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Dickens probably wrote the following portion of 'Shakspeare and Newgate': from the beginning to 'all possible audiences' (p. 25).
Dickens may also have written or extensively rewritten much of the following section: from 'Seven or eight years' (p. 25) to 'listening constables' (p. 26).
The idea propounded in the opening of this essay - that art can help make life bearable, and that the alternative to this saving grace is violence and depravity - was a notion that Dickens held to be profoundly true and that he wove into many of his writings.

Harry Stone; © Bloomington and Indiana University Press, 1968. DJO gratefully acknowledges permission to reproduce this material.

Joseph Marryat, A History of Pottery and Porcelain (1850).

John George Phillimore, The History and Principles of the Law of Evidence, as illustrated by our Social Progress (London: William Benning & Co., 1850).

Reprinted in Harper's New Monthly Magazine, Vol. IV, NO. XIX (December 1851).

1) The Third Volume of Household Words.

2) The Household Narrative of Current Events.

For two years (1824–6) Dickens attended William Jones's graciously named school, Wellington House Classical and Commercial Academy, in the Hampstead Road. The school was a separate building from the main house and was 'sliced off' when a deep railway cutting needed to be made for the London and North Western Railway, running north from Euston Square. Dickens had already drawn on his memories of Jones, his ignorance, his truckling to wealth, and his sadistic pleasure in caning little boys, in his portrait of Mr Creakle and Salem House in David Copperfield (Mr Mell in the same novel must have been drawn from the gentle, exploted usher with his forlorn musical instrument); and condemned Jones more directly six years after writing 'Our School' in a speech on behalf of the Warehousemen and Clerks' School.

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Eduard Jerrmann, Unpolitische Bilder aus St. Petersburg (1851).

1) The Third Volume of Household Words.

2) The Household Narrative of Current Events.