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                  <text>Recordings made by actor and musician Dominic Gerrard to support the 'Decoding Dickens' exhibition.&lt;br /&gt;&lt;ul&gt;&lt;li&gt;Find out more about Dominic's work: &lt;a href="http://www.dominicgerrard.co.uk/" target="_blank" rel="noreferrer noopener"&gt;http://www.dominicgerrard.co.uk/&lt;/a&gt;&lt;/li&gt;
&lt;li&gt;Listen to Dominic's podcast, 'Charles Dickens: A Brain on Fire!': &lt;a href="https://www.buzzsprout.com/1897197" target="_blank" rel="noreferrer noopener"&gt;https://www.buzzsprout.com/1897197&lt;/a&gt;&lt;/li&gt;
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                  <text>You may use these recordings in accordance with the license https://creativecommons.org/licenses/by-nc/4.0/ Credit: Dominic Gerrard</text>
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              <text>Title: John Cayford (the ‘original’ for Joe Gargery), on Dickens writing shorthand&#13;
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&lt;li&gt;Listen to Dominic's podcast, 'Charles Dickens: A Brain on Fire!': &lt;a href="https://www.buzzsprout.com/1897197" target="_blank" rel="noreferrer noopener"&gt;https://www.buzzsprout.com/1897197&lt;/a&gt;&lt;/li&gt;
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              <text>Title: Dickens talks about his lifelong relationship with shorthand in an 1865 speech to the Newspaper Press Fund&#13;
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              <text>Title: Henry Fielding Dickens reminisces about learning shorthand with his father&#13;
Transcription: These lessons were great fun, though I found it was by no means an easy science to learn […] To take down a speech quickly and correctly you must have all your faculties in perfect order, and that is where I experienced a special difficulty in my own case. This arose from the kind of speeches which my father delivered for me to practise on, speeches which shortly reduced my mind to a state of wild confusion. They were of the character you would expect from a street tub orator or from a speaker on the hustings or a parody of orations in the House of Commons. These soon reduced me almost to a state of collapse in consequence of the laughter which followed on them; and when I say laughter, I mean laughter on the part of both of us. For he himself, tickled by the ridiculous nature of his own fancies, gave way to fits of laughter only equalled by wild bursts on my part. This part of my training was most amusing, but was not productive of much progress.</text>
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              <text>Title: Nelson&#13;
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              <text>Title: Travelling&#13;
Transcription: I suppose the mere act of travelling is not very likely to open a man’s mind or amend and enlarge his spirit if he be conceited and shut up within himself and his own good opinion of himself in the beginning. As it would be of small advantage to a man to live in a house with 10,000 windows if he never looked out of one of them, so a man who goes around the world constantly shut up in his own self-satisfactions and prejudices can get very little out of it. Indeed, it may be said of such people that they cannot see anything for themselves. They are always in their own way. They themselves are the obstacle always interposed between their own mental state and the object. Without reflection and abstraction from self it may be questioned whether any tangible object in the universe is capable of producing a very beneficial effect on the mind.&#13;
Mount Vesuvio for example is a vast and always changing mass of fire and cinders. There is nothing much more remarkable in that ipso facto than there would be in a gigantic gas works. It is when a man BLANK himself to consider that an action he beholds in that mountain is the action of prodigious forces pent up in the recesses of the earth and heaving and working there from the dawn of creation to the present hour that the importance and beauty and grandeur of what he sees impress him adequately. The falls of Niagara are but so many thousand million gallons of water but the consideration that a great river is throwing itself over a certain rock and that in the course of ages it must wear the rock away and change the whole face of the country thereabouts is quite another thing.&#13;
We must all put something of ourselves into everything we see and if we do not so train ourselves so that we have something to put some bank to draw upon some capital to invest nothing can have the charms for us that it is meant to have. Consequently, it is always possible for civilised men to conceive how little interesting nature is to the savage and how very small an appreciation he has of her wonders and beauties distanced from his wants and appetites. But this is in fact one of the main reasons for his being the monotonous, indolent stupid brute he always is for any purpose other than his own immediate personal wants. There is yet another kind of man to whom travelling can be of little service. I allude to the kind of man who, when he sees a remarkable thing, thinks not of the thing itself but of what he should say of it. A state of mind so excessively selfish and despicable that I think on the whole I would rather travel with a BLANK young Whig or even a prejudiced old one than with a person from whom so little improvement is to be got and from whom such constant annoyance is to be derived.</text>
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                  <text>Recordings made by actor and musician Dominic Gerrard to support the 'Decoding Dickens' exhibition.&lt;br /&gt;&lt;ul&gt;&lt;li&gt;Find out more about Dominic's work: &lt;a href="http://www.dominicgerrard.co.uk/" target="_blank" rel="noreferrer noopener"&gt;http://www.dominicgerrard.co.uk/&lt;/a&gt;&lt;/li&gt;
&lt;li&gt;Listen to Dominic's podcast, 'Charles Dickens: A Brain on Fire!': &lt;a href="https://www.buzzsprout.com/1897197" target="_blank" rel="noreferrer noopener"&gt;https://www.buzzsprout.com/1897197&lt;/a&gt;&lt;/li&gt;
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              <text>Title: Didactic&#13;
Transcription: Although the forms of religious belief in the world are almost innumerable it is probable that their grounds and foundations are very few. One constantly recognises the same idea reappearing under diverse terms from the time of the old heathen mythology even to the present day. This is always observable in the superstitions of mankind. It is, or it would seem to be, so extremely difficult to separate the old notions altogether from new. […] Thus no one can visit Rome, the headquarters of all degrading superstition and fail to see incorporated into the purity and beauty of Christianity the pagan ceremonies of ages ago. Just as many of the Christian churches in Rome are built upon ruins of the old temples, so many of the practices retained in them and made articles of religious faith ought to have perished and forever vanished from sight in the light of the Christian dispensation, but still encumber them, the mere dust and ashes of a rotten and dead people.</text>
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              <text>Title: Anecdote&#13;
Transcription: There is a story related, I think, by Cole which always struck me to be one of the best of ghost stories. Thus the story runs:&#13;
&#13;
Once upon a time there was a German student extremely popular with his companions and quite the life of his university. No one fenced better, sang better, danced better, did anything better than he. Suddenly it was noticed that his whole appearance changed. He became melancholy, silent, worn and dejected. After a time, one of the student body who had always been his intimate friend was deputed to speak to him on the subject of this strange alteration in him. It was very difficult to induce him to open his lips but after a long time and much pressing, he said, “Know then, I am every night pursued by a phantom. When the city clock(s) strike/struck 12 it emerges from the closet in my room opposite the foot of the bed and stands there until morning.” In reply to the question how this spectre was dressed, he said in green, with a high-crowned green hat. The student returned to his companions and they arranged among themselves that one of their number should be thus dressed and should be concealed in the place in question. After appearing and being supposed by the afflicted student to be the ghost, he would then reveal himself and so work his cure. Under this guise, on a certain night, the student was hidden in the ghost’s place with instructions to come forth when the city clocks struck 12. As the hour approached, he saw from his concealment that the sleeping student became frightfully agitated. When it struck and the other emerged, he raised himself in/on his bed with a distorted face, marked/wracked with every possible expression of horror, cried out in agony "My God, there are two", fell back and died.</text>
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                  <text>Courtesy of the Charles Dickens Museum, London. Please seek further permission from the Museum to reuse these images.</text>
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                <text>Charles Dickens Museum, London [E198.1]</text>
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                <text>Courtesy of the Charles Dickens Museum, London. Please seek further permission from the Museum to reuse this image.</text>
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                    <text>A page in a book. The paper shows age staining. On the page is printed a table divided into four columns, with the first column further subdivided in two. Above the table is the number one in brackets. The table has three headings: 'Alphabet', 'Letters' and 'Words'. A slim column on the far left shows simple Brachygraphy symbols. The second column shows alphabet characters and words that the symbol can also stand for. The next column provides examples of the Gurney spellings of words, eliminating duplicate letters and internal vowels (i.e. 'assault' becomes 'aslt'). The next column spells the word out using joined shorthand symbols. The final column translates the joined shorthand character back into a longhand word.</text>
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                  <text>Material from various private collections.</text>
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                  <text>Various. Please consult individual items for details.</text>
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          <name>Original Format</name>
          <description>The type of object, such as painting, sculpture, paper, photo, and additional data</description>
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              <text>manuals (instructional materials)</text>
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                <text>Alphabet Table from Gurney's &lt;em&gt;Brachygraphy&lt;/em&gt; manual</text>
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                <text>&lt;em&gt;Brachygraphy, or, an Easy and Compendious System of Shorthand&lt;/em&gt;, Sixteenth Edition (London: Saunders and Benning, 1835), private collection</text>
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                <text>You may use this image in accordance with the license https://creativecommons.org/publicdomain/mark/1.0/</text>
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