring for his daughter by telling

her, “Child, we must be all to one another, now she is gone,” and insisting, “Thou must

not fret thyself ill, that’s the first thing I ask. Thou must leave me and go to bed now,

44
like a good girl as thou art” (29; vol. 1, ch. 3). Barton’s repeated use of thou and thy is

also telling, especially in contrast to Mary’s use of you. While the second person singular

pronouns were once used in Standard English to signal intimacy between speakers, they

fell out of use in Standard English during the seventeenth century (Barber 165). By the

nineteenth century, such a distinction survived only in regional dialects or among

Quakers. Barton’s use of them, then, indexes both the intimacy of the moment and his

status as authentic Lancashire dialect speaker.

The further away Barton moves from the concerns of the local, however, the less

trustworthy he becomes, and his speech can no longer manage this kind of social and

narrative work. To garner sympathy from readers, the narrator must intrusively step in to

persuade us that Barton has “a ready kind of rough Lancashire eloquence” (267; vol. 1,

ch. 15); his eloquence cannot speak for itself. She goes on to explain that his speech

“was very stirring to men similarly circumstanced, who liked to hear their feelings put

into words” (267; vol. 1, ch. 15). The inclusion of such an explanation suggests that

Barton’s speech will not have the same effect on readers. By the time Barton’s narrative

comes to a close, Job Legh must translate Barton’s “wildly” expressed words into the

biblical language he might have used in his more eloquent days. The words, “but oh,

man! forgive me the trespass I have done!” are echoed by Job, “Forgive us our trespasses

as we forgive them that trespass against us,” “as if,” the narrator tells us, “the words were

suggested by those John Barton had used” (268; vol. 2, ch. 18). Here sympathy is

garnered not through Barton’s eloquence, but by his lack of it. His plain way of speaking

does more to redeem him than his former speeches could.

45
 That it is Job Legh who must translate for Barton shows the extent to which Job

takes on the role as the novel’s moral center. Indeed, it seems as though Job and Barton

are on opposite trajectories and when Barton is absent from the narrative Job even usurps

his role as caregiver to Mary: “Never fear for Mary!” he tells a worried Jem Wilson, “I’ll

watch o’er her, as though she was my own poor girl” (220; vol. 2, ch. 16). Job’s view of

Barton’s absence expresses the precedence he gives and believes should be given by

others to the local. “To my mind,” Job tells Jem, “John Barton would be more in the way

of his duty, looking after his daughter, than delegating it up and down the country,

looking after every one’s business but his own” (220; vol. 2, ch. 16). Job’s disapproving

statement reflects what Milroy and Milroy demonstrate about close-knit social networks

and their capacity to maintain and enforce local norms. His status as authentic speaker

affords Job the position to make such judgments.

Through his loyalty to local community and his performance of authentic

Lancastrian, Job comes to represent the community itself. During his confession to

murdering Harry Carson, it is Job Legh from whom Barton pleads forgiveness, though

Harry’s father stands nearby: “I did not know what I was doing, Job Legh, God knows I

didn’t” (268; vol. 2, ch. 18). Here, Job Legh and God sit on either side of the semi-colon,

further suggesting the former’s role as moral center and Barton’s need to be forgiven not

only by Harry’s father, but also by this local community. When Carson counters

Barton’s “but oh, man! forgive me the trespass I have done” with “Let my trespasses be

unforgiven, so that I may have vengeance for my son’s murder” (268; vol. 2, ch. 18), it

shows that speakers of Standard English are not at the moral center of this narrative

world. And that Barton calls Carson “man,” while he utters the name of Job Legh in the

46
same breath as that of God, illustrates that Barton recognizes the conflicting orientations

toward the local that the two men present and Barton’s need to be once more accepted

into the fold of his local community.

Solidarity with local community is not the only linguistic performance available

to speakers, however. As Lesley Milroy points out, both the solidarity factor and the

status factor influence speakers’ participation in linguistic markets (Language and Social

Networks 195). She points to a correlation between network ties and attitudinal factors.

Those who have close-knit social ties, such as the characters I discuss above, tend also to

adhere more to “local team” values and are more influenced by the solidarity factor. In

contrast, those who have loose-knit social ties are likely to also reject “local team” values

and to be more influenced by the status factor (140). In other words, a change in network

status alone is not enough to explain language variation; though a disintegration of close-

knit ties might influence a “drift” toward prestige norms, a simple desire for upward

mobility may be enough to affect the same change (196). Gaskell and Eliot, of course,

would not have used these terms to describe the nuances they observed in the speech of

Lancastrians and Derbyshirians. But they recognized the power these linguistic nuances

and put them to work in developing their characters.

Linguistic Style-Shifting

In this section, I explore the representation of speech of linguistically liminal

characters whose variation in speech reflects the influences of their social networks and

language attitudes. I argue that these characters are represented as participating in

47
linguistic style-shifting15 which shows their closeness to or distance from their local

communities at different times and in varying contexts. Style, as Eckert defines it, and as

I will use the term, is “a clustering of linguistic resources, and an association of that

clustering with social meaning” (“Style and Social Meaning” 212). Speakers access

lexical, phonological, and syntactic features that are associated with other social

practices, such as dress and demeanor, as a part of linguistic self-fashioning. An

important part of every speaker’s repertoire, style-shifting not only indicates a shift in

register, from formal to informal, for example, it is also a way for speakers to construct

their identities through speech. I will argue that variations in characters’ speech in Mary

Barton and Adam Bede are far from authorial inconsistencies, but rather self-conscious

linguistic modifications on the part of their authors. These linguistic modifications are an

important part of not only character development but also plot progression and overall

narrative construction, and Gaskell and Eliot manipulate them to make both narrative and

social statements.

In the narrative world of Mary Barton the middle-classes and the working-classes

represent opposing orientations to the local area, and the way in which Gaskell represents

the relative variation of their speech can be read as reflecting Penny Eckert’s findings that

language use correlates with relationships to local and global markets. The middle-class

characters are represented as speaking Standard English exclusively. Conversely, the

speech of working-class characters exhibits the distinctiveness and variability associated

with local groups and “essential to the workings of the vernacular,” as Eckert put it

15
Linguists often distinguish between style-shifting, alternations in register, and code-switching,
alternations in languages or dialects. I use style-shifting to encompass both terms, as code-switching is
often used as a form of shifting register and in linguistic self-fashioning.

48
(Linguistic Variation as Social Practice 23). A similar distinction can be observed

between the wealthy landowners and the working people of Adam Bede. The young

squire, Arthur Donnithorne, who fancies himself the future benevolent landlord of the

Donnithorne property, “the model of an English gentleman” (230; vol. 1, bk. 1, ch. 12),

dishonors one of Eliot’s potentinal heroines, Hetty, who works as a dairymaid for the

Poyser’s. Though vacillating in his principles, he never strays from his Standard English

speech, while, not surprisingly, there is notable variation in the speech of working-class

characters. But some characters’ class status does not always line up with their

allegiances, and their language use reflects this.

Taking the insights of modern sociolinguistics into consideration allows us to

examine the direct speech of characters in terms of authorial exploitation of meaningful

language variation rather than authorial oversights or concessions. The speech of Mary

Barton, for example, more closely resembles Standard English than some of the other

working-class characters, including her father and close friend Margaret Jennings, but

this is not simply an example of the Victorian convention of elevating the speech of

virtuous heroines. Mary’s speech reflects both her social network ties and her desire for

upward mobility and her shifts in style are influenced by both the solidarity and status

factors. Though Mary retains her close-knit ties through her friendships with Margaret,

Alice Wilson, and Job Jegh, her kinship ties are weakened due to the death of her mother

and her father’s increasing alienation from the local community.

The influence of the status factor on Mary begins early in the narrative when her

aunt Esther plants the dangerous suggestion in young Mary’s imagination that she will

one day “ma[k]e a lady of [her]” (9-10; vol. 1, ch. 1). Esther’s consistent use of Standard

49
English reflects her orientation toward the upper- and middle classes and her desire for

upward mobility, which undoubtedly leaves an impression on Mary. Later in the

narrative, Mary finds work as a seamstress at Miss Simmonds’, which could be read in a

sociolinguistic framework as her development of uniplex ties with the middle classes. In

the social milieu of Miss Simmonds’ she not only hears the speech of the middle-class

clients, but also emulates their speech as part of fashioning herself linguistically. To

complicate matters, Mary is flattered by the attentions paid to her by the middle-class

Harry Carson, attentions, incidentally, that are made possible only by her daily walks to

and from Miss Simmonds.’ “Mary,” the narrator tells us, “hoped to meet him every day

in her walks, blushed when she heard his name, and tried to think of him as her future

husband, and above all, tried to think of herself as his future wife” (63; vol. 1, ch. 5). I

needn’t go into great detail about the lack of avenues of upward mobility for women in

nineteenth-century Britain; it has long been established that for most women, marriage

was the only avenue, and the tradition of proficiency in home-making was supplanted by

proficiency in the leisure arts, or “female accomplishments,” in order to increase young

women’s chances of marrying up.

Eliot remarks on this change in The Natural History of German Life when she

explains how “in England half a century ago…the daughters of even substantial farmers”

spent their time “spinning their future table linen, and looking after every saving in butter

and eggs that might enable them to add to the little stock of plate and china which they

were laying in against their marriage” (31). They were instructed in and concerned with

farmhouse duties and domestic economy, skills appropriate and important for a farmer’s

wife, such as those at which the capable Mrs. Poyser is so adept. In contrast, farmers’

50
daughters of the mid-nineteenth-century, Eliot observes, carry on “sentimental

correspondence” and learn to play the piano instead of learning important farm-oriented

skills, and “though [they] may still drop their h’s, their vowels are studiously narrow”

(31). That the farmers’ daughters’ vowels are “studiously narrow” is an indication that

female accomplishments include learning to speak “properly.” With their sights set on

marrying up, Mary Barton and Adam Bede’s Hetty Sorrel “study their vowels,” so to

speak, and fashion themselves linguistically into what they believe will make fitting

wives for the factory-owning Harry Carson and the land-owning Arthur Donnithorne,

respectively. Their narrative realties are reflective of the sociolinguistic realities of

nineteenth-century England that are still observable in the twenty-first century.

Modern sociolinguist studies (e.g., Wolfram 1969; Trudgill 1972) have shown

that women are often found to use more prestige forms than men of their same

socioeconomic class. In her groundbreaking 1975 work, Language and Woman’s Place,

Robin Lakoff suggests that this is because “A woman’s reputation and position in society

depend almost wholly on the impression she makes upon others” (57). Eckert frames this

concept in terms of symbolic capital: “While men can justify and define their status on

the basis of their accomplishments, possessions, or institutional roles, women must justify

and define theirs on the basis of their overall character and the kinds of relations they

maintain with others” (“The Good Woman” 167). Peter Trudgill suggests that women

use more standard forms due to their lack of access to the marketplace, or as Eckert puts

it, “women’s relative lack of access to advancement through actions in the marketplace

constrains them to seek advancement through symbolic means” (168). But, as Eckert

points out, not all women speak “properly” (168). How can we explain this discrepancy?

51
Eckert argues that symbolic capital is important to women at either end of the standard to

nonstandard continuum. In other words, “[a]t the upper end of the status hierarchy,

women use more standard grammar than men; at the lower end, women use more

nonstandard grammar than men” (168). The idea, then, that women are a homogenous

group who are collectively “proper” is a false one, and data show this (Nichols 1978;

Cheshire 1982; Eckert 2000). Eckert comments that many of her colleagues ignore the

latter formulation, and again, I think this reflects the assumption that speakers, especially

women, will want to use Standard English if they are able to, an assumption that seems to

be pervasive even among linguists, and even when data present them with the paradox

that women are both linguistically conservative and linguistically innovative. Eckert

suggests that we shift the focus away from viewing the primary difference between men

and women as one of “properness” and instead consider that the “primary difference is

that women are scrutinized on the basis of appearances” (168). If we do that, we have to

ask, “what appearances are women trying to achieve…. If a woman wants to show that

she is a loyal working-class woman, she has to do Very Working-Class” (168). Of

course, Mary Barton’s speech is not “Very Working-Class” but her speech does vary in

its proximity to “Very Working-Class” depending on narrative situation and which facet

of her identity Gaskell would like to convey to readers.

In the scene in which Mary confronts Harry Carson, she is represented as style-

shifting from Standard English to nonstandard English. Interestingly, this scene is the

first in which Mary is represented as using a lexical item from the Lancashire dialect.

This may come as somewhat of a surprise, for it might be expected that Mary would be

represented as attempting to speak toward the standard in order to impress her bourgeois

52
beau—such style-shifting would certainly coincide with her desire to be made a lady.

But when the context of their conversation is considered, Mary’s use of a dialect term

becomes clearer. At this point in the narrative, Mary’s heart has been “unveiled” to her

and she discovers that it is her childhood friend, the working-class Jem Wilson, whom

she loves, not Harry Carson, and she is therefore attempting to end her communication

with the latter. When Mary “humbly begs [Harry Carson’s] pardon” for unintentionally

leading him “to think too much of [her],” Carson assumes she is coquetting and mocks

her by echoing back her standard speech: “You’re a darling little rascal to go on in this

way! ‘Humbly begging my pardon if you’ve made me think too much of you.’ As if you

didn’t know I think of you from morning to night. But you want to be told it again and

again, do you?” (211; vol. 1, ch. 11). In her reply Mary shifts into the Lancashire dialect:

“‘No, indeed, sir, I don’t. I would far liefer* that you should say you will never think of

me again, than that you should speak of me in this way….’ *‘Liefer’, rather. ‘Yet had I

levre unwist for sorrow die.’ –Chaucer, Troilus and Creseide” (211; vol. 1, ch. 11). This

use of liefer indexes Mary as in solidarity with the local community and, accordingly, her

heart’s allegiance to the working-class Jem Wilson.

What is especially striking about Gaskell’s footnoting here is that by this point in

the narrative liefer has already been used by another character, Alice Wilson, the elderly

aunt of Jem Wilson, in the fourth chapter. In footnoting Mary’s usage of liefer in chapter

eleven but not Alice’s usage in chapter four, Gaskell not only legitimizes the Lancashire

dialect term, but also calls extra attention to Mary’s solidarity with the local community.

In the third edition of Mary Barton, published in 1849 with an expansion of footnotes,

Gaskell adds a second footnote for liefer to mark Alice’s use of the term in chapter four.

53
This double footnoting is one of only four occurrences of Gaskell footnoting a second use

of a dialect term or grammatical construction; the others are dree, gloppened, frabbit, and

at after. For the vast majority of Lancashire dialect terms, Gaskell footnotes only their

first occurrences, and for three of the four that she repeats, she seems to have done so

because the words are different parts of speech or to point out a semantic nuance.16 But

for liefer both instances have the same meaning, ‘rather.’ For Alice’s use of liefer,

Gaskell cites Chaucer’s Monk Tale (45; vol. 1, ch. 4) and for Mary’s, she cites Chaucer’s

Troilus and Creseide. In juxtaposing the Chaucerian footnotes--the monk is a virtuous

character, while Creseide is a fallen woman--Gaskell gives the footnotes even further

salience and, ironically, establishes Mary’s virtue. Dismayed at Mary’s rejection of him,

Harry attempts to persuade her with promises of marriage, though he had thought they

“could be happy enough without marriage” (213; vol. 1, ch. 11). Mary retorts, “if I had

loved you before, I don’t think I should have loved you now you have told me you meant

to ruin me; for that’s the plain English of not meaning to marry me till just this minute. I

said I was sorry, and humbly begged your pardon; that was before I knew what you were.

Now I scorn you, sir, for plotting to ruin a poor girl” (214; vol. 1, ch. 11). Unlike the

Trojan Creseide, who as a fallen woman is easily seduced by the Greek Diomedes, Mary

“scorns” such behavior, both proving her status as virtuous heroine and displaying her

loyalty to Jem Wilson and her local community.

It is at such times, when Mary’s status in the local community is at risk, that she is

represented as using Lancashire dialect terms and phonology. For example, when Mrs.

Wilson is angry with her, Mary uses the Lancashire pronunciation mun, whereas she is

16
For example, dree is glossed as both an adjective ‘long and tedious’ and a verb ‘to suffer, endure’;
gloppened is glossed as both ‘amazed’ and ‘terrified’; and frabbit as both ‘peevish’ and ‘ill-tempered’.

54
represented as using the standard pronunciation must throughout the rest of the novel (41;

vol. 2, ch. 3). Similarly, Mary’s speech changes dramatically between speaking with

Sally Leadbitter, the “vulgar-minded” (138; vol. 1, ch. 8), young seamstress who

facilitates the flirtation between Mary and Harry Carson and her close friend Margaret.

In one such scene, Mary has a distressing encounter with Sally who attempts to deliver to

Mary a love note from Harry Carson. Throughout their entire exchange, Mary is

represented as speaking Standard English, but as soon as Margaret arrives, and the door is

closed on the saucy Sally, we witness a shift in Mary’s speech style:

‘Margaret,’ said Mary, who had been closely observing her friend, ‘thou’rt

very blind to-night, artn’t thou? Is it wi’ crying? Your eyes are so

swollen and red.’

‘Yes, dear! but not crying for sorrow. Han ye heard where I was last

night?’ (144; vol. 1, ch. 8)

This passage marks one of the very few instances in the novel of Mary using the

nonstandard forms of the second-person pronoun and the –t inflectional ending of to be.

While it is true that this is a very intimate moment between the two women and Gaskell,

therefore, might have chosen to have Mary use these “informal” forms, the linguistic data

offered by the novel does not support this interpretation. This is not the only intimate

exchange in which the two women engage and Mary does not continue using the thou

forms during this conversation. Additionally, Margaret is represented as using the

nonstandard han, while Mary uses the standard form have just a few lines earlier. Mary’s

reintroducing standard forms and the juxtaposition of Margaret’s and Mary’s forms of

have suggest that Mary’s sudden and temporary shift into a style more marked for

55
working-class Manchester speech is a way to further distance herself from Sally, and

again, to show her solidarity with her local community.

Mary is uneasy about having Margaret meet Sally, for the two young women are

both her peers but represent conflicting sides of her linguistic persona. Margaret is the

peer who has the most working-class Manchester authenticity; she is represented as

consistently speaking in the Lancashire dialect and performs working-class Lancashire

songs at the Manchester Mechanics’ Institute, a working-class organization that held

classes, lectures, and entertainment. Margaret acts as a temper to Mary’s tendencies

toward middle-class identification and its attendant trappings. On the evening that Mary

is introduced to Margaret at old Alice’s, she spends an inordinate time “dressing

herself…she thought it worth while to consider what gown to put on,” for she wished to

make “an impression” on “this strange girl” she was about to meet (44; vol. 1, ch. 4).

Once Mary arrives at Alice’s, however, she is ashamed of the attention she is paid:

“Margaret could hardly take her eyes off her, and Mary put down her long black lashes

with a sort of dislike of the very observation she had taken such pains to secure” (44; vol.

1, ch. 4). While with Margaret, Mary’s ties to the local community are strengthened and

this is shown in the way she speaks.

While it is true that Sally is also working class, it should be considered that her

alliances are firmly with the middle-class mill owners. Her position as paid go-between

for Harry Carson in his dubious courtship of Mary shows this alliance and allows her to

identify with the middle classes and imagine herself as above her station. Similarly, her

work at Miss Simmonds’, as it does for Mary, puts her in contact with middle-class

clients, but it has a stronger and more lasting effect on her than it does on Mary. While

56
Mary comes to realize where her true loyalties lie, Sally continues to dream of vicarious

upward mobility. Upon Mary’s return from Jem Wilson’s Liverpool trial for Harry

Carson’s murder, Sally is astounded that Mary was not more concerned about her

appearance while being crossed examined--Mary refused to borrow Sally’s black watered

scarf for the occasion--and scoffs at her for aiming so low socially: “Oh--I forgot. You

were all for that stupid James Wilson. Well! if I’ve ever the luck to go witness on a trial,

see if I don’t pick up a better beau than the prisoner. I’ll aim at a lawyer’s clerk, but I’ll

not take less than a turnkey” (254; vol. 2, ch. 17). While both Mary and Sally are

concerned with how they are perceived via their appearance, the young women come to

orient themselves toward opposite social groups.

Mary’s linguistic struggle with local/global loyalties is all the more vivid against

the backdrop of her “fallen” aunt Esther’s consistent use of Standard English. Even when

Esther poses as a mechanic’s wife in order to converse with Mary, she still maintains her

Standard English speech. In “over-acting her part” as virtuous wife (62; vol. 2, ch. 4),

Esther assures Mary that she is not hungry, “Oh! Mary, my dear! don’t talk about eating.

We’ve the best of every thing, and plenty of it, for my husband is in good work. I’d such

a supper before I came out. I could not touch a morsel if you had it” (61; vol. 2, ch. 4).

Out of shame and fear that Mary might detect the truth about what became of her, she

overcompensates in both what she says and how she says it. But in the narrative world of

Mary Barton it is dialect that signals virtue, while Standard English is spoken by the

novel’s least virtuous characters. Esther’s performance, her consistent adherence to

global linguistic norms, though intended to index “virtuous mechanic’s wife,” instead

marks her as irredeemably fallen and permanently exiled from the local.

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 This paradox reflects the incongruity between perception and practice. As I

discuss above, though sociolinguistic data prove otherwise, women are often perceived

and expected to adhere to global prestige norms. Esther seems to misinterpret the

prestige norms needed to index virtue in her former local community. Esther’s social

network ties are too diffuse and uniplex; she can no longer connect with Mary, which is

evidenced by the way in which the two misinterpret each other throughout the scene. But

neither can Esther connect to readers. The narrator, then, must intervene on her behalf

and assure us of her inner turmoil. We are told that “all the time poor Esther was

swallowing her sobs,” and that “she longed to open her wretched, wretched heart” (62;

vol. 2, ch. 4). In this way, Gaskell is able to garner sympathy for the tragic Esther, while

maintaining her moral stance--it is simply impossible for a prostitute to index virtue in

the narrative world of Mary Barton. This narrative move also allows Gaskell to maintain

the importance of local prestige norms that she works so hard to build throughout the

novel, norms that her heroine finally comes to adhere to. We might even call Mary

Barton a linguistic bildungsroman, for by the narrative’s end Mary is comfortably settled

in the position of dialect-speaking heroine.

Like Mary, Adam Bede’s Hetty Sorrel is well aware of the linguistic expectations

placed on young women, but her machinations are more conscious and calculating than

Mary’s. While Mary is portrayed as naively and innocently struggling with her linguistic

identity, Hetty is portrayed as self-consciously adjusting her speech in hopes of talking

her way out of Hayslope. Though the honorable artisan Adam Bede has expressed an

interest in marrying her, Hetty sees him as “a poor man” and since her “dreams were all

of luxuries” (182; vol. 1, bk. 1, ch. 9), she can not consider marrying him. Instead, she

58
fancies that Arthur, the future squire, will “want to marry her, and make a lady of her”

(280; vol. 1, bk. 1, ch. 15) and lavish her with the luxuries she desires. And Hetty’s use

of language around her two suitors differs as much as her intentions toward them.

Though the narrator implies that Hetty does not speak Standard English when she

describes how “While Arthur gazed into Hetty’s dark beseeching eyes, it made no

difference to him what sort of English she spoke” (245; vol. 1, bk. 1, ch. 12), aside from a

single instance of a-affixing, “Aunt doesn’t like me to go a-walking only when I’m going

somewhere” (157; vol. 1, bk. 1, ch. 7) and a few signs of elision, ’em, o’, Hetty’s speech

is relatively standard. It is interesting to note that this single instance of a-affixing occurs

during the initial scene of Arthur Donnithorne’s courtship of Hetty, before she is fully

cognizant of his attentions. At this point in the narrative Hetty already has thoughts of

upward mobility--she is learning tent-stitch and lace-mending from Mrs. Best’s lady’s

maid, Mrs. Pomfret,--but Arthur’s attentions toward her mark a change in both the

earnestness of her aspirations and the way she fashions herself linguistically. The

narrator tells us that “for the last few weeks a new influence had come over Hetty…[she]

had become aware that Mr Arthur Donnithorne would take a good deal of trouble for the

chance of seeing her” (183; vol. 1, bk. 1, ch. 9). She also begins to take notice of her use

of language. When she and Arthur meet alone for the first time in the Chase, Hetty is

self-conscious and cautious about the way she speaks. Arthur asks her if she should like

to become a lady’s maid and she responds very carefully, “I should like to be one very

much indeed,” but is still wary of how she is perceived: “Hetty spoke more audibly now,

but still rather tremulously; she thought, perhaps she seemed as stupid to Captain

Donnithorne as Luke Britton [a neighboring farmer’s son] did to her” (243; vol. 1, bk. 1,

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ch. 12). Hetty understands that people are judged by the way they speak and worries that

her speech will leave a negative impression on Arthur; if she is not able to avoid those

markers that would linguistically associate her with the class of farmers, Luke Britton and

the like, how could Arthur possibly view her as marriageable?

Hetty is much less careful with her speech when she is conversing with Adam.

She can be, for she does not view him as her superior and she is not concerned about

winning his heart. When the two of them pick currants together in the Poysers’ garden,

Hetty style-shifts into a dialect more marked for class and region and allows the elisions

that commonly occur in informal speech to pepper her utterances:

‘That’ll do,’ said Hetty, after a little while. ‘Aunt wants me to leave

some on the trees. I’ll take ’em in now.’

‘It’s very well I came to carry the basket,’ said Adam, ‘for it ’ud ha’

been too heavy for your little arms.’

‘No; I could ha’ carried it with both hands.’ (89-90; vol. 2, bk. 2, ch. 20)

Hetty not only elides the interdental fricative in them but also echoes Adam’s “ha’” for

have, showing her comfort with Adam. Both the content and form of Hetty’s speech also

illustrate how little she accepts Adam as a suitor. Had it been Arthur who offered to

assist her in carrying the basket, we might imagine that Hetty would have replied

differently; she would not have insisted that she “could ha’ carried it with both hands,”

but rather would have thanked him in the most polite variety of English she could muster.

Indeed, the easy way of speaking Hetty uses with Adam contrasts greatly with the near

hypercorrect speech she uses with Arthur. With Arthur, even when speaking “hastily”

for fear her feelings might be misconstrued, she is careful to fully enunciate her syllables.

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When Arthur suggests that the gardener, Mr. Craig, accompanies her on her walk home,

she insists, “I’m sure he doesn’t; I’m sure he never did; I wouldn’t let him; I don’t like

him” (244; vol. 1, bk. 1, ch. 12). Her phrases are the short and simple SVO constructions

one might expect from a speaker vexed by an unwelcome innuendo, but they are

decidedly standard, even schooled.

When compared to the speech of Molly, one of Hetty’s fellow dairymaids, Hetty’s

speech seems all the more schooled. In the scene in which Mrs. Poyser suggests that her

request to spin is really an excuse to “go and sit with half-a-dozen men,” Molly exclaims,

“I’m sure I donna want t’ go wi’ the whittaws, on’y we allays used to comb the wool

for’n at Mester Ottley’s; an’ so I just axed ye. I donna want to set eyes on the whittaws

again; I wish I may never stir if I do” (136; vol. 1, bk. 1, ch. 6). Marked by nonstandard

modals, elided syllables, and the dialectical axed for asked, Molly’s speech is illustrative

of the speech of a young Derbyshire woman of her socioeconomic status. Though both

women are similarly positioned regionally and socioeconomically, and similarly

distressed about being misconstrued, their interlocutors could not be more different, nor

could the linguistic stakes of their conversations. These interchanges represent the

constraints of two different linguistic markets: global and local. And according to these

constraints, Hetty uses Standard English in her response to Arthur as a way to increase

her symbolic capital in that market. Her use of Standard English acts to distance her

linguistically from both her romantic and socioeconomic proximity to the very local Mr.

Craig.

The way in which Hetty uses language is proactive; she emulates the speech of

her betters, just as she emulates their dress in the privacy of her room, in hopes of

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fashioning herself into a fitting wife for the future Squire of Donnithorne Arms. It is not

until all hope of upward mobility, or mobility in any form, is gone that Hetty is

represented as consistently using her local dialect. Hetty’s speech shows the most

markers of dialect when she confesses to Dinah in the confines of her jail cell: the double

negative, “O Dinah, won’t nobody do anything for me?” (158; vol. 3, bk. 5, ch. 45);

nonstandard syntax, “there might somebody find it” (163; vol. 3, bk. 5, ch. 45); elision of

should, “But then, the other folks ’ud come to know it at last” (163; vol. 3, bk. 5, ch. 45);

and nonstandard subject-verb agreement, “get a long way off before folks was up” (165;

vol. 3, bk. 5, ch. 45). It could be rightly argued that in such a time of duress, Hetty’s

speech would exhibit the features of her home language, but I would also suggest that

representing her speech in such a way shows Hetty’s attempt to realign herself with the

local community and Eliot’s attempt to garner sympathy from the reader by showing that

Hetty indeed has a conscience. She is not able to redeem herself entirely, however; her

crimes are too damning.

Hetty, like John Barton, needs a moral listener to hear her confession, but unlike

Job Legh, whose dialect speech constructs him as the novel’s moral center, Hetty’s

confessor is Dinah, whose biblical speech marks her as such. Indeed, Dinah’s speech

sounds like a text even when she is not preaching. For example, in her narrative about

her hometown, Snowfield, to Mr. Irwine she uses words such as “thereby” and

“wherein,” (161; vol. 1, bk. 1, ch. 8) which are not generally used in speech. Dinah’s

text-like speech reflects her immersion in Methodism and illustrates her virtuous

character while simultaneously showing her distance from the local community of

Hayslope. Dinah refuses to take root there, despite the pleas of the Poysers and the

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Bedes, and travels back to the bleak town of Snowfield. While it might be argued that if

Dinah were drawn to Snowfield, she might feel local ties there and would perhaps speak

in the dialect of that region, this is not the case. The reason she feels compelled to go to

Snowfield is to care for the needy—she feels a moral and religious obligation to serve the

people of Snowfield, but she lacks the close-knit ties that influence speakers to adhere to

local linguistic norms. Dinah’s itinerant nature prevents her from developing strong first-

order network ties. She goes where she is needed, a sort of mobile moral center,

dispensing virtue and forgiveness, for example, to the repentant, though irredeemable,

Hetty.

It is not until Dinah gives up preaching and settles into life in Hayslope that her

speech begins to show signs of the local dialect. In the final chapter of the novel, after

six years of marriage to Adam, Dinah has taken on the regional dialect forms of the

second person pronouns and their corresponding verb conjugations. As Dinah, her two

children, and their uncle Seth walk out to meet Adam, she says to Seth of her youngest,

“Better take him on thy arm, Seth. He’s troublesome to thee so” (328; vol. 3, bk. 6,

epilogue). And when inquiring after Arthur to Adam, “Didst find him greatly altered?”

(330; vol. 3, bk. 6, epilogue). As I mention above, by the nineteenth century, the use of

second person singular pronouns to signal intimacy survived only in regional dialects or

among Quakers. Dinah’s use of these pronouns therefore not only shows intimacy with

her new family, it also shows intimacy with her local community. Eliot could have

signaled Dinah’s intimacy with her family in ways other than local dialect markers, but

she chose to mark her speech as regional. To claim the position as heroine of a regional

novel, then, Dinah must be represented as truly belonging. Her use of regional dialect

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markers makes a powerful statement about her loyalty and connectedness. No longer is

Dinah the itinerant preacher, the mobile source of virtue; instead she has become the

novel’s virtuous dialect-speaking heroine.

Though both their narratives end with their achieving the status of novel’s

heroine, Dinah’s idyllic ending contrasts with Mary’s exile. Mary and her new family,

the Wilsons, emigrate to Canada to start new lives and forge new social networks, but

their loyalties to Lancashire remain. The last line of Mary Barton is an exclamation from

Mary: “‘Dear Job Legh!’ said Mary, softly and seriously” (312; vol 2, ch. 21). In calling

out “Dear Job Legh!”, Mary is conjuring all that he represents: the traditions of her

hometown, her still strong ties to the local community that she has lost. Though these

novels differ in who is exiled from their local communities--in Adam Bede it is the guilty

who are transported--both express the importance of those communities and illustrate the

way in which local prestige functions within them. In their first efforts as novelists,

Gaskell and Eliot manage to reveal the covert prestige of local dialects for a national

audience. They give their readers “some knowledge o’ th’ proper way o’ speaking” that

goes beyond what is expected in the mainstream markets and in so doing make

statements both narrative and linguistic.

Both Gaskell and Eliot take provincial dialect speakers beyond their long comic

tradition and make them the moral centers of their novels. In the next chapter I explore

the work of Lancashire dialect writers Edwin Waugh (1817-1890) and Ben Brierley

(1825-1896). They, too, expanded the uses of dialect in fiction, but unlike Gaskell and

Eliot, Waugh and Brierley were native speakers of the dialect in which they wrote. These

writers’ poetry, sketches, and stories helped shape nineteenth-century perceptions of

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Lancashire dialect and character. And, as we shall see, a closer look at their narrative

works can help literary critics complicate not only our view of nineteenth-century

language attitudes but also our notions of nineteenth-century conceptions of class.

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 Chapter 2

“Talk gradely, an’ then we con understond yo”:

The Narrative Possibilities of the Lancashire Dialect

As I discuss in the previous chapter, the Lancashire dialect was championed by

two of Manchester’s eminent residents, Elizabeth Gaskell and her husband, the Reverend

William Gaskell. Both Elizabeth’s novel Mary Barton (1848) and William’s Two

Lectures on the Lancashire Dialect (1854) attempt to legitimize this dialect by giving it a

history, emphasizing and supplying evidence for its Anglo-Saxon roots and citing great

English writers, such as Chaucer, as having used forms that, though lost in Standard

English centuries before, were still in use among Lancashire dialect speakers in the

nineteenth century. Although the Gaskells are the best known advocates of the

Lancashire dialect, they were by no means the only advocates. In this chapter, I explore

the writings of Lancashire dialect writers Edwin Waugh (1817-1890) and Ben Brierley

(1825-1896), who were among the most active promoters of the Lancashire dialect and

Lancashire culture. As Vicinus (1974) has established, during the nineteenth century the

working-class writers of the North attempted to create a distinctive working-class voice

to represent themselves.17 In mid- to late-nineteenth-century Lancashire, this voice was

distinctly dialectical, and Waugh and Brierley were instrumental in both its promotion

and construction.

17
See also Hollingworth (1977), Maidment (1987), Joyce (1991), and McCauley (2001).

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 Unlike the middle-class Gaskell and Eliot, the Rochdale-born Waugh and

Failsworth-born Brierley both grew up in working-class families and wrote

predominantly in dialect for both working- and middle-class audiences. Waugh, the son

of a shoemaker, worked as a journeyman printer before becoming the Assistant Secretary

to the Lancashire Public School Association and moving to Manchester in 1847, where

he eventually carved out his career as a dialect reader and writer. Brierley worked as a

hand-loom weaver, like his father before him, before moving to Manchester in 1862 and

making a tenuous living from his writing, public readings, and his periodical, Ben

Brierley’s Journal (1869-1891). Though Waugh and Brierley effectively transcended

their working-class status by breaking into the local literary world, they never lost sight

of their working-class roots; the working-class culture of Lancashire became the center of

their works and the cornerstone of their literary reputations. Each tried his hand at

writing poetry and prose in Standard English, but they were lauded and are now best

remembered for their work written in the dialect of southeast Lancashire, their native

speech.

Waugh, who was often referred to as “the Lancashire Burns,” first garnered

attention as a writer when his poem “Come Whoam to thi Childer an’ Me” was published

in the Manchester Spectator in 1856. The poem, the speaker of which is a woman

describing the comforts of home to her absent husband, “was an instant success in

Lancashire” (“Death of Edwin Waugh”) and went on to become “the most famous dialect

poem of the century” (Zlotnick 199). The poem’s sentimentality was parodied by some,

including Waugh’s friend Brierley,18 but its homely image of Lancashire was cherished

18
The speaker of Brierley’s “Go tak thi Ragged Childer and Flit” is a woman who berates her husband for
stranding her at home with his children from a previous marriage.

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by many and it was frequently reprinted in such places as calendars, church bulletins,

temperance pamphlets, anthologies, and newspapers (Vicinus, Industrial Muse 210).

Brierley first drew attention as a writer with his narrative piece “A Day Out, or a Summer

Ramble in Daisy Nook”, which, though narrated in Standard English, showcases the

Lancashire dialect in its dialogue. “A Day Out” appeared in the Manchester Spectator in

1859 and was described by fellow Lancashire dialect writer Samuel Bamford (1788-

1872) as “sufficient proof of his power as a writer, whilst his orthography of the

Lancashire dialect is as good as any I have read, since I could read” (Ab-o’th’-Yate

Sketches xviii). Indeed Brierley was often praised for his ability to represent the speech

of Lancashire weavers, or “to give forcible expression to such in their own native tongue

and peculiar way,” as fellow Failsworth-born writer Sim Schofield (1852-1929) put it in a

letter to the Manchester Guardian (9).

Waugh and Brierley did more than simply create characters who spoke the

Lancashire dialect; their work both reflected back and helped create the Northern

working-class identity, an identity for which a local variety of language was a key

component. The comments of one of Waugh’s contemporaries illustrate the importance

of the Lancashire dialect to Waugh’s success as a writer:

[H]e has followed the bent of his natural talent; he has availed himself of a

special gift, and when one tries to imagine what “Owd Pinder” and “Come

Whoam to thi Childer an’ Me” would be like if transformed into the

language of “cultured” England it can hardly be denied that the poet was

well justified in the course he pursued. (“Death of Edwin Waugh”)

68
For Gaskell and Eliot, though they expressed annoyance with the necessity of editing for

intelligibility the dialogue in regional dialects in their first two novels, reaching a wider

circle of readers took precedence over representing the dialect speakers of the North and

Midlands--indeed their subsequent novels feature dialect speakers far less predominantly

than Mary Barton (1848) and Adam Bede (1859). Gaskell and Eliot were not a part of the

working-class writers’ project that was so central for Waugh and Brierley; they were

middle-class writers, writing for a middle-class audience, with the goal of proving that

the respectable working classes were not so different from the middle classes. In

contrast, Waugh and Brierley are wont to point out the differences between the middle

and working classes, endowing the latter with superior characteristics, such as common

sense, family loyalty, hard work, and stoicism. In this way, they both flatter their

audience of working-class readers and help construct an ideal image of working-class

respectability based in Lancashire traditions.

Though they spoke to and for the working classes, Waugh and Brierley were part

of a largely middle-class social network from whom they both drew support and lent

authenticity as “representative Lancashire men.” This influential network was the

Manchester Literary Club, a group central to the movement to establish their county and

Northern culture on a national level and integral to the fostering and promotion of the

Lancashire dialect. Waugh and Brierley founded the Club in 1862 with fellow working-

class writers Richard Rome Bealey and Charles Hardwick, and the middle-class

businessmen Joseph Chatwood and John Page. From its very inception, the Manchester

Literary Club reflected a local patriotism that crossed class lines, but over the years its

membership came to comprise more businessmen than working-class writers and its

69
leadership was consistently middle class; the Club’s presidents during the nineteenth

century were Joseph Chatwood, an architect, John H. Nodal, a journalist and editor of the

Manchester City News, and George Milner, a successful Manchester merchant. Tensions

between the classes are palpable in the writings of Waugh and Brierley and of the

middle-class leadership of the Club even as they work together to promote their county.

The Club’s representative dialect writers were expected to embody an “authentic”

Lancashire, manifest in both their speech and appearance, that would stand for all that

was good in Lancashire’s past and present. In this chapter, in addition to exploring the

narrative works of Waugh and Brierley, I examine the works of their social network, in

particular, the Papers of the Manchester Literary Club from 1876 to 1896, and the Club’s

A Glossary of the Lancashire Dialect (1875). I show how the writings negotiate tradition

for use in the present, and argue that, though the narratives of both Waugh and Brierley

broaden the range of uses of dialect in literature, Brierley’s narratives go further in

making the traditions of Lancashire past relevant for Lancashire’s industrial present.

To Elevate and Refine

The names of Waugh and Brierley are often mentioned in concert as representing

the best in Lancashire dialect writing and as proof of the virtues of the Lancashire dialect.

The Salford Chronicle christened them “living prophets of the tongue” (11 March 1876)

and in a letter to the Manchester Weekly Courier Thomas M. Freeman wrote, “The

mention of these names naturally leads one to think of that dialect of the County

Palantine which they sought to elevate and refine” (Papers of the Manchester Literary

Club vol. 22, 501). Freeman’s choice of words is telling; his assertion is not that Waugh

and Brierley altered or edited the dialect to “elevate” it to the level of Standard English or

70
“refine” it to meet prescriptive standards, but rather that Waugh and Brierley sought to

“elevate” the Lancashire dialect in the minds of those prejudiced against it and to “refine”

the Lancashire dialect by using its “purest” forms, those closest to its Anglo-Saxon roots.

Here Freeman evokes the familiar linguistic opposition of the unadulterated tongue of the

North versus the Norman-tainted speech of the South, and appropriates the

prescriptivists’ rhetoric to serve his own purposes. Where prescriptivists would use the

terms “refine” and “pure” to judge varieties of English in relation to Standard English,

advocates of the Lancashire dialect use them to describe varieties of English

unadulterated by French and Latin. The Lancashire dialect, according to the Lancashire

advocates, is more purely English than those of the South.

Nineteenth-century language theory lent itself to the notion that not only were the

regional dialects of the North more purely English but so were the people who spoke

them. Indeed, as Simmons (1992) documents, it was the study of Anglo-Saxon that led

Victorians to identify themselves as Teutonic. She explains that during the nineteenth

century, “the affinity between languages was taken as an affinity between races,” and that

the Victorians’ cultural heritage was considered as traceable as their linguistic heritage

(210). Although, as Wales (2006) shows, from a Southern perspective, the North was

viewed as another “country” and was “rarely seen as essential to ‘Englishness’ and

national identity” (28), from a Northern perspective, the North was the seat of traditional,

pre-Norman Englishness. “England, by synecdoche,” Wales explains, “is the land of the

‘soft’ South, thatched cottages, luncheon and bowler hats, not blackened back-to-backs,

dinner and flat caps; the English language is Southern English, and middle class to boot”

(28).

71
 The push to locate and define traditional Englishness in language was mobilized

by eminent Mancunians to counteract this view that the culture and language of the South

is synecdochical for the nation. As part of a larger movement to put their city on the

national map, the Manchester Literary Club sponsored a number of projects both

philological and literary in nature. In 1877 the Club published a Bibliography of

Lancashire and Cheshire, a catalogue of the district’s literary offerings for that year,

“indicative of its intellectual status and the tendencies of its culture” (Papers of the

Manchester Literary Club vol. 3 263-264), and indisputable evidence that the district was

remarkable for more than just cotton manufacturing. Five years later the Club began

publishing its own journal, the Manchester Quarterly, with the goal of “giving expression

to the present tendencies of intellectual life of Lancashire and to garner their results” (vol.

1, iii). Here editor William Axon argues for Lancashire’s contemporary relevance, but

this relevance was often bolstered with rhetoric about traditional Lancashire and its

authentically English past, leading some to create false literary genealogies. In arguing

for the importance of the idiomatic language of the people and the literature that captures

it, for example, Waugh draws comparisons between the language and culture of Chaucer

and that of nineteenth-century Lancashire folk: “The language in which the commanding

genius of Chaucer wrought five hundred years ago, and which was the common language

of London in those days, is, even in its most idiomatic part, very much the same as that

used in the country parts of Lancashire at this hour” (Lancashire Sketches 44). The

language of Chaucer, of course, is the language of the South, but Waugh claims it for the

North.19 According to Waugh, due to Norman influence, the South has lost much of its

19
As Wales (2006) points out, the dialect of the Reeve’s Tale is Northern, but Chaucer’s work was written
predominantly in a Southern dialect.

72
traditional Englishness, both in language and culture, while the North has remained

relatively unadulterated. Chaucer is not the only literary luminary called into service; a 22

November 1873 piece in the Manchester Critic explained, “many of the words still in

local use here, though perhaps lost elsewhere, are to be found in Chaucer, Spenser,

Shakespeare, and other authors” (“The Lancashire Dialect”).

Wordsworth, too, is evoked, but as a foil to Lancashire dialect poetry. In his

essay “On the Dialect of Lancashire Considered as a Vehicle of Poetry” (1875),

Manchester Literary Club president George Milner suggests that because the Lancashire

dialect is naturally more expressive than Standard English, it is not only more appropriate

but also superior for use in lyric verse. At a crucial moment in his essay, he proves his

point by translating one of Wordworth’s “Lucy” poems, “She dwelt among th’ untrodden

ways,” into the vernacular, replacing the Latinate difference, with “some simple Celtic or

Saxon root-word which shall carry the idea as in a transparent crystal; not strangle it with

convolutions” (26). In Milner’s translation, Wordsworth’s “But she is in her grave, and,

oh, / The difference to me!” becomes “But hoo’s i’th’ yearth, an’, oh, it’s browt / Another

day to me!” (25-26).20 The Lancashire term hoo, “she,” is a remnant of the Old English

third-person feminine pronoun heo. And while Wordworth’s grave is also derived from

Old English græf, it is commonly used in Standard English. The Lancashire

pronunciation of earth, “yearth,” on the other hand, with its pre-vocalic /j/ sound, marks

the line as distinctly Lancastrian. Milner’s choice of “browt,” the Lancashire

pronunciation of brought serves a similar purpose, with its broad vowel; the Lancashire

20
In a revised version of this essay, published as part of the introduction to Waugh’s Poems and Songs
(1890), Milner translates this line as, “But hoo’s i’th greawnd, an’ oh, it’s browt / Another day to me!”
(xxii).

73
dialect, Milner explains, “is emphatically a broad-chested speech. What are called ‘head-

notes’ are infrequent” (31).

But even more than that, Milner argues, “it’s browt / Another day to me” is a

superior and especially poetic form for expressing loss. To a Lancastrian’s ear, the line

echoes “a simple and expressive Lancashire phrase, which is thus used--‘Ah, th’art weel

off now; but if ever tha loses thi owd mother, it’ll be another day for thee, mi lad!’” (26).

This line especially, Milner suggests, “shows how very near poetic style is to much of our

dialectal homliness” (26). Milner turns Wordsworth’s own argument regarding the

artificial and “corrupt” diction of poetry against him; for Milner, Wordsworth’s diction,

too, “thrust[s] out of sight the plain humanities of nature by a motley masquerade of

tricks, quaintness, hieroglyphics, and enigmas” (Wordsworth 242). According to Milner,

the idiomatic speech of Lancashire folk is closer still to the true language of men and,

therefore, more fitting for modern poetry. In this way, Milner at once claims a space for

Lancashire dialect writers in national literary culture and for Lancashire culture in the

national imagination.

Forays by the Manchester Literary Club in the fields of philology and

lexicography had similar goals. In 1875 the Club published its much-anticipated A

Glossary of the Lancashire Dialect, a nearly three-hundred-page undertaking that was

held in high regard by contemporaries.21 Unlike previous collections of Lancashire

21
In response to a progress report by Nodal, the Manchester Critic wrote: “It appears that the Committee
are anxious to make the collection as comprehensive as possible, and they do not wish to render it a
Dryasdust affair, but a work to interest the general reader, as well as one of value to the scholar. We feel
sure that our readers will be much gratified to know that so valuable a collection has been commenced, and
we can conscientiously say that Mr. Nodal’s report bears internal evidence of diligence, philosophical
method, and fine discrimination, and warrants the anticipation of a contribution to local and general
literature, as acceptable to the scholar as honourable to the compilers and editors” (22 November 1873). A
review in the Salford Chronicle also comments on the Glossary’s style and accuracy, comparing its

74
dialect terms that dealt with only specific areas of Lancashire,22 the Club’s Glossary

attempted to consider the whole of the dialect in one collection. The editors, George

Milner and John H. Nodal, take pains to assure readers of the Glossary’s accuracy and

inclusivity by boasting the Club’s “peculiar facilities for its adequate execution. It not

only numbers amongst its members the chief writers in the dialect, but also residents in,

or representatives from, all parts of the county” (vii). Here, the editors are careful to

include reference to “all parts of the county” so that southeast Lancashire is not assumed

to take precedence, but the statement belies another of their biases, their interest in the

written word. The editors draw their dialectical evidence largely from literary sources,

ranging from the Old English poem “Daniel” (c. 680) to the Middle English “Sir Gawain

and Green Knight” (1360) and Canterbury Tales (1380), to the Early Modern English

works of Spenser and Shakespeare, to the nineteenth-century English of their own Waugh

and Brierley.23

Writers of fiction figure prominently in the editors’ discussion of their

methodology as well: “The illustrations are arranged in chronological order. The passage

from Anglo-Saxon (i.e., First English), Middle English, and modern authors are followed

by examples in the Lancashire dialect from the works of county writers; and when not

obtainable from books an example is given, wherever practicable, of the current

colloquial usage of the word” (ix). Precedence is given to examples from books, and

actual speech is included only when literary examples are not available. The entry for

entertainment value to that of Samuel Johnson’s dictionary and citing “the care and labour which have been
bestowed on this interesting compilation” (11 March 1876).
22
For example, J. P. Morris’s Glossary of Words and Phrases of Furness, John Ashworth’s Words in Use
in Rossendale, and A List of South Lancashire Words, compiled by John Jackson.
23
Waugh especially features prominently in the Glossary’s bibliography with sixteen titles. Samuel
Bamford and Ben Brierley are the next most represented with three titles each.

75
afeard, ‘afraid, frightened, terrified,’ for example, begins with an example from an

Anglo-Saxon version of the Bible, followed by quotations from Hampole, Chaucer,

Lydgate, Spenser, Shakespeare, and Ben Jonson. A parenthetical note regarding Samuel

Johnson’s dictionary follows: “Dr. Johnson (1755) said the word afeard ‘is now

obsolete: the last author whom I have found using it is Sedley.’ He died about 1728”

(5).24 This note is followed by a quotation of dialogue from Dickens’s Little Dorrit, and

finally examples of colloquial use from 1875: “Get on wi’ thee, mon; what arto feard

on?” and “Aw’m noan afeard on thee” (5).

The linguistic evidence slips between literary quotation and lexicographic

authority, which the editors simultaneously challenge, and actual speech.25 Unlike

modern sociolinguists, who go to great lengths to capture actual speech in the field, the

editors of the Glossary do not favor lexical forms gathered in the field over their fictional

counterparts. One reason for this discrepancy in methodologies, of course, is that modern

sociolinguists have the benefit of tape recorders, but more than that, I would suggest, the

Manchester Literary Club wanted to tap into England’s literary tradition, and the written

form of the dialect was one that they could control. Actual speech is messy,

unpredictable, and varying. To complicate matters, the Lancashire dialect, along with all

other dialects of English aside from Standard English, was without a standardized

orthography. The Glossary editors admit that orthography is “one of the chief difficulties

of a glossarist” and explain that “the words have been given, whenever practicable, in the

24
The inclusion of Johnson’s entry is a strategic move. By simultaneously recognizing the influence of
Johnson’s dictionary while providing evidence that contradicts his findings—afread is not “obsolete” it has
simply fallen out of use in Standard English—the editors reinforce the importance of the Manchester
Literary Club’s project; the field of philology suffers if provincial dialects are not considered by
lexicographers.
25
Strand (2006) finds a similar blurring of “the line between literal and literary subjects” in the work of
American dialectologists (129).

76
spelling adopted by the most trustworthy of the county writers, among whom Mr. Edwin

Waugh stands pre-eminent, on account not only of his genius and knowledge, but of his

minute observation and scholarly study of the dialect” (ix). Using Waugh’s orthography

at once gives the editors a certain amount of control of the dialect’s representation and

claims a space for Waugh alongside Chaucer et al in English literary tradition.

Furthermore, such an endorsement not only gives precedence to the written word, it

stamps Waugh’s orthography as representative of “authentic” Lancashire speech. It is,

after all, by “minute observation and scholarly study” that Waugh is able to represent the

dialect in such a “trustworthy” and accurate manner. Waugh could be counted on not

only to record speech accurately, he was trusted to record the appropriate variety of

speech.

Much of the rhetoric surrounding the importance of the Glossary, and indeed the

importance of Waugh and Brierley, reveals an anxiety about standards of purity and

authenticity; it highlights the need to capture a quickly-disappearing “pure” or

“authentic” Lancashire dialect, one spoken by “former generations of the older order”

(Papers of the Manchester Literary Club vol. 16, 459). A review of the Glossary in the

Salford Chronicle is careful to distinguish between what is considered the authentic

dialect of the rural areas and “the insipid smooth talk of every day life of our large

towns.” He explains:

The immigrants from the rural districts to our large centers, failing to

render themselves intelligible to their new neighbours, intercourse on both

sides has to be carried on divested of all words containing delicate shades

of thought, or idiomatic expressions bearing the overflow of humour or

77
 point of wit. Under such unpropitious circumstances the patois26 gets

forgotten, no field being found for its exercise, and the language of the

common people, unless renewed from the resources of literature,

degenerates into a mongrel emasculated lingo serviceable only for the

physical wants of the people. (“The Lancashire Dialect”)

Here the language of the city is described as a sort of pidgin, with the distinctive features

of the Lancashire dialect falling out of use for the sake of intelligibility. Whether or not

the language of the city actually was a pidgin is inconsequential; what matters is that it

was imagined as a “mongrel” speech and came to index industrialization and the factory,

while the speech of the country came to index tradition and the handloom. As Vicinus

points out, “The spoken dialect belonged to the past and to the country in the minds of

many city dwellers who themselves spoke a dialect altered by contact with a wide variety

of class, geographical and occupational accents” (190). Rural speakers of the dialect

were imagined as carriers of the county’s traditional culture and language. In an 1885

testimonial for Ben Brierley, George Milner assured his audience that he was “never

disposed to defend a corrupt or debased form of the Lancashire dialect, but when written

and spoken as it ought to be and still is in some of the secluded valleys, it is not a dialect

to be either despised or ashamed of” (“Mr. Ben Brierley”). Milner’s comments reflect

both the codification and reification of authentic Lancashire dialect; by the 1880s, the

Lancashire dialect, as it “ought to be” spoken had to be sought out in “secluded valleys”.

Not just any variety of Lancashire speech would do. Therefore, in transforming a spoken

26
The reviewer is using patois as it was formerly: “a regional dialect; a variety of language specific to a
particular area, nationality, etc., which is considered to differ from the standard or orthodox version”
(OED).

78
language into a glossary of written words, it is hardly surprising that literary examples

should become the proper image of Lancashire culture.

As Milner suggests, not all speech of past Lancashire was considered equal. Even

the past had to be revised. In the introduction to the 1892 edition of Waugh’s collected

works, Milner described Waugh’s representation of the Lancashire dialect as “the purest

form of Lancashire Folk-speech—much purer, for instance, than that of John Collier,

which was adulterated by importations from Cheshire on the one hand and from

Yorkshire on the other” (xiv). Here, it is not the Norman-tainted speech of the South nor

the “mongrel” speech of the cities, but other Northern varieties of English that are

somehow the adulterating linguistic force. Milner’s definition of the Lancashire dialect is

a narrow one, indeed, and his assertion may come as somewhat as a surprise, for John

Collier (1708-1796), whose pen name was Tim Bobbin, was often referred to as “the

Father of Lancashire dialect writing.” Though Waugh and Brierley are often described as

carrying out the tradition he began--Waugh even devotes several chapters of his

Lancashire Sketches in narrating his search for Collier’s grave--there are fundamental

differences in the authors’ treatment of the Lancashire dialect and culture. In his major

work, “Tummus and Meary” (1746), for example, Collier relies on crude humor, both

violent and sexual, and stereotypes of the comic rural figure. Both the form and content

of Collier’s representation of Lancashire speech was troubling to the Lancashire

advocates; it was neither linguistically nor morally pure. So while Waugh, Brierley, and

their social network relied on the past to bolster their status in the present, they had to

careful about how this past was framed.

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The Uses of Tradition

It is a common trope for Waugh and Brierley to lead their readers into the rural

past. Brierley begins his first “Merriton” story, “The Boggart of Fairy Bridge,” by taking

his readers on a ramble to a village that seems fictional, almost romantic, surely too good

to be true. Yet, Brierley, though he anticipates his readers’ doubts, assures them that

such a village once existed:

Do you know Merriton, reader? Not at all? You shake your head as if

you doubted there being such a place. Oh, well, have your own ‘know,’ as

a Merritonian would have said; call me a dreamer, if you like, but I would

not part with my recollections of what Merriton was thirty years ago for as

much of your flimsy modern philosophy as it were possible to cram

beneath the most capacious of beavers. [...] Yes; give me back Merriton

thirty years ago, and take all my share of modern frippery in return. Take

away my broad cloth, my ‘elastic sides,’ and ‘fast life,’ and restore me my

corduroys, my clogs, my cold turnip, and contentment. (5-6)

Here Brierley speaks of both tangible items and abstractions that represent dichotomously

modern and idyllic Lancashire, the latter holding sway over Brierley’s sensibilities.

Indeed, a ramble in the countryside was more than merely a momentary escape from the

smoke-clogged air of industrial Manchester; it was a means of connecting with the

county’s traditional language and culture. As Vicinus points out, “The traveller-persona

was a necessary intermediary, taking urban readers back to an authentic dialect and a

traditional way of life” (191). We get a glimpse of such a persona in Mary Barton’s

important representative of Lancashire’s culture, Alice Wilson. As a rural immigrant to

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Manchester and a carrier of tradition, she spends entire days “in the fields, gathering wild

herbs for drinks and medicine,” and has “a considerable knowledge of hedge and field

simples” (16). Though, as I point out in the previous chapter, Mary Barton calls out the

name of Job Legh, evoking her ties to her local community of Manchester, there is no

indication that she will carry on the rural traditions so important to Alice Wilson. In the

narrative world of Mary Barton, these traditions die with Alice. Gaskell represents the

mixing of cultures and dialects that took place in industrial Manchester, and shows her

characters’ desire to escape momentarily from the grime of the city; the novel opens with

the Bartons and Wilsons on a country ramble. But the interest in preserving and

protecting rural traditions does not have the presence in Mary Barton that it does in the

narratives of Waugh and Brierley twenty years and more later.

In Waugh’s “Owd Cronies,” which like most of his tales is set in the past,

Christmas Eve 1800, the character of Jone o’ Gavelock27 tells the embedded tale of how

he and his wife instruct King George III and Queen Charlotte on the proper way to make

“porritch” (267). Milner called the tale, which was popularly known as “The Lancashire

Volunteers,” “an inimitable story for public reading” (“Prefatory Note” vi), and it is not

difficult to discern why. Not only is it rendered entirely in the Lancashire dialect, the

most popular style of speech for local public readings, it also valorizes the traditions of

the county. The story validates the wholesomeness of traditional Lancashire cookery and

challenges the notion that London is the cultural center of the nation. Jone does not style-

shift into a London accent, even when quoting the King: “Well, th’ king kept lookin’ at

these childer of ours, an’ he said, ‘I’ll tell tho what, Jone, thou’s a lot o’ th’ finest, fresh-

27
This appellation is likely a reference to the famous Lancashire character “Jone o’ Grinfelt” who appeared
in numerous dialect poems, beginning in 1790s and continuing throughout the nineteenth century. “Jone”
represented the proverbial wise common man and was often evoked as a symbol of protest.

81
colour’t childer ’at ever clapt e’en on. Mine are o’ as yollo’ as marigowds. What dun yo

feed ’em on?’” (267). It could be argued that by having Jone speak exclusively in the

Lancashire dialect Waugh is suggesting a man of Jone’s status would be incapable of

speaking Standard English. However, I would suggest that Jone’s speech can be

interpreted as an example of how the Lancashire dialect, along with its customs, is being

held up as the norm, thereby challenging the hegemony of Standard English and the

South.

Throughout England, Victorians witnessed their language changing, and one of

the most salient differences was often between generations of speakers. Think of the

“studiously narrow” vowels of farmers’ daughters in Eliot’s commentary. Though Mary

Barton and Hetty Sorrel fashion themselves linguistically, with differing results, they are

not represented as disapproving of their parents’ or guardians’ speech. Still one can

hardly imagine Lisbeth Bede instructing Dinah the way in which Brierley’s Margit

Bradley, of his tale “The Bride of Cherry Tree Cottage,” instructs her daughter, Betty, in

childcare. Lisbeth’s speech, especially her repetition of “an’” (and) at the beginning of

phrases, (e.g. “An’ to think as he might ha’ Mary Burge, an’ he took partners, an’ be a

big man wi’ workmen under him [...]” (47).) constructs her as not only of the older

generation, but also uneducated, unsophisticated, and, at times, almost foolish. The

speech of Margit Bradley, in contrast, constructs her character as of the older generation,

but also as wise, knowledgeable, and sharp. In this tale, Southern-influenced conventions

of motherhood are challenged by traditional practices of the rural North. “The Bride,”

Mrs. George Henry Woodpate (neé Betty Bradley) becomes a stranger to her village and

82
parents after marrying the young squire. Her parents finally attempt an uninvited visit

when they discover the birth of their grandson in the paper.

When they arrive at Thistledown Hall they find that their daughter has adopted

the ways of the landed gentry, and she affects Standard English to match her new stilted

formal behavior. Mrs. Woodpate’s constant refrains regarding her parents’ language

during their visit are “how vulgar,” and “how rude.” She attempts to instruct them in

language use, but in the end her parents instruct her in child care, dismissing the wet

nurse and encouraging her to breast feed her sickly child. Her language remains standard

and, to her, her parents’ language remains “rude,” but it carries wisdom: “Thou’s bin too

mich of a lady,” Margit tells her daughter, “If thou be proud, be proud ut thou’rt a

woman—a gradely woman, an’ not a painted buzzart. Poo’ that fine dress off, an’ put a

common un on; an’ when that little craythur’s getten round a bit, as I see he will now, I’ll

show thee how t’ put a clout on; for I dunno’ think thou’s larnt yet” (215). [“You’ve

been too much of a lady. If you’ll be proud, be proud that you are a woman—a decent

woman, and not a painted butterfly. Pull off that fine dress and put on a common one;

and when that little creature comes around, as I see he will now, I’ll show you how to put

a cloth on, for I do not think you’ve learned how yet.”]28 Not only does Margit instruct

her daughter in domestic arts, she does so in an expressive and agile manner. There is

none of the unsophisticated repetition we see in Lisbeth Bede’s speech. Instead we see

28
Here I have provided the Standard English translation for a passage in the Lancashire dialect, as I do in
other places where the dialect is especially difficult for readers to interpret, or in cases where a precise
translation is especially trenchant for my argument. In other places, I have left the Lancashire dialect for
readers to translate themselves, so that they might experience the text without Standard English mediation.
A Glossary of the Lancashire Dialect defines clout as ‘a piece of cloth used for domestic purposes.’ In this
context it is likely a diaper or a cloth for breastfeeding.

83
repetition for rhetorical effect: “If thou be proud, be proud ut thou’rt a woman—a gradely

woman.”

And juxtaposed with the speech of Mr. Woodpate, which is standard but bereft of

wisdom, or even sense, the Lancashire dialect, and its attendant culture, rises even higher

above that of the upper classes. Upon hearing of his son’s “indisposition” Mr. Woodpate

looks alternately “vacant” and “staggered” then stammers, “But, however, my dear, I’m

right glad the young scamp’s all right; and now we’ll have a little fowl for dinner, eh!

father; what say you? I was on the moors early this morning, had some good sport as late

as the season’s got, and now I’m pretty sharp set for a good tuck-out of something.

Nothing like fresh air and exercise for slackening a man’s waistcoat” (219-20). The aptly

named Mr. Woodpate behaves as though he is a distracted child interested in frivolous

pursuits and his speech reflects this with its jumpy prosody and upper-class slang terms.

The language of Brierley’s characters in this tale reflects their values, and those of the

traditional Lancashire folk emerge as superior.

Of course this sort of attack on the upper-classes is not specific to Lancashire

dialect writing; the domestic novel has a long history of valorizing the values of the

middle classes over those of the aristocracy and the gentry. But rather than inscribe

themselves into familiar middle-class narratives, Lancashire dialect writers rewrite the

narratives to highlight the virtues of the Northern working classes. In Reading Popular

Prints Brian Maidment comments on a tale published in Chambers’ Miscellany of Useful

and Entertaining Tracts (1847) called “Women’s Trials in Humble Life – The Story of

Peggy Dickson,” which relays a familiar tale of a young woman who makes a poor

choice in marriage. Poor Peggy Dickson survives the trials of a drunken and abusive

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husband who squanders the resources she brought to the marriage and leaves her a

starving widow. In the end, she is rescued by a wealthy uncle, but as Maidment points

out, “the narrative acknowledges its own fictive closure by pointing out that few readers

will have rich uncles to rescue them from hastily made marriages” (122). This tale might

be read as a working-class version of a familiar middle-class narrative: from Eliza

Heywood’s multiply-retold narratives in the Female Spectator, to Anne Brontë’s The

Tenant of Wildfell Hall, to Charles Dickens’s David Copperfield, the story that instructs

the reader through its heroine’s or hero’s mistakes is one that reoccurs throughout the

eighteenth and nineteenth centuries.

Waugh’s “Besom Ben” stories, which like many of Waugh’s narratives are set in

the rural past, challenge this reoccurring construction. Unlike both the unsavory Mr.

Dickson and the vacuous Mr. Woodpate, Ben feels deeply his connection to his wife and

children and expresses true feeling when hearing of the loss of another’s. Scenes of Ben

doting on his children and enjoying the beauty of his moorland home and garden assure

the reader of his tenderness and caring. One scene, during which Ben, as a prank, has

foolishly sent his donkey Dimple up to the top room of a mill in place of a bag of wool,

begins comically enough, but soon begins to read like a masculine answer to Waugh’s

famous poem, “Come whoam to thi childer an’ me”. This sentimental poem, as I

mention above, was the piece that made Waugh famous, but was criticized by his

contemporaries for not addressing why the errant husband has stayed away so long.29

The scene with Ben and his mill-stranded donkey, seems to potentially answer this

question:

29
cf. Vicinus (Industrial Muse 212).

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 But Ben began to think of the little cottage on Lobden moor, where Betty

and the children were waiting for him; and the thought made him

desperate. [...] And he could hear his children playing about the hearth,

and prattling over their ‘porritch,’ and then crying for their ‘mam’ to let

them stop up till their ‘dad’ came home.30 Ben could not stand this any

longer. It woke up new mettle within him, and for a few minutes broke

the spell that had begun to paralyse his spirits. It was high time to get his

jackass out of the mill, for,—goblins or no goblins,—he durst not go home

without it. (29-30)

Whether or not Waugh was attempting to show the perspective of the husband in this

story, which was published ten years after his famous poem, I cannot say, but the scene

does exemplify a sort of masculinity that was not often associated with the working

classes of the North. In this way, Waugh is constructing a domesticity that is decidedly

masculine. And rather than call it “domestic,” its French origins ringing of the middle-

class South, he chooses a good and solid Anglo-Saxon term, “homely.”

The term homely appears repeatedly in both Waugh’s and Brierley’s dialect

writings and in their surrounding rhetoric. Brierley, for example, speaks of “homely

hospitality” in both “A Day Out” and “Bunk-Ho.” In “The Hermit Cobbler” and “The

Town of Heywood and its Neighbourhood,” Waugh mentions “homely comfort.” An

obituary for Waugh reads, “At that period [the 1850s] the Lancashire dialect was

regarded as uncouth and vulgar, and a form of speech that should be left entirely to the

30
This line especially echoes the language of the poem, specifically the third stanza: “An’ Dick, too, aw’d
sich wark wi’ him, / Afore aw could get him up stairs; / Thae towd him thae’d bring him a drum, / He said,
when he’re sayin’ his prayers; / Then he looked i’ my face, an’ he said, / “Has th’ boggarts taen houd o’ my
dad?” / An’ he cried till his e’en were quite red; - / He likes thee some weel, does yon lad!” (Poems and
Songs 5).

86
“common people.” But Waugh saw in it a rugged beauty and a homely charm which he

thought well worth developing” (“Death of Edwin Waugh”). Another obituary for

Waugh claims that “the poet’s name will be handed down to posterity and remembered as

long as Lancashire can appreciate humour racy of the soil and songs which reveal the

truth and tenderness of homely life” (Papers of the Manchester Literary Club, vol. 16,

462).31 Here we see not only another example of “homely,” not domestic, life, but also

the suggestion that positive attributes, in this case the ever popular humor, are

characteristic, or racy, of the Lancashire soil.

This metonymic link between character and land might be used strategically to

further distance the conceptions of “homely” and “domestic”. Zlotnick (1991) argues

that the distinctive male voice of the dialect tradition silenced working-class women,

refusing to recognize their labor, “in its adherence to the ideology of domesticity” (9).

While it is true that we see little of Betty’s labor in Waugh’s Besom Ben tales—we see

her feeding the hens and stirring the fire but little else—I would suggest that the

obscuring of women’s domestic labor in Lancashire dialect writing has less to do with

adherence to the ideology of domesticity and more to do with the desire to construct a

concept of domesticity that is unique to the county of Lancashire. This sort of

construction is present in the description of Besom Ben’s home, which is infused with

language that suggests he and his wife’s particular domestic, or homely, bliss is

dependent upon their moorland setting:

Nature had fallen in love with it, and she was quietly drawing it into

exquisite harmony with the surrounding scene. The rich hues of the

31
These are just a few examples of the many references to “homely” I came across while researching this
chapter. Other references include: “homely pictures,” “homely things,” “homely language,” “homely
modes of expression,” etc.

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 moorland seemed to have crept over it in subtle tones, deepened and

mellowed by stains of the weather. The lower part of the walls was

cushioned with bright, mossy emerald, and little lichens and tufts of grass

sprouted prettily all round the foundation line, and tiny flowerets peeped

out here and there, even from between the grey stones of those humble

walls,—like angels encamped about the besom-maker’s lonely dwelling.

(196)

Besom Ben’s wife, Betty, is characterized by her domesticity, but it is a domesticity that

is aided and nurtured by the very soil upon which they live, not the culture that, as

Brierley says, they could “give a fig for”.32 Such a construction allows the Lancashire

advocates to disassociate themselves from the middle-classes while still claiming the

respectability that is often associated with that class. It also allows for the additional

construction of a sort of respectability that is not centered around feminine responsibility.

Indeed, in discussions of the virtues of Lancashire tradition, it is the Lancashire man who

is most often called to service; he can both “smooth the pillow of affliction with the

gentleness of a mother” and display acts of “bravery not to be found on a battlefield”

(Brierley, ibid. 206). He usurps the place of guardian of respectability and stands as a

metonym for all that is good in Lancashire.

The Representative Lancashire Man

Such an image of tender yet courageous masculinity could not be more different

from the one constructed by Collier in his character “Tummus.” The bawdy and foolish

32
In his “Some Phases of Lancashire Life” (1890) Brierley contrasts working-class and middle-class
culture, ending with the exclamation, “I say a fig for your culture. Take it into the drawing-room, and
breathe its essence into the ears of the simpering madam whose hardest work is toying with an ugly pet
dog” (206).

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clown was not the image Waugh, Brierley, and their social network were keen to

promote. At a 17 March 1885 meeting of the Manchester Literary Club held in his honor,

as that Saturday’s edition of the Manchester City News reported, Brierley explained, “It

will ever be a source of satisfaction to me to think that in all that I have written I have

striven to rescue the Lancashire character from the erroneous conceptions of Tim

Bobbin” (“Mr. Ben Brierley” 3). The “character” Brierley constructs in his narratives

both reflected and helped create the figure of the “representative Lancashire man,” a

conception evoked repeatedly in the discourse of the Manchester Literary Club as

“authentic” and “typical” as well as “representative.” Each of these terms were key for

the Lancashire advocates: “authentic” connotes a genuineness reminiscent of the rhetoric

around traditional Englishness; “typical” suggests that this ideal model of Lancashire

masculinity is quite common among the county’s men; and “representative” signals the

importance of such a model in standing for all that is traditional and respectable in the

county. For the remainder of the chapter, I will use “representative Lancashire man” to

encapsulate all three conceptions.

Both Waugh and Brierley were described by their social network as representative

Lancashire men, and this designation reflects the vexed relationship the writers had with

both their middle-class supporters and their own personas.33 The middle-class leaders of

the Manchester Literary Club were wont to attribute the writers’ positive qualities to their

nature and their natural surroundings. Brierley’s honesty and unpretentiousness are

evoked in such a way in 1884 by friend J. Fox Turner:

When Owd Ben tells us that his name is Ben Brierley and he comes ‘fra’

Failsworth, the elective baptismal and local affinities all seem to the
33
cf. Vicinus (1984) for a discussion of Waugh’s struggle with his persona.

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 manner born. His name, his ‘nut,’ are redolent of the soil of the County

Palatine; and from the foundations of this world and earlier, when Nature

was arranging the travellers on her circuits, Ben Brierley was allotted to

Failsworth. A thorny quickset hedgy surname that of Brierley—we think

of the hard sloe-trees or the branches of the prickly plum. [...] If a marlock

potter were to take a handful of marl [...] out of the potter’s wheel would

emerge the roughly-rubicund, symmetry-defying lineaments of Owd

Ben—a face nevertheless attractive, because of its simplicity and staunch

loyalty; over which the flitting shadows of simulation or pretence never

play. (qtd. in Papers of the Manchester Literary Club, vol. 22, 490)

Both Brierley’s name and ‘nut’, or core, are infused with characteristics, according to

Fox, unique to the county of Lancashire and in consequence of his being a product of it.

Even his countenance expresses the naturalness and authenticity of the county, with its

freedom from simulation or pretence.

At times, however, the rhetoric of their social network belies the paradox lurking

beneath such representations. Milner, for example, remembers Waugh “affect[ing] huge

sticks, of which he had an immense collection, and he liked to throw a shepherd’s plaid

over his shoulders. [...] He was fond of clothing himself in honest homespun of the

thickest texture, and of wearing huge broad-soled boots, guiltless of polish”

(“Introduction” xxxviii-xxxix). Even Waugh’s clothes were “honest” and “guiltless”, an

extension of his homespun persona. But Milner’s choice of words reveals the

constructedness of Waugh’s persona: he affected huge sticks, liked to throw a shepherd’s

plaid over his shoulders, and was fond of clothing himself in honest homespun. These

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phrases all connote agency on Waugh’s part and a consciousness on both of their parts

that Waugh’s persona was a performance. And therein lies the central paradox: How can

one perform authenticity? The word performance denotes design and repetition, while

authentic denotes nature and originality. Yet Waugh and Brierley were expected to

provide proof of their authenticity, and by extension, the credibility of the Club and the

superior attributes of Lancashire’s working classes.

The site of much of this performance of authenticity was the writers’ speech. It is

worth noting that Fox quotes Brierley as using the dialectal “fra.” Though Waugh and

Brierley often quote themselves as speaking Standard English, their middle-class

supporters often quote them as speaking in the Lancashire dialect. This is not to say that

Waugh and Brierley did not embrace their linguistic roots, for indeed they did, as I

discuss below, but it does provide further evidence of their social network’s influence on

the construction of the representative Lancashire man and the pressure the writers must

have felt to provide both visible and audible proof of their authenticity. As Wales (2006)

points out, the self-made men of the North found themselves in liminal positions;

“between clear social identities” (143). These men ran the double risk of social exclusion

and betrayal of their roots, and this position is reflected in their negotiation of their

linguistic styles; they sometimes represent themselves as speaking Standard English, at

other times Lancashire dialect. It was important for these writers to show that they had a

command of what was considered by the vast majority of the nation as the language of

the educated, Standard English. Yet, their fame and reputation relied heavily on their

ability to represent the Lancashire common man, and their middle-class peers were wont

to characterize them as such. Though, as I will show, Brierley was more comfortable

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with his liminal position and went further in constructing an image of Lancashire that was

relevant for the present, both writers used their speech to tap into the positive image of

traditional Lancashire and fashion themselves linguistically as representative Lancashire

men. As Beetham (2006) points out, Brierley believed self-improvement and a

commitment to the Lancashire dialect were not mutually exclusive, but rather “crucially

linked” (77). Unlike Mrs. Linnaeus Banks’s Jabez Clegg, the protagonist of The

Manchester Man (1876), who “loses” his dialect speech when he transcends his class

status,34 both Brierley and Waugh continued to use and identify with the Lancashire

dialect, albeit not without complication.

In a memorial notice in the Manchester Weekly Times, Waugh is described in

relation to his use of language:

In speaking of Edwin Waugh as a typical Lancashire man we refer to the

undoubted fact that his best work is distinctly and essentially local, both in

substance and form. [...] You could not talk for two minutes with Waugh

without discovering that he was a Lancashire man, and those who were

familiar with the niceties of district distinctions had no difficulty in

guessing the particular part of the county to which he originally belonged.

(Papers of the Manchester Literary Club, vol. 16, 459-60).

Given that one could pinpoint the “particular part of the county” from which Waugh

hailed within two minutes, we might conjecture that Waugh did not adopt Standard

English as his primary dialect or, at the very least, that he did not adopt the metropolitan

standard accent--he hailed from Rochda’ and his speech attested to that. Waugh’s diary,

34
Of course, speakers do not “lose” their dialects, but rather retain them, while learning and adopting new
ones.

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however, reveals his vexed relationship with his hometown, his working-class roots, and

the variety of speech associated with them. The entries tell of Waugh’s engagement with

what might be called high literary culture: his time spent with his Latin grammar;

conversaziones at the Salford Literary and Mechanical Institution; Emerson’s 1847

lectures at the Manchester Athenaum and the “beauty and force of [Emerson’s] language”

(Diary 21). But Waugh writes with equal reverence and admiration about his mother,

who, though she was one of the “poorest,” was also one of the “cleanest and most

industrious women in the land” (32), and about a former handloom weaver who, though

he “could hardly write his own name,” owned a flourishing magazine shop (7).

Perhaps the most telling of entries, however, are those that concern his wife, Mary

Ann (née Hill), from whom he was estranged. During the summer of 1849 Waugh was

living in Manchester and working for the Lancashire Public School Association, while

Mary Ann remained in Rochdale with her family. In an entry dated 22 July 1849, Waugh

recounts an altercation he has with his wife during a visit he makes to Rochdale: “She

demeaned herself towards me with an unfeeling rudeness that turned my stomach, and let

loose her vituperative tongue [“before folk” inserted] in a way that disgusted me, and

filled me with smothered indignation and sorrowful hopelessness” (80). Waugh’s choice

of words here reflects not only his sorrow at his wife’s “unfeeling rudeness” but also a

desire to distance himself linguistically from his roots. His use of the Latinate demeaned

and vituperative followed by “before folk,” inserted and with quotation marks,

distinguishes his hyper-standard language from the colloquial and homely speech that

characterizes Lancashire folk. In a similar entry, dated 2 December 1847, Waugh writes,

“my stomach turned inside out by the unwomanly and [word smudged] conduct of mon

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femme [sic]” (24). This time Waugh chooses the French language to create linguistic

distance between himself and his wife--his use of the ironic “mon femme” to denote her

“unwomanly” conduct is at once acerbic and divisive. It is unlikely that Mary Ann,

whom Waugh derides for having no education and “no wish” for any (32), would have

such terms in her linguistic repertoire. While it is his wife’s conduct that Waugh cites as

the explicit cause of his complaints, the language he chooses to express said complaints--

Latin borrowings and French terms--constructs him as both her social and linguistic

better.

These entries predate Waugh’s success as a dialect writer by almost ten years;

Waugh eventually came to embrace his linguistic heritage, but only after he had

established himself within the literary intelligentsia of Manchester. In Lancashire

Sketches, Waugh quotes himself as style-shifting into the Lancashire dialect when

conversing with the locals, usually when they first do not respond kindly to his Standard

English:

After a fruitless attempt at enlightening him thereon in ordinary English I

took to the dialect, and, in the country fashion, described my genealogy on

the mother’s side. I was instantly comprehended; for he stopped me short

with,—

‘Why, then, aw’ll be sunken iv yo are not gron’son to “Billy wi’ th’ Pipes

at th’ Biggins!”’

‘Yo han it neaw,’ said I. (66)

We might imagine that the middle-class leadership, quite ironically, had a similar

reaction to Waugh’s use of Standard English—they certainly had a lukewarm response to

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Waugh’s Standard-English literary offerings. The Club was keen to have Waugh fit the

mold of the representative Lancashire man, even though he effectively transcended his

class by educating himself—he even learned Latin—and working in highly literate

occupations, as both a compositor and a secretary for the Lancashire Public School

Association. Waugh used his personas strategically, if never completely comfortably, to

afford himself popularity and credibility both on stage during his public readings and

off.35

To perform “representative Lancashire man,” one must choose the appropriate

variety of speech, one marked by masculinity. The gendered binary of the feminine

speech of the South and the middle classes versus the masculine speech of the Northern

working-classes was often evoked by the Lancashire advocates.36 Brierley argued:

The main features of the Lancashire idiom are its ruggedness, and its

contrast with the smooth speech, not always grammatical, nor pointed, of

our drawing-rooms; and to exterminate the character that cherishes it, by

depriving it of the originality that attaches to it, would be a social

misfortune. It is essential to the variety and vitality of civilized life as the

seasons are to the fructification of the earth. (“The Lancashire Dialect.”

409)

Here Brierley contrasts masculine ruggedness of the Lancashire dialect with the

feminized smoothness of Standard English, spoken by the middle classes of the South

and the North. Brierley is careful to anticipate any argument that would frame the

35
Sales of Waugh’s printed works were often fueled by his public performances.
36
One especially interesting paper given at the Manchester Literary Club on 4 March 1878 conjectures that
words “absorbed by the English, to their almost complete exclusion from the French language” are those
that have a “bold, manly character” (Leonard D. Ardill, “Obsolete French Words” 202).

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dichotomy in terms of grammatical correctness, articulateness, or civility; he is quick to

point out that drawing-room speech is not always “grammatically correct, nor pointed”

and ties the Lancashire dialect to “civilized life.” Brierley redefines “proper” speech for

his own use and proves that dialect and civility are not antithetical. Indeed, correct and

proper speech, as defined by Brierley and his social network, is antithetical to “polite”

speech, which is marked as both middle class and effeminate. Later in this lecture,

Brierley suggests that the “strong masculine nature of the dialect helps us to preserve [its]

character; without which I am afraid we might descend to the use of weak-tea English, as

expressionless as the face without its central adornment or a landscape without

mountains” (410). The image of a “simpering madam,” to borrow Brierley’s words, is

conjured here and this characterization was used by the Lancashire advocates to counter

the idea that the Standard English of the middle classes indexed civility and

respectability.

In Waugh’s “Shaving, Please?”, for example, Nice Tommy, “the polite village

barber,” (235) is represented as speaking Standard English exclusively; his name,

occupation and speech all mark him as middle class and effeminate. In this story, it is

Tommy who is the bumbling comic character; he nicks the dialect speaker Tulip’s chin

not once but twice and replies, “Thank you,” to nearly everything, whether it makes good

linguistic sense to or not. For example, when Tulip responds to Tommy’s observation

that “it is some time since I shaved you before, sir!” with “Ay, it is; an’ thou wouldn’t ha’

shaved me now if I could ha’ getten onybody else to do it!” Tommy replies, “Thank

you!...Let me see, aren’t you cousin to the sexton at the old church?” (236). To add insult

to injury, Tulip replies, “Never thee mind whether I am or not!”, to which Tommy’s

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singular reply is, “Thank you!” Tommy’s constant refrain could be read as his failure to

perform “polite” English—he relies on “Thank you” to index politeness, but his results in

his being read as foolish. Tulip’s response to Tommy’s linguistic ineptitude illustrates

this:

“Look at these shoon o’ mine!”

“Yes; they’re a fine pair! Thank you!”

“Ay; but thou’ll give o’er thankin’ me if thou gets a crack with ’em.”

(236).

Later Tulip advises Tommy to mind his work, not his speech: “Let’s have less o’ thi

ornamental talk; an’ get for’ad wi’ thi shavin’. Thou’rt not one o’ thoose chaps that can

manage two jobs at once” (237). It is clear from this exchange that the type of self-

improvement valued by Lancashire men does not involve “improving” one’s speech, at

least not toward Standard English. Waugh’s depiction of Tulip is not without caricature,

however. Tulip’s violent reactions to Tommy’s attempts at conversation, not to mention

his comic name, evoke the familiar clownish portrayals of Lancashire folk in the works

of Tim Bobbin. Though, as Vicinus points out, Waugh “widen[ed] the range of

acceptable subject matter for dialect writing” (The Ambiguities of Self-Help 43), he does

not go as far as Brierley, who uses Lancashire dialect in fresh ways that are relevant for

the present, even though he plays the role of the handloom weaver, a symbol of the past.

Brierley’s negotiation of his linguistic personas was in part played out in the

space of his alter ego, Ab-o’th’-Yate. “Owd Ab,” as he was affectionately called, was a

handloom weaver, like Brierley himself before his foray into literature, whose approach

to issues was meant to reflect the point of view of the working man. Many of Ab’s

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stories were published in Ben Brierley’s Journal and, Beetham points out, “the regular

monologues written in the persona of Ab came to define the Journal and were its most

distinctive and popular feature” (“Ben Brierley’s Journal” 80). Indeed, Ab became so

popular in his own right that some readers did not realize that he and Brierley were one

and the same. The editor of Ab-o’-th’-Yate Sketches and Other Short Stories (1896),

James Dronsfield, remembers an encounter he had with one such reader:

I was much amused some time ago when talking with a man who was

stranger to me, about the merits of Lancashire authors. He was inclined to

be rather critical. He was an admirer he said, of Edwin Waugh’s songs

[...]. He also admired Ben Brierley’s songs [...] but he wound up his

enthusiasm by saying—‘Yo’ may talk abeawt Edwin Waugh and Ben

Brierley! but, for real Lancashire wit and humour, ‘Ab-o’th’-Yate’ bangs

’em boath.’ He was not aware that ‘Owd Ab’ and ‘Ben’ were

synonymous. To place ‘Owd Ab’ at the head of his contemporaries in this

fashion was rather a flattering compliment to Ben Brierley. (vii)

To place ‘Owd Ab’ at the head of his contemporaries is also to place the Lancashire

dialect, and the qualities it indexes, ahead of Standard English. This is a point I will not

belabor here—as I discussed it at length in the previous chapter—but it is important to

note the fundamental difference between narratives published under the name Brierley

and those published under Ab-o’th’-Yate. While Brierley’s stories and sketches are

replete with dialogue in the Lancashire dialect they are narrated in Standard English. In

contrast, the majority of Ab’s narratives are told entirely in the Lancashire dialect.37 As I

37
As Vicinus points out, Ab-o’th’-Yate in Yankeeland is largely narrated in Standard English; only letters
from Ab to his wife are represented in the Lancashire dialect.

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discuss further in a later section, these differences in narration result in disparate images

of Lancashire. Though Waugh’s Besom Ben character and Brierley’s Ab are often

mentioned in concert as representing the authors’ alter egos, only Ab represents the

Lancashire man of the present. Waugh’s Besom Ben stories are set thirty years in the

past—and a rural past to boot—while Ab’s tales are decidedly modern. Ab may be a

handloom weaver—a profession that had died out by the 1850s—but his stories are all set

in the present and his commentaries are germane to contemporary issues concerning the

working-classes of the county.

Defying Literary Tradition

In 1936, when asked if she thought dialect was a drawback, the Lancashire film

star Gracie Fields (1898-1979) replied, “From my own experience—no! I say this with

emphasis, because without my dialect my performances would not be and would never

have been so funny” (qtd. in A Lancashire Garland xxv). Fields adds that she would

“run miles” to see the Music Hall performer George Formby, Senior (1875-1921), whose

“quaint, quivering dialect,” she credits with making him “the successful comedian he

was” (xxvi). Though regional dialects, as I have shown, have expressive qualities that

exceed that of humor, when their positive attributes are considered, the ability of

Northern dialects to bring a smile to an interlocutor’s face is what is commonly offered

up as evidence. “How many Lancashire men,” to again quote Gracie Fields, “going to

London, make friends because people love to hear their dialect?” (xxvi). Dialects, and

Northern varieties especially, seem to have the ability to both humor and comfort

audiences of both insiders and outsiders. Yet, an outsider Fields is not—she is

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Lancastrian. Nevertheless, her assessment of the Lancashire dialect is limited to its

humor and “quaintness.”

Fields’s and subsequent generations are the inheritors of a long-standing

perception of Northern dialects as capable of little else but exciting humor in audiences

that, though not originating in the nineteenth century, was perpetuated, quite ironically,

by that century’s advocates of regional dialects. Even when commending Brierley for his

honest portrayals of Lancashire folk, fellow Failsworth-born writer Sim Schofield falls

back on familiar terms: “He learned from his own personal experience and daily contact

with his class how to depict the quaint ways and droll humour of the hand-loom weavers,

and to give forcible expression to such in their own native tongue and peculiar way”

(emphasis added Papers of the Manchester Literary Club, vol. 22, 505). Brierley himself

falls into a similar pattern in his lecture on the Lancashire dialect, given to the

Manchester Literary Club in 1883. After commenting on the dialect’s “ruggedness,” he

goes on to discuss popular novels and what makes them so:

The most popular of our novels owe their popularity to the dialect

speaking characters. What would Scott’s Antiquary have been with the

quaint philosophizings of Jonathan Oldbuck? [...] How often would we

have re-read the Pickwick Papers of Dickens had it not been for the

presence of the pair of Wellers? How could we have laughed by the way

in travelling with Martin Chuzzlewit, if we had not dropped in to see Mrs.

Gamp and her friends? (“The Lancashire Dialect” 409)

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Here Brierley’s comments support the notion that dialect is the main attraction of many a

narrative, but his comments also reinforce the stereotypes that dialect equates with

quaintness and humour and is spoken only by minor characters.

Yet, as I mention above, Brierley asserts that he has endeavored to thwart

stereotypes in his own work. In his “Some Phases of Lancashire Life”, Brierley ponders

how outsiders have “got it into their heads that the natives of Lancashire are only a

degree removed from brute creation.” “It cannot be,” Brierley continues, “from personal

contact with them, or from any deep study of their character” (205). Indeed, it is likely

that the idea “got into their heads” via persistent caricatures. Brierley would like to

assure the nation that for every fictional clown and brute put forth in pages of literature

there is a factual scholar and civilized man who stands in the flesh. Brierley illustrates

the various ways in which the Lancashire man has improved himself over the years. He

offers as evidence a “number of youths” who “pursued their studies within the sound of

the looms,” and went on to become millowners, a retired superintendent of police, a

Town Councillor; the Thorley family, who became eminent musicians and violin makers;

and John Wolfenden, who “was reputed to be the greatest mathematician of his time”

(208, 209). 38 Brierley quotes the latter at length, further illustrating the importance of

language to Lancashire identity. Wolfenden may have been the greatest mathematician

of his time, but he was also a representative Lancashire man. At the death-bed of the

father of one of his pupils, whom he tutored gratuitously, Wolfenden claims the status of

martyr and saint for the poverty-stricken dying man: “For t’ lift one poor mite of a bein’

more helpless than he wur; to do unto others more than he’d done for him he’s clemmed

38
It is not surprising that Brierley chooses handloom weavers to valorize; as I mention above, Brierley was
a handloom weaver himself, but even more than that the handloom weaver came to represent, as Vicinus
(1975) points out, “all that was valued from the past and was disappearing” (49).

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hissel’ to death. You may turn up your e’en, an’ look shocked; but what I tell yo’s true.

Jo’s bin clemmed to death” (209). Most interesting of Wolfenden’s homily is his use of

the Lancashire dialect word clem, which, as I show in the previous chapter, has a special

resonance. Clem’s effects are twofold: it elevates the man’s starvation to the status of

martyrdom and, as a distinct marker of Lancashire speech, indexes the speaker as a

representative Lancashire man. Wolfenden’s forthrightness, canniness, and tenderness—

he “can smooth the pillow of affliction with the gentleness of a mother” (206)—further

defies negative constructions of Lancashire masculinity.

During his 21 March 1885 testimonial, after denouncing Tim Bobbin, Brierley

defends his characterization of Lancashire folk:

In my literary creations I have not marshalled a lot of dummies before the

public. There is not one that is upholstered—not one in whose

composition the presence of the least stuffing can be detected. (Hear,

hear.) They are men and women as I have know them in life—never been

set up for angels, nor degraded by being posed as bigger fools than can be

found elsewhere. (“Mr. Ben Brierley”)

Here Brierley strategically stresses the hyper-realism of his portrayals. Indeed, it would

hardly do for the Lancashire advocates to have the representation of Lancashire culture

dismissed as artificial. In an 1883 lecture to the Manchester Literary Club Brierley even

goes so far as to claim he is simply “the setter” of his observations of actual Lancashire

speech. “I must beg you to understand,” he explains, “that these sayings are not purely

my own invention” (“The Lancashire Dialect” 404). Conscious that examples taken from

his own narrative works might be construed as fabrications and more exemplary of his

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own creativity than of the wit and wisdom of the Lancashire man, Brierley assures his

audience of Manchester intelligentsia that rural working-class folk of Lancashire are the

true authors of a language so rich in metaphor.

Brierley was keenly aware of the social standing of the Lancashire dialect and its

speakers. As I mention at the close of the previous chapter, the Lancashire dialect was

not as popular with Victorian readers as was Lowland Scots. In his “Goosegrove ‘Penny

Readings,’” published under the pseudonym Sylvanus Sunshine in the November 1871

issue of Ben Brierley’s Journal, Brierley reveals the double standard of placing the Scots

dialect above that of Lancashire. When the town’s new “puritanical” clergyman, the

Reverend Stiltford Priggins, takes charge of the program, “all humorous selections, and

especially the Lancashire pieces were struck out, and very tedious ones substituted”

(294). The Reverend then changes the structure of admission fees, doing away with the

“threepenny” seats because, as Brierley explains, “the snobbery of Goosegrove would not

hear of any intermediate class. The step from themselves to the lower order must be an

abrupt one; so we had sixpenny ‘grands’ and penny ‘commons’” (294). In a final blow to

the local flavor of the readings, the Reverend assigns the position of chairman to “Mayor

Macksarkin,” an Aberdeen man whose taste in entertainment runs in the vein of “strong

national feeling” (294). Brierley quotes the Mayor’s Scots dialect at length; his first

words to the audience are ones condemning the Lancashire dialect:

It has been remarked by many people that I hae met, that on the twa

privous occasions we have had oor muckle o’ the Lancashire dialect. Noo

I may tell ye that I am apoosed to a dialect, an’ mair especially the

Lancasheere; an’ by my ain adveighs the committee hae resoalved to hae

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 no mair dialuctal readings given on this platforum. Iverything must be in

proaper Henglish, sic as is written by our Scoatts, oor Burnses, an’ oor

Shaksperes; mair parteclarly the first twa. The same spirit shall gueide us

in the selaction of the music,—nae ‘Cam hame to thy childer an’ a’;’ ‘The

deil’s i’ this bonnet sae braw;’ nor ither Lancasheere sangs o’ the same ilk;

but we’ll hae sic classical sangs as—

‘Doon i’ the glen by the lown o’ the trees,

Lies o weel-thecket bield, like a bike for the bees.’

and—

‘I coft a stane o’haselock woo’,

To mak’a coat for Johnny o’t.’ (295)

In Brierley’s representation, the Mayor not only disapproves of the Lancashire dialect, he

cites two of Waugh’s most popular songs as the main offenders, “Come Whoam to Thi

Childer an’ Me” [Come Home to Your Children and Me] and “The Dule’s i’ this Bonnet

o’ Mine.” [The Devil’s in this Bonnet of Mine]. The Mayor would rather hear his

countrymen, Scott and Burns, as well as England’s most revered author, Shakespeare,

because of their “proaper Henglish”--while his h-insertion belies his own anxiety about

and deviation from England’s perceived standard. Brierley has one of the “pennies” in

the audience respond to the mayor’s recitation of James Mayne’s “Maggy Maclane”

(1835) and Burns’s “The Cardin’ O’t,” (1795) with the question, “Dun yo’ co’ that

English?” [Do you call that English?] (295). “The sangs are British classics,” the mayor

answers, “an’ every Briton ought to understand his ain language.” Another penny replies,

“Talk gradely, an’ then we con understond yo’,” a fitting response that includes the

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Lancashire dialect term gradely, defined by A Glossary of the Lancashire Dialect as

‘decent, becoming, proper, good, right’. The audience members’ retorts question the

premise that the Scots dialect is in any way better suited to represent Britain than their

own “gradely” Lancashire variety. In this way, Brierley challenges the preference shown

to the Scots dialect and its literature over that of Lancashire. Why, Brierley asks, via his

defiant audience, is Burns any more deserving of national esteem than Lancashire’s own

Waugh?

Following the Scottish portion of the program, the Reverend Stiltford Priggins, a

“Cambridge Scholar,” treats the audience to a Shakespearian reading, “Othello’s

Apology,” his rendition of which could not be more removed from the animated readings

of the likes of Brierley or Waugh, with “his personal bearing being so stiffly precise as to

provoke the suggestion that his movements were regulated by a kind of intellectual clock-

work” (295). Stiltford Priggins’s very name, with its double reference to the formally

pompous, and his “waxy appearance” mark him as a comic character, but when he begins

to recite from Othello, it becomes exceedingly clear that the joke is on him: “Mowest

powtent, gwave, and wevewend Seignyaws. / My vewy nowble and appwoved good

mawstaws [...]” (295). Laden with /r/-/w/ substitution, Priggins’s speech echoes that of

Thackeray’s upper-class “Snobs” (1848), Dickens’s Lord Mutanhead (The Pickwick

Papers 1836-7), and other satirized mouthpieces and imitators of the aristocracy from

Victorian fiction.39

39
The Pickwick Papers, incidentally, was the piece of fiction that first stirred Brierley’s interest in
becoming a writer (Papers of the Manchester Literary Club, vol. 22, 496). While Lord Mutanhead is a
member of the aristocracy, the Rev. Priggins is obviously middle class; his speech marks him as both
ridiculous and pretentious. Raymond Chapman (1994) remarks that by the 1870s such markers of
aristocratic speech had become hallmarks of “middle-class affectation” (173).

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 The recitation’s humor, however, is lost on the middle-class “gloves” in the

audience, who “went into ecstasies of delight” (295). Brierley’s commentary on their

reaction is telling: “They were evidently entering upon a new era of Penny Readings,

since they had been favoured with eloquence so masterly; but whether they were not

more captivated by the gentleman’s hair and whiskers, and to the unlearned ear the

insufferable drawl that had marked his delivery, than they were with his general

interpretation of the great dramatist, may safely be left for less pretentious neighbors to

settle” (295). This particular story reveals the underlying class tensions of the time

between those who paid 6d. and those who paid 1d., whom Brierley steadfastly

considered his true followers. The very obviousness of the satire, however, softens any

danger that his middle-class readers might feel offended; Brierley’s savvy middle-class

readers would not identify with the pretentious “gloves,” who interpret Priggins’

“insufferable drawl” as “masterly eloquence.” Rather, readers of all classes who located

an “authentic” Lancashire in the dialect readings that were so unceremoniously stricken

from the program would identify with their “less pretentious neighbors,” who read the

comic scene accurately. Despite what Brierley ironically calls their “unlearned ears,” the

working-class “pennies” in the audience “appeared for some moments to be held under

the spell of indecision, and seemed to ask each other by their looks as to whether the

reading they had listened to with such extraordinary patience was intended to be

sentimental, pathetic, or comic” (295). After ruminating on the matter, they decide on the

latter and burst into applause, “intermingled with a considerable dash of merriment”

(295). In this way, Brierley portrays the working-class Lancashire folk as astute and

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discerning observers of both the nuances and indexicality of speech and the distinctions

of genre.

As Brierley so boldly argued in that March 1885 meeting of the Manchester

Literary club, his depiction of working-class characters could not be more different from

those of Tim Bobbin (John Collier). In Collier’s Tummus and Meary, as Hollingworth

points out, a great distance is “established between the reader and the narrator Tummus,

who naively reveals his lack of common sense and his gullibility in his dialogue with

Meary” (“The Beginnings of the Regional Novel” 6). As it is clear to both the narrator

and the reader that Priggins’s rendition of Shakespeare is comic, the “pennies” are

aligned with them, rather than distanced from them, as in Collier’s works. The way in

which Collier casts the Lancashire dialect is anything but flattering to Tummus or to

actual speakers of the dialect. “[Tummus’s] use of dialectal language,” Hollingworth

explains, “is one of the devices by which this distance is created. Not only does Tummus

lack common sense, he lacks an intelligible means of communication, and can become

even more pathetically amusing to those who ‘speak much better English’” (6). In

Brierley’s “Goosegrove,” however, the use of the Lancashire dialect brings outsiders

closer to the “pennies” in the audience, as it simultaneously recasts what is thought of as

“much better English.”

Portraying the working classes as prepared to interpret the penny reading as

sentimental or pathetic illustrates that their taste in entertainment goes beyond the

comic—they laugh because the form Priggins’s speech is incongruous with its solemn

content, not because they do not recognize other genres. Brierley’s portrayal further

supports the notion that the Lancashire folk are not accurately represented by the rude

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variety of comedy found in Tim Bobbin, a notion he suggests outright in one of his

lectures to the Manchester Literary Club: “The idea of the adaptability of the dialect to

pathetic description does not appear to have been entertained by our earlier Lancashire

writers. It is certain that Tim Bobbin never attempted it; [...] But since that time the

sentimental has entered much into our social life; and there are now scraps of pathos to be

picked up here and there that, like bits of humour, only require to be arranged in a form

of setting” (“The Lancashire Dialect” 407). Again, Brierley asserts that he is merely the

setter, not the author, of pathetic narrative and dialogue rendered in the Lancashire

dialect; he makes it clear that the Lancashire man is capable of sentimental and pathetic

thought. His words indicate that he is interested in representing contemporary

Lancashire, as he observes it day to day.

For the remainder of this section, I will further explore the way in which Brierley

makes Lancashire tradition and dialect relevant for the present, analyzing both the

content and form of both his and Waugh’s narratives. Though Waugh’s “The Lancashire

Volunteers” and Brierley’s “Ab-o’th’-Yate in London” are similar in that their

intradiegetic narrators are sent to London and report back their experiences to a

Lancashire audience, they differ in remarkable ways. First, as I mention above, Waugh’s

“Owd Cronies,” in which “The Lancashire Volunteers” is embedded, is set in the distant

past, the year 1800. The story is brimming with nostalgia; indeed, the narration begins

not in 1800, but in Lancashire ancient past: “Ancient Lancashire was a comparatively

roadless wild; and its sparse population—scattered about in quaint hamlets and isolated

farm-nooks—were a rough, bold, and independent race, clinging tenaciously to the

language, manners, and traditions of their fore-elders; and despising all the rest of the

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world, of which they knew next to nothing” (196). This hyper-nostalgia plays on the

language of cultural and linguistic purity so important to Waugh and his admirers,

conjuring a time before the invasion of the Normans and their contaminating customs and

language. The actual narrative does not begin until chapter two—the preface and chapter

one are more of a history lesson—and the favorite embedded tale “The Lancashire

Volunteers,” does not appear until chapter eight, the story’s final chapter. The form of

“Owd Cronies” is reminiscent of Chaucer’s Canterbury Tales, with sundry storytellers

exchanging yarns and insults about each other’s abilities at narration, and two of the

chapters boast epigraphs from the father of English literature himself.40 These formal

similarities are matched by the stories’ content; both tales deride and defy pretension in a

comic fashion.

Waugh’s tale, though valorizing of the Northern traditions, still relies on nostalgia

and comedy for effect, while Brierley’s narrative, told in a series of letters from Ab to his

wife, Sarah, takes place in the present and, though quite humorous at times, introduces

the dimension of pathos in making its political statements. In Ab’s fifth letter to his wife,

“Hyde Park. In the Streets. Lost,” his commentary on church music, London’s poor, and

clothing manufacturing constructs him as a representative Lancashire man. Clearly, he is

a shrewd observer of what is deemed beautiful and unjust. Upon witnessing the social set

take a turn around “Rotton Row,” Ab protests:

Would this be gooin’ on if every loom wur stopt, an’ every tool laid by?

[...] that dress ut’s just wiped th’ slutch off th’ nose o’ mi clog has had

tears on it! Aw con see th’ spots neaw, an’ crumbs o’ dry bread han fo’en

40
Chapter seven begins with a stanza from the Tale of Sir Thopas and chapter eight begins with a stanza
from the Cook’s Tale.

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 on it o’er th’ makkin, an’ happen while it wur bein’ woven childer wur

watchin’ for th’ cutmark, so as they could ha’ summat t’ ate when it wur

finished [...]. (71)

[Would this be going on if every loom were stopped, and every tool laid

aside? . . . that dress that has just wiped the dirt off the nose of my clog

has had tears on it! I can see the spots now, and crumbs of dry bread have

fallen on it while it was being made, and perhaps while it was being

woven children were watching for the cutmark, so they might have

something to eat when it was finished. . . .]

There is not the least bit of the comic here, and the imagery of the “finery” wiping the

grime of Ab’s clog is at once poignant, pointed, and elegant.

In Waugh’s “The Lancashire Volunteers,” the North is shown as literally feeding

the nation, but it is done through comic analogy, while Brierley’s Ab depicts the actual

people and the material objects that are both literal and symbolic representations of the

classes. The woman’s dress at once symbolizes her class standing (and corresponding

obliviousness) and the literal workers of the North who constructed it. The clog, a

wooden-soled shoe, is the distinctive symbolic image of the Northern working classes,

but describing the dress as wiping the “slutch” of its nose puts the two material objects in

contact and makes class and regional inequalities tangible. That it is Ab alone that

notices the physical contact speaks to the obliviousness of the women to either the

“slutch” or “tears” or starvation that mark her dress, and Ab’s keen awareness of

economic disparity.

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 Indeed, Ab is so impassioned by the display of feckless frippery in “Rotton Row”

that he doesn’t realize he has begun to express his views aloud. When passers by begin

gathering about him and one exclaims, “Some great man in cog!”, Ab mishears him, not

recognizing the clipping of “incognito” and thinks the man says “in clogs” until he “yerd

it whispered agen by others. What wur th’ meeanin’ on’t aw dunno’ know. They han

sich queer words i’ Lunnon” (72-73). The auditory begin to conjecture as to who the

“great man” might be: “P’waps Tom Carwlyle!” and “Mo’ pwobably John Bwight!”

(73). The humour in this passage is undeniable, but for the Lancashire audience it is at

once humorous and flattering. Again we see the /w/-intrusion that signals humour, this

time in the speech of upper-class Southerners, flattering Lancastrians who are using

“much better English.” Additionally, for Ab, a handloom weaver, to be mistaken for

Thomas Carlyle or John Bright is quite a compliment; the latter is all the more fitting, for

Bright hailed from Rochdale—the birthplace of Waugh—and was instrumental in the

formation of the Anti-Corn Law League. The mistaken designation of Ab as a “great

man in clogs” is an accurate one, then, for though it is unlikely that Bright would have

worn clogs—he owned a mill rather than worked in one—he is still representative of the

North and its interests. One might argue, as I think Brierley does, that Ab, a handloom

weaver, is a better representative of Lancashire, its traditions, language, and its interests;

a great man in clogs, indeed.

Although Waugh, as we have seen, promoted the Lancashire dialect, most of his

stories are mediated by a third-person narrator who narrates in Standard English. A few

of Waugh’s tales are formatted as if they were written for the stage, but, even in these

cases, the stage directions are given in Standard English. In other words, all of Waugh’s

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tales are framed in some way by Standard English, as if Waugh believed that his readers

needed an intermediary who could introduce them to various, nearly forgotten features of

Lancashire’s past. We might ask what difference it makes that Waugh’s Besom Ben is

narrated and Brierley’s Ab narrates himself. Recall Ben’s poignant musings on his wife

and children and their worry over his absence. The third-person extradiegetic narrator

tells us what Ben is feeling rather than allowing Ben to express it in his own words.

A few pages later, we get a glimpse of Ben’s feelings as told by himself, but the mode in

which they are expressed detracts from their poignancy: “Eh dear! eh dear! . . . An’ I

remember him cryin’ . . . Ay, an’ another time . . . An’ our Billy cried . . . An’ our Betty

flote me . . .” (33). We’ve seen that dialect can convey pathos, but what Ben’s rambling

speech conveys, with its frequent ellipses, “Eh, dear o’ me”s, and phrases beginning with

“An’” (and), is that Ben is not terribly articulate. Ben is upset at this point in the

narrative, and his staccato speech is meant to reflect this, but juxtaposed with the

narrator’s sophisticated style it is rendered slightly comic. While the emotional register

of Ben’s speech might evoke pathos, it is not left unmediated to do narrative work on its

own.

Waugh creates an odd disjuncture, whereby the framing narrator seems to live in

the Victorian present with its educated speech, moralisms, and sentimentality, while

Besom Ben lives in a past that lies just beyond the actual experience of living people.

And while Ben lives a simple life, he is still a spokesperson for values most admired by

Waugh’s Victorian readers, rather than by his ostensible contemporaries, who might have

preferred the more ribald “Tummus and Meary.” Like Scott’s novels, Waugh’s short

stories offer a constructed past that reflects the values and concerns of the present.

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 Waugh’s persistent framing of Ben with Standard English narration adds to the

nostalgia of the Besom Ben tales; the narrator acts as a guide for the reader of

Lancashire’s industrial present to a simpler rural past, a time before migration and

universal education changed the linguistic landscape of Lancashire. The reader is,

therefore, distanced from Ben temporally, narratively, and linguistically. Not only do the

narrator and reader know better than Ben--we discern imminent trouble that Ben is blind

to--they use much “better” English. Implicitly, Waugh is able to convey both the

strengths of the family-oriented Ben, and what his readers have lost in a present-day

world that is materially better off but less rooted in its past. Ironically, Waugh’s repeated

preference for a lost countryside highlights the central dilemma faced by every

nineteenth-century dialect writer, namely how to be true to a perceived authentic dialect

drawn from the past while still expressing current values.

Finally, when Ben is given a voice with which to narrate, he shows that he is not

adept at metaphor as, say the representative Lancashire man, and his interlocutor, his

childhood friend Randal, is quick to point this out to him. When Ben explains that

“Sneck wur hearkenin’ at th’ lock-hole; an’ as Billy flounder’t up an’ deawn i’th inside,

like a bloint bull in a wasp-neest”, Randal cries, “Stop, Ben! Not a bull in a wasp-neest.

It wouldn’t howd it, mon” (299). Ben goes on to use the simile of Billy and his wife

stumbling about in the dark “like two rattons [rats] in a pepper-box,” which provokes a

similar response from Randal: “Theer thae art again. Who ever yerd o’ rattons in a

pepper-box?” (300). When Ben becomes frustrated with Randal’s interruptions, he asks

that Randal “Let me get done wi’ my tale, for God’s sake!” Randal complies, but not

without reservation, “Well, on witho, then,” he replies, “an’ blunder at it thi own road”

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(300). Ben’s metaphors are certainly comic in their ridiculousness, but Randal interprets

them as “blunders” and sees fit to correct him.

In contrast to Ben, Brierley’s Ab is capable of wielding a pointed and colorful

metaphor; while in London, for example, he describes care-worn and dust-ridden

working women as looking “as if they’d hired the’rsel’s eaut for mops” (23). Because

Ab narrates himself, absent is the sense that he is incapable of expressive linguistic feats

or elaborate narration. Rather than create distance between character and reader, as

Waugh does with his Besom Ben stories, Brierley puts us in Ab’s shoes, or more

appropriately, his clogs. The reader sometimes understands situations that Ab himself

does not, but, even though Ab runs into his own fair share of trouble, the joke is never

entirely on him. In his letter home, “Eating a Bootjack,” Ab has trouble getting a meal in

a London hotel because he misinterprets the waiter’s suggestion that he consult the “bill

of fare” as a request for payment. Such a miscommunication is, of course, a source of

humor. But alongside this humor is a strong pride in Lancashire culture and values. The

waiter is as unfamiliar with “frog-i’th’-holes” [beef dumplings] as Ab is with the bill of

fare. Later in the letter, Ab is made the source of fun by two Londoners and the hotel

waiter because he is not familiar with claret, champagne, and ice cream. These items are

all imports from the continent and are not only unknown to the working classes of

Lancashire but also unimportant to them. Ab’s letters home place emphasis on what is

valued in the North rather than poke fun at provincial ignorance.

Brierley, perhaps less ambitious than Waugh, succeeds in the difficult art of

constructing a complex, modern dialect speaker. Not only able to narrate his own tales,

Ab is also able to represent characters’ voices in different dialects, including Standard

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English, proving that he was in command of that nationally important dialect, but not

giving it precedence over his native tongue. Ab’s relationship to the Lancashire dialect is

illustrated during his visit to London, where he encounters a Lancashire friend, Sam,

whose amorous designs on a London lady lead him to masquerade as a well-to-do soldier,

complete with Standard English speech. In “Going to the Play,” Sam convinces Ab, too,

to pass himself off as a soldier, a “Lieutenant Abrams,” so that he might accompany the

young lady’s chaperone-aunt to the theater, and, though Ab complies, he is

uncomfortable with ruse, clothes, speech, and all. When Ab sees himself dressed in

finery, he explains that

aw couldno’ talk gradely Lancashire English if aw’d bin punced to it!

After aw’d squozzen mi feet into a pair o’ boots ut aw could see mi face

in, aw coe’d misel’ finished off, an’ aw looked at mi poor owd clogs ut

hung the’r ears so mournful i’th’ corner, like two owd friends ut one’s

getten too preaud to spake to, an’ aw gan way to three or four tears. (85)

[I could not talk proper Lancashire English if I had been kicked into doing

it! After I had squeezed my feet into a pair of boots in which I could see

my face, I called myself finished off, and I looked at my poor old clogs

that hung their ears so mournfully in the corner, like two old friends to

whom one’s become too proud to speak, and I gave way to three or four

tears.]

Here Ab comments on the relationship between his clothes and language and his identity;

seeing himself dressed as a swell momentarily inhibits his ability to speak “gradely.”

This realization, coupled with the sight of his clogs, personified to represent his

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Lancashire speech community, brings tears to his eyes. Ab soon recovers, however, and

during dinner with the young lady and her aunt--though Sam “began a-talkin’ as fine as a

pa’son”--Ab regains his Lancashire speech (88). When asked what he’d like from the

table, Ab replies, “Aw’d as lief have a buttercake an’ a scallion as owt. If yo’n no

scallions, a two-thre o’ thoose t’other yarbs ’ud do as weel” (91). His response that he’d

take a few herbs if they had no spring onions causes some confusion, and Sam must

ameliorate the situation in terms fashionable Londoners will understand. Ab narrates:

Th’ owd lady begged mi pardon again, an’ aw forgan her a second time.

Then Sam put his motty in an’ said--

[The old lady begged my pardon again, and I forgave her a second time.

Then Sam put his word in and said--]

“My gallant friend has been so much in contact with the enemy,

that his language has become tainted with their’s. That is the reason you

don’t understand him. Scallion is Abyssinian for love, and yarbs is the

native word for dear. I told you that Lieutenant Abrams was well up in

matters of gallantry, as you’ll find before he leaves for his seat in

Lancashire.” (91-92)

Of course, scallion and yarbs are English words, borrowed from Anglo-French during the

Middle English period. The joke here is on the London ladies, who do not recognize their

own language. My point here is not that the London ladies would necessarily recognize

both words as part of Standard English, for only the former, scallion, was still in

mainstream use by the nineteenth century. What I am suggesting is that Brierley is taking

to task those who know only Standard English, the people of that same ilk George Eliot

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chastises in her 1872 letter to philologist Walter William Skeat. Of those who might balk

at her heavy use of the Derbyshire dialect in Adam Bede she writes: “one is not bound to

respect the lazy obtuseness or snobbish ignorance of people who do not care to know

more of their native tongue than the vocabulary of the drawing-room and the newspaper”

(qtd. in Skeat viii). Through his alter-ego, Brierley not only broadens the uses of

Lancashire dialect to include pathos and sentimentality, he effectively challenges the

superiority of Standard English and the class and region it represents and valorizes the

speech and character of the Lancashire man.

While the Lancashire dialect had the benefit of philology, not to mention the

Manchester Literary Club, to aid in its legitimization, the Cockney dialect of London had

no such support. In the following chapter, I explore the representation of the Cockney

dialect in Dickens’s Pickwick Papers (1836-37). Comedy is central to Pickwick Papers,

as it is the Cockney stereotype. However, as I will show, the character of Sam Weller,

Pickwick’s Cockney hero, stands apart from the usual depictions of working-class

Londoners in 1830s literature.

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 Chapter 3

“Some Write Well, But He Writes Weller”:

Pickwick Papers and the New Cockney

Who caus’d the smiles of rich and poor?

Who made a hit so slow, but sure?
And rose the worth of literature?
Sam Weller.
--“Sam Weller’s Adventures!”, from
The London Singer’s Magazine (1838-9)

In his 1912 study of Cockney life, the novelist Edwin Pugh (1874-1939)

transcribes a conversation he claims to have overheard outside an inn in the London

suburbs between “an aged gaffer” from Lancashire and “the average Cockney.” “You

poor Cockneys don’t know what it is to have a home, you don’t,” the Lancashire man

explains, “You haven’t got what I call any proper pride in your birthplace” (72). The

Cockney’s lack of “proper pride” in his birthplace seems pitiable to the Lancashire man

whose regional pride so strongly informs his identity: “You’d as lief be born in

Houndsditch as Camden Town” (72), he tells the Cockney, using the Lancashire dialect

word lief,41 though he has lived in London since his youth. “And as for sticking up for

Camberwell,” he continues, “say, against Peckham, as a Salford man could stick up for

Salford against Owdham...! Fact is, as I said afore, you don’t know what it is to have a

home” (72). The aged gaffer’s ties to Lancashire, or more specifically, Salford, though

attenuated, are still manifest in his point of view and in his speech. The “poor Cockney,”

on the other hand, has no such ties: “’Ome!,” he exclaims, “Did you say ‘’ome’? I’ve

41
lief, adv. soon, in the sense of willinging or preferably. A Glossary of the Lancashire Dialect (1875).

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had forty bloomin’ ’omes” (73). For him, “’ome” is wherever he hangs his hat, and as for

his birthplace, he claims he was born in “Little ’Ell, Somers Town. Maxim Street, I

think” (73), yet Little Hell and Somerstown are separate boroughs, located in different

areas of the city. Not only is the Cockney not able to “stick up for” his home borough,

he’s not even sure where it is. He places little importance on the place of his birth, and

though his h deletion marks him as hailing from London, it does not carry the same

meaning, the same cultural capital as the Lancashire man’s use of lief.

As we have seen, dialect could be quite useful for authors and readers in helping

them cope with their rapidly changing social and linguistic environments. In Lancashire,

rural varieties of the dialect—those sought out and captured in “secluded valleys”—were

codified in the pages of literature, where they helped Lancastirans make sense of their

industrial present. In Mary Barton and Adam Bede, the Lancashire and Derbyshire

dialects lend themselves to be used not only for character development but also for

narrative structure. In these novels we see the power of the idea of the authentic speaker

at work; the former novel’s Job Legh and the latter’s Mrs. Poyser emerge as major

figures and act as the novels’ moral centers; their use of their respective region’s

traditional dialect not only lends them authenticity but also conjures for readers an ideal

rural past, unsullied by industrialization and the railways. While the countryside was

being transformed by the growth of industrial towns and devoured by the “Great Land

Serpent,” the railways, London was experiencing its own radical changes. Between the

years of 1800 and 1850, for example, London’s population doubled, while its streets

experienced the chaos of incessant demolition and construction. Though, as Raymond

Williams has shown, each generation has its own idea of “Old England” and what decade

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was marked by the most radical of changes, the 1830s stands out as one especially

fraught with change. The success of the Liverpool and Manchester Railway (1830)

sparked a twenty-year boom in railway construction that effectively changed the way

goods were transported and how people traveled. In London the railways increased the

already rapid and dramatic changes to the city’s population and landscape. But could

Londoners draw on the sources of dialect to make sense of their changing world the way

that residents of the provinces could? And, if so, which dialects would they call to

service? Certainly not the much-maligned Cockney dialect.42 Or so it would seem.

While Dickens is perhaps the uncontested master of capturing voices, and

especially those of Londoners, those voices are for the most part neither rural nor

“authentic.” Indeed, Dickens is best known for his representation of urban speech of

London, from the malapropisms of Mrs. Gamp and the “flash” cockneyisms of the Artful

Dodger to the failed attempts at genteel speech of the Micawbers. And though his work

as a parliamentary reporter (1828-33) honed his already keen ear for voices, most critics

agree that Dickens was more interested in characterization than he was in philology. This

is not say, however, that Dickens was wholly uninterested in regional and social variation

or in accuracy. While I wouldn’t go so far as to call Dickens a “sociolinguist,” as Patricia

Poussa (1999) does, I find that Q. D. Leavis’s (1970) remark about Dickens’s “artificial

use of dialect” goes too far in the opposite direction (116). Dickens may not have written

treatises or lectured on the expressiveness and legitimacy of the regional and social

dialects he represented, or contributed to the English Dialect Dictionary—he didn’t even

42
Scholars, most notably Richard W. Bailey (1996) and Lynda Mugglestone (2003), have shown just how
stigmatized linguistic features affiliated with Cockney speech became in nineteenth-century Britain. Even
more so than speakers of provincial varieties, who might be forgiven for their ignorance of the metropolitan
standard, speakers of the Cockney dialect were viewed as “slovenly” and “vulgar,” unwilling or unable to
learn “correct” and “proper” English.

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employ etymological footnotes, as did Gaskell—but he did understand the social

indexicality of speech and, as we shall see, transformed how readers approached the

Cockney character and dialect.

By June 1836, when Dickens was writing the fourth number of The Posthumous

Papers of the Pickwick Club (April 1836 - November 1837), he was able to express his

dismay at the demise of “the celebrated coaches” and the old inns that once served as

their headquarters, “but which have now degenerated into little more than the abiding and

booking places of country wagons” (90; no. 4, ch. 10). Dickens sets Pickwick less than a

decade in the past—the action of the narrative takes place between May 1827 and

October 1828—but the narrator, with the nostalgia of only nine years, describes the inns

as “ancient hostelries” that must be sought out in “obscurer quarters” and in “secluded

nooks,” where “some half dozen […] have preserved their external features unchanged,”

having “escaped alike the rage for public improvement, and the encroachments of private

speculation” (90; no. 4, ch. 10). Although Dickens indulges in the kind of social

criticism abundant in his later novels in The Pickwick Papers, especially in the form of

satirizing the legal system, the novel is more heavily steeped in nostalgia than it is in

critique, as it harkens back to a simpler, more innocent time, or one that was imagined as

such. The language of the above passage, for example, echoes that used by the

Lancashire advocates in describing the “secluded valleys” in which provincial dialects

were sought out, the inns “still standing with a kind of gloomy sturdiness, amidst the

modern innovations which surround them” (90; no. 4, ch. 10). Set in a time before the

railways made coaches and the inns that served them obsolete, the world of Pickwick can

depict the White Hart Inn as marked by a kind of bustling activity. And when we

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encounter the novel’s most popular character, Mr. Sam Weller, in the courtyard of the

White Hart early on that July morning in 1827, he is busy shining boots for the inn’s

many guests.

Sam, not only the most popular but also the most voluble character in the novel, is

not a speaker of a dying rural dialect but rather a modern urban variety of English,

Cockney, and he is not so much wise as he is a wisecracker. To the chambermaid’s

request, for example, “Number twenty-two wants his boots,” Sam replies, “Ask number

twenty-two, vether he’ll have ’em now, or vait till he gets ’em” (91; no. 4, ch. 10). As I

will discuss in Part III, the multitude of jest books published under his name attests to

Sam’s comedic popularity.43 But Sam was far more than a mere “stand-up comedian,” as

Patricia Ingham (2008) characterizes him (“The Language of Dickens” 129). With Sam,

Dickens gives the figure of the Cockney, and the variety of speech associated with him, a

kind of knowingness that was particularly appealing to his readers in the 1830s. Sam

marks a transition in the social meaning of Cockney character and Cockney speech.

Before Sam Weller, literary Cockneys were typically those bumbling London

sportsmen of so many caricatures who blundered their way into the countryside, aiming

their rifles at cats and crows. The objects of ridicule from both country folk and the

bourgeoisie of the metropolis, these tradesmen turned sportsmen were depicted as out of

their geographical and cultural element. Sam, with his physical, mental, and verbal

dexterity, couldn’t be more different from these maladroit and dimwitted city folk. In

fact, in one of the many Pickwick plagiarisms, The Pickwick Comic Almanack (1838),

Sam makes the Cockney sportsman the butt of one of his humorous aphorisms: “‘I should

43
For example: Sam Weller. A Journal of Wit and Humour (1837); Sam Weller’s Scrap Sheet (1837); Sam
Weller’s Pickwick Jest-Book (1838); The Pickwick Comic Almanack: Containing Sam Weller’s Diary of
Fun and Pastime (1838); Sam Weller’s Budget of Recitations (1838).

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think not, Sir,’ said Sam, ‘as the Chaffinch said to the Cockney Sportsman, that fired

three times without hitting on him’” (5).

In the early part of the nineteenth century, writers and illustrators alike found a

profitable vein of representing a two-dimensional Cockney figure. Dickens, still finding

his way at the start of his writing career, tried his hand at sketching a different variety, yet

still rather flat, Cockney character in his series of essays for London periodicals, later

bound as Sketches by ‘Boz’ (1836). At least one reviewer of Sketches felt the “fault of the

book is the caricature of Cockneyism, of which there is too much. This broad, common-

place sort of thing is unworthy of the author, whose best powers are exercised obviously

with great facility on the less hacknied subjects. He shows his strength in bringing out

the meaning and interest of objects which would altogether escape the observation of

ordinary minds” (Examiner, 28 February 1836). Boz’s Cockneys are not the sportsmen

of so many engravings but rather the working people of London--the cab-drivers and cads

who abuse their customers, the charwomen who quarrel in the middle of the street, or the

laborers who find recreation only in fighting and “leaning against posts” (“Omnibuses,”

“The Last Cab-Driver,” “Seven Dials”). Readers would have recognized their “types”

from, for example, George Cruikshank’s Scraps and Sketches (1828-32) and My Sketch

Book (1834-6), and Robert Seymour’s Humorous Sketches (1834-6). Such types are the

object of Boz’s observations and the source of readers’ amusement only; they do not

emerge as the subjects of their own narratives and therefore remain caricatures.

Sam Weller, on the other hand, emerges as not only a round character but also, as

many would argue, Pickwick’s hero. Later in the century, Sam’s canny Cockney

becomes its own stereotype in the figure of the late-nineteenth-century music-hall

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Cockney, but prior to this codification of characteristics, we might view Sam as anything

but the “common-place sort of thing” of so many caricatures. On the contrary, Dickens

reveals a “meaning and interest” in his Cockney character that was new to the pages of

literature. And this is Dickens’s achievement. Dickens may not be entirely accurate in

his representation of Cockney speech, but he gives Cockney its linguistic character for

the next hundred years. While critics tend to point to the ways in which Pickwick looks

back to a pre-Railway past or emphasize its universal appeal,44 I would like to examine

the ways in which the novel is Janus-faced--engaged in looking both forward and back--

and ways in which Sam’s character is particularly English. Monod (1968) calls the

creation of Sam’s character “Dickens’ greatest triumph in Pickwick” and considers Sam

“one of the undying figures of literature” (111; 114). He attributes Sam’s longevity to his

“universal” appeal: he suggests that Sam’s and his father Tony’s attitude is that of “happy

human beings who have never learned doubt” and that that attitude “certainly belongs to

the cockney,” but also to the Parisian gavroche or titi, and “in fact, to every time and

country” (112). Although a wide appeal is part of what keeps audiences laughing, I

would like to nuance and particularize Sam’s contribution rather than generalize it. The

character of Sam Weller is particularly attractive to readers fascinated by and fond of

urban life. And while Dickens’s Sam is in some ways indebted to Shakespeare’s Falstaff

and Cervantes’s Sancho Panza-- many a critic has drawn the latter comparison--Sam’s

particular kind of knowingness is not universal and timeless but rather particularly

44
For example, some argue that the novel owes much to the comedic works of the eighteenth century and
view it either as its “culmination” (Henkle 117) or as a sanitized version of the more bawdy scenes of
Fielding, Smollett, or Sterne (Marcus 1965; 22-24). Frederick Karl (1964) argues that Pickwick is nostalgic
for “picturesque open roads, amiable villages uncontaminated by smoke, rocking coaches not yet in
competition with railroads,” an England that is both “pre-industrial” and “asexual” (115). A.E. Dyson
describes the novel as “idyllic” and “timeless” (18).

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English, working class, and Victorian. This chapter examines how Dickens

accomplished this feat. Part I traces the origins of Pickwick and argues that for a novel so

ostensibly steeped in nostalgia it is remarkably forward looking. Part II examines the

Cockney character and the Cockney dialect in early-nineteenth-century Britain and

argues that Sam is Pickwick’s Cockney hero. Part III explores the afterlife of Sam

Weller, just how and why Sam takes on a life of his own beyond the pages of Pickwick.

From Hapless Comic to Knowing Educator: The Evolution of Pickwick

Unlike Dickens’s other novels, The Pickwick Papers was not developed from the

writer’s own ideas, but rather was initiated by illustrator Robert Seymour (1798-1836),

who needed a humorous text to accompany his caricatures of Cockney sportsmen, or

“Nimrod Club.” However, Dickens’s text soon outshone its accompanying illustrations:

the first number contained four etchings and twenty-four pages of text, but subsequent

numbers featured only two etchings and thirty-two pages of text. Some attribute

Seymour’s suicide (after completing numbers I and II) in part to his being eclipsed by

this young writer’s “commentary.” Dickens was not keen to contribute to the genre, as

he explains in the Preface to the 1867 edition of Pickwick: “I objected, on consideration,

[…] that the idea [caricaturing Cockney sportsmen] was not novel, and had been already

much used” (763). Indeed, readers for nearly two decades had enjoyed these figures of

fun, such as Mr. Jonquil and his friend Jay, the subjects of a verse narrative,

“embellished” with sixteen hand-colored engravings, called The Cockney Sportsmen

(1822). This pair of “cockneys, one day, / From Barbican went out a sporting,” which

includes mistaking a cat for a hare, as well as shooting at various farm animals and, most

embarrassingly, a weathervane. They nearly drown in a ditch, are chased by a farmer,

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and tossed about by a bull, before “hobbling” back to town. The closing stanza of the

final vignette serves as both a joke for more genteel readers and as a caution to would-be

nimrods: “After all their disasters, / They find they want plasters, / To cure all their

bruises and pains; / But the doctor with pill, / And his most profound skill, / Will never

recover their brains.”

The adventures of the witless Jonquil and Jay sold for 1s 6d in 1822. In the

following decade, Seymour would find success with 3d plates depicting discrete scenes

of Cockney life, sporting and social caricatures mocking their failed attempts at gentility.

When these plates were reprinted in volume form in 1841, the commentary of

“Crowquill,” Alfred Henry Forrester (1804-72), accompanied them, but from 1834 to

1836, the plates had only short captions: for example, a sportsman assures a frightened

farmer, “You needn’t be afeared Sir, I aint a haming at you,” or a dustman informs a

group of belligerent crossing-sweeper, “I shant fight with fistesses its wulgar; but if he’s

a mind for any thing like a gemman, heres my card!!!” I will address the representation

of Cockney speech in Part II of this chapter; here I would just like to give the reader a

sense of the type of caricatures Seymour was known for: images of Cockneys who are

out of their social and geographical element.

When Chapman and Hall approached Dickens to write the text for Seymour’s

latest series of Cockney misadventures in late March 1836, another Nimrod club of sorts

was already circulating in the periodical press: that of Robert Surtees’s Jorrocks's Jaunts

and Jollities, a series of stories published in the New Sporting Magazine from July 1831

through September 1834.45 The original of Surtees’s text was accompanied by color

45
Full title: Jorrocks's Jaunts and Jollities: The Hunting, Shooting, Racing, Driving, Sailing, Eccentric,
and Extravagant Exploits of that Renowned Sporting Citizen, Mr. John Jorrocks.

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plates by Phiz (Hablôt K. Brown) but the illustrations of Henry Aiken and W. Heath also

accompanied later editions. Unlike gentlemanly Pickwick, the hero of Surtees’s

adventures, John Jorrocks, is a London grocer, a “cit,” as Surtees refers to him, who like

other “smoke-dried cits, pent up all the week, […] fly from their shops to enjoy a day’s

sport on a Saturday” (2-3).46 Edward Wagenknecht goes so far as to characterize

Jorrocks as “a savage compared to Pickwick” (199). One of the key aspects that

distinguishes Pickwick from Jorrocks is language; the former is represented as speaking a

studied kind of Standard English, while the latter speaks a free and easy sort of Cockney

dialect. In this regard Jorrocks more closely resembles Sam Weller but, as we shall see,

Sam is in a class all his own and his character moves Pickwick away from the sporting

club genre. The only remnant of that genre to survive in Pickwick is Mr. Winkle, yet

even he is more gentleman than shopkeeper, the son of a wealthy Birmingham man of

industry. Winkle is certainly not the novel’s hero; Dickens eventually gives Winkle his

own romance plot, but in the early numbers the Winkle episodes seem forced. Indeed,

Dickens readily concedes that he “put in Mr Winkle expressly for the use of Mr

Seymour” (764).

As the young writer developed his craft, he became increasingly uninterested in

treading well-covered ground, and it would seem that audiences were not keen to tread it

with him--sales of Pickwick’s first number were short of the desired mark, so circulation

was cut from 1,000 copies to 500 copies between the first and second numbers. Sales

increased only after the introduction of Sam Weller in the fourth number, increasing

steadily from 14,000 copies for Number 7 to 29,000 by Number 18, and reaching 40,000

46
OED: cit: 1. a. Short for citizen; usually applied, more or less contemptuously, to a townsman or
‘cockney’ as distinguished from a countryman, or to a tradesman or shopkeeper as distinguished from a
gentleman; Johnson says ‘A pert low townsman; a pragmatical trader’.

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for Numbers 19 and 20. With the character of Sam Weller, Dickens had touched a

responsive chord in his readers: whereas the comedy of the sporting figures rests in their

haplessness, the comedy of Sam Weller rests in his knowingness. Walter Dexter and

J.W.T. Ley (1936) credit a 9 July 1836 review of Number 4 in the Literary Gazette for

saving Pickwick, explaining that “it was the first paper to recognize Sam Weller as a

force to reckon with” and to quote the character at length (80). In their review of Number

4, for example, the Literary Gazette reprints the scene where readers are introduced to

Sam at the White Hart.

Reviews of subsequent numbers repeat this practice: the 13 August 1836 review

of Number 5 reprints Sam’s election tale, even after first recommending the “Bagman’s

Story” to readers, and the review of Number 6 reprints one of Sam’s soon-to-be famous

Wellerisms, “He wants you partickler; and no one else’ll do, as the Devil’s private

secretary said, ven he fetched avay Doctor Faustus” (147; no. 6, ch. 15), as well as Sam’s

description to Pickwick of lower-class London, a passage I will discuss at length in the

following section. “We hope Boz will stick to Mr. Weller,” remarks the reviewer,

“whose facetious character he is working out very humorously” (10 Sept 1836). At last,

in their review of Number 8, the Literary Gazette reprints a portion of Pickwick not

containing any reference to Mr. Weller, “The Old Man’s Tale About the Queer Client,”

from Chapter 21. Immediately after this excerpt, however, the reviewer writes, “But we

must add a little of our favourite character, Sam Weller; he is going along Whitechapel”

(12 Nov 1836). Readers are then treated to not one but two scenes featuring Sam, the

second being the humorous dialogue between him and his father about “widders” that

takes place in Chapter 23.

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 Kathleen Tillotson (1957) suggests that Dickens decided to develop the character

of Sam Weller in response to both the surge in sales and the recommendation of William

Jerdan to “develop” his character “to the utmost” (66). Whatever Dickens’s reasons, the

result is a character that outshone Pickwick’s eponymous hero and who captivated a

nation. Contemporary reviews differ somewhat in their estimation of Boz’s skills at

drawing his characters; some consider them “caricatures”--even Pickwick and Sam--

while others find the pair to be “truly excellent characters.”47 Most agree, however, that

Sam is the highlight of the novel if not its “preeminent achievement,” as John Forster

asserts in The Life of Charles Dickens (1872). It is Pickwick and the other members of

his club--Tracy Tupman, the Lothario, Augustus Snodgrass, the poet, and Nathaniel

Winkle, the would-be sportsman--who provide the physical humor; who fall victim to

pitfalls and pratfalls. Sam, on the other hand, is shrewdly aware of his surroundings; it is

the canny Cockney that steers the Pickwickians clear of trouble and sets things to rights

when they go awry.

In regard to character interiority, Pickwick certainly trumps Weller--we seldom

hear Sam’s thoughts, whereas we are often privy to Pickwick’s--and yet Sam still

manages to emerge as the most memorable and most loved character in the novel. In a

glowing review of Numbers 1-12 in the Eclectic Review, for example, it is not Pickwick’s

47
An April 1840 review in Fraser’s Magazine describes Pickwick as “a mere butt for caricature,” while
Sam, and Jingle, are described as “given only caricature parts to play.” In his July 1837 review for the
London and Westminster Review, Charles Buller finds the characters “so vaguely drawn, that they can
hardly be said to have any character at all.” In contrast, Thomas Henry Lister, writing for the Edinburgh
Review, describes Pickwick and Sam as “truly excellent characters,” whereas their companions have
“peculiarities rather than characters” (October 1838). The April 1837 Eclectic Review is perhaps most
generous, calling many of the characters “master-pieces,” and reserving for the Sam the title of “prime
character of the whole book,” both “admirably conceived” and “admirably sustained” (342). Yet the
reviewer still finds Pickwick’s companions--Tupman, Winkle, and Snodgrass--to be interchangeable, and
Pickwick himself to be inconsistent (343).

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trouble with Mrs. Bardell and his fate after the trial that concerns the reviewer, but rather

Sam’s romance plot:

We know not what may be the fate reserved for honest Sam, in the

remaining eight numbers, which are to complete the work, but we trust it

will be such as to keep up the interest with which he inspires the reader.

[...] A crisis is evidently coming in Sam’s fate, for he has just fallen in

love with a good-looking well-behaved servant-maid at Mr. Nupkins’s,

and has actually dispatched his first valentine to her. What may be the

result it is impossible to say, for that which turned the brain of Soloman

cannot be without danger to that of Sam Weller. (342)

It is the character of Sam that inspires, and even though we readers are treated to very

little of Sam’s romance plot, it is that which preoccupies this reviewer. Number 12,

issued in March of 1837, and the part undoubtedly foremost on this reviewer’s mind,

contains Chapters 32 and 33--the highlights of each are Sam composing his valentine and

the trial of Bardell v. Pickwick respectively--and so it would be expected that Sam’s fate

might also be foremost in his mind, but why not that of Pickwick also? The reviewer

makes no mention of Pickwick’s fate whatsoever, and the excerpt reprinted from Chapter

33 is Sam’s testimony, for as the reviewer explains, “The next and last scene must be

from Sam’s evidence in a court of justice” (351). Whereas Sam’s evidence, as well as his

dialogue with his father while composing his valentine, are excerpted in their entirety,

and he is lauded for his shrewdness, Pickwick’s “Note Book” gets no such attention--the

reviewer finds its frequent mention in Pickwick “a nuisance” (343)--and Pickwick is

criticized for being “weak-minded” (344). It is not my intention to pit the two against

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each other à la Weller v. Pickwick, but I would like to suggest, that Sam’s knowingness

was more attractive to contemporary readers, as it is to us, than Pickwick’s naiveté.

Moreover, through the character of Sam Weller, in Pickwick Papers direct dialogue wins

out over other narrative modes, plain speaking defeats studied speech, and the Cockney

dialect trumps Standard English.

The origins of Sam Weller have been the subject of much debate. Some

contemporary reviewers suggested that readers could find Sam’s origins in Samuel

Beazley’s 1822 farce The Boarding House, which featured a character by the name of

Simon Spatterdash, made popular by the comic actor Samuel Vale (aka Sam Valer). Sam

Vale, through his performances of Simon Spatterdash, became known for such sayings

as, “‘I know the world,’ as the monkey said when he cut off his tail,” and even adopted

them into his own daily speech. The similarity of the names Sam Valer and Sam Weller

coupled with their shared penchant for making peculiar comparisons led many to believe

Weller was derivative of Valer. In an 1883 pamphlet entitled, “On the Origin of Sam

Weller,”48 however, the author argues that “Sam Valerisms” are no way on par with Sam

Wellerisms. “Boz, with his admirable humour, may have borrowed an idea,” the author

explains, “but certainly made no slavish use of it” (5). Similarly, in Wellerisms, an 1886

collection of quotations of Sam and his father, Tony Weller, from both Pickwick and

Master Humphrey’s Clock (1840-41), Charles Kent provides an even greater defense of

Dickens’s creative powers, arguing that Dickens derived Sam’s name from a popular

commentator on Shakespeare, Samuel Weller Singer, that “Sam Weller as a humorous

character” was “drawn from Dickens’s own inner consciousness,” and that Simon

48
Full title: “On the Origin of Sam Weller, and the Real Cause of the Success of the Posthumous Papers of
the Pickwick Club, by a Lover of Charles Dickens’s Works. Together with a Facsimile Reprint of the
Beauties of Pickwick, Collected and Arranged by Sam Weller.”

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Spatterdash is but the “seed-germ of that finished masterpiece [...] the inimitable Sam

Weller” (xiv). According to Kent, Sam Weller adopted the form of comic apophthegms

made familiar by Sam Vale, such as “I’m down upon you as the extinguisher said to the

rushlight” and “I’m all over in a perspiration as the mutton chop said to the gridiron,” but

adapted them “to his own facetious purposes” and “immensely improved upon it” (vii-

viii).

Others cite real people, not characters, as the true originators of Wellerisms. In

Volume 1 of the Dickensian (1905), Sir William H. Bailey claims such “similar

comparative jocularities” are common among both London workmen and rural artisans

(32). Bailey cites Lincolnshire farmers as saying such things as, “Like Peggy Pow’s pig

that died of hunger with his nose in the trough,” and Yorkshiremen as saying, “She is like

Natterin’ Nan of Bradford, who said that nobody at the top of the earth but me and the

Lord knows what I have to put up with,” and goes on to suggest that Dickens gleaned the

“germs of Sam’s philosophy” from the working folk of Rochester (32). Eight years later,

Edwin Pugh (1913) takes issue with claims that Weller sprang from Vale, arguing that

Wellerisms were “the commonest form of current wit during the first part of the

nineteenth century,” citing examples from other sources, including Sir Walter Scott’s Rob

Roy (1818), in which Andrew Fairservice says, “Ower mony maisters—as the paddock

said to the harrow when every tooth gae her a tig.” (88). However, the form of these

incongruous comparisons did not originate with Sam, his supposed predecessor, or even

Scott--folklorists have traced Wellerisms as far back as ancient Greece--but it was

Dickens, through his character of Sam Weller, who made them not only familiar but a

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veritable Victorian sensation.49

Daniel Pollack-Pelzner has commented on the infectious quality of Wellerisms,

suggesting that character speech in Pickwick is a kind of circulating library from which

readers can borrow language. He points to an 1850 article in Fraser’s Magazine that

addresses the way in which Wellerisms have permeated every-day speech. Much to the

dismay of the “old school,” the author remarks, “we talk slang unwittingly” (699).

Precisely what constitutes “slang” for the Fraser’s reviewer is unclear, but he does say

that “instead of seeking the ‘well of English undefiled’ by Twickenham, we draw at

haphazard from the muddy stream that has washed Mile End” (699). Pickwick itself

demonstrates how Sam’s speech takes over the narrative; from the moment Sam is

introduced to readers in Chapter 10, he asserts himself as not only a remarkable character,

but also as a narrator and a language innovator.

When Pickwick’s quasi-villain Jingle inquires of Sam where he might find

Doctor’s Commons, Sam not only tells him precisely where it is--demonstrating his GPS-

like knowledge of London--but also leads into a narrative about his father’s adventure in

marriage licenses. He begins, “Paul’s Church-yard, Sir; low archway on the carriage-

side, bookseller’s at one corner, hot-el on the other, and two porters in the middle as touts

for licences” (92; no. 4, ch. 10). One of these porters, according to Sam, cajoled his

father into walking “arter him, like a tame monkey behind a horgan” and taking a license

to marry a woman he hadn’t even been courting. “Beg your pardon, Sir,” explains Sam

at his narrative’s end, “but vhen I gets on this here grievance, I runs on like a new barrow

49
Florence Baer explains that the form is “readily recognizable: ‘ ,’ as said,
when (as, and) (s)he . I.e., a quotation, speaker named or otherwise identified, and a clause
or phrase which puts the quotation in a new light or an incongruous setting, the total effect being ironic”
(173). She cites studies that find the form in Classical Greek, sixteenth-century German and Italian, and
even African languages.

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with the vheel greased” (93; no. 4, ch. 10). Sam then departs, leaving Jingle and Miss

Rachael Wardle to discuss their own marriage license and to adopt his diction:

‘The licence!’ said Rachael, blushing.

‘The licence,’ repeated Mr Jingle --

‘In hurry, post-haste for a licence,

In hurry, ding dong I come back.’

‘How you run on,’ said Rachael.

‘Run on -- nothing to the hours, days, weeks, months, years, when we’re

united -- run on -- they’ll fly on -- bolt -- mizzle -- steam engine --

thousand-horse power -- nothing to it.’ (93; no. 4, ch. 10)

Both Rachael and Jingle pick up the phrasal verb run on from Sam’s speech, the latter

running with it and making it his own: the result is a strange combination of speech

influenced by the popular theatre, telegraphy, “proper” English, and slang.50 I could run

on here on the subject of Jingle’s and Sam’s differing relationship to Cockney speech, but

I will delve more deeply into that subject in the next section; here I will just once again

comment on the modern, urban variety of speech that Sam Weller made so popular--

speech not from the suburb of fashion and distinction, Twickenham, but rather from the

Cockney’s haunt, the East End. As John Bowen points out, although Wellerisms “both

stem from and feed into oral tradition,” it is not that of “a timeless folk, but of the

working and lower-middle classes of pre-Victorian London” (69). Sam is not the sage of

50
Jingle sings two bars of a song from Kane O’Hara’s Tom Thumb, a popular burletta adapted from Henry
Fielding play of the same name. Ivan Kreilkamp suggests that Jingle’s speech is “telegraphic,” with its
short phrases and copious dashes. The slang word mizzle, ‘To go away suddenly; to vanish,
disappear’(OED), is cited in Moncrieff’s Tom and Jerry (1821), his stage adaptation of Egan’s Life in
London (1821). Interestingly, Grose’s Classical Dictionary of the Vulgar Tongue (1823) defines mizzle as
‘to elope, to run off,’ and marks it as cant.

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Britain’s rural past, but neither is he yet another version of the cheeky servant of the

eighteenth-century farce nor the devoted servant of eighteenth-century sentimentalism.

Let us return for a moment to the scene at the White Hart’s Inn and take a closer

look at Sam’s response to the chambermaid’s admonition that “Number twenty-two

wants his boots”:

‘Come, don’t be a fool, Sam,’ said the girl, coaxingly, ‘the gentleman

wants his boots directly.’

‘Well, you are a nice young ’ooman for a musical party, you are,’ said the

boot-cleaner. ‘Look at these here boots -- eleven pair o’ boots; and one

shoe as b’longs to number six, with the wooden leg. The eleven boots is

to be called at half-past eight and the shoe at nine. Who’s number twenty-

two, that’s to put all the others out? No, no; reg’lar rotation, as Jack Ketch

said, ven he tied the men up. Sorry to keep you a waitin’, Sir, but I’ll

attend to you directly.’ (91; no. 4, ch. 10)

Sam’s retort displays an irreverence that readers would have recognized from eighteenth-

century portrayals of sassy servants; it is also a nod to pre-Victorian popular culture--

many a broadsheet and popular romance featured the famous hangman Jack Ketch. Other

Wellerisms also feature rather grim imagery, as Pollack-Pelzner has pointed out. For

example: “He wants you partickler; and no one else’ll do, as the Devil’s private secretary

said, ven he fetched avay Doctor Faustus” (147; no. 6, ch. 15); “Now, gen’l’men, “fall

on,” as the English said to the French when they fixed bagginets” (194 no. 7, ch. 19); and

“Business first, pleasure arterwards, as King Richard the Third said ven he stabbed the

t’other king in the Tower, afore he smothered the babbies” (256 no. 9, ch. 25). While

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some critics suggest that such comparisons would have been beyond Sam’s knowledge--

how could a man of his class be acquainted with the literature of Goethe, Marlowe, and

Shakespeare, or have any knowledge of history?--Baer contends that these and other

Wellerisms make reference not to high culture, or even to history, but to street

entertainment, further establishing Sam as a working-class character who knows his way

around London.51 Working-class Londoners would have been familiar with the portable

peep show and penny theater performances of “The Devil and Doctor Faustus” and with

the pantomimes of the Battle of Waterloo, as well as famous performances of Edward

Kean as Richard III (Baer 175, 177). It is the wisdom of the street, as it is the language

of the street, and not that of traditional rural culture, that characterizes Pickwick Papers.

Indeed, for all its characters’ perambulations about the countryside, the novel is

particularly urban.

In much the same way that Dickens refused to retread the familiar ground of

Cockney caricature, he similarly refused to travel down the well-trodden path of rural

nostalgia. Instead he creates a peculiar kind of urban sophistication via Sam Weller’s

knowingness. The city streets that young Dickens traversed, absorbed and brought to life

in Sketches by Boz, are resurrected in Pickwick.52 Like a nod to his readers, Dickens

implies, you, reader, are as knowing as Sam and as I. We, too, understand the city. Even

when it seems Dickens is headed toward nostalgia, for example, when in the opening of

51
Abraham Hayward, for example, writes in the Quarterly Review: “They [the Wellers] both talk a
language and employ allusions utterly irreconcileable (sic) with their habits and station. [...] [W]e
constantly detect both [Sam] and his father in the nice and even critical use of words and images borrowed
from sources wholly inaccessible to them” (October 1837).
52
Deborah Epstein Nord (1995) credits “Boz” with reinventing the urban sketch. Comparing Sketches by
Boz with early urban sketches by Pierce Egan, Charles Lamb, Thomas De Quincey, and Leigh Hunt, Nord
argues that “Boz’s urban vision [...] fostered a sense of familiarity and knowability rather than of
remoteness and alien spectacle” (50). Rosemarie Bodenheimer (2007) takes Nord’s argument a step further
and challenges the familiar critical view of Dickens as flâneur, pointing out that Dickens’s narrators inhabit
the city, not simply observe it with the ironic distance of flâneurie (177).

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Chapter 16 readers ride alongside Pickwick and Sam in a coach as it “rolls swiftly past

the fields and orchards which skirt the road,” we are instead led into the streets of

London. The scene begins familiarly enough, “groups of women and children, piling the

fruit in sieves, or gathering the scattered ears of corn, pause for an instant from their

labour, and shading the sun-burnt face with a still browner hand, gaze upon the

passengers with curious eyes” (158; no. 6, ch. 16). The passage continues on in this way,

with readers’ interaction with the field labourers remaining purely visual: the reaper

“look[s] at the vehicle as it whirls past” and “rough cart-horses bestow a sleepy glance

upon the smart coach team” (158; no. 6, ch. 16). “You cast a look behind you,” the

narrator explains, “as you turn a corner of the road. The women and children have

resumed their labour, the reaper once more stoops to his work, the cart-horses have

moved on, and all are again in motion” (158; no. 6, ch. 16).

The entire scene is characterized by a profound muteness; as the narrator says of

the laborers’ wagon, it “is perceptible only to the eye, but strikes with no harsh sound

upon the ear” (158; no. 6, ch. 16). Indeed, the only voice represented from the peasants is

that of the cart-horse, or more precisely, what we might expect the cart-horse’s “sleepy

glance” to communicate: “It’s all very fine to look at, but slow going, over a heavy field,

is better than warm work like that, upon a dusty road, after all” (158; no. 6, ch. 16). Even

the cart-horse expresses a desire for the kind of rural simplicity that so defines “Old

England.” Why is the anthropomorphized horse, or rather his glance, given mode of

expression here? And why in such homely yet still standard terms?

For practical purposes, Dickens may have chosen to keep the peasants mute so as

not to risk revealing his inexperience in rendering rural speech; he was still learning his

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craft and was well-versed with the speech of the city of London but not that of the

country. The result is that the peasants are not given the space to express themselves that

Sam is given. It is as if rural speech does not carry the same weight here as it does in

other contexts. What happens when Pickwick finally breaks the silence of the scene with

the remark, “Delightful prospect, Sam,” is all the more telling. Instead of reveling in the

scene that so affected the middle-class observers, Sam turns the conversation back to

London, to the “queer sights” around the arches of Waterloo Bridge, and eventually tells

his oft-reprinted anecdote about the “twopenny rope”:

‘Sights, Sir,’ resumed Mr Weller, ‘as ’ud penetrate your benevolent heart,

and come out on the other side. You don’t see the re’lar wagrants there;

trust ’em, they knows better than that. Young beggars, male and female,

as hasn’t made a rise in their profession, takes up their quarters there

sometimes; but it’s generally the worn-out, starving, houseless creeturs as

rolls themselves up in the dark corners o’ them lonesome places—poor

creeturs as an’t up to the twopenny rope.’ (159; no. 6, ch. 16)

Quite a different variety of “sights” are described by Mr. Weller; instead of noble field

laborers who pause momentarily from their work to watch a passing coach, we witness

“young beggars” who can’t find work, and instead of a “stout urchin […] scrambl[ing]

over the side of the basket” with “kicks and screams [of] delight” we witness “worn-out,

starving, houseless creeturs” rolling themselves up in “dark corners” (158; 159; no. 6, ch.

16).

As if anticipating Henry Mayhew’s system of classifying London labour and the

London poor, Sam discerns and categorizes three distinct types of beggar in his

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description of the “unfurnished lodgings” under Waterloo Bridge: “reg’lar wagrants,”

“young beggars [...] as hasn’t made a rise in their profession,” and “the worn-out,

starving, houseless creeturs” (159; no. 6, ch. 16). The “reg’lar wagrants” avoid the area;

it is only those who have yet to make their way up the begging ladder or those who are

“worn out” by the “profession.” These are not the cheerful, jolly beggars of Pierce

Egan’s Life in London (1821) who would bring smiles to readers’ faces, but rather those

whose condition in life “’ud penetrate your benevolent heart, and come out the other

side” (159; no. 6, ch. 16). Although Sam is often lauded for his wit and humour, here he

displays proto-sociological awareness and the ability to evoke pathos. This scene also

troubles any possibility of rural nostalgia. Just as his example of the two-penny rope

reminds us of the brutality of urban life, so too does his response to vagrants challenge

any easy rural nostalgia. By this time in the novel, the reader has become accustomed to

Sam’s shrewd understanding of all social classes; nevertheless, it is striking that he

chooses to contrast the rural scene with London’s homeless. It is as if the young Dickens

were reminding his readers that the rich polyphony of London voices comprises all

classes, including the very poorest.

Sam differs dramatically from the Cockney Hazlitt describes in “On Londoners

and Country People” (1823) as knowing only what London shows him.53 Sam does not

direct the conversation to London because that city is all he knows. On the contrary, Sam

assures Pickwick that his past employment as a carrier’s boy, waggoner’s boy, and stable

boy has afforded him knowledge beyond the “chimney-pots and bricks and mortar” that

53
In “On Londoners and Country People,” Hazlitt wrote: “The true Cockney has never travelled beyond the
purlieus of the Metropolis, either in the body or in the spirit. Primrose-hill is the Ultima Thule of his
romantic desires; Greenwich Park stands him in stead of the vales of Arcady. Time and space are lost to
him. He is confined to one spot and to the present moment” (154).

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Pickwick assumes have made up the landscape of his life. As Sam says to the magistrate

when he asks him where he lives, “Vare-ever I can” (257; no. 9, ch. 25). But by this,

Sam is not suggesting that he is a vagabond but rather that he is so canny, capable, and

adaptable, that he can feel at home wherever he is. Sam is by no means Hazlitt’s “pert,

raw, ignorant, conceited, ridiculous, shallow, contemptible” (156) Cockney; he may be a

bit pert, especially when he is introduced to readers as the “Boots” at the White Hart Inn,

but he is certainly not raw, ignorant, conceited, ridiculous, shallow, or contemptible. On

the contrary, Sam is “an experienced traveller” for whom quite anywhere is “as much at

home as if he had been born on the land” (290; no. 10, ch. 28). Dickens seems to be

playing up to his readers that if they know the city they can be at home anywhere, just as

Sam is; he is equally at ease in the country as he is the city, in the courtroom as in the

pub. In the course of his “rambling life,” as Pickwick calls it, Sam has not only learned

to adapt to his surroundings, he has become a keen observer of them.

It comes as no surprise, then, that Sam takes charge of the narrative in this scene;

he steers the conversation away from the idyllic as if steering the coach out of the

countryside, and once the coach arrives at its destination, Sam takes charge of Pickwick’s

plans for the evening:

‘Now Sam,’ said Mr. Pickwick, ‘the first thing to be done is to--’

‘Order dinner, Sir,’ interposed Mr. Weller. ‘It’s wery late, Sir.’

‘Ah, so it is,’ said Mr. Pickwick, looking at his watch. ‘You are right,

Sam.’ (160; no. 6, ch. 16)

Sam is always right. Sam’s brand of knowingness comes to characterize the music-hall

Cockney of the Victorian era, a brand of knowingness perceived as “distinctive” of the

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Cockney and “objectionable” to the middle class, as Peter Bailey (1998) points out. Does

this knowingness become objectionable only after becoming a hallmark of the music-hall

scene? Why is it not objectionable when embodied by Sam Weller? Baer suggests that

the structure of the Wellerism curtails any potential cheekiness on Sam’s part through

indirection, “by ascribing a remark to another person in another context, thus relieving

the speaker of any responsibility for what might possibly offend” (174). Certainly, Sam’s

dual role as Pickwick’s servant and educator requires some sort of negotiating so that he

doesn’t overstep his bounds, and I agree that the structure of the Wellerism provides the

means of this negotiation; it resembles, as Baer calls it a “safety valve” (182). For

example, after suggesting that Mr. Pickwick order dinner, Sam continues to give orders,

but he is careful to employ what linguists would call negative politeness strategies:

“‘And if I might adwise, Sir,’ added Mr. Weller, ‘I’d just have a good night’s rest

arterwards, and not begin inquiring arter this here deep ’un ’till the mornin’. There’s

nothin’ so refreshin’ as sleep, Sir, as the servant-girl said afore she drank the egg-cup-full

o’ laudanum.’” (160; no. 6, ch. 16). Here Sam uses modals (might and would) and

hedges (“And if I might” and just) as well as repeating “Sir,” and capping things off with

a Wellerism, deflecting the sentiment onto a servant-girl.

And yet the reference to that servant-girl’s desire and/or need to take laudanum

echoes back to Sam’s talk of “poor creeturs” and “dark corners” and implies that all is not

bright and cheerful in the world of the servant classes. Sam’s remark might be construed

as irreverent if it weren’t for his master’s benevolent heart and for the exchange that

follows:

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 ‘I think you are right, Sam,’ said Mr. Pickwick. ‘But I must first ascertain

that he [Jingle] is in the house, and not likely to go away.’

‘Leave that to me, Sir,’ said Sam. ‘Let me order you a snug little dinner,

and make my inquiries below while it’s a getting ready; I could worm

ev’ry secret out o’ the boots’s heart, in five minutes.’

‘Do so,’ said Mr. Pickwick: and Mr. Weller at once retired. (160; no. 6,

ch. 16)

Pickwick reasserts his position as master with contradictory “But” and imperative “Do

so,” while Sam takes his place as servant in offering up his services with “Leave that to

me, Sir” and “Let me order you a snug little dinner.” However, there remains some play

in this exchange regarding who is in charge of the situation. “Leave that to me,” after all,

is also an imperative, and followed by Sam’s assertion that he can get the job done better

than his master, the phrase loses some of its potential deference. What’s more, Sam’s

ordering his master “a snug little dinner” is not an act of servitude, but rather a cover for

gathering intelligence; Sam will “worm ev’ry secret out o’ the boots’s heart” while the

dinner is “a getting ready.” Sam uses his canniness and his class position to his

advantage and demonstrates that he is the more capable of the pair; Pickwick would make

little headway with the staff and just might misinterpret any information he managed to

extract.

Sam’s liminal position--between servant and educator--is mirrored in the way his

character embodies both nostalgia and modernity. His devotedness to Pickwick harkens

back to the previous century and a “simpler” time when there was less class mobility and,

in the fictional world of Pickwick, less chance of being duped by a swindler-actor

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masquerading as a gentleman. Jingle represents a different sort of Cockney--one who

affects gentility and Standard English. He is vulgar not because he speaks “vulgarly,”

though he does use slang occasionally, but because he does not know his station. Sam,

on the other hand, may transpose his /v/s and /w/s but he is never a pretender to

gentlemanliness. He may hop from occupation to occupation and even suggest that he

may “be a gen’lm’n” himself one day, but he doesn’t threaten to do so by sidling up to a

gentlewoman (159; no. 6, ch. 16). No, Sam’s aspirations in that quarter are humble, “a

summer-house in the back garden” and “a pipe in [his] mouth,” and his romantic interests

are aimed squarely at a woman in his own servant class (159; no. 6, ch. 16). If anything,

we might think of Sam as a gentleman by proxy; it is Pickwick’s back garden in which

Sam takes up residence.

On the other side of the coin, however, we have Sam as Pickwick’s educator, a

role made possible by Sam’s class status and one that marks the novel with modernity.

Readers of all classes are invited to revel in Sam’s knowingness. As Rosemarie

Bodenheimer points out, throughout his writing, Dickens regularly allows readers “to be

more knowing than the characters who are being duped before our eyes” (33). Readers

“smile at dupers,” Bodenheimer suggests, while “our hearts beat--and our impatience

rises--for the duped” (33). In the case of Pickwick, however, readers don’t so much smile

at Jingle, the duper, as they smile with Sam, the un-dupable.54 “For Dickens,”

Bodenheimer argues, “knowingness is at once corrupt and essential to survival; the

54
Sam is able to see through Jingle’s schemes and is fooled only once, by Job Trotter, Jingle’s servant, in
Chapter 16. It is curious that Sam is fooled at all, but we might consider Job’s manipulation of Sam as a
breaking of a servants’ code, a sort of “honour among servants” that he uses and abuses. After all, it is not
Job’s feigned tears that convince Sam, but rather his appeals to servant-master loyalty. Indeed, Sam
chastises Job for crying: “Tears never yet wound up a clock, or worked a steam ingin’. [...] just put that bit
of pink gingham into your pocket. ’T’a’n’t so handsome that you need keep waving it about, as if you was
a tight-rope dancer” (164; no. 6, ch. 16).

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tension between the two is rarely resolved in his art” (33). I would suggest that in the

figure of Sam Weller, that tension is resolved. Sam’s survival skills are based in a

knowledge of the streets, but he has not been corrupted by them. On the contrary, he is

exceedingly trustworthy and loyal; indeed, on more than one occasion the Pickwickians

trust Sam with their lives. And readers trust Sam to not lead us astray. Through Sam, we

are made privy to the plot of Pickwick, the streets of London and the language of the

streets.

Sam Weller’s Dictionary of the Vulgar Tongue

We have seen that readers and reviewers alike took great pleasure in reading the

words of Sam Weller. But why? Why would so many readers want to read Cockney,

that vulgar tongue of the streets? Victorian readers were keen to read direct dialogue, as

Ivan Kreilkamp (2005) has shown, but why Cockney? According to Kreilkamp, the

characters of Jingle and Sam “open[ ] up the novel to a new kind of writing that offers the

effect of a transcription of voice in all its impropriety, ungrammaticality, and energy” and

“Pickwick inaugurates the phonographic history of Victorian fiction in a vocal explosion

that presents itself as an escape from an oppressive print history” (77). Kreilkamp points

to Dickens’s stenographic experience as ushering in a change from the Johnsonian style

of “turn[ing] speech into elegant standard written English” to the “infus[ion of] writing

with all the immediacy of the moment of oral utterance” (77). In Pickwick Papers,

however, it is not just colloquial style that reigns, it is nonstandard English. Yet critics

haven’t asked why it is important that Sam is a speaker of the Cockney dialect. Readers

of Pickwick, I would argue, were not just keen on dialogue, they were keen on Cockney.

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Sam’s knowingness, of the city of London especially, is embodied in both the content and

form of his speech. Cockney, especially as spoken by Sam, has a kind of cultural capital.

Janet Sorensen (2004) has shown how in the late eighteenth century, the once

criminally-cast language of cant was recoded as “vulgar,” or of “the people,” and

revalued as “signs of British national culture” (435). Francis Grose’s Classical

Dictionary of the Vulgar Tongue (1785), Sorensen shows, not only redefines and relabels

as “vulgar” what earlier canting dictionaries deemed purely criminal, it also lauds the

language of the “common people” for its freedom of expression (446). Grose writes in

his preface to the first edition: “the freedom of thought and speech arising from, and

privileged by, our constitution, gives a force and poignancy to the expressions of our

common people, not to be found under arbitrary governments, where the ebullitions of

vulgar wit are checked by the fear of the bastinado, or of a lodging during pleasure in

some gaol or castle” (v-vi). Grose’s assertion that the language of the “common people”

possesses “a force and poignancy” resembles those of the Lancashire advocates who

argued for the Lancashire dialect’s superior expressive qualities. Grose never goes so far

as to claim the vulgar tongue’s superiority over Standard English, but he does remark that

the abundance of “vulgar allusions and cant expressions” in the “common conversation

and periodical publications” makes a dictionary of this kind “extremely useful, if not

absolutely necessary, not only to foreigners, but even to natives resident at a distance

from the Metropolis, or who do not mix in the busy world” (vi).

Knowledge of the Metropolis required knowledge of the language of the streets;

to be knowing, “flash,” or “down” with the city’s lexicon was a desirable trait, especially

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among fashionable young men.55 As “custom” and “tradition” became increasingly

associated with the rural and the feminine, Sorensen argues, urban masculinity became

increasingly defined by the innovative and fleeting (448). In 1811, Grose’s original

glossary of cant and vulgar terms was supplemented with “buckish slang” and “university

wit” in the form of Lexicon Balatronicum, and in 1823 Pierce Egan published yet another

edition of Grose’s Classical Dictionary, to which he added sporting slang, some of which

would have been familiar to readers via his Boxiana (1818-24) and Life in London

(1821). Perhaps, then, readers of Pickwick Papers were not speaking slang “unwittingly”

after all. The speech of Sam Weller, like the language captured in Grose’s dictionary and

the sporting slang made popular by Pierce Egan in the 1820s, represents an urban

sophistication that is both desirable and imitable. Sam makes Cockney safe for and

appealing to readers of all classes; he educates us in the ways of the city--its streets, its

inhabitants, and its speech.

Wellerisms are often lumped together with Gampese, the humorous speech of

Mrs. Gamp of Dickens’s Martin Chuzzlewit (1843-4), but Mrs. Gamp’s speech is marked

by malapropisms whereas Sam’s is not. The speech of Mrs. Gamp and Sam Weller is

memorable but not for the same reasons. Sam is not one to make mistakes, linguistic or

otherwise; we laugh with Sam not at him. While Dickens represents the speech of some

other Cockney characters with eye dialect, he does not represent Sam’s speech in this

manner.56 For example, Mrs. Raddle speaks of “observashuns” and a coachman

55
In Present Day English, down, as in ‘with it,’ is attributed to African-American Vernacular English, but it
seems to have been used in this sense much earlier: Grose’s dictionary defines the word as ‘Aware of a
thing. Knowing it’.
56
Even orthography that might look like eye dialect is meant to illustrate a difference in pronunciation
between Standard English and Cockney. For example, “wot” represents the difference between /hw/ and
/w/ (Mugglestone, Talking Proper 187-88). Similarly, spellings with oo for standard u are intended to show
the loss of RP /j/ (Gerson 203).

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complains of an “irrepairabel” loss (330; no. 11, ch. 31; 399; no. 13, ch. 36). The

pronunciation of each of these words is not changed by their nonstandard orthography.

Instead, these misspellings signal the ignorance of the speakers. And though Mrs. Raddle

and other characters in Pickwick Papers, including another Sam, the cabman whom

Pickwick gets into a scuffle in the first number, are represented as speaking a Cockney

dialect--marked especially by v/w inversion--Sam’s speech stands out, and not only

because of his Wellerisms. Pickwick’s brief encounter with Sam the cabman is

reminiscent of Boz’s Sketches; this Sam is not given the narrative space or voice to be

anything more than a sketch. What is more, this Sam is belligerent and not the keen

observer that our Sam is; he misinterprets Pickwick’s harmless writing in his notebook

and takes him for an informer. It is difficult to imagine the canny Sam Weller making

such a mistake. What’s more, Sam the cabman does not speak with the linguistic energy

of Mr. Weller. Indeed, when telling his tall tale about how he keeps his horse out for

three weeks, his speech is both disingenuous and repetitive: “we bears him [the horse] up

werry tight, and takes him in werry short, so as he can’t werry well fall down” (6; no. 1,

ch. 2). We might assume that Dickens, especially in this early number of the serial, still

working in the mode of Sketches by Boz, chose as many words beginning with v as

possible so that he might transpose them with a w. Certainly, that is the feeling one gets

after reading this passage; the linguistic feature upstages the cabman. The contrast

between the speech of these two Sams is remarkable; Sam Weller commands this

linguistic feature, it does not command him.

When Sam Weller encounters the Cockney constable Mr. Grummer, the linguistic

prowess of the former seems all the more remarkable. By this time in narrative, Dickens

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has become an extraordinarily skillful creator of linguistically rich situations. This scene

is yet another predicament from which Sam must extricate his master; Pickwick is

suspected of intending to duel a Mr. Magnus over the honor of a Miss Witherfield and is

placed under arrest. Mr. Grummer presents Pickwick to the magistrate, Mr. Nupkins,

thus: “This here’s Pickvick, your wash-up” (256; no. 9, ch. 25). Grummer’s speech has

the Cockney feature of v/w transposition, but his “wash-up” for “worship” is a

malapropism. Upon hearing Grummer’s less than inspiring introduction, Sam “elbowing

himself into the front rank” interposes with his own version:

‘Beg your pardon, Sir, but this here officer o’ yourn in the gambooge tops,

’ull never earn a decent livin’ as a master o’ the ceremonies any vere.

This here, Sir,’ continued Mr Weller, thrusting Grummer aside, and

addressing the Magistrate with pleasant familiarity -- ‘This here is S.

Pickvick, Esquire; this here’s Mr. Tupman; that ’ere’s Mr. Snodgrass; and

furder on, next him on the t’other side, Mr. Winkle -- all wery nice

genl’m’n, Sir as you’ll be wery happy to have the acquaintance on; so

sooner you commits these here officers o’ yourn to the tread-mill for a

month or two, the sooner we shall begin to be on a pleasant understanding.

Business first, pleasure arterwards, as King Richard the Third said ven he

stabbed the t’other king in the Tower, afore he smothered the babbies.’

(256; no. 9, ch. 25)

Sam seems doubly affronted by Grummer’s lackluster introduction: not only by the

insufficient respect paid to his master and his companions, but also by the dull and

inaccurate manner in which he speaks. Grummer, according to Sam, will never “earn a

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decent livin’ as a master o’ ceremonies any vere.” Not only does Sam’s introduction of

the gentlemen express their worthiness, it is also varied: for example, “This here is”; “this

here’s”; “that ’ere’s”; and “and furder on, next him on the t’other side.” Sam then quips

that it is Mr. Nupkin’s officers who should be committed to the treadmill--a cheeky

remark that he quickly follows with a face-saving Wellerism, but also one that condemns

the officers for their lack of legal and linguistic competence. Sam seems to be arguing,

may the best speaker win. And he does win in one respect; he wins over the special

constables with his humour. When Sam tells Mr. Jinks that his name has “Two L’s, old

feller,” an “unfortunate” special laughs, “whereupon the magistrate threatened to commit

him, instantly,” for it is, as the narrator explains, “a dangerous thing laughing at the

wrong man, in these cases” (257-58; no. 9, ch. 25). To each of Mr. Nupkin’s inquiries,

Sam responds with quiet defiance. He fears not the taking down of his name and address;

he ensures that his name is spelled correctly, with “Two L’s,” and when the magistrate

instructs Mr. Jinks to “Put down” that Sam lives “Vare-ever I can,” Sam remarks, “Score

it under” (257; no. 9, ch. 25). The final blow to Mr. Nupkin’s authority is Sam’s

response to his being committed as “a vagabond”: “‘This is a wery impartial country for

justice,’ said Sam. ‘There ain’t a magistrate going, as don’t commit himself, twice as

often as he commits other people” (257; no. 9, ch. 25). At this remark another special

bursts into laughter, “and then tried to look so supernaturally solemn, that the magistrate

detected him immediately” (257; no. 9, ch. 25). Not one to be ridiculed or upstaged, Mr.

Nupkins flies into a rage, accusing Mr. Grummer of poor judgment in selecting

constables and accusing the constable of drunkenness. Laughing at the wrong man is

dangerous indeed.

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 Sam’s wordsmithery instills Cockney with tremendous value. Through Dickens’s

representation of the dialect and his beloved character’s deft use of it, the dialect becomes

cultural capital. In Dickens’s hands, the Cockney dialect is both readable and imitable.

He introduces the Pickwickians and readers to urban mores, ranging from the secret

ingredients of piemen to the language of the streets. When the Pickwickians make the

acquaintance of two young medical students, Bob Sawyer and Benjamin Allen, Sam

introduces into his master’s vocabulary the term sawbones: “‘What’s a Sawbones?’

inquired Mr. Pickwick, not quite certain whether it was a live animal, or something to eat.

‘What! don’t you know what a Sawbones is, Sir?’ enquired Mr. Weller; ‘I thought every

body know’d as a Sawbones was a Surgeon’” (307; no. 11, ch. 29). Not one to adopt

what he certainly considers slang, Pickwick smiles at Sam’s creative appellation and

responds, “Oh, a Surgeon, eh?” (307; no. 11, ch. 29). When Sam goes on to explain that

the two young men “ain’t reg’lar thorough-bred Sawbones; they’re only in trainin’,”

Pickwick translates, “In other words they’re Medical Students, I suppose?” (307; no. 11,

ch. 29). In fact, Pickwick often repeats what Sam has just said, but in his studied,

standard way, as if he is correcting Sam or acting as interpreter for readers who aren’t fly

to the lingo.57 Sam’s “hex-traordinary,” for example, gets parroted back to him in a sort

of parental admonishment: “‘It is, no doubt, a very extraordinary circumstance, indeed,’

said Mr Pickwick. ‘But brush my hat, Sam, for I hear Mr. Winkle calling me to

breakfast’” (128; no. 5, ch. 13). And in another instance, Pickwick even “edits” one of

57
Like down, the term fly is often associated with African-American English. Grose’s dictionary defines
fly as ‘Knowing. Acquainted with another’s meaning or proceeding.’

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Sam’s tales, “The Parish Clerk,” and presents it in his own style of storytelling. In the

end, however, Sam seems savvy, Pickwick seems square.58

When Pickwick hears that Bob Sawyer and Ben Allen are medical students, he

begins to pontificate on the general quality of young men in that profession: “They are

fine fellows; very fine fellows, with judgments matured by observation and reflection;

and tastes refined by reading and study” (307; no. 11, ch. 29). Sam, on the other hand,

uses his keen sense of observation and characterizes the pair according to precisely what

he sees:

‘They’re a smokin’ cigars by the kitchen fire,’ said Sam.

‘Ah!’ observed Mr. Pickwick, rubbing his hands, ‘overflowing with kindly

feelings and animal spirits. Just what I like to see!’

‘And one on ’em,’ said Sam, not noticing his master’s interruption, ‘one

on ’em’s got his legs on the table, and is a drinkin’ brandy neat, vile the

tother one -- him in the barnacles -- has got a barrel o’ oysters atween his

knees, vich he’s a openin’ like steam, and as fast as he eats ’em, he takes a

aim vith the shells at young dropsy, who’s a settin’ down fast asleep, in the

chimbley corner.’

‘Eccentricities of genius, Sam,’ said Mr. Pickwick. ‘You may retire.’

(307-8; no. 11, ch. 29)

Sam attempts to point out to his master the lack of judgment, maturity, and refined taste

of the young medical students but, based on his preconceived notions of what learned

58
Here I mean “square” in both the modern sense of the word, ‘out of touch’ or ‘old-fashioned’ (OED) and
the early-nineteenth-century sense, ‘fair, upright, honest’. According to Grose, the terms square and flat
were used to describe an honest man or “an easy dupe,” as opposed to someone who is cross or sharp. So,
for example, Jingle and Job Trotter, both “sharp coves,” would consider Pickwick a “square cove” or
“prime flat”.

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men must be, Pickwick interprets their actions -- intemperance, gluttony, and slovenly

table manners -- as “eccentricities of genius.” Sam may “drop his g’s,” transpose his /v/s

and /w/s, elide his interdental fricatives, use the “vulgar” term barnacles for ‘spectacles’

and the dialectal chimbley for ‘chimney’ -- all offenses against the English language in

the eyes (or ears) of many -- but he correctly assesses the men’s behavior, just as readers

correctly interpret the scene.

When we take into consideration Sam’s powers of observation coupled with the

popularity of his narratives, it is all the more curious, then, that Dickens would chose to

have Pickwick “edit” one of Sam’s tales. But in Chapter 17, Dickens does just that.

When Pickwick is bound to his chambers for two days with a bout of rheumatism, Sam

entertains him with “anecdote and conversation” on the first, but Pickwick requests his

writing-desk, and pen and ink, on the second. On the third day, Pickwick sends for his

friends, Mr. Wardle and Mr. Trundle. “The invitation,” the narrator explains, “was most

willingly accepted; and when they were seated over their wine, Mr Pickwick with sundry

blushes, produced the following little tale, as having been ‘edited’ by himself, during his

recent indisposition, from his notes of Mr Weller’s unsophisticated recital” (173; no. 6,

ch. 17). Given how often Mr. Weller’s other “unsophisticated recitals” were reprinted

and plagiarized, Dickens’s decision to translate Sam’s infectious storytelling into

Pickwick’s prose seems curious. The first line of the tale, however, sheds some light on

the mystery:

‘Once upon a time, in a very small country town, at a considerable

distance from London, there lived a little man named Nathaniel Pipkin,

who was the parish clerk of the little town, and lived in a little house in the

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 little high street, within ten minutes’ walk of the little church; and who

was to be found every day from nine till four, teaching a little learning to

the little boys.’ (173; no. 6, ch. 17)

Not only does Pickwick begin with what is perhaps the oldest, most old-fashioned

opening in the history of storytelling, his diction is simplistic, repetitive, and downright

dull; he repeats the word little no less than seven times in the first sentence alone. Even

more damning than this, however, is the tale’s lack of dialogue; it is not until the final

two pages of the seven-page narrative that the reader is treated to the voices of the

characters. One cannot help wonder what one is missing in having the story told by

Pickwick instead of by Sam. In a kind of dialectic of storytelling, Pickwick’s lackluster

rendition of Sam’s tale renders Sam’s narrative powers all the more impressive. At this

point in Pickwick, readers have had seven chapters with which to grow fond of Sam

Weller, his stories, and his variety of Cockney speech; they’ve heard him recount his

father’s run-in with the porters (Chapter 10), his father’s experience during “election-

time” (Chapter 13), and his educating Pickwick on the poorest classes of London

(Chapter 16).

“The Parish Clerk” is often classified as one of the novel’s interpolated tales, such

as “The Bagman’s Story” or “A Madman’s Manuscript,” which critics and reviewers

alike consider inferior to the main plot. Robert Lougy (1970) argues that, with its comic

tone and its comic hero, “The Parish Clerk” stands apart from the other tales and their

gothic elements. What’s more, Lougy argues that Pickwick writes the tales himself, that

“Pickwick is no more the ‘editor’ of this tale than Dickens is the ‘editor’ of The Pickwick

Papers” (101). While I agree that, as Steven Marcus (1972) puts it, this moment “is a

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wonderful bit of play” where Pickwick is to Sam as Dickens is to Pickwick, I would not

go so far as to say that Pickwick is the author of this tale (196). Lougy suggests that “The

Parish Clerk” marks a moment of particular self-reflexiveness on the part of Pickwick,

that he invents the tale as a way to reflect on his own mishaps in the previous chapter.

Nathaniel Pipkin is duped by Maria Lobbs and her cousins, and is found in a

compromising position, hiding in a bedroom closet. In the previous chapter, Pickwick is

duped by Jingle and Job Trotter and found in a similarly compromising position, hiding

behind the door of a ladies’ boarding house. And while I agree that there are parallels

with the main plot in this interpolated tale, making it a less discrete tale than the others, I

would suggest that without Sam’s powers of observation, Pickwick may not have made

these connections. Sam continues his education of Pickwick with his tale of Nathaniel

Pipkin’s deception, assuring Pickwick that he is not alone in being duped--Sam, after all,

was also taken in by Job. In this way, Sam allows them both, master and servant, to save

face. Pickwick may have “demanded his writing-desk, and pen and ink, and was deeply

engaged during the whole day,” as Lougy reminds us, but he does this only after Sam

“endeavoured to amuse his master by anecdote and conversation” (173; no. 6, ch. 17).

Furthermore, that the tale is comic is all the more evidence that it originates with Sam;

one can almost delight in imagining how he might have told it. Pickwick may have

deemed Sam’s version “unsophisticated” and unsuitable for the ears of Wardle and

Trundle, but readers know better. It was not “The Parish Clerk” that was reprinted,

recited, and reproduced.

Sam Weller was the star of many a Pickwick reproduction and adaptation. One

of the most popular excerpts was “Sam Weller’s Valentine,” a conversation between Sam

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and his father, Tony Weller, that takes place in Chapter 32 of Pickwick Papers. This

comic scene is reprinted in Wellerisms, as well as in collections for public and private

readings and books of dialogues, is advertised as being performed in several newspapers,

and even shows up in a magic lantern show.59 In it, Sam composes the valentine to the

pretty housemaid, Mary, that so concerns the writer for the Eclectic Review. The text is

not reproduced for readers; instead, it is performed by Sam, with frequent interruptions

and commentary from his father, who assumes a role of perhaps undeserved authority--

though Tony is the elder Weller, he is also the less literate of the pair. The narrator

emphasizes this comic contradiction by consistently referring to the father as “Mr.

Weller” and the son by his Christian name. Sam’s reading the valentine aloud to his

father allows for several humorous moments that could not be conveyed if the text of the

valentine were simply reproduced, such as Sam struggling to read blotted words:

‘“Lovely creetur i feel myself a dammed” --.’

‘That ain’t proper,’ said Mr. Weller, taking his pipe from his mouth.

‘No; it ain’t dammed,’ observed Sam, holding the letter up to the light,

‘it’s “shamed,” there’s a blot there -- “I feel myself ashamed.”’

‘Wery good,’ said Mr. Weller. ‘Go on.’

‘“Feel myself ashamed, and completely cir -- ” I forget wot this here word

is,’ said Sam, scratching his head with the pen, in vain attempts to

remember.

59
See, for example, Frost’s New Book of Dialogues (1872); Public and Parlor Readings: For the Use of
Dramatic and Reading Clubs, and for Public, Social, and School Entertainment (1875); Five Humorous
Sketches for “The Pickwick Papers.” Illustrated by Seventy Original Lantern Slides from Scenes Portrayed
by Mr. E.H. and Miss E.M. Lucas (n.d.). And to name just a few newspaper advertisements: “A Night With
Charles Dickens,” Bristol Mercury, 1 March 1856; “Amateur Readings” and “Penny Readings,” Ipswich
Journal, 29 December 1860 and 12 November 1864; “Literary Institute,” Hampshire Telegraph and Sussex
Chronicle, 14 January 1865; “The Last Penny Readings of the Season,” North Wales Chronicle, 4 May
1867.

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 ‘Why don’t you look at it, then?’ inquired Mr. Weller.

‘So I am a lookin’ at it,’ replied Sam, ‘but there’s another blot: here’s a

“c,” and a “i,” and a “d”.’

‘Circumwented, p’raps.’ suggested Mr. Weller.

‘No it ain’t that,’ said Sam, ‘circumscribed, that’s it.’

‘That ain’t as good a word as circumwented, Sammy,’ said Mr. Weller

gravely.

‘Think not?’ said Sam.

‘Nothin’ like it,’ replied his father.

‘But don’t you think it means more?’ inquired Sam.

‘Vell p’raps it is a more tenderer word,’ said Mr. Weller, after a few

moments’ reflection. ‘Go on, Sammy.’

‘“Feel myself ashamed and completely circumscribed in a dressin’ of you,

for you are a nice gal and nothin’ but it.”’ (343; no. 12, ch. 32)

It is important to note again that Sam is not guilty of malapropisms; he has trouble

reading his writing due to ink blots, caused by his admitted lack of experience in

penmanship, and not because he chooses the wrong words, or even because he misspells

them. Sam and his father agree, for example, that “dammed” is not “proper,” either

semantically or morally, but it is not the word Sam chose in the first place. Similarly,

though some critics suggest that Sam and Tony Weller do not understand the meaning of

the words circumscribed and circumvented and are simply making failed attempts at

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educated diction,60 I would suggest that the Wellers know precisely what they mean by

each word they choose.

In his essay, “Sam Weller’s Valentine,” J. Hillis Miller (1995) initially suggests

that Dickens is condescending to the uneducated lower classes in this scene; “one word

does not mean more than the other. It means something different” (121; n.8). As he

proceeds with his analysis, however, Hillis Miller comes around to the idea that “Perhaps

Dickens is not so condescending to the lower classes after all,” that Sam is circumscribed

or “written around” by the conventions of language, courtship, and valentine writing, and

that “‘circumscribed’ is uncannily the right word after all, a much better word than

‘circumwented’” (121; n.8). I would add that Mr. Weller senior, having just admonished

his son for becoming entangled in affairs of the heart, would prefer the word

“circumwented,” for its multiple meanings. Tony Weller not only feels that Sam is

‘entrapped in conduct or speech’ (OED), he also fears that his son himself might be

circumvented by marriage. To circumvent is ‘to surround or encompass by hostile

stratagem,’ or perhaps even more fitting, ‘to get the better of by craft or fraud’ (OED),

both quite accurate assessments for Mr. Weller’s feelings on marriage. Sam’s “a

dressin’” is similarly trenchant with its double entendre of “addressing” and “dressing,”

or its rhyme “undressing.” Far from portraying any ignorance of the part of the Wellers,

this passage celebrates their mastery at word play.

By depicting Sam reading his valentine to his father rather than reproducing the

text, Dickens circumvents, or ‘evades’, the problem of representing Sam’s orthography;

doing so would make it necessary to either stifle Sam’s lively Cockney with standard

English orthography or spell the words as Sam pronounces them. The former choice
60
See, for example, Malcolm Andrews, “Dickens, Comedy And Disintegration.”

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would deaden the vitality of Sam’s spoken voice, while the latter runs the risk of

undermining his credibility, for once his words are transcribed onto paper, they cease

being phonological representations and become misspellings. Sam’s performing the

letter aloud maintains both his canniness and the verbal energy of the narrative. Where

Cockney is concerned, dialogue takes precedence. The text of other letters and

invitations are represented, such as Tracy Tupman’s letter to Pickwick in Chapter 11,

Dodson and Fogg’s letter to Pickwick in Chapter 18, both in Standard English, and Mr.

Weller’s letter to his son in Chapter 51. Mr. Weller’s letter, however, maintains an oral

quality because it is dictated to a paid scribe, a practice not uncommon in the days before

universal education. Presenting the letters in these disparate ways allows Dickens to

show that Sam is literate and that his father is not, but it also gives Dickens additional

opportunities to play with language. The first line of Tony Weller’s letter, for example,

mocks the conventions of letter writing: “I am wery sorry to have the plessure of bein a

Bear of ill news” (554; no. 18, ch. 51). Here the stock openers, “I am very sorry to have

to be the bearer of ill news” and “It gives me great pleasure to inform you” are spliced,

which shows their semantic emptiness. As the letter continues, it illustrates the tension

between written and spoken, schooled and open English:

‘your Mother in law cort cold consekens of imprudently settin too long on

the damp grass in the rain a hearin of a shepherd who warnt able to leave

off till late at night owen to his havin vound his-self up vith brandy and

vater and not being able to stop his-self till he got a little sober which took

a many hours to do’ (555; no. 18, ch. 51)

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The letter has no punctuation and its orthography has an oral quality, both of which are

common features of working-class writing, and attempts at literate style fall short of the

mark and unnecessarily complicate the letter’s meaning; “consekens of imprudently”

could have been put simply, “from.”

The practice of letter writing, of translating one’s thoughts and sentiments into the

conventions of that style of communication, it would seem, convolutes their meaning.

Mr. Weller is in the difficult position of needing a scribe to take down his words but

finding the results less than satisfactory. It is unclear exactly what elements of the letter

are the embellishments of the scribe and which are taken verbatim from Mr. Weller’s

speech, but what is clear is that he is displeased with at least some of the scribe’s choices

in orthography, which is illustrated when he interferes with the scribe’s transcription:

‘by the vay your father says that if you vill come and see me Sammy he

vill take it as a wery great favor for I am wery lonely Samivel N. B he vill

have it spelt that vay vich I say ant right and as there is sich a many things

to settle he is sure your guvner wont object of course he vill not Sammy

for I knows him better so he sends his dooty in vhich I join and am

Samivel infernally yours’ (555; no. 18, ch. 51)

Nota bene, the scribe writes, “he vill have it [Samivel] spelt that vay vich I say ant right.”

Throughout the letter, the scribe, who is barely literate himself, spells words more or less

as Mr. Weller, and perhaps he himself, pronounces them, but balks when it comes to

spelling Samuel with a “v”. Studies of pauper letters show that names are consistently

spelled correctly, even when much of the rest of the letter is riddled with misspellings, so

the scribe’s insistence (in Latin no less) that Mr. Weller’s spelling “ant right,” adds

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verisimilitude to the letter’s existing humour.61 But it also causes further confusion.

Sam’s initial reaction to the letter is one of perplexity: “‘Wot an incomprehensible

letter,’ said Sam; ‘who’s to know wot it means vith all this he-ing and I-ing! It ain’t my

father’s writin’ ’cept this here signater in print letters; that’s his’” (555; no. 18, ch. 51).62

The shifting back and forth of pronouns not only renders the letter difficult to

comprehend, it also depicts the struggle between Mr. Weller and the scribe--the latter

who wants to adhere to letter-writing conventions and the former who desires to inject his

voice into the genre. Mr. Weller’s interruptions cause the scribe to inject his own voice;

“he vill have it spelt that vay vich I say ant right,” has a conversational energy that is

lacking, or rather stifled, by the formality of the rest of the letter. As Sam says, ‘The

gen’lm’n as wrote it, wos a tellin’ all about the misfortun’ in a proper vay, and then my

father comes a lookin’ over him, and complicates the whole concern by puttin’ his oar in.

That’s just the wery sort o’ thing he’d do’ (555; no. 18, ch. 51). That’s just the very sort

of thing both Sam and Tony do throughout the narrative; they put their verbal oars in the

sea of the literate style of the Pickwickians.

The tension between the oral and the written in Pickwick is echoed in the discord

between standard and nonstandard, or the refined and the vulgar.63 Although Sam seems

to side with conventions of the written when he calls the scribe’s method of conveying

news “proper,” he is not privileging the one over the other so much as acknowledging the

usefulness of templates and commenting on the appropriateness of certain styles for

particular contexts. For example, although Sam may gently tease the Pickwickians for

61
See, for example,Tony Fairman (2000).
62
The reader learns in Chapter 36 that Mr. Weller “always prints,” as Sam explains, “’cos he learnt writin’
from the large bills in the bookin’ offices” (392; no. 13, ch. 36).
63
Tony Fairman prefers the terms refined and vulgar because, as he points out, standard and nonstandard
would not have been used in the nineteenth century (65).

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their naïvete in certain matters, he never derides them for their verbal style; it is fitting for

their social position. The Bath footmen, who emulate the fashionable speech of their

masters, on the other hand, are open game for Sam’s mocking. After making the

acquaintance of one of their party, Mr. John Smauker, Sam is invited to the Bath

footmen’s “swarry”--their orthographical attempt at soirée. Sam finds it strange that he

should receive a letter at all: “‘Wery odd that,’ said Sam, ‘I’m afreed there must be

somethin’ the matter, for I don’t recollect any gen’lm’n in my circle of acquaintance as is

capable o’ writin’ one’” (392; no. 13, ch. 36). That the epistle is “wrote on gilt-edged

paper” and “sealed in bronze vaz vith a top of a door key” causes even more concern, so

“with a very grave face, [he] slowly read as follows:

‘A select company of the Bath footmen presents their compliments to Mr.

Weller, and requests the pleasure of his company this evening, to a

friendly swarry, consisting of a boiled leg of mutton with the usual

trimmings. The swarry to be on table at half past nine o’ clock

punctually.’

This was inclosed in another note, which ran thus --

‘Mr. John Smauker, the gentleman who had the pleasure of meeting Mr.

Weller at the house of their mutual acquaintance, Mr. Bantam, a few days

since, begs to inclose Mr. Weller the herewith invitation. If Mr. Weller

will call on Mr. John Smauker at nine o’clock, Mr. John Smauker will

have the pleasure of introducing Mr. Weller.

(Signed) ‘JOHN SMAUKER’

(393; no. 13, ch. 36)

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Unlike Tony Weller’s letter to his son, Mr. John Smauker’s note is “signed” and written

by his own hand; however, it and its accompanying invitation further illustrate the tension

between the written and the oral, the refined and the vulgar. Indeed, the opposites collide

with comic results. The envelope is addressed to “blank Weller, Esq.” but in the left

hand corner the words “‘airy bell,” directing the bearer to ring the bell at the servant’s

quarters, belie the fallacy of that appellation, and the French term, soirée, ends up

misspelled, boiled, and placed on the table. Pronouns, too, seem to be a problem for Mr.

Smauker, as they are for Tony Weller and his scribe, except that the footman seems

afraid to use them. The resulting cavalcade of proper names, though meant to signal

prestige, renders the note both stylistically awkward and ridiculous.

It is worth noting that the only language that befuddles our knowing Sam Weller

is that which is unnecessarily formal and complicated, usually French, Latinate, or

Greek-derived words that have perfectly suitable English equivalents. When Mr. John

Smauker, for example, asks Sam if he found the waters of the chalybeate springs

unpleasant because he disliked the “killibeate taste,” Sam responds, “I don’t know much

about that ’ere [...] I thought they’d a wery strong flavour o’ warm flat irons” (394; no.

13, ch. 36). When Mr. John Smauker explains that, “That is the killibeate, Mr. Weller,”

Sam retorts, “Well, if it is, it’s a wery inexpressive word, that’s all” (394; no. 13, ch. 36).

Similarly, when one of Dodson and Fogg’s clerks, Mr. Jackson, tells Sam, “Here’s a

subpoena for you, Mr Weller,” Sam responds, “What’s that in English?” (319; no. 11, ch.

30). These assertions that non-Anglo-Saxon words are “inexpressive” and not “English”

echo those of the Lancashire advocates, as mentioned above and in the previous chapter.

Sam may not recognize the Greek-derived “killibeate,” but it matters not, for his

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description of the waters’ taste as “warm flat irons,” is more expressive and descriptive.

Sam’s concrete yet metaphoric description trumps Mr. John Smauker’s accurate yet

semantically empty one. Sam, like Ab-o’th’-Yate in “Eating a Bootjack,” is portrayed

not as ignorant but rather as truly English, a citizen of the nation who speaks the language

of the nation. That Londoners were clamoring to acquire the language of the City streets

is illustrated by Grose’s definition for Half Flash and Half Foolish: “This phrase is

applied, in a sarcastic manner, to those persons who have a smattering of the cant

language, and also pretend to a knowledge of life, which they do not possess. The family

of half flash and half foolish are very numerous in London” (n.p.). Much like the Bath

footmen who pretend to a knowledge of upper-class life, which they do not possess, and

are met with ridicule, pretenders to the kind of urban sophistication and knowingness that

Sam possesses are mocked by those who are “down.” In and beyond the pages of

Pickwick, Sam sold Cockney to scores of readers.

The Afterlife of Sam Weller

Of all Dickens’s works, Pickwick Papers was by far the most plagiarized and

imitated.64 And among the Pickwick characters, Sam Weller has by far the longest and

most far-reaching afterlife. Pickwick’s loyal servant takes on a life of his own beyond

the pages of the novel, from upstaging the Pickwickians on stage, to singing comic songs

in the music hall, to editing his own comic almanacks, jest books, and songsters, and

even penning political commentaries.65 In Pickwick Papers, Dickens transformed

familiar caricatures, such as the cantankerous cad or the bumbling sportsman, into Sam

Weller the canny Cockney; in imitations, however, Sam becomes the author of his own

64
In fact, Pickwick Papers was the most plagiarized work of its time (James 1963: 47).
65
See, for example, “Mr. Samuel Weller’s Sentiments on the New Poor Law.” Cleave’s Penny Gazette, 16
December 1837.

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transformation. Consider, for example, of Sam’s jab at Cockney sportsmen in The

Pickwick Comic Almanack (1838): “‘I should think not, Sir,’ said Sam, ‘as the Chaffinch

said to the Cockney Sportsman, that fired three times without hitting on him’” (5). As

Louis James (1970) and Mary Teresa McGowan (1975) point out, most of these

imitations do not have the depth and nuance of Dickens’s creation--some even

condescend to the canny Cockney--but they still succeed in further complicating, and in

some cases ameliorating, the social meaning of Cockney character and Cockney speech.

One popular song, “Sam Weller’s Adventures!”, which appeared in The London

Singer’s Magazine and Reciter’s Album (1838-9), not only claims that Sam “caus’d the

smiles of the rich and poor” and “made a hit” of Pickwick, but also that he “rose the

worth of literature.” His name certainly raised the sales of literature, leading many a

publisher to add the words “Sam Weller” to titles of materials that had little or nothing to

do with the character. Sam Weller’s Favorite Song Book, for example, is a collection of

comic songs, only one of which is related to its namesake, though only tenuously;

“Always Gay! Always Gay!”, is featured in Moncrieff’s play, Sam Weller (1837), but is

sung by Isabella, not Sam.66 An even bolder borrowing of Sam’s good name appears in

the “Address to the Public” that introduces Sam Weller; A Journal of Wit and Humour

(1837). In it the editor claims that the anecdotes contained therein are presented by Sam

Weller himself:

Sam Slick, in presenting his compliments to the Public, begs leave to

introduce to their respectful notice his particularly humorous friend Sam

66
Moncreiff’s play was one of many stage adaptations that capitalized on the name of Sam Weller in their
titles: W.T. Moncrieff’s Sam Weller; or, The Pickwickians (1837) and its sequel, Sam Weller’s Tour; or,
The Pickwickians in France (1838), Thomas Hailes Lacy’s The Pickwickians; or, The Peregrinations of
Sam Weller, Frederic Coleman Nantz’s Mr. Pickwick; or, The Sayings and Doings of Sam Weller (1838),
and The Weller Family (1878).

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 Weller, whose intention it will be, weekly, to make them roar with

laughter in the true Pickwickian style. Sam Weller’s fame for wit and

humour is now well established, and Sam Slick feels confident it will not

be lessened by his new attempt to excite the risible faculties of the public.

Sam Weller will present every week to his friends the most racy,

laughable, and piquant pieces of wit and humour. To make the sad gay,

the gay merry, and the merry laugh, will be his constant aim, and my good

fortune prosper him in his laudable ambition. (n.p.)

This strange bit of prefatory material features not one, but two fictional Sams. Sam Slick,

a pseudonym of Canadian writer Thomas Chandler Haliburton, was himself a popular

character known for his humor and knowing observations. Here, one Sam

simultaneously vouches for and banks on the other, promising readers that his

“particularly humorous friend” will make them laugh “weekly” in “the true Pickwickian

style.” What follows, however, little resembles anything that had flowed from the pen of

“Boz”; most of the anecdotes, many of which poke fun at the Irish, are in that familiar

form of the one-liner: “A gentleman at the Irish bar,” “A traveller, after sleeping at an

Irish inn,” “An Irish judge,” et cetera, et cetera, ad nauseam. Indeed, the material is

anything but a “new attempt to excite the risible faculties of the public”; at least one of

the sketches, “Silence of American Women,” had already appeared as “The Silent Girls”

in the Novascotian, Or Colonial Herald on 8 October 1835 and in series one of The

Clockmaker; Or The Sayings And Doings Of Samuel Slick, Of Slickville (1836).67 It was

June of 1837 when Haliburton’s penny journal Sam Weller was published, a month after

67
See George L. Parker’s edited collection of Haliburton’s work, The Clockmaker: Series One, Two and
Three (1995: lxxiv, 752).

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Number 14 of Pickwick Papers, which included Chapters 37-39, was published. By this

time readers Sam Weller’s “fame for wit and humour” was indeed “well established” and

it would seem even the popular Sam Slick couldn’t resist jumping on the Pickwickiania

bandwagon.

Pickwick Songster (1837), a series of comic songs published in sixteen numbers,

is more successful in its mimicry of Dickens’s creation.68 Purportedly edited by Sam

Weller and “the honorable members of ‘The Pickwick Club’,” most of the early numbers

contain at least one song related to Pickwick or its adaptations. Number 1, for example,

features “Sam Weller’s Chapter of Crows!”, Number 2 “The Good old English Customs”

from Moncrieff’s Sam Weller, Number 3 “Always Gay! Always Gay!”, mentioned above,

Number 5 “The Pickwick Age,” and Number 8 “The Fat Boy”. More impressively, the

first number includes a “Notice to Correspondents and Subscribers” written in the voice

of Sam Weller. Although the writer’s representation of Cockney orthography is not as

deft as Dickens’s--for example, he falls back on eye dialect and spells character with a

“k”--he does include Wellerisms and alludes to Tony Weller’s “nat’ral purwersion to

poetry.” Granted the Wellerisms are not as clever as Dickens’s, but they are original and

closer to Sam’s version of the aphorisms than to Simon Spatterdash’s. For example:

My rum uns, on makin’ o’ my debutt in a new karacter, I begs to drop my

best bow, and hopes you’re all quite chuff, as the hard-hearted pork

butcher said to the poor little hinnocent pigs vhen he vos a goin’ to kill

’em!”

68
The British Library attributes this series to Thomas Peckett Prest, author of many a penny dreadful and
Dickens imitation, including the Sketch Book by ‘Bos’ (1836).

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How we interpret Sam’s “debutt” here depends on whether we think that he is punning on

the French, as in “of the butt” or that he is guilty of a malapropism, but I think it is safe to

say that Dickens would not represent his knowing Cockney as being guilty of either. The

“k” in “karacter” I have already commented on. And “vhen he vos goin’ to kill ’em!”

falls a bit flat, but it is in keeping with the spirit of most Pickwickian Wellerisms in that it

has a rather macabre quality, as does the second Wellerism: “it is my detarmination to

make it nothin’ else but a reg’lar roarer, as the affectionate mother said of her babby vot

cried hisself ev’ry day into high strikes!” The latter is reminiscent of at least two of

Sam’s Wellerisms: “No, no; reg’lar rotation, as Jack Ketch said, ven he tied the men up.

Sorry to keep you a watin’, Sir, but I’ll attend to you directly” and “Business first,

pleasure arterwards, as King Richard the Third said ven he stabbed the t’other king in the

Tower, afore he smothered the babbies” (91; no. 4, ch. 10; 256 no. 9, ch. 25). The

Songster’s Wellerisms match Dickens’s phonetic representation of “reg’lar” and

“babbies” and echo the violence present in so many of Sam’s odd comparisons.

The song “Sam Weller’s Adventures!”, too, makes use of Wellerisms. The final

three stanzas end with them: “As the gen’leman said, d’ye see, / At the time he vos goin’

to be hung!”; “As the blind man said vhen he vas swished [‘married’ (Grose)] / To the

lady vithout any nose!”; and “As the hemperor dictated, vhen / The crocodile nipped off

his hand!” A fourth Wellerism opens the final stanza: “Now I hopes you’re all hearty and

chuff, / ’Cos I’m now going to take my release, / As the poulterer said, vith a huff, / Vhile

a killing the hinnocent geese!” These lines are strikingly similar to those featured in the

Pickwick Songster’s “Notice to Correspondents and Subscribers”; both hope the audience

is chuff, slang for ‘chubby’ or ‘round-faced,’ and both tell of the butchering of hinnocent

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animals. Here, we see either the work of the same author or an imitation imitating an

imitation. But whichever the case, two things are amplified in these penny periodicals:

the use of slang and Sam Weller’s knowingness. In “Sam Weller’s Adventures!”, for

example, Sam explains how his canniness has kept him out of trouble: “I trotted all over

town, / And seed all the pleasures of life -- / ’Cos being to knowingness down, / I never

get into no strife.” Sam is not just knowledgeable, he is “down” with knowingness. The

phrase, with its doubling up of “down” and “knowingness,” is at once emphatic and

specific about the particular smarts Sam has to offer.

In one of Pickwick’s many stage adaptations, William Leman Rede’s

Peregrinations of Pickwick; A Drama in Three Acts, first performed at the Adelphi

Theatre on 3 April 1837, Pickwick calls on Sam’s specific knowledge of the language of

the London:

Sam: Pray, sir, might I ask what sort of a hexpidition you’re starting on?

Pick: Certainly...the Pickwick Club have deemed me the only person who

can solve a certain mystery. I am sure, Samuel, you must be aware that

for a very considerable time there have been some mysterious words

current in the metropolis.

Sam: Oh, a dollop. How’s your mother -- has she sold her mangle? -- who

are you? -- flare up -- how fat you get -- all round my hat -- what a

shocking bad bonnet -- with many other, too numerous to mention in this

here advertisement.

Pick: Well, sir, I am about to write a philological work, in which I shall

trace the sources of these extraordinary sentences. You shall go with me.

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Nothing comes of this philological exhibition--it seems it was all talk--and Rede is likely

poking fun at the nineteenth-century fever for philology, in much the same way Dickens

makes fun of antiquarians in Pickwick, but the mere mention of such a inquiry speaks to

the interest Britons had in metropolitan speech in the 1830s. The Pickwickians may have

charged their leader with solving the mystery of the language of the streets, but it

becomes immediately clear that it is Sam who is the expert.

Given the popularity of Sam’s character, it should come as no surprise that all

stage adaptations of Pickwick give large parts to Sam. All adaptations include the scene

in the Inn Yard of the White Hart and most feature Sam writing his valentine.

Moncreiff’s Sam Weller; Or, The Pickwickians, first performed at the Strand Theatre on

17 July 1837, greatly extends Sam’s dialogue, even giving him the opportunity to

ruminate on his social position:

[V]orst of being a boots is, it puts a stop to hambition--you can’t rise no

higher, and the human mind naturally aspires; as the pick-pocket said to

the gallows:--I’m summat like a fly in a treacle-can--I should uncommonly

like to change my sitivation, although the folks does call me a shining

character--I emulates the great Wauxhall balloon--I’m for rising in the

vorld--a boots is sich a sort of amphibbious profession, it hasn’t any

reg’lar standing in the list of trades. (4)

This soliloquy takes the nascent ambition in Sam’s conversation with Pickwick from

Chapter 16 and inflates it like Vauxhall’s balloon. To an audience of working-class

theatre goers, the Boots at the White Hart Inn needn’t be modest about his ambitions; he

can say without hesitation that he would “uncommonly like to change [his] sitivation.”

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Indeed, as Sam so boldly declares, “the human mind naturally aspires.” Like the Sam of

Pickwick, this Sam is adept at punning--folks call him a shining character--and his

Wellerism is appropriately macabre--a pick-pocket about to swing from the gallows.

More interesting, however, is that what appears at first glance to be a malapropism--

amphibbious--is actually a pun that demonstrates Sam’s keen awareness of social

stratification and his liminal position. Amphibbious here means both lacking in “reg’lar

standing” as, say, a frog on a lily pad and ‘Having two lives; occupying two positions;

connected with or combining two classes, ranks, offices, qualities, etc.’ (OED). The

occupation of boot cleaner may not make the list of trades, but with the increased social

mobility of the 1830s, neither is Sam fixed in, or should we say landlocked by, this

position. He does, after all, become a gentleman’s valet, an amphibious position, indeed,

as I discuss above.

Not surprisingly, a play bearing the name of Sam Weller features prominently the

scene in which Sam composes his valentine to Mary, but Moncreiff does not give much

more space to Sam’s courtship on stage than Dickens does in the pages of Pickwick. One

key difference, however, is that in the play Pickwick does not require Sam to wait two

years to marry. Instead, in the final scene, Pickwick gives Sam one hundred pounds “to

provide for [his] wedding dinner” (Act III, Scene IV). What’s more, Sam’s engagement

to Mary is celebrated alongside those of Winkle and Isabella, Snodgrass and Emily, as

well as Tupman and Rachel, who in the novel remain a bachelor and spinster. Pickwick

exclaims, “My friends, you’re each bless’d with the girls’ of your hearts! [...] Sam, you

too, have your Mary” (Act III, Scene IV). Still, even in a play that bears his name, Sam’s

courtship of Mary is part of an ensemble of romance plots, and Pickwick does not include

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Sam as among his “friends” in his announcement of the engagements; his servant is

syntactically separated from the Pickwickians.

Two generations later, and a sign of the enduring popularity of Sam Weller, is

Frank E. Emson’s play The Weller Family (1878). Sam is not only the star, his courtship

of Mary takes center stage and their engagement serves as the comedy’s denouement.

Emson’s play is a picture of domestic bliss, complete with the elder Mr. and Mrs. Weller

reconciling in the end: “I don’t think widders is quite so bad as I imagined, arter all,”

Tony Weller tells the audience (27). The play’s central tension is the disruption of this

domestic bliss caused by the morally repugnant red-nosed Mr. Stiggins. In Dickens’s

novel, Stiggins distracts Mrs. Weller from her “dooties at home” with ill-conceived

campaigns, such as “providing the infant negroes in the West Indies with flannel

waistcoats and moral pocket handkerchiefs,” and worse yet, makes her an accomplice to

not only his intemperance but also his plot to fool his parishioners into paying his water-

rate (557; no. 18, ch. 51; 278; no. 10, ch. 27). Mrs. Weller is similarly duped by Mr.

Stiggins in Emson’s play; however, unlike in the novel, it is not Mrs. Weller’s illness that

brings her to her moral senses, it is Mary. Instead of Mrs. Weller’s death-bed scene--in

the novel only reported by Tony Weller to his son--audiences witness her indignation.

Mrs. W. (crying) Would anybody believe there ever was such a

hypocrite? Oh, it’s much too bad, that it is, to be deceived like this. Oh,

the wretch, if ever he comes here again if I don’t scratch his face for him,

that I will, and I’ve treated him like a prince, and there’s that flint-hearted

man with not a word of comfort for his wife, but I might have known that.

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 Weller. Hallo, vot have you been and transmogrified yourself into

a portable fire engine for, eh? What’s the matter?

Mrs. W. (sitting R sobbing) Why, I’ve been having a long talk

with this dear girl, and she has just told me that that slovenly, impudent

Mrs. Brown has been telling all the sisters of our Temperance Society that

Stiggins says he is firmly persuaded I’ve purloined for my own use some

of the flannel which was intended to be worked up for the little negroes,

and he means to get me expelled from the Society altogether.

Mary. (sitting L.) Yes, Mr. Weller, it’s quite true, Mrs. Brown

told so only half an hour ago, and I said I should tell Mrs. Weller of it.

Yes, and Mr. Stiggins also said he didn’t like to be seen coming to such a

low place as the Marquis o’ Granby, but his duties obliged him. (25-26).

Having Mary relay the news of Mr. Stiggins’s deception, brings her into the center of the

plot and into the family fold. Once the Weller family band together and expel Mr.

Stiggins from the Marquis o’ Granby, and their lives, they are free to enjoy their

respectable domesticity, or as Mr. Weller puts it, “I fancies we’ve got rid of that old land-

shark at last, so don’t see vy we shouldn’t now copy them fairy sort of books, and live

happy ever arter” (31).

Emson’s play effectively takes Sam Weller and his lively Cockney speech off the

city streets and plants them squarely in the parlor, “cheaply but comfortably furnished”

(4). In the following chapter, we go back out onto the streets as I explore the

representation of nonstandard dialect in the non-fiction work of Henry Mayhew (1812-

1887) who reported on the state of London’s poor during the mid-nineteenth century. In

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his letters to the Morning Chronicle (1849-50) and his London Labour and the London

Poor (1851-52; 1861), in which a number of the MC letters were reprinted, Mayhew

constructs his oral interviews as if they were fictional narratives; though his texts purport

to be objective journalism, they are highly constructed. I analyze the ways in which

Mayhew represents the speech of his informants, from honest weavers to flash patterers,

and the ways in which these representations draw upon fictional genres even as they

attempt to represent authentic speakers.

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 Chapter 4

Pattering Hintellects:

Working-Class Voices in Henry Mayhew’s Investigative Journalism

We live like yourself, sir, by the hexercise of our hintellects--we by

talking, and you by writing.
—“Running Patterer” in London Labour and the London Poor (1851)

This dissertation has worked to tease out the complicated and sometimes

contradictory attitudes the Victorians had toward nonstandard varieties of English. Thus

far, I have examined how dialect is represented and functions in fictional texts--the novel

and the sketch. In this chapter, I will consider the role of dialect in non-fictional texts--

the investigative reporting Henry Mayhew (1812-1887) conducted for London’s Morning

Chronicle between September 1849 and December 1850 and later for his own series of

weekly two-penny pamphlets, London Labour and the London Poor (1851-52).69

Mayhew was not the first nor was he the last to investigate and report on the conditions

of the poor and labouring classes of Britain,70 but his contribution stands out amongst the

nineteenth-century profusion of such publications for its focus on the opinions of the poor

themselves and its abundance of direct speech. Unlike most of his colleagues, Mayhew

69
The weekly numbers of London Labour and the London Poor were subsequently collected and published
in three volumes in 1851. In 1861, a fourth volume was published, of which Mayhew wrote only the first
thirty-seven pages; his co-authors Bracebridge Hemyng, John Binny and Andrew Halliday were
responsible for the bulk of Volume IV. For more on Mayhew’s publication history see Humpherys (1971:
xviii-xix; 1977: 16-26).
70
By 1849, readers were well acquainted with the “Condition of England Question,” as Carlyle dubbed it in
1839: from Edwin Chadwick’s Report on the Sanitary Conditions of the Labouring Poor (1842) and
Friedrich Engels’s The Condition of the Working Class in England (1845) to parliamentary blue books, as
well as privately published pamphlets and newspaper articles. Post-Mayhew publications include John
Hollingshead’s Ragged London in 1861, George Sims’s How the Poor Live (1883), and Charles Booth’s
multi-volume Life and Labour of the People in London (1889-1903).

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reproduced long passages of his informants’ speech in his reports and he did not hesitate

to use nonstandard orthography to approximate the Cockney dialect. Mayhew, the

novelist cum playwright cum social explorer, drew on established literary techniques of

representing speech to bring his informants to life. Indeed his contemporaries credited

him with accomplishing what no other investigator before him had: capturing the voices

of the poor. Since then, critics have continued to praise Mayhew for his “amazing ear for

speech” (Auden 123) and for how his “incomparable records of conversations” allow his

informants to “jump from the page with an extraordinary liveliness” (Williams 218). Yet

more recent criticism questions how close we can get to the voices of the poor, as they

are always mediated and framed by a middle-class observer.71 I, like Ellen Rosenman,

am interested in what these working-class voices can do, despite this persistent mediation

and framing. As Rosenman points out, most studies of Mayhew’s LLLP “unwittingly

replicate the charge they bring against Mayhew. Focusing only on interactions that fulfill

bourgeois stereotypes, they miss the articulate self-awareness of other speakers” (56).

While Rosenman focuses on informants’ use of obscenities as instances of “subtle

withholding of deference,” I examine their wordplay and the literary techniques Mayhew

uses to represent their Cockney speech to illustrate both parties’ celebration of working-

class verbal agility.

As we saw in Chapter three, the indexicality of the Cockney dialect in nineteenth-

century Britain was complex and multivalent; its social meanings were not only in flux,

they differed depending on speaker, interlocutor, and context. For some Victorians,

however, Cockney would seem irredeemable. In the section “Of Vulgarity” of his

71
Humpherys (1977: 91-93); Murphy (1998).

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Modern Painters (1860), John Ruskin (1819-1900) had these harsh words to level against

the Cockney dialect:

[V]ulgarity is indicated by coarseness of language and manners, only so

far as this coarseness has been contracted under circumstances not

necessarily producing it. The illiterateness of a Spanish or Calabrian

peasant is not vulgar, because they had never an opportunity of acquiring

letters; but the illiterateness of an English school-boy is. So again,

provincial dialect is not vulgar; but cockney dialect, the corruption, by

blunted sense, of a finer language continually heard, is so in a deep degree.

(vol. 5, sec. 19)

Speakers of vulgar language for Ruskin, then, are only those who really ought to know

better, the Londoners who are exposed to that “finer language,” Standard English, on a

daily basis. Peasants, on the other hand, whether they hail from Spain, southern Italy, or

the British countryside, are not guilty of vulgarity in speech. For Ruskin, speakers of

provincial dialects are those mute stoop-backed peasants of Pickwick Papers, who one

might see lift their heads momentarily from their work in the field to spy a passing coach.

Kept to their fields, Ruskin’s peasants are innocuous, whereas the Cockney is ubiquitous

to the streets of London, everywhere and anywhere, hawking their wares, “crying” their

songs, pattering their “murders” and “dies”. Cockneys are vulgar to Ruskin not just

because as Londoners they should know better but also because they demand something

from him: his attention, his acknowledgment, a response.

The Cockney’s mobility and resounding voice trouble Ruskin, and not just in the

street but also in the pages of literature. Ruskin calls upon Robert Burns (1759-96) to

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further his case against the Cockney, comparing a stanza from, “Blythe was she,” to an

utterance by Mrs. Sarah ‘Sairey’ Gamp, a Cockney character from Dickens’s Martin

Chuzzlewit (1843-4), condemning the latter for its vulgarity and inarticulateness:

There is no vulgarity in—

“Blythe, blythe, blythe was she,

Blythe was she, but and ben,
And weel she liked a Hawick gill,
And leugh to see a tappit hen;”

but much in Mrs. Gamp’s inarticulate “bottle on the chimley-piece, and let

me put my lips to it when I am so dispoged.” (ibid)

In a footnote, Ruskin provides a translation of the Burns’s Lowland Scots, explaining that

“but and ben” means “in either room of the house,” while “tappit hen” can mean either “a

hen sitting on her eggs,” or “a vessel containing three quarts of claret.” For these latter

denotations, Ruskin, much like Gaskell does for Mary Barton (1848), provides quotations

from literature as evidence of the terms’ legitimacy, from English antiquarian Joseph

Ritson’s (1752-1803) collection of Scottish Songs (1794) and Walter Scott’s Guy

Mannering (1815), respectively. Poor Mrs. Gamp receives no such respect, even though

she and Burns share the use of chimley and it is listed as a legitimate dialect term in a

number of nineteenth-century philological sources, including A Etymological Dictionary

of the Scottish Language (1808).72 Ruskin, rather unfairly, pits the represented speech of

72
Burns uses “chimlie” in his poem “Halloween”: “An’ jump out-owre the chimlie” (VII: 8). Chimley (and
variations: e.g., chimbley, chimlay, chimla) is also listed in Samuel Pegge’s Anecdotes of the English
Language; Chiefly Regarding the Local Dialect of London and Its Environs (1803), John Trotter Brockett’s
A Glossary of North Country Words, In Use (1825), Sir George Cornewall Lewis’s A Glossary of
Provincial Words Used in Herefordshire and Some of the Adjoining Counties (1839), and Thomas Wright’s
Dictionary of Obsolete and Provincial English (1857), just to name a few. Pegge is perhaps the boldest in
his defense of chimley, claiming that this prounciation was “Sanctioned by Shakespere” [sic] and
explaining that it is “not peculiar to London, for it prevails universally. It is found in Lancashire: see the
Glossary to Tim Bobbin’s Works. It may be observed that the n and l are both consonants of the same
organ” (48-49). What Pegge means by his last remark, is that /n/ and /l/ are articulated with the tongue in

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a comic creation against both the actual speech of romanticized peasants and the oral-

ballad-influenced poetry of “Scotland’s favourite son.” In this way, he uses the

conflation of literary and literal subjects, which worked so effectively for the Manchester

advocates in valorizing the Lancashire dialect, in order to denigrate the dialect of

London.

Nearly forty years later, in his 1898 study of Dickens, novelist George Gissing

(1857-1903) plucks Mrs. Gamp from the pages of Dickens’s novel and plants her in the

streets of London. “Meeting her in flesh,” Gissing suggests, “we should shrink disgusted,

so well does the foulness of her person correspond with the baseness of her mind.

Hearing her speak, we should turn away in half-amused contempt” (89). Written over

half a century after the publication of Martin Chuzzlewit and nearly three decades after

the Education Act, Gissing’s harsh criticism of Mrs. Gamp is inflected not only by

shifting language attitudes but also by shifts in the English language; Mrs. Gamp sounds

both uneducated and old fashioned, two qualities that would be amplified if readers were

to bump into her in the streets of 1890s London. “Yet, when we encounter her in the

pages of Dickens,” Gissing continues, “we cannot have too much of Mrs. Gamp’s

company; her talk is an occasion of uproarious mirth, we never dream of calling her to

moral judgment, but laugh the more, the more famously she sees fit to behave” (89).

Indeed, readers fell in love with Mrs. Gamp--among Dickens’s characters she was second

the same position, the alveolar ridge. Lewis also draws phonology in his defense of chimbley: “The
insertion of b after m occurs likewise in homber and sumber [....] Sometimes the provincial dialect omits b
after m: thus the Somersetshire dialect has timmer for timber” (22). Pointing out these phonological
parallels shows that such pronunciations are not mistakes or corruptions but rather regular grammatical
features. Walton Burgess, however, and perhaps not surpringly, lists chimley as mistake number 163 in his
Never Too Late To Learn! Five Hundred Mistakes...Corrected (1856: 37).

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only to Sam Weller in popularity73--even though she is, to use Gissing’s words, “a very

loathsome creature; a sluttish, drunken, avaricious, dishonest woman” (74). Despite this

marked contrast to the loyal, honest, and sharply-dressed Sam Weller, her partner in

Cockney loquaciousness, Mrs. Gamp manages to rival him in celebrity and admiration.

She’s a consummate fraud but we love her for it. The character of Mrs. Gamp attests to

the fascination Victorian readers had with the fraudulent, a truth perhaps not universally

acknowledged, but one in which Henry Mayhew put his confidence.

This chapter considers Victorian readers’ love affair with another kind of fraud:

the “flying” and “standing” patterers of London, those artful dodgers of the “paper trade”

whom Mayhew praises for their “mental superiority” and “gift of the gab” despite their

immorality (LLLP I: 213;235). If Sam Weller, with his comedy, canniness, and honesty,

could charm a nation of readers, Mayhew shows us that the patterers, who relied on their

humor, wits, and the “dodge” to survive, could be equally captivating. These men, for

they were always men,74 were sellers of “cocks,” quarter-, half- or whole-sheet papers

featuring fictitious tales passed off as true accounts of, usually local and often

scandalous, happenings. The London patterers considered themselves “the haristocracy of

the streets.” “We live like yourself, sir,” one of his informants tells Mayhew, “by the

hexercise of our hintellects--we by talking, and you by writing” (LLLP I: 213).

Mayhew’s informant, in a speech style marked as working-class London, not only

places himself on equal standing with Mayhew, the middle-class journalist, but also

73
Like Sam Weller, Mrs. Gamp inspired several, though not nearly as many, dramatic adaptations,
appropriations, and plagiarisms sporting her name. But perhaps more telling of her popularity is that fact
that in the mid-nineteenth century the word gamp became slang for ‘nurse’ and ‘umbrella’ (OED).
74
Women “paper workers,” Mayhew explains, “never make their appearance in the streets, but obtain a
livelihood by ‘busking,’ as it is technically termed, or, in other words, by offering their goods for sale only
at the bars and in the tap-rooms and parlours of taverns” (215).

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makes him complicit in the patterers’ fraudulent activities. And Mayhew lets this

statement stand. He does not mock this informant’s /h/-insertion, in fact, he does not

comment on it at all, nor does he contradict his informant’s bold assertion. Instead,

Mayhew goes on to contrast the patterers with costermongers:

But notwithstanding the self-esteem of the patterers, I am inclined to think

that they are less impressionable and less susceptible of kindness than the

costers whom they despise. Dr. Conolly has told us that, even among the

insane, the educated classes are the most difficult to move and govern

through their affections. They are invariably suspicious, attributing

unworthy motives to every benefit conferred, and consequently incapable

of being touched by any sympathy on the part of those who may be

affected by their distress. So far as my experience goes it is the same with

the street-patterers. Any attempt to befriend them is almost sure to be met

with distrust. [...] The impulsive costermonger, however, approximating

more closely to the primitive man, moved solely by his feelings, is as

easily humanized by any kindness as he is brutified by any injury. (I: 213)

Instead of distancing himself from broadside street-sellers, Mayhew seems to corroborate

the assertion that they are intellectual equals; they certainly have more in common with

each other than they do with the “primitive” hawkers of “fruit and veg.” Mayhew even

cites the work of psychiatrist John Conolly (1794-1866) as evidence of the patterers’

mental superiority. Don’t take their word for it, or even mine, Mayhew seems to say, for

science has shown that those of us who make our living by the hexericse our hintellects

are not easily duped. Mayhew’s gesture toward objectivity here is not surprising in the

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context of his larger project, which draws heavily on statistics and techniques of objective

observation gleaned from the field of chemistry, but in the context of this specific

discussion it does seem rather curious. Both Mayhew and the patterer, his informant

suggests, trade in news that purports to be factual but is dubious, but only the latter is

upfront about his deception. Indeed, he revels in it. As we shall see, so do Mayhew and

his readers.

One of the aims of this chapter is to further complicate our view of Victorian

attitudes toward the Cockney dialect by exploring the conflation of fictional and non-

fictional genres. Through an examination of the use of literary techniques in non-literary

contexts, I show that aspects of fiction, quite paradoxically, are instrumental in the

positive construction of Cockney speakers in non-fictional contexts. In my previous

chapters, I have focused on the ways in which nonstandard dialects can index

respectability. In this chapter, I show how the Cockney dialect could garner respect for

its speakers, despite their disreputable behaviour. In Part I, I examine Mayhew’s

methodology, contrasting his use of literary techniques to those of his fellow

correspondent for the Morning Chronicle, Angus Reach, and considering their differing

effects. In Part II, I focus more closely on how Mayhew represents the speech of the

patterers and show how they emerge as Mayhew’s peers. In Part III, I discuss Mayhew’s

public Readings of London Labour and the London Poor and the way in which he takes

on the persona of patterer himself.

“I sees you a-writing”: From Oral to Written to Aural

Henry Mayhew is now famous for his London Labour and the London Poor

(hereafter LLLP), but in his own time he was also well known for his weekly

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contributions to the Morning Chronicle (hereafter MC). Mayhew’s series of eighty-two

letters were part of the newspaper’s larger survey of the conditions of the country’s

laboring population and poor. The MC employed many correspondents on this project,

including Angus Reach who was responsible for the manufacturing districts, Alexander

Mackay who surveyed the rural areas, and Charles Mackay who covered Birmingham

and Liverpool. As the newspaper’s “metropolitan correspondent,” Mayhew investigated

the lives of the “honest” and “dishonest” poor, the former of which were sub-divided into

“striving” and “disabled,” or those who “will work” and those who “can’t work,” while

the latter were deemed those who “won’t work” (Letter I, Friday, 19 October 1849). The

majority of the letters concern those who will work, primarily skilled labourers, such as

the Spitalfields weavers, operative tailors, boot and shoe makers, toy makers, carpenters,

cabinet makers, coopers and, of course, distressed needlewomen. Among the unskilled

labourers interviewed are ballast men, coalwhippers, and dock labourers, some of whom

are out-of-work weavers. Mayhew also submitted letters on the ragged schools, low

lodging houses, and his speculations on the causes of vagrancy.

In contrast, the contents of LLLP are devoted to the lives of costermongers,

hucksters, and street performers. Less than ten percent of the letters in the MC concern

these types of workers, revised versions of which are reprinted in LLLP. In their study of

Mayhew’s MC contributions, Yeo and Thompson (1971) lament, or at the very least seem

embarrassed by this change in Mayhew’s subject matter and what they perceive as a

change in his style: “Whatever the reasons, the Mayhew of the Morning Chronicle was

already beginning to recede, and the somewhat quainter--but also more dramatic and

more readable--Mayhew of the London street folk was taking his place. After another

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decade or two, this was the only Mayhew that was remembered” (45). Judging by LLLP

alone, Yeo and Thompson suggest, Mayhew seems “no more than a gifted journalist,

with an undisciplined zest for collecting facts about the poor and picturesque characters

among the poor” (51). Because one of the aims of Yeo and Thompson’s project is to

recover Mayhew as a serious social investigator, they privilege his contributions to the

MC, deeming the “quaint,” “dramatic,” and “more readable” LLLP an inferior product in

terms of “economic and sociological analysis” (45; 51). This study, on the other hand,

asks why street folk take over the pages of LLLP, how and why they steal the spotlight

from the respectable and pathetic workers that not only drew reader sympathy but also

reader donations in the MC offices.75 I would suggest that Mayhew’s and his readers’

interest in street folk goes beyond the scopophilia that most critics point too.76

I would like to turn our focus away from the pleasures of looking toward the

pleasures of listening. John Picker (2003) has shown that street noise could be a

nuisance, for middle-class Londoners especially--indeed some even charged the incessant

burr of barrel organs with hastening the death of an already ailing John Leech (48). And

yet readers, then and now, listened with rapt attention to “tumult of the thousand different

cries” (I: 11) that filled the pages of Mayhew’s work, the remarkable narratives of

Mayhew’s informants who, although central to London life, were often marginalized in

print. Through his use of literary techniques, I argue, Mayhew amplifies readers’ aural

pleasure while translating the oral into the written.

In this section, I examine Mayhew’s use of literary techniques to represent the

narratives of his informants for the Morning Chronicle and tease apart the differences of

75
Readers sent over £800 in donations to the Chronicle offices, mostly in response to the plight of the
distressed needlewomen.
76
Peter Stallybrass and Allon White (1986: 129-30); John B. Lamb (1997); David L. Pike (2005: 199).

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his methods to those of another of the MC’s contributors, Angus Reach (1821-1856), who

served as its correspondent in the manufacturing districts. As we shall see, the writers’

disparate methodologies have startling effects on the textual results of their inquiries into

the lives of weavers. Beginning with the same subject matter--skilled hand-loom

weavers made obsolete by technology and economic circumstances--Reach, the educated

journalist, remains to the fore, directing readers’ responses, whereas Mayhew, the

bohemian, increasingly allows the weavers to speak for themselves. So eloquent are

Mayhew’s informants that readers must and do sympathize with them, even when they

reveal their dishonesty, laziness, or immorality.

The first of Mayhew’s letters to feature quotations of his informants is Letter II,77

published on Tuesday, 23 October 1849. In it Mayhew visits Bethnal-Green to interview

the Spitalfields weavers, who are classified by Mayhew as “those who will work” and are

among what he considers the “honest poor” (40), those whose privations are due to the

“insufficiency of their wages” and not due to “improvident habits” (51). Though the

weavers of the North and those of London hail from different traditions—the London

weavers were descendents of French Huguenots—there are striking similarities in the

way their pasts are glorified. London’s Spitalfield weavers were once independent

craftsmen, but they were eventually replaced by cheap labor and piecework and hurt by

market instability. These are the downtrodden weavers Mayhew encounters, but he is

careful to gesture toward their past glory: “There was at one time a Floricultural Society,

an Historical Society, and a Mathematical Society,” readers are assured, “all maintained

by the operative silk-weavers; and the celebrated Dollond, the inventor of the achromatic

77
Letter II is actually Mayhew’s third report for the MC, the first being a description of the ravages of
cholera on Jacob’s Island, while the second, Letter I, acts as an introduction to the series of 81 letters to
follow.

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telescope, was a weaver; so too were Simpson and Edwards, the mathematicians, before

they were taken from the loom into the employ of the Government” (54). Such accolades

are not unlike Brierley’s praise of Lancashire weavers in “Some Phases of Lancashire

Life” (1890). However, Brierley wrote of an intellectual tradition that was still alive

among weavers in the 1880s; his characterization of weavers reflects and promotes

Lancashire men of the present. In contrast, Mayhew goes on to say, “Such were the

Spitalfields weavers at the beginning of the present century [....] The weaver of our own

time, however, though still far above the ordinary artizan, both in refinement and

intellect, falls far short of the weaver of former years” (54). The obsolete and poverty-

stricken weaver of Mayhew’s time “falls short” of his legacy, but he maintains some of

its past glory. Representing the weaver in this way emphasizes both his respectable

status and the negative aspects of his changing economy, while absolving him of any

guilt.

The way in which Mayhew frames his informants’ speech reflects their

ambiguous status as fallen artisans. The first weaver Mayhew encounters is a velvet

weaver, whom he describes as “the ideal of his class – a short spare figure, with a thin

face and sunken cheeks” (57). Mayhew’s prose here evokes the image of a once proud

man, now hollowed out by his exploitation. As if such a man’s speech cannot stand on

its own, Mayhew uses indirect discourse at the start of his interview: “He told us he was

to have 3s. 6d. per yard for the fabric he was engaged upon [...] They were six in the

family, he said [...] Up to 1824, the price for the same work as he is now doing was 6s.

The reduction, he was convinced, arose from the competition in the trade, one master

cutting under the other” (emphasis added 57). The next line Mayhew marks off his

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informant’s contributions with quotation marks but retains the third person voice: “‘The

workmen are obliged to take the low prices, because they have not the means to hold out,

and they knew that if they don’t take the work others will. [...]’” (57). Here indirect

discourse gives way to free indirect discourse, and a few lines later, though still within

the same paragraph and quotation marks, the first person appears: “I have made a stand

against the lowness of prices, and have lost my work through refusing to take the price”

(57). Most striking is the line, “Manufacturers may be divided into two classes – those

who care for their men’s comforts and welfare, and those who care for none but

themselves” (57). These statements, though presented as if spoken by the informant,

echo Mayhew’s own speech—his own categorization of the London poor. The quotation

continues, “In the work of reduction certain houses take the lead, taking advantage of the

least depression to offer the workmen less wages. It’s useless talking about French

goods. Why, we’ve driven the French out of the market in umbrellas and parasols – but

the people are a-starving while they’re a-driving of ’em out” (57). Here we see a sudden

shift from formal, almost scientific diction, to not one, but two instances of a-affixing, a

feature of English that was obsolete except in nonstandard varieties.

Mayhew’s use of free indirect discourse suggests that he is perhaps not willing to

let the informant’s speech stand on its own. Indeed, the very next line reverts back to the

third person: “A little time back he’d had only one loom at work for eight persons, and

lived by making away with his clothes,” (57) and the quotation ends in the same voice,

“Labour is so low he can’t afford to send his children to school. He only sends them of a

Sunday – can’t afford it of a work-a-day” (57-58). A similar pattern is discernable in the

interview that follows:

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 At the next house the man took rather a more gloomy view of his calling.

He was at work at brown silk for umbrellas. His wife worked when she

was able, but she was nursing a sick child. […] Weavers were all a-getting

poorer, and masters all a-getting country houses. […] Works 15 hours,

and often more. When he knocks off at 10 at night, leaves lights up all

around him – many go on till 11. All he knows is, he can’t. They are

possessed of greater strength than he is, he imagines. In the dead of night

he can always see one light somewhere – some man “on the finish.”

Wakes at five, and then he can hear the looms going. […] Isn’t able to tell

exactly what is the cause of the depression – “I only know I suffers from it

– aye, that I do! I do! and have severely for some time,” said the man,

striking the silk before him with a clenched fist. (58)

Here again Mayhew uses free indirect discourse, but this time it moves from reportage,

with short, choppy clauses, “Works 15 hours, and often more,” to a more literary style

that evokes a somber mood, “In the dead of night he can always see one light somewhere

– some man “on the finish.” Finally, the weaver’s voice is allowed to stand alone, when

his direct speech would have the most dramatic effect. As I mention above, Letter II is

the first of Mayhew’s contributions to the MC’s survey of labour and the poor to feature

extensive quotations of his informants. The informants voice emerges as the letter

progresses. Mayhew flows in and out of representing the weavers’ voices directly,

injecting his own voice less and less as the letter progresses.

When Mayhew encounters a man whom he calls “the old weaver,” however, he

represents an informant’s speech entirely in direct discourse. Humpherys (1977) and

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Murphy (2005) assert that Mayhew’s questions, even in the midst of informants’

statements, are still discernable, but in this case, it seems as though the old weaver is

speaking uninterrupted at his own accord; he knows Mayhew’s guide and talks candidly,

directly to him: “‘Oh, Billy, I am so glad to see you,’ said the old weaver to my

companion; ‘I’ve been dreadful bad, nearly dead with the cholera” (61). The narrative

that follows, for the most part, stems from the old weaver’s bout with cholera; he could

very well be catching up with an old friend rather than reporting on his poverty to a

journalist. When the old weaver does address Mayhew directly, it is to ask a leading

question: “I should like to ask a question here, as I sees you a-writing, sir. When is the

people of England to see that there big loaf they was promised – that’s it – the people

wants to know when they’re to have it” (62).

This rhetorical question and the speech that follows echo the words of the

Lancashire weavers that I discuss in Chapter two, especially those of Ben Brierley’s

literary persona, “Ab-o’th’-Yate,” whose impromptu speech in Rotton Row leads his

interlocutors to suspect he is “some great man in cog.” Indeed, the two weavers share

that air of authenticity that garners them respect and narrative space. The old weaver

exclaims, “I am sure if the ladies who wears what we makes, or the Queen of England

was to see our state, she’d never let her subjects suffer such privations in a land of

plenty” (62). Of course, with Mayhew “a-writing” down every word he says, the old

weaver can be relatively certain that the ladies will see the state of the weavers reported

in the pages of their morning paper—they will no longer be blind to the tears that stain

their garments.

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 Despite occasional evidence of what Murphy calls hidden dialogue,78 the old

weaver so fully and effectively takes over the narrative that when Mayhew does finally

interject, he does so in brackets:

“Billy, just turn up that shell now, and let the gentleman see what beautiful

fabrics we’re in the habit of producing—and then he shall say whether we

ought to be in the filthy state we are. Just show the light, Billy! That’s for

the ladies to wear and adorn them, and make them handsome.” [It was an

exquisite piece of maroon-coloured velvet, that, amidst all the squalor of

the place, seemed marvelously beautiful, and it was a wonder to see it

unsoiled amid the filth that surrounded it.] “That’s cotton partly, you see,

sir, just for manufacturers to cheat the public, and get a cheap article, and

have all the gold out of the poor working creatures they can, and don’t

care nothing about them.” (63)

Mayhew’s descriptive interjection needn’t have been put in brackets, but doing so

highlights both the import and colloquialness of the old weaver’s speech. The

juxtaposition of Mayhew’s formal, written register with the weaver’s piling on – “and get

a cheap article, and have all the gold […], and don’t care nothing about them” – not to

mention his use of the double negative, is echoed in both the contrast between the

exquisite velvet and its filthy surroundings and the contrast between Mayhew’s and the

weaver’s perception of the cloth. Mayhew, much like the middle-class reader, is duped

by the seeming sumptuousness of the fabric, while the weaver knows that it is “cotton

partly,” “a cheap article.” The weaver’s control over the form of the narrative is in

78
e.g., A statement such as, “It’s no use talking about the parish; you might as well talk to a wall” (61),
could be read as an answer to an absent question, “Can the parish not help?”

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keeping with his authority over its content, a control he maintains: the final words of the

letter are his: “They’ve lowered the wages so low, that one would hardly believe the

people would take the work. But what’s one to do? – the children can’t quite starve. Oh

no! – oh no!” (63). Ending this letter with the weaver’s words, his emphasis on quite, his

repeated cries of “oh no!”, creates a desire in readers to read, or rather, hear more from

these urban storytellers. The inclusion of precise prices and wages that the weavers

receive convinces readers that their situations really are as difficult as they claim. In this

way, Mayhew avoids the trap of turning weavers into victims by presenting them as

intelligent experts in their occupation; readers should not moved to pity but rather to

anger at the economic circumstances that press weavers down.

Contrasted with reports from the provincial correspondents, Mayhew’s

representation of his informants is all the more captivating. The manufacturing

correspondent, Angus Reach, rather than capitalizing on the Northern dialects, even if

only for their quaintness, often represents the regional speech of his informants with

standard phonology. In Letter XXII on the mining districts of Northumberland and

Durham, Reach quotes a coal hewer thus:

“We believe that working men in this country work too long and too hard,

and we would like to see the time and the fatigue both abridged. […] We

feel assured that if we worked to the utmost that we are capable of, we

should suffer severely in health, and perhaps ultimately in wages. We

know that there are more men in the trade than are requisite to raise the

amount of coals required for the average vend; but by restricting each

individual’s work, we compel the masters to employ all, or nearly all of

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 us, and thus to bring into operation what, under the competing system,

would be surplus labour.” (31 December 1849)

The informant, or Reach’s translation of the informant’s speech, goes on for several more

lines. This passage does not sound like the speech of a coal hewer. For that matter it

does not sound like speech at all—it has none of the hallmarks of quoted speech:

contractions, elisions, etc. Instead its formal lexicon (e.g., requisite, compel, thus) and its

features of written register, such as dependent clauses, render the passage as dry as the

driest of governmental of legal documents. Like Mayhew, Reach seems to be

experimenting with how to capture and represent the speech of his informants. In this

example especially, admittedly an extreme one, we can see that Reach takes as his model,

perhaps not surprisingly, Parliamentary Blue Books, those bundles of facts that since the

1830s were in wide circulation. Constructing his ethos based on the precedent set by the

style of the Blue Books grants the young writer authority, but at what expense?

Even the reports in which Reach does transcribe speech with colloquial features,

his presence as an expert guide for readers is evident. For example, in his letter on the

silk weavers of Middleton (Letter XII), a village that lies between Manchester and

Rochdale, Reach does capture the dialect of the region, but the results of its inclusion

could not have a more different effect than the Cockney dialect has in Mayhew’s report

on the Spitalfields weavers. At first glance, Reach’s commentary seems reminiscent of

the Lancashire advocates’ own rhetoric on the purity of their traditional culture and

dialect: “Some of the oldest and purest blood of the Lancashire yeoman keeps its current

still unmixed by the hearths of this village” (26 November 1849). However, we are soon

told that the “‘folk o’ Middleton’, to use their own vernacular,” are guilty of

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“intermarrying to the extent of breeding scrofulous disease” and that they are “clannish

and prejudiced and peculiar as all such septs are.” To Reach’s credit, he does not

romanticize the “folk o’ Middleton,” or capitalize on their “Englishness” in order to build

pathos and garner sympathy. And these are not his goals as an objective reporter cum

ethnographer. Indeed, his clinical approach to their practice of endogamy and with the

use of the word “septs,” which was most often used in reference to clans of Ireland, casts

the Middleton folk as the subjects of an ethnography.79

Reach’s commentary on the Middleton folks’ culture is matched by his technique

of representing their speech; he begins with indirect speech, then the voice of his

informant begins to bleed in:

The man lamented over the fall of wages. Twenty years ago he used to

make twice as much as now. He didn’t know how it was. He supposed it

was the masters. They was hard on the poor man. They was grievous in

their ’batements. […] He wrought, himself, ten hours a day, or twelve just

as he was in the humour—some days more nor other days. If he wor lazy

beginning in a morning, he made up for it at night. Sometimes, in course,

he stopped the loom and went for a walk—why not? I inquired whether

the house belonged to him? No, he wished it did. A vast heap in them

parts lived in their own houses—more nor in any town in Lancashire. The

children (by the way, they were feeding the poultry with crumbs of bread

left from the dinner table)—the children were just brought up to their

father’s trade. There was ‘naought’ else for ’em to do.

79
As do Reach’s later comparisons of the weavers to “Hindustan” craftsmen and their landscape to the
“Sahara” (199).

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This passage is not unlike the passage from Mayhew’s letter quoted above in its gradual

use of free indirect discourse. However, Reach’s use of the third person has a distancing

effect and gives the claims, “They was hard on the poor man. They was grievous in their

’batements,” though probably not intentionally, a tone of incredulity. Reach’s use of the

Lancashire dialect markers, the third person plural was and the elision of the initial

phoneme in abatements, especially when juxtaposed with the Latinate grievous, with its

educated and legal connotations, rather than giving space to the weaver’s voice, sound

like Reach mimicking his voice, not in a mocking or derisive manner, but in an imperfect

manner, and the weaver’s subjectivity is lost in the translation.80 Similarly, the

Lancashire pronunciation of were, “wor” is used in a sentence that implies the weaver is

guilty of slothfulness. Contrasted with Mayhew’s weaver, who works fifteen hours or

more and rebukes himself for not possessing greater strength to work even more, Reach’s

weaver seems prone to shirk his duties for the sake of a stroll, and “why not?” One might

read this as illustrative of the relative freedom and autonomy the Northern weaver enjoys

in contrast to the London weavers, who are held in the grip of masters, especially those in

the “slop” trade. However, Reach’s subsequent remarks, “I inquired whether the house

belonged to him? No, he wished it did,” suggest that perhaps if the weaver “wor” not so

lazy and stopped his loom less, he might own his home, especially when it is considered

that “a vast heap in them parts lived in their own houses.” Reach’s use of parentheses is

a sharp contrast to Mayhew’s use of brackets; Mayhew’s aside, as I discuss above,

enhances and supports the weaver’s narrative, whereas Reach’s parenthetical remark,

“(by the way, they [the children] were feeding the poultry with crumbs of bread left from

80
As Daniel Gunn (2004) has shown, free indirect discourse can be used to mimic characters, to show
narrative distance from characters rather than compassion for or intimacy with them.

193
the dinner table),” relates only to Reach’s description of the “barbarously primitive”

loom-shop, where “half a dozen cocks and hens” have “scratched and scraped” the

“earthen floor” (199).

Each of the techniques Reach employs effectively distances him and his readers

from his informants; their voices are mimicked rather than represented. In Reach’s

hands, the Lancashire dialect is rendered bereft of the prestige, and even the quaintness, it

is capable of indexing. The dialect features Reach chooses to include in his quotations in

free indirect discourse are those that would be salient to outsiders (e.g., naought),

especially those that are more generally “nonstandard” rather than particular to

Lancashire (e.g., third-person plural was; the elision of the interdental fricative in them).

What’s more, Reach alternates between abatements and ’batements, bate and ’bate in

representing the speech of the Middleton weavers, three of which appear in the speech of

a single speaker: “But the masters was using us to bate down the Spitalfields weavers.

[…] The wages are not very different now, but there are grievous and unjust abatements.

[…] Very often, sir, there was one-and-sixpence and two-and-sixpence unjustly ’bated

out of a week’s work” (emphasis added 201). Reach’s use of the apostrophe to indicate a

missing letter is curious here, for he cites the speaker as using bate as a verb without an

apostrophe just a few lines earlier. Such a use of the apostrophe, I would argue, is an

example of eye dialect—the use of nonstandard spelling to illustrate a pronunciation that

is actually no different from Standard English pronunciation (e.g., sez for says or wuz for

was) to mark a character as a dialect speaker, as foreign, or as uneducated.

Both bate and abate are listed in the Oxford English Dictionary as meaning ‘to

lower in amount’; ‘to bring down in value.’ And while bate is marked “obsolete,” it

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should be remembered that older forms were alive and well in nineteenth-century

Lancashire English. The OED’s latest citation for bate is dated 1691: “He must bate the

Labourer’s Wages,” from a letter written by John Locke, no less. The Glossary of

Lancashire Dialect also includes bate in its entries: “BATE, v. to abate, to lessen, to take

something from, to deduct, to diminish, to keep back part of a payment,” and offers

Shakespeare, Milton and Dryden as textual evidence of its use in that sense, followed by

an example of colloquial use collected in 1875: “Well, what’n yo bate? Aw’st noan gie

that mich, as heaw it is.” The aphetic form of abate was still in use in Lancashire in the

late 1840s, when Reach was conducting his interviews there, but as a middle-class

Scotsman, educated in Edinburgh and employed in London, Reach hears the Lancashire

dialect as filtered through his own ideas about correctness and depicted his Middleton

informants as making linguistic mistakes.81 We might say that, when it comes to dialects,

Reach has a tin ear.

Indeed, in contrast to Mayhew, who revels in the voices of the poor and uses them

not only to enliven his reports but also to support his evidence, Reach seems to consider

direct discourse an obstacle to his mode of investigative journalism: “I shall not attempt

to classify the topics which I found scribbled in my note-book. In conversations with

working men it is almost impossible to keep them to the point,” Reach explains. The

conversational data Reach finds “scribbled in his notebook” is unwieldy and defies

classification. “[A]nd perhaps,” Reach adds, “a more vivid idea is given of the colloquy,

and especially of the principal interlocutor, by putting on paper his chat, rambling and

disjointed, as it was uttered” (200). What follows is a paragraph of quoted direct speech,

81
Reach does mention “the lingering Saxon idiom” in the speech of one of his informants (203), but earlier
he attributes the Lancaster pronunciation of tea, “tay,” as “more Hibernico” (202).

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that of the Middleton weaver who speaks of “grievous and unjust abatements.” Reach

claims to give a “vivid idea” of the conversation by transcribing his weaver’s “chat” just

“as it was uttered,” an assurance that echoes Mayhew’s promise to repeat “the story of

the people’s sufferings […] in the self same words in which they were told to [him]”

(111). However, although both correspondents make claims to objective observation in

their reporting, their approaches to their materials and the resulting texts differ markedly.

Reach is remarkably honest about his methodology and the difficulties he has with

presenting his data, while Mayhew, though seemingly transparent in his methods, keeps

his manipulation of his data cleverly cloaked. For example, let us contrast Reach’s

treatment of his weaver’s “chat” with Mayhew’s transcription of his old weaver’s story.

Both feature “hidden dialogue” that undergirds their seeming monologues, but Reach’s

presence in his interview is closer to the surface—his presence is evident from the first

few lines of the weaver’s monologue:

Remember better times? That do I well. Twenty-six years ago we had

thirteen pence a yard for what we have 3 ½ d. now. It’s the machinery—

the machinery as has done it; for see that Jacquard, and the silk in it (there

are many hundred Jacquards hereabouts)—well, the weaving of that silk

used to be three shillings a yard. What is it now? Why, one shilling and

three pence. (200-201)

Though represented as a monologue, statements such as “Remember better times? That I

do well,” “It’s the machinery—the machinery as has done it,” and “What is it now?” are

clearly answers to Reach’s absent questions, which we can easily guess: “Do you

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remember better times?”, “What do you suppose the cause is?” and “What is the price

now?”

Mayhew’s absent questions are much harder to discern. When we read the old

weaver’s monologue and come across such lines as, “Why, there’s seven on us, here—

yes, seven on us—all dependent on the weaving here—nothing else,” and “God knows

how we lived” (61), it is possible to imagine Mayhew asking incredulously, “Seven of

you?” and concernedly, “How do you live?” However, these statements can just as well

stand on their own. Perhaps less so in the case of “yes, seven on us,” for its structure

implies some sort of response from an interlocutor, either a question or a surprised look.

But because it is seamlessly placed in speech so lively, the reader absorbs the

exclamation as if it had been directed to their own surprise at the quantity of souls living

in such close quarters. The reader, therefore, forgets Mayhew’s presence; it is not until

he interjects within the confines of those brackets I discuss above that he re-enters the

narrative.

In contrast, we never lose sight of Reach’s presence; he is always there as our

expert guide, inquiring and interpreting, even when he claims not to be—the weaver’s

“chat” seems “disjointed” because it is not a monologic narrative but rather a stream of

answers given in response to Reach’s inquiries. At other times, Reach interjects to

remind us of his role as interlocutor: “How the conversation turned round I do not

remember; but the next entry I have upon my note-book is that the old gentleman was

fond not only of a good song, but that he was especially fond of reading the

‘Skootchings’ which Cobbett used to give to people he didn’t like. Then we got back to

convivial matters, and so gradually to the morale of the village” (202). Again Reach

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mentions his notebook, and instead of quoting the speech of “the old gentleman,” he

paraphrases him, giving us only a taste of his idiom with the term “Skootchings,” which

is likely Reach’s textual representation of the Lancashire dialect word scutchings, from

scutch, which means ‘to beat.’ In the subsequent paragraph, Reach does quote his

informant at length, but again Reach’s questions and comments bleed through: “I like to

be idle myself sometimes. I dare say you do, too. Yes, of course you do. Well, then,

when I feel idle [...]” (202). Whether or not Reach confessed to his own idleness we may

never know but his presence, signaled with second-person address, is evident.

Immediately following this exchange, Reach writes, “I quite regretted being

obliged to tear myself from my garrulous friend, who, I doubt not, would have talked till

midnight with very great pleasure” (202). And for a moment we suspect that Reach,

despite his objective ear, might be seduced by the voices of his informants. But leave he

must and does, taking his readers with him and denying them the company of the

garrulous weaver. Indeed, he too often interferes with readers’ pleasure. Reach

apologizes for not “classifying” the weaver’s “rambling” for his readers, but perhaps this

“rambling” is exactly what readers want.

What, we might ask, brought aural pleasure to Victorian readers? Readers in

1815 found the chatter of Emma’s Miss Bates famously annoying, but two decades later,

the equally long-winded Mrs. Nickleby is one of the joys of Dickens’s Nicholas Nickleby

(1838-9), as is the loquacious Mrs. Gamp for Martin Chuzzlewit (1843-4) and Sam

Weller for Pickwick Papers (1836-7). Mayhew’s slippage between fiction and non-

fiction is largely what made his contributions to “Condition of England” journalism so

readable then and now, over a century and a half later. In his review of the 1967 reprint

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of London Labour and the London Poor, Auden remarks that “From his many transcripts

of conversations it is clear that Mayhew was that rare creature, a natural democrat; his

first thought [...] was never ‘This is an unfortunate wretch whom it is my duty, if possible

to help’ but always ‘This is a fellow-human being whom it is fun to talk to’” (132-33).

This is not to say that readers will find no pathetic stories in LLLP--the oft-reprinted

interview with the watercress girl comes to mind--but for the most part Mayhew respects

rather than pities his informants and knowingness certainly upstages pathos in the

majority of their narratives. We might say that those who are fun to talk to out-talk those

who are not, the subject of my next section.

“Woice from the Gaol!”: The Cultural Capital of Street Patter

“People don’t pay us for what we gives ’em, but only to hear us talk.”
--Running Patterer, LLLP

“Few of the residents of London,” Mayhew tells this readers, “but chiefly those in

the quieter streets--have not been aroused, and most frequently in the evening, by a hurly-

burly on each side of the street” (I: 221). In noisy 1850s London, this “hurly-burly”

could be any number of things--cabs, omnibuses, construction, demolition, organ

grinders, patterers. It is the latter, especially the patterers of the paper trade, with their

claims to high literacy and their theatricality, that Ruskin particularly disliked. To

Ruskin, ever the moralizer, the patterers’ suspect narratives had no purpose beyond

raising prurient curiosity. Mayhew radically disagreed with Ruskin: the patterers were

the street folk he found most interesting because of their self-confidence and verbal

agility. Mayhew describes with relish the “mob” or “school” of running patterers who

announce at great volume the “murders,” “fires,” and other alarming subjects they have

for sale in the form of penny broadsides, for “the greater the noise they make, the better is

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the chance of a sale” (I: 222). “An attentive listening,” Mayhew reminds his readers,

“will not lead any one to an accurate knowledge of what the clamour is about” (I: 221).

No amount of pricking up one’s ears, it would seem, would allow the listener to parse the

hubbub; only the words “Murder,” “Horrible,” “Barbarous,” “Love,” “Mysterious,” and

“Former Crimes” could be “caught by the ear,” Mayhew explains, “there was no

announcement of anything like ‘particulars’” (I: 222). The patterers might enunciate the

name of a famous criminal or “any new or pretended fact” but only enough to pique the

public’s interest (I: 222). Simultaneously strident and obscure, these paper workers’

patter echoes the contradictions that they sell: news so new that they can beat the

newspapers but also news that is “pretended,” “fictitious,” and “fake.” One of Mayhew’s

informants says it best when he claims, “for herly and correct hinformation, we can beat

the Sun--aye, or the moon either, for the matter of that” (I: 224). For these patterers and

their audiences, the oral is more valuable than the written. The patterers transform text

into aural pleasure for their listeners; their presentation of the papers upstages the papers

themselves.

In this section, I examine how Mayhew represents the patterers speech in written

form. I show how the literary techniques Mayhew employs capture and celebrate both

the pleasures of voice and the pleasures of invention. Mayhew’s representation of street

patter marvelously mingles social meanings attached to the phonology of working-class

London speech, or Cockney, and the lexicon of slang and thieves’ cant. Though, as

Deborah Vlock (1998) points out, by the nineteenth century the term patter had lost its

“impressive etymology”--it derives from paternoster--I think she overstates patter’s

downfall when she remarks on its “overwhelmingly negative cultural value” (94).

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Certain varieties of street patter held considerable cultural value for audiences of

broadside literature and, as we shall see, for Mayhew. We mustn’t discount either the

covert prestige of street patter amongst the working classes or the middle-class interest in

“the vulgar tongue.” The popularity and profusion of dictionaries and glossaries of

nonstandard varieties of English, including those of the metropolis, did not wane in the

mid-nineteenth century. A third edition of Pegge’s philological defense of London

speech, Anecdotes on the English Language, for example, was published in 1844, with

the addition of Grose’s Provincial Glossary. While I agree with Vlock that Mayhew

drew on conventions of popular entertainments in his representation of patterer speech,

where Vlock reads “distaste” and “disgust” in Mayhew’s treatment of the patterers, I read

respect and admiration, and what Vlock interprets as “lapses in grammar and logic” I

consider examples of verbal agility.

It may seem curious that Mayhew, who elsewhere in LLLP and in his MC letters

tirelessly constructs his ethos as one of objective observer, would defend the patterers’

dubious practices, but this is precisely what he does. “It is very easy,” Mayhew remarks,

“to stigmatise the death-hunter when he sets off all the attractions of a real or pretended

murder, [...] or when he invents or embellishes atrocities which excite the public mind.

He does, however, but follow in the path of those who are looked up to as ‘the press,’--as

the ‘fourth estate’” (I: 229). The Illustrated London News, the Lady’s Newspaper, the

Observer, and the Times, Mayhew asserts, are equally guilty of exciting the public mind

with illustrations and details of murder and bloodshed. What’s more, Mayhew joins the

patterers in laughing at the press, aligning himself with the working-class purveyors of

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fake news. In a bracketed aside, Mayhew combines his voice with that of the patterers to

deride the mainstream press’s attempts to capitalize on crime:

Many weekly papers had expensive telegraphic dispatches of Rush’s

having been hung at Norwich, which event, happily for the interest of

Sunday newspapers, took place in Norwich at noon on a Saturday. [I may

here remark, that the patterers laugh at telegraphs and express trains for

rapidity of communication, boasting that the press strives in vain to rival

them,--as at a ‘hanging match,’ for instance, the patterer has the full

particulars, dying speech, and confession included--if a confession be

feasible--ready for his customers the moment the drop falls, and while the

criminal may still be struggling, at the very scene of the hanging. ‘If the

Times was cross-examined about it,’ observed one patterer, ‘he must

confess he’s outdone, though he’s a rich Times, and we is poor fellows.’

But to resume--] (I: 229)

Here Mayhew employs brackets to interject with the opinions of the patterers. But he

begins by using his own voice to express them, drawing on his authority as an ex-

newspaperman to make their case. So when we reach the patterer’s claim that the “rich

Times” is “outdone” by “poor fellows” we doubt not its veracity. Mayhew might have

paraphrased this line of the patterer’s as well, but he chose to quote him directly. In so

doing, Mayhew flaunts the verbal agility of the patterers and celebrates the slippage

between fact and fiction; using legal language to defend one’s success in fraud is clever

indeed.

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 Both the patterers and Mayhew enjoy the play of this paradoxical language. In

classifying the different varieties of patter, Mayhew makes sure that the patterers he

admires, those of the flying and standing variety, stand out:

There is patter pathetic, as from beggars; bouncing, to puff off anything of

little or no value; comic, as by the clowns; descriptive, as in the cases

where the vendor describes, however ornately, what he really sells;

religious, as occasionally by the vendors of tracts; real patter (as it is

understood by the profession) to make a thing believed to be what it is not;

classical, as in the case of the sale of stenographic cards, &c.; and

sporting, as in race cards. (I: 243)

The pairing of real and patter, followed by its definition “to make a thing believed to be

what it is not” both emphasizes the irony of the statement and lends legitimacy to the

trade. And while Mayhew’s parentheses perhaps act to distance his opinion from those

of the patterers--“real patter” is their classification--they emphasize that the patterers

themselves also value highly their ability to take people in with their talk. Once again

Mayhew gives the patterers a voice with which to express their views.82

The authorship of the papers is similarly slippery. Immediately preceding his

claim about beating the Sun, the patterer reveals to Mayhew the origins of one his biggest

sellers, a broadsheet of the notorious murderer James Blomfield Rush’s execution: “I

worked my way down there [to Norwich] with ‘a sorrowful lamentation’ of his [Rush’s]

own composing, which I’d got written by the blind man expressly for the occasion” (I:

82
The word profession here has some ambiguity--is this the patterers’ term or Mayhew’s, and if the latter,
is he using the word ironically?--but coupled with the word real and the objective, quite serious way in
which the classification is presented, it might be interpreted as sincere.

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223). In one sentence, the patterer attributes the authorship of the lamentation to both

Rush and “the blind man,” from whom he had commissioned the piece. “On the morning

of the execution,” the patterer continues, “we beat all the regular newspapers out of the

field; for we had the full, true, and particular account down, you see, by our own express,

and that can beat anything that ever they can publish” (I: 223). Just how “full,” “true,”

and “particular” their account can be, since it is, by their own admission, by their “own

express,” does not seem to trouble the patterer. Indeed, according to the patterer, it

would seem the account is all the fuller, truer, and more particular for its being a fiction.

Audiences, too, seem untroubled by the dubious authorship of gallows literature.

“[W]e get’s [the broadsheet] printed several days afore [the execution] comes off, and

goes and stands with it right under the drop; and many’s a penny I’ve turned away,” the

patterer boasts, “when I’ve been asked for an account of the whole business before it

happened” (I: 223-24). What a strange scene that must have been: the paper seller

standing under “the drop,” or trap-door of the gallows, pattering the jail-cell lamentation

of the soon-to-be hanged and refusing the money of eager listeners who desire an account

of an execution that has yet to happen. These audiences cared not to hear the “woice

from the gaol” from the Sun, or even the moon, but rather from the stars of the paper

trade--the patterers. Indeed sales of street literature to the street public were remarkable:

Mayhew provides the figures for sales of “execution broad-sheets,” showing that those of

Rush and the Mannings sold 2.5 million copies each, followed by those of Courvoisier,

Good, Corder, and Greenacre selling over 1.6 million copies each (I: 284). The patterers

brought the comedy and melodrama of popular theatre to the street, and like the later

music hall stars who became associated with the songs they performed over the songs

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composers, the patterers outshone the true authors of the papers they sold, no matter who

those authors might be.

And yet, even if the patterers did not pen the broadsides, they were the authors of

their subjects’ narratives. One of Mayhew’s informants boasted, “The newspapers

‘screeved’ about Rush, and his mother, and his wife; but we, in our patter, made him

confess to having murdered his old grandmother fourteen years back, and how he buried

her under the apple-tree in the garden, and how he murdered his wife as well” (I: 284).

Not to be outdone by the screevers at the Times, the patterers up the accretion of Rush’s

villainy and make him confess to the most heinous of crimes: matricide. Mayhew’s

informant’s choice of verb, made him confess, puts him in the position of power--one can

almost imagine him interrogating Rush to extract his confession. But he needn’t, for his

patter itself makes the confession happen; it is a performative speech act. Indeed, the

way in which the patterers speak about their practice of selling “cocks” has them verbally

murdering and maiming the famous and infamous:

One man told me that in the last eight or ten years, he, either singly or with

his “mob,” had twice put the Duke of Wellington to death, once by a fall

from his horse, and the other time by a “sudden and myst-erious” death,

without any condescension to particulars. He had twice performed the

same mortal office for Louis Phillipe, before that potentate’s departure

from France; each death was by the hands of an assassin; “one was

stabbing, and the other a shot from a distance.” He once thought of

poisoning the Pope, but was afraid of the street Irish. He broke Prince

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 Albert’s leg, or arm, (he was not sure which), when his royal highness was

out with his harriers. (228)

Each assassination, injury, and “sudden and myst-erious” death puts the patterers in the

position of agent; they do not simply hawk someone else’s words, they both announce

and invent. Their creativity sets them apart from other street sellers and earns them

Mayhew’s respect.

Vlock charges Mayhew with an inability to “conceal his distaste” for the

patterers’ slang and industry, and remarks that “he could not observe with complacency

without disgust what he perceived as a flagrant rejection of ‘truthful’ speech and

commerce, a violation of bourgeois values” (124). But not only does Mayhew refrain

from condemning or even admonishing the patterers for their dubious practices, he

encourages them to expand their duping of the public by composing additional “cocks”.

Mayhew’s suggestion comes in the form of “hidden dialogue”; it does not appear

explicitly but rather only in the patterer’s response: “We can write the love-letters for the

fiend in human [form]? That’s quite true” (I: 225). While Mayhew does show disgust

for the class of patterers who “will not work”--professional beggars or “bouncers”--he is

careful to distance them from his running and standing patterers: “These parties, it should

be distinctly understood, are in no way connected with the puffing street-sellers,”

Mayhew asserts (I: 310). And he saves his most scathing words for shopkeepers, “who

resort to the printed mode of puffing off their wares” but “who cannot plead want as an

excuse for their dishonesty” (I: 310). According to Mayhew, “the street-sellers are far

less reprehensible than their more wealthy brother puffers of the shops” (I: 310). The

verbal puffing that the patterers engage in may not be truthful but it is highly entertaining.

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Printed signs promising the “Finest White Pepper” cannot ameliorate the disappointing

contents of the package, as the Lancet reported: “This super-excellent pepper, ‘sold in

packages, price 1d.,’ was found on analysis to consist of finely-ground black pepper, and

a very large quantity of wheat-flour” (qtd. in LLLP I: 310). It would seem, to get one’s

penny’s worth, the “cock” is the better buy.

Just how different are shopkeepers from costermongers or paper workers from

journalists? One patterer, the same one who boasts of “herly hinformation,” implicates

Mayhew explicitly: “O! isn’t there a nice rubbing and polishing up. This here copy won’t

do. This must be left out, and that put in; ’cause it suits the walk of the paper. Why, you

must know, sir. I know. Don’t tell me. You can’t have been on the Morning Chronicle

for nothing” (I: 225). Both he and Mayhew, the patterer insists, are in the rubbing and

polishing up trade; they edit their materials to “suit the walk of the paper.” This patterer

even presumes to give Mayhew direction: “I should like to have that there put down

correct,” he tells Mayhew, and later, “A slum’s a paper fake,--make a foot-note of that,

sir” (I: 224). Mayhew does not make a footnote of this remark; instead he quotes the

patterer directly, as if he were providing the entire transcript of the patterer’s testimony,

at once giving the patterer a voice but also going against his instruction. Mayhew made

an editorial choice to place what would have made an appropriate footnote in the main

text and in the patterer’s own words, as his lively voice suits the walk of the paper.

Mayhew and the patterer continue to talk shop in this way--the patterer relating

the ups and downs of the paper trade, how important timing is and how the identity of the

“wictim” effects sales:

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 Hollest weren’t no good either, ’cause the wictim was a parson. [...] We’d

have shown it was the “Commencement of a Most Horrid and Barbarious

Plot got up by the Pope and Cardinal Wiseman for-r the Mas-ser-cree-ing

of all good Protestant Ministers.” That would have been the dodge, sir! A

beautiful idear, now, isn’t it? But the murder came off badly, and you

can’t expect fellows like them murderers to have any regard for the

interest of art and literature. (I: 225)

Here Mayhew captures not only the patterer’s words but also his prosody, amplifying

both the patterer’s powers of invention and his verbal prowess: his emphasis on for-r

heralds the violence of “Mas-ser-cree-ing,” that key term, itself drawn out, which gives,

or would give if it existed, life to the paper. “That would have been the dodge, sir,” the

patterer explains, using the slang term dodge, ‘an artful trick,’83 then making an

additional remark about his ingenuity, “A beautiful idear, now, isn’t it?” Mayhew does

not represent his answer to the patterer’s inquiry, if he indeed gave one, for the patterer’s

tag question, “isn’t it,” seems the variety that does the work of affirmation rather than

seeking it. Here Mayhew represents the patterer representing himself as a commentator

on his own work. Showing the patterer in this self-reflective and confident moment

constructs him as an intelligent weaver of fiction. He may not be a gentleman writer but

he comes across as Mayhew’s peer nonetheless.

This is not to say, however, that patterers and gentleman writers were treated as

equals by all parties. Indeed only the latter’s fictions were generally sanctioned, and the

former often risked arrest because of perceived fraud, speaking against the Queen, or

potential obscenity. Mayhew’s informants reveled in telling him how they used their
83
A Dictionary of Modern Slang, Cant, and Vulgar Words (1859).

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verbal skills to avoid arrest or conviction. One patterer, a master salesman--he sold a

copy of his broadsheet on Calcraft, “Woice from the Gaol! or the Horrors of the

Condemned Cell! Being the Life of William Calcraft, the present Hangman,” to

Calcraft’s own mother and two copies to the hangman himself--narrated how he could

talk his way out of any situation:

I was once before Alderman Kelly, when he was Lord Mayor, charged

with obstructing, or some humbug of that sort. “What are you man?” says

he quietly, and like a gentleman. “In the same line as yourself, my lord,”

says I. “How’s that?” says he. “I’m a paper-worker for my living, lord,”

says I. I was soon discharged, and there was such fun and laughing, that if

I’d had a few slums in my pocket, I believe I could have sold them all in

the justice-room. (I: 224).

This scene is reminiscent of that in Chapter 25 of Pickwick Papers where Sam Weller is

brought in front of the magistrate and, with his wordplay, sets all the specials to laughing

and the magistrate’s teeth on edge. The patterer’s cleverness, however, charms even the

Lord Mayor, who does not balk at being equated with a street-seller but rather buys the

comparison, as he would buy one of the patterer’s “slums” if he only had some on his

person. When the patterer’s cheek hits the Lord Mayor’s ear, the fiction that the two men

are on equal terms is transformed into a legal truth; the latter discharges the former

because of his verbal acumen, his ability to talk himself out of the charges.

At times, however, the patterers’ wordplay could get them into trouble. Another

of Mayhew’s informants recalls a time that he was accosted by a policeman when he was

crying the Queen’s accouchement:

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 In coorse, nothing can be said against her, and nothing ought to; that’s true

enough, but the last time she was confined, I cried her accouchement (the

word was pronounced as spelt to a merely English reader, or rather more

broadly) of three! Lord love you, sir, it would have been no use crying

one; people’s so used to that; but a Bobby came up and he stops me, and

said it was some impudence about the Queen’s coachman! Why look at it,

says I, fat-head--I knew I was safe--and see if there’s anything in it about

the Queen and her coachman! And he looked, and in coorse there was

nothing. I forget just now what the paper was about. (I: 228-29).

This patterer goes so far as to call the policeman a “fat-head.” He is confident that he has

done no wrong and so perhaps he feels bold enough to hurl epithets at the bobby’s head,

but even more than that, I would argue, he is confident in his ability to talk his way out of

any trouble his patter, or rather the misunderstanding of his patter, might walk him into.

It is clear to the patterer that it is the bobby’s defective ear, one that would hear

“coachman” instead of “accouchement,” however broadly pronounced, that is at fault.

He may be a “merely English speaker” but mere English is the language of currency on

the streets of London and the patterer knows this. The patterer has earned his living by

being a wordsmith. He can patter a murder, a love story, even work himself out of

trouble. Given his penchant for invention, it may be that the patterer is pulling one over

on Mayhew and his readers with this very story--did he really call the policeman a “fat-

head”?--but Mayhew does not seem to be troubled by this possibility. He does not

comment on the potential dubiousness of the patterer’s claims and instead continues his

praise of the patterers’ talent for selling fiction as fact.

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“Curious Conversazione”: Mayhew’s Public Performances

“Something of what Mr. Dickens has done in Books, and Mr. Jerrold in Plays,
Mr. Mayhew attempts on the Platform.” --Athenaeum, August 1st, 1857.

On Saturday, 29 August 1857, the Bristol Mercury ran an advertisement touting

Mayhew’s scheduled appearance at the Bristol Athenaeum for the evening of Tuesday,

September 15, entitled “Punch on the Platform: an amusing entertainment, with original

songs, and illustrations in costume of various well-known characters from the ‘Great

World of London,’ by Mr. Henry Mayhew, the original editor of Punch, and author of

‘London Labour and the London Poor,’ ‘The Great World of London,’ &c.” The

advertisement, not surprisingly, capitalizes on the popularity of Punch, LLLP, and

Mayhew’s 1856 series of pamphlets “The Great World of London,” but also profits from

Dickens’s literary and Douglas Jerrold’s (1803-1857) theatrical success, promising

“Something of what Mr. Dickens has done in Books, and Mr. Jerrold in Plays, Mr.

Mayhew attempts on the Platform.” Two members of the “triumphant comic

triumvirate,” which also included William Makepeace Thackeray,84 Dickens and Jerrold

were well-known for their vibrant and verbose characters, and the mention of their names

in tandem with Mayhew’s suggests to potential audiences not only a night of “amusing

entertainment” but one of wit and humor to rival those illustrious men.85 Indeed by 1857,

Dickens had been giving public readings of A Christmas Carol and The Cricket on the

Hearth for charity for over four years--his first public reading for profit was in 1858--and

in the years prior to that others, including Joseph Chamberlain, read the work of Dickens

and other popular authors at Penny Readings. Mayhew was eager to cash in on the

84
As Sally Ledger (2004) calls the trio of Dickens, Thackeray, and Jerrold.
85
Mayhew’s connection to Douglas Jerrold also extended to his private life; he was married to Jerrold’s
daughter Jane.

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popularity of LLLP and audiences welcomed authors bringing their characters to life on

the platform.

Mayhew, however, was not acting the part of a fictional character but rather

taking on the persona of some of his most interesting informants from London Labour

and the London Poor, who were, however constructed and mediated by Mayhew’s

textual representation of them, real people. In this section, I explore Mayhew’s further

engagement with the patterers of London, this time in the form of his public readings of

London Labour and the London Poor. From April to September 1857, Mayhew was

actively engaged in the public reading circuit. In April of 1857, he began a series of

public readings, advertised as “Oddities of the London Streets,” which ran through the

month of May and included appearances at the Brighton Athenaeum, Glasgow’s City

Hall, the Mechanics’ Hall in Aberdeen, the Mechanics’ Institute in Bradford, and the

Institution for the Diffusion of Knowledge in Preston. Mayhew then further dramatized

his readings of LLLP with “Curious Conversazione,” performing the parts of his

informants, complete with costume changes, in July and August, first in the provinces

and then followed by several shows at St. Martin’s Hall in London. With the success of

his London performances, Mayhew decided to take his show back on the road and he

enlisted the aid of Thomas Beale (1828-1894), who had had recent success with

promoting musical entertainments across Britain, to help him organize a three month tour

of the provinces called “Punch on the Platform.”

Mayhew’s “Punch on the Platform” further upped the performance ante of

traditional public readings, not only with Mayhew appearing in costume but also with the

addition of “several Buffo Songs between the intervals of the performance” sung and

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played on the pianoforte by J. L. Hatton. Unlike Dickens, who was rather wary of the

potential moral taint of theatricality and who appeared on stage in evening dress,86

Mayhew seemed to have no such qualms. In his memoir The Light of Other Days, Beale,

writing under his nom de plume, Walter Maynard, describes the planning that went into

this production and with what glee Mayhew responded to his suggestion that “‘Punch on

the Platform’ would be much improved by the addition of a pianist.” “By all means,”

Mayhew exclaimed, “we will have the best we can get” (273). Thackeray, on the other

hand, took “great offence” to a similar suggestion made by actor Andrew Arcedeckne

that his “Four Georges” lectures “would be all the better for ‘a tune on the pianner,’”

(273). Mayhew, the bohemian entrepreneur, seems to have had no fears, at least initially,

in regard to his public reputation as he moved deeper into the world of theatrical display,

while the street patterers would have envied Mayhew’s resources, for they had only their

voices to attract an audience on busy street corners. “Much to Mayhew’s delight,” Beale

continues, “I engaged J. L. Hatton to play and sing whenever he might be required to

vary the programme by so doing. They were for days in consultation on the subject,

Henry Mayhew insisting upon hearing all Hatton’s répertoire, and thoroughly enjoying

its performance” (273).

As it turned out, Hatton was required to play his “Buffo” songs for a much longer

interval than he expected, for after making his introductory remarks on opening night in

Brighton, Mayhew left the stage and did not return, leaving Hatton to musically placate

the audience as best he could. According to Beale, Mayhew fled after spotting his father,

Joshua Mayhew, in the front row, while Mayhew himself claimed, by way of a note, that

86
For a discussion of Dickens’s concern about maintaining his image as a distinguished author while
performing professionally as a public reader see Malcolm Andrews (Charles Dickens and His Performing
Selves 32-49).

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Mrs. Mayhew had taken ill and his presence was needed in London. Co-organizer

George Hodder affirms Beale’s claim, explaining that the next morning Joshua Mayhew

appealed to his son to abandon the “degrading” pursuit as it was sure to “compromise the

respectability of the family” (213). The safety of print had previously shielded Mayhew

from the shame of slumming and the guise of the “lecture” had guarded him from the

stigma of the stage. But with “Punch on the Platform” he had no such protection; all the

mimicry, spectacle, and ostentation of the theatre was there, unabashedly on display.87

How did Mayhew get here? And what did his movement toward theatricality mean for

the future of his philanthropic and sociological work?

Mayhew’s various interests were pulled in multiple, sometimes seemingly

disparate, directions in 1857. On the literary side of things, he began writing the serial

novel Paved with Gold with his brother Augustus, while in a more philanthropic vein he

organized a series of meetings with London’s Ticket-of-Leave men (parolees) in the hope

of ameliorating their situation. In a move that seemed to marry his interests in

entertainment and philanthropy, he initiated musical entertainment for the working

classes called “Monday Evening Concerts for the People” in London, with the musical

selections consisting of “sacred music” (MC 7 April 1857). He also arranged Saturday

evening concerts in Glasgow, where he “addressed a few words to the working classes.

He expressed the delight he felt at being present, and said that he knew of no class of

amusement or entertainments from which he hoped for so much good as the people’s

concerts” (Glasgow Herald 13 April 1857). He added “some remarks on the fine arts,

and said that “refining the tastes and drawing men from animal enjoyments was the way

87
Jonas Barish (1983) sees mimicry, spectacle, and ostentation as the key aspects of theatricality that
moralists found troubling.

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to make men sober, not by compulsory Acts of Parliament.” A few weeks earlier,

Mayhew had come forward as a candidate for Southwark in the general election. Given

all his other commitments, it is no wonder he did not win a seat in Parliament.

The arts were like a magnet for Mayhew, and perhaps nowhere can we see that

more than in his adaptation of LLLP for public readings. Although the advertisements for

Mayhew’s “Oddities of the London Streets” describe these public appearances as

“lectures,” and in keeping with the serious tone of a lecture Mayhew did not don the

costumes of his “characters,” the performances themselves were replete with wit and

humor. The lectures were made up of descriptions of street scenes and autobiographical

sketches from LLLP. They were presented in two parts, with a ten-minute intermission

between them. Part I comprised “London Street Markets,” “Punch and Judy-Men,”

“Flying Stationers,” and “Old Sarah,” a hurdy-gurdy player. Part II featured “The Street

Blind generally,” “Doll’s-eye-maker,” “Street Clown,” “Petticoat Lane,” “Meeting of

Boy Thieves,” and “Convict Nursery.” Reviews in the Hampshire Telegraph and Sussex

Chronicle, the Bradford Observer, the Preston Guardian, and the Morning Chronicle

each mark parenthetically the places during Mayhew’s delivery where “(laughter)” and in

some case “(much laughter)” was heard. Indeed, Mayhew’s readings were so animated

and humorous, it was necessary to emphasize the lectures’ more sober and philanthropic

aspects in other ways. With reserved seats costing 2s. (numbered) and 1s. (unnumbered)

and gallery seats costing 6d., it is likely that it was the middle-class audiences they were

hoping to reach.

Mayhew’s presentation of street sellers as lively, intelligent, and enterprising did

not fit the stereotype of the downtrodden poor needed to draw donations from charitable

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audiences. Following Mayhew’s lecture at the Brighton Athenaeum in April, for

example, the chairman reminded the audience about the grave subject matter that lay

beneath Mayhew’s amusing presentation; as the Morning Chronicle reported:

He [the chairman] trusted that having brought before them in so forcible

manner the circumstances in which many of those are placed who minister

to our pleasures, they would view their proceedings with a different eye;

for they would even see from the comic side of human nature that there is

also the deeply pathetic bordering on the deeply tragic, and that when they

walk through the streets of the metropolis again they would remember that

one of the great social problems of the days is, ‘What shall we do with our

pauperism, what shall we do with the criminal population in our towns?’

(11 April 1857)

That Mayhew and the chairman felt the need to frame the lecture with these moralizing

words shows their desire to maintain the respectability of the lecture and its sociological

rigour in the face of its undeniable humor. They were equally loathe to have their

middle-class audience of potential donors and social activists lose sight of the material

realities facing London’s poorest citizens, no matter their ability to smile in the face of

adversity and how entertaining they might be.

Mayhew’s public readings were also a way for him to make money and to remain

in the public eye. Many authors supplemented their incomes on the public reading

circuit--Brierley and Waugh could not have survived without the money they made from

Penny Readings. But some would argue that for Mayhew his attraction to the platform

had more to do with increasing his fame as someone uniquely qualified to speak for the

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poor. Indeed, during a 27 January 1857 meeting of the Ticket-of-Leave men, one of the

parolees railed against Mayhew and what he perceived were his mercenary motives:

I came here to do something in truth and not in fiction, and I wish to

caution you against making yourselves so public in speaking your lives in

public to benefit another man. That man is Henry Mayhew. His object in

calling us together is to sell his books. A nice man is Henry Mayhew--

a’int he?--to come here and get you to tell your confession? (Morning Post

28 January 1857)

Who is Mayhew, the speaker asks, to compel our confessions? And what will confessing

get us? Our stories will sell books for Mayhew but will it have any material

consequences on our lives? And, if so, what might those consequences be? A

costermonger was next to speak, and he defended Mayhew, saying that he believed

Mayhew had “nothing but our interest in heart,” but surely Mayhew’s motives were

mixed. He was both a literary man and a philanthropist. And he needed to make a living.

The Ticket-of-Leave man’s choice of words are telling; in proclaiming, “I came

here to do something in truth and not in fiction,” he seems to indict Mayhew not only for

exploiting London’s poor and labouring classes for profit but also for fabricating his

accounts. As we have seen, LLLP has many of the elements of fiction, and it certainly

lent itself to dramatic adaptation. Playwrights, who may have been even hungrier than

Mayhew, used material from LLLP to further their own careers. In April of 1856, a new

drama opened at the Surrey Theatre in London called How We Live in the Great World of

London. As Lloyd’s Weekly Newspaper explained, the play was “suggested by Mr.

Henry Mayhew, who, in his ‘London Labour and the London Poor’ and ‘Great World of

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London,’ undertakes to tell nine-tenths of the great metropolitans how the other five-

sixths live” (6 April 1857). “The majority of the characters,” the reviewer adds, “we

have already met in the streets.” The plot, however, is the stuff of Victorian melodrama:

a baronet’s son is abducted by an East-Indian villain; a Lady flees from her brutish

husband; and the play ends with a great fire, from which the innocent escape and in

which the guilty perish. The audience’s favorite character, according to the reviewer,

was Mr. Widdicomb, a costermonger who comes into a fortune “and does not forget his

former friends.” “The real humour of Mr. Widdicomb,” the reviewer enthuses, “is an

absolutely perfect personation; and the great delight of the upper audience testify to the

merits of the artist in character which they can best judge.” The upper audience was, of

course, made up of the working classes, who not only reveled in the story of a

costermonger lifted out of poverty but also, according to the reviewer, the “real humour”

of the actor’s “absolutely perfect personation” of one of their own.

A little over a year later, Mayhew himself would try his hand at an “absolutely

perfect personation” of his London informants. Unlike his previous lecture tour, during

which Mayhew would “narrate his experience in connection with a few of the oddities of

the London streets” (Glasgow Herald 5 April 1857), or recite passages from LLLP,

Mayhew’s reinvented lecture, “Curious Conversazione,” allowed him to perform the

parts of his favorite informants, or rather embody them. The advertisements for “Curious

Conversazione” play off the idea Mayhew will become his characters:

Mr. Henry Mayhew, the originator of “Punch,” Author of “London Labour

and the London Poor,” will hold his CURIOUS CONVERSAZIONE in St.

Martin’s-hall TO-NIGHT (MONDAY), July 27, to meet a few ODD

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 CHARACTERS out of the STREETS of LONDON, amongst whom the

following have promised to appear in their professional costumes:--The

London Costermonger, the Punch and Judy Man, the Death and Fire

Hunter, Old Water Cress Seller, the Jew Clothesman, the Professional

Beggar, &c. &c.” (Morning Post 7 July 1857).

Mayhew “the originator” of the periodical Punch and “the author” or London Labour and

the London Poor is semantically and syntactically separated from the “few odd

characters” who have “promised to appear in their professional costumes.” The language

of the advertisement also draws on the structure of the textual LLLP; it implies that the

social investigator Mayhew will converse with his informants, that he will bring them

before the eyes and ears of his middle-class audience, in the flesh this time, rather than in

the text. Venturing into the patterers’ territory was not only deemed improper but it

could also be downright dangerous; the fear of being pickpocketed or mugged or beat up

kept many away. Mayhew’s entertainment afforded the middle classes an opportunity to

hear an oral presentation of their entertaining patter in a setting that would not risk

damage to their reputations or their person.

The term conversazione, then, is an especially fitting title for this performance.

Not only does the term imply a dialogue with the street folk but also its connotations with

eighteenth-century “At home” amusements remove some of the taint of a public

performance, while its nineteenth-century meaning of ‘assemblies of an intellectual

character, in connexion with literature, art, or science’ raise what could be deemed a

“theatrical” event to the level of educational gathering (OED). Mayhew’s public

presentation of LLLP might have also capitalized on the other nineteenth-century

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denotation of conversazione: ‘a soirée given by a learned body or society of arts, at which

the society’s work is illustrated by the exhibition of specimens, experiments, and

demonstrations’ (OED). This latter definition contains scientific language that would

have resonated with Mayhew’s aims to view London’s poor and labouring classes

through an objective lens, classify them into groups, exhibit their lives to audiences in a

position to effect change and to possibly ameliorate the condition of his informants’ lives.

In effect, however, “Curious Conversazione” more closely resembled a one-man

show or monopolylogue, a form of monologue popularized by the comic actor Charles

Mathews (1776-1835), with Mayhew playing the role of narrator and of each character.

Indeed, the structure of LLLP lent itself to such a stage production, with Mayhew’s

questions, or “hidden dialogue,” becoming even more hidden and the informants’

monologues coming to the fore. According to contemporary reviews, Mayhew would

first give a short preamble “in his proper person,” explaining what was to come. He then

disappeared into a “tent” and reappeared in the costume of whichever informant he was

to “personate,” each character getting a quarter of an hour of stage time (The Standard 30

July 1857). Mayhew the narrator is not represented in the show’s text, “A Few Odd

Characters Out of the London Streets, as Represented in Mr. Henry Mayhew’s Curious

Conversazione”; the text has no preface but instead jumps right into the character

monologues. What’s more, we can verify from the “libretto,” as it was called in the Era,

that Mayhew, the interlocutor, disappears, just as the fourth wall vanishes; the Flying

Stationer, for example, talks only to imagined customers and directly to the audience:

Now you have just printed and published! a full true and pertic’lar

account! copied from this hevening’s Globe noospapar! of this horrud and

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 cold-blooded murdar!--[Calling off, “Coming, ma’am, terectly!”]--what

was committed this morning! on a hold lady of seventy years of hage!--

and all for von ’aypenny! [He runs over to the opposite side of the stage as

if to serve a customer, saying, in his ordinary voice, ‘Von for you, ma’am!

thankee, ma’am!” and then returns poising a penny-piece in his palm]--A-

penny, ma’am, I said--[laughing]--on’y a-penny vos my vords, and no von

couldn’t speak plainer. Vy the old bewrick axully vanted the slum to be

the whole length of vot she called the von I’d got in my hand. [Laughs

behind his papers.] The von! vell it a’n’t von--it’s three! put von a-top

o’t’other, to make ’em look longer. That’s vot ve calls stacking on ’em--

three story high. [Aside to audience.] But you’ll keep it dark, von’t ye?

(19)

Like the seeming monologues of LLLP, the patter discloses his secrets, but in Mayhew’s

dramatized version, audiences are treated to a cheeky aside, “But you’ll keep it dark,

von’t ye?”, that one can imagine was accompanied by a knowing wink worthy of Sam

Weller. Not surprisingly, at least one review drew the comparison with Dickens: “the

ease with which he assumes the flash tongue and patois of the street boys is worthy of

Dickens” (The Standard 30 July 1857). Mayhew’s transcription of the patterer’s lines

shows that his performance of their speech was more heavily marked with Cockney

features than the represented speech of the patterers in LLLP. Mayhew may have

increased the markers, such as /h/-insertion and /v/-/w/ inversion, for his performance

because hearing an accent is easier than reading one, or he may have done so for comic

effect, a la Charles Mathews. Whatever the reason, Mayhew’s stage performance of

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patter, like that of his textual representation of it, indexes a canny knowingness; the

content and form work together to construct an intelligent subject. The stage character

sketch exaggerates the fraudulent behavior of the patterer so that the audience can enjoy

both his verbal agility and their own ability to see through it. In effect, they become as

knowing as Mayhew and the patterer.

Precisely how accurate Mayhew’s Cockney was on stage is impossible to know,

but his transcription of it shows a consistency in pronunciation--illustrating a regular

phonology as opposed to malapropisms or “mistakes”--and even orthography that at first

glance might seem like examples of eye dialect represent a difference in either Cockney

phonology or the exaggerated pronunciation of street patter for the sake of drawing

hearer’s attention. For example, the double “o” in “noospapar” might represent a

lengthened vowel, while the “u” in “horrud” and the “a” “murdar” show the use of

different vowels in those linguistic environments. Indeed reviewers unanimously praised

Mayhew’s linguistic performance of the London street folk, especially the patterers.

Lloyd’s Weekly Newspaper raved, “Mr. Mayhew has most felicitously caught the voice

and manner of these fellows [the Death and Fire Hunters]” (2 August 1857). Similarly,

The Standard deduced from his performance that “he knows the characters he personates,

has studied their language and instincts, and is enabled to present so truthful a picture to

his hearers that the reality has all the force and supplies the place of the most racy fun”

(20 July 1857). Mayhew’s presentation, for this reviewer, is not simply “racy fun” but a

“truthful” picture of “reality.” So moved is this reviewer by Mayhew’s “personation” of

the flying stationer that he places Mayhew’s performance on par with that of Frederick

Robson (1821-1864), who was credited with shifting the art of acting away from stiff

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elocution toward natural movements, but more importantly for our purposes, for uniting

“the terrible with the droll.”88 And while the Era lamented that the “philanthropist” and

“philosopher” in Mayhew had given way to the “comic entertainer,” the reviewer

conceded that “the personages he introduces [...] are embodied by him with a dramatic

power for which we are hardly prepared” (2 August 1857). While Mayhew learned

comic timing from Mathews he also borrowed the melodramatic powers of Robson.

Even more striking for this dissertation, however, is how Mayhew increased his use of

Cockney features in his stage performances, how in moving from the written to the oral,

salient markers of working-class London speech become amplified.

For audiences, Mayhew’s performance brought his informants off the street and

into the theatre, their voices off the page and into the mouth of Mayhew. For Mayhew,

his performance allowed him to embody the vibrant personas he so admired; while on

stage he momentarily became a patterer. Mayhew’s performances were “comic” not

because he was making fun of his informants but rather because the patterers were comic

geninuses; the audience laughs with Mayhew-as-patterer not at him. Mayhew’s “Curious

Conversazione” was the ultimate form of slumming. His appropriation of street patter

differed from the young urban sophisticates’ adoption of fashionable cant and slang; he

was not simply peppering his speech with lexicon that would index him as “down” but

rather taking on more of the features of Cockney and street patter, even if only in the

guise of a performance or in the name of the public’s edification. It is no wonder

Mayhew’s father disapproved of his son’s performance in “Punch on the Platform.”

Addition of “Buffo songs” or no, Mayhew’s embodiment of the street folk was too much

88
According to Westland Marston in his Our Recent Actors (1888), it was Robson’s “union of the terrible
with the droll which most recommended him to general favour” (263).

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for his conservative father to bear. For the most part, however, audiences reveled in

“Curious Conversazione,” and we might imagine that “Punch on the Platform” would

have been an equal if not greater success. Like London Labour and the London Poor and

the Morning Chronicle letters that preceded it, Mayhew’s public performance of his own

investigative journalism represented a new genre: part educational lecture, part pathetic

narrative, part comic entertainment. Instead of Mayhew the middle-class journalist

edifying the audience, it is the informants themselves, though admittedly mediated

through Mayhew, in their own style of speaking. Both in LLLP and in his performance

Mayhew consistently brings the street folk to the fore. Perhaps, because Mayhew’s own

life was lived at the financial edge, he may have had a particular sympathy for those he

interviewed. As the flying stationer of “Curious Conversazione” says, “Come boys, keep

order now! [Blows his nose and looks down, as if addressing some urchins among the

crowd] and bear in mind, this here a’n’t a comic song. It’s vot ve may all come to some

day” (21).

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 Conclusion

Toward an Alternative History of the Novel

Throughout this dissertation, I have discussed the ways in which nonstandard

dialects of English could index “Englishness” for the Victorians, especially in the North

where the adulterating influences of French and Latin were held at bay by the strength

and fortitude of Northern dialects’ Anglo-Saxon roots. No matter how deracinated urban

Mancunians might have been, for example, they could draw on the authenticity of the

Lancashire dialect to construct identities that were not only Northern but also robustly

English. But even an act as potentially irreverent as crying the Queen’s accouchement

“of three” has patriotic elements. I have discussed how the patterer’s pronunciation of

“accouchment” speaks to his pride in the language of the London streets. Indeed, the

patterer feels immensely patriotic about his command of English. His variety of English

may not be the national “standard” but it is all the truer for being uncontaminated by that

standard and its borrowings from French and Latin.

Another of Mayhew’s informants goes beyond taking the mickey out of

policemen to claim street literature as representative of the nation: “What do you think of

the Great Exhibition, sir?” he asks Mayhew, “I shall be there. Me and my mates. We are

going to send in a copy of werses in letters of gold for a prize. We’ll let the foreigners

know what the real native melodies of England is, and no mistake” (I: 228). The exhibits

of the Great Exhibition of 1851 were meant to demonstrate to a global audience the

ingenuity, industry, and wealth of Great Britain. Their “copy of werses,” the patterer

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suggests, would shine as brightly as the Koh-i-noor Diamond, which was also on display.

And why should they not be considered among the British Crown Jewels; they are the

“real native melodies of England.” In closing “Working Dialect,” I further consider the

role of dialect literature in England’s literary history and how a closer look at the cross-

currents of canonical/non-canonical texts can tell us about the history of the novel.

This dissertation has aimed to reveal what literary critics can learn from looking

closely at direct dialogue in dialect, not about how people in nineteenth-century actually

spoke, but rather how dialect works both narratively and socially in Victorian texts. This

project shows how dialect works to construct character in complex and surprising ways,

from Gaskell and Eliot’s heroines whose use of dialect signals virtue, to Dickens’s honest

serving-man whose verbal agility recasts London Cockney, and to Mayhew’s dishonest

patterers whose wordplay constructs both their ingenuity and integrity. It reveals how

narrative technique and dialect work together to mediate character development and

subjectivity, from Waugh’s humble Besom Ben and Brierley’s able Ab-o’th’-Yate, to

Reach’s indolent Middleton folk and Mayhew’s insightful Spitalfields weavers. It

demonstrates the ongoing and widespread popularity of characters who were in someway

incongruous with their surroundings, from the anachronistic Ab-o’th’-Yate, to the

amphibious Sam Weller, who as it turns out, make sense of and even thrive in their vastly

and fastly changing landscapes. Despite the industrial revolution, the railways, the

Education Act, and social mobility, British canniness and eccentricity remained

unscathed and these misfits embody those characteristics.

Linguistic analyses of dialect writing can valuably complicate a static

understanding of regional and class identities as fixed and pure. “Working Dialect”

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illustrates how regional issues could trump class solidarity, from the Manchester Literary

Club’s regional alliance, to Pickwick and Sam’s cross-class quest. It also shows how

class liminality could be both vexing and a productive source for identity formation and

negotiation. This project shifts literary criticism’s focus away from attempts to locate

authentic voices toward an analysis of how authenticity could be performed linguistically.

We may feel at times like the patterers’ customers, attempting to catch their meaning in

the face of indistinct but fascinating, maybe even fraudulent, verbal evidence. But to

search for accuracy or authenticity is to miss the point. Just as it is the idea of a murder

“myst-erious” that draws audiences, it is the idea of authenticity, not the search for it, that

should fuel our future inquiries.

Regardless of what variety of English the writers I discuss in this dissertation

spoke, much of their success depended on the ability to mimic--on paper and during

public readings--either the rural speech of their region or the urban working-class speech

of the metropolis. These writers had a masterful ear for the nuances of dialects and a

remarkable talent for capturing them on paper. For Gaskell and Eliot, the mimicking of

dialects would end on the page--perhaps the taint of theatricality kept them from

performing their works in public--and would lessen as their careers progressed--after

Mary Barton and Adam Bede, Gaskell and Eliot reserved dialect speech for minor

characters. Brierley, Waugh, Dickens, and Mayhew, on the other hand, increased their

use of dialects in response to the success it brought them. I do not mean to suggest that

Gaskell and Eliot’s talents for representing dialect waned as their fame grew, for they

continued to be extraordinary. But perhaps the gendered difference in these writers’ use

of dialect serves as further proof that nonstandard dialects were increasingly associated

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with masculinity as the century progressed. More study is needed in the uses of dialect

by women writers in the nineteenth century and its relationship to constructions of their

identities. My project only broaches the subject, but it is my hope that it will also invite

further study.

On the other hand, what can literary criticism learn from Brierley, Waugh,

Dickens, and Mayhew’s increasing use of dialect over the course of their careers? The

standard narrative of the history of the novel, is one of an increase in interiority; from

Austen to Eliot to James to Woolf, narrative modes privilege interiority over both action

and direct dialogue. But, as we have seen, direct dialogue is the narrative mode most

employed and effective in capturing and conveying dialect voices, those voices that

became increasingly popular as they were perceived to be disappearing. It seems to me

that there is an alternative history of the novel waiting to be uncovered. With a closer

and more sustained examination of dialect in the novel, literary criticism may just

discover what such a history would look, or rather sound, like. A complete aural picture

will not emerge, however, until we consider the body of non-canonical works in dialect to

which this study only begins to apply its critical ear-trumpet. Canonical/non-canonical,

high/low, North/South: each of these oppositional binaries is unstable, yet they continue

to stymie what are perhaps unorthodox but what could be productive discussions of

British literary history.

I close “Working Dialect” with a strange text from the 10 May 1890 issue of Ben

Brierley’s Journal that I hope will act as a metaphor for the kind of interdisciplinary and

boundary traversing work this dissertation practices and hopefully anticipates. A piece

called “Classical Slang,” probably written by Brierley, as most of the periodical was,

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pondered the “lofty lineage” yet “vulgarity” of the nation’s “slang” and gives an example

of speech one “might hear any day in Seven Dials, or even less typically ‘low’ localities”

(155). What follows is a lively narrative about a gentleman who was “bilked out of [his]

duds” and which contains lexical items from the Lancashire dialect (e.g., “abear” and

“clemmed”) but also words that could be heard in the Cockney lexicon (e.g., “knabbed”

and “bolt”). It is rather curious that Brierley mentions Seven Dials--a neighborhood of

London known in the nineteenth century for urban poverty and, as Dickens tells us in

Sketches by Boz (1836), “the region of song and poetry -- first effusions, and last dying

speeches: hallowed by the names Catnach and Pitts [publishers of penny broadsides] --

names that will entwine themselves with costermongers, and barrel organs” (77). Indeed,

Mayhew’s patterers would have purchased most of their “slums” in the Dials before

flying off to their own special street corner or neighborhood. But here Brierley evokes

these Southern images before transcribing a sort of hybrid speech of Northern and

Southern features, described with the oxymoronic term “Classical Slang.” That he then

describes the passage as “Horribly low and vulgar!” but also “good old English” is

equally curious.

But from this strange confluence of region and class, high and low, we might

imagine Lancashire weavers “entwin[ing] themselves with costermongers, and barrel

organs,” breaking down the boundaries between North and South, “classical” and

“slang,” literature and popular culture. If the history of the novel included this panoply

of voices, how different it would sound. This dissertation considers literary dialect of a

period--the 1830s through the 1910s--when local distinctions and traditions were

especially honored, and when attempts to preserve them were played out in literary

229
contexts. Perhaps the reason Brierley’s transcription of “classical slang” seems so

curious is that it is an attempt at representing what actual speech in 1890s urban centers

sounded like, rather than an attempt to capture traditional dialect and/or contribute to

British literary history. Although, regional distinctions in speech still existed, and still

exist today, the interest in preserving them faded during the inter-war period. Today

those differences are based primarily in accent, rather than dialect, but the idea of

authenticity remains integral to identity formation, and becomes especially prevalent

when speakers perceive they are losing something valuable about their local culture.

Joan Beal’s 2009 study of the indie band Arctic Monkeys’ use of features of Sheffield

English to index authenticity and “independence from the corporate machine” is a recent

example of this sociolinguistic phenomenon (223). Literary dialect may have had its

heyday in the nineteenth century but some of the impetus behind its prevalence in that

century remains today and is manifest in other contexts, such as television and music. It

may seem curious to suggest that modern sociolinguistics can teach us something about

the history of the novel, but I hope that this dissertation has shown that the critical

confluence of literary studies and sociolinguistics is a productive and exciting one.

230
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