LITMIR.BIZ

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his throat at an annuity office. This little confidential whisper affected him greatly; the very perspiration was frozen on his face, and for the next two rounds I had it all my own way. And when I called time for the twenty-seventh round, he lay like a log on the floor."

      After which, said I to the amateur, "It may be presumed that you accomplished your purpose." "You are right," said he mildly, "I did; and a great satisfaction, you know, it was to my mind, for by this means I killed two birds with one stone;" meaning that he had both thumped the baker and murdered him. Now, for the life of me, I could not see that; for, on the contrary, to my mind it appeared that he had taken two stones to kill one bird, having been obliged to take the conceit out of him first with his fist, and then with his tools. But no matter for his logic. The moral of his story was good, for it showed what an astonishing stimulus to latent talent is contained in any reasonable prospect of being murdered. A pursy, unwieldy, half cataleptic baker of Mannheim had absolutely fought six-and-twenty rounds with an accomplished English boxer merely upon this inspiration; so greatly was natural genius exalted and sublimed by the genial presence of his murderer.

      Really, gentlemen, when one hears of such things as these, it becomes a duty, perhaps, a little to soften that extreme asperity with which most men speak of murder. To hear people talk, you would suppose that all the disadvantages and inconveniences were on the side of being murdered, and that there were none at all in not being murdered. But considerate men think otherwise. "Certainly," says Jeremy Taylor, "it is a less temporal evil to fall by the rudeness of a sword than the violence of a fever: and the axe" (to which he might have added the ship-carpenter's mallet and the crow-bar) "a much less affliction than a strangury." Very true; the bishop talks like a wise man and an amateur, as he is; and another great philosopher, Marcus Aurelius, was equally above the vulgar prejudices on this subject. He declares it to be one of "the noblest functions of reason to know whether it is time to walk out of the world or not." (Book III., Collers' Translation.) No sort of knowledge being rarer than this, surely that man must be a most philanthropic character, who undertakes to instruct people in this branch of knowledge gratis, and at no little hazard to himself. All this, however, I throw out only in the way of speculation to future moralists; declaring in the meantime my own private conviction, that very few men commit murder upon philanthropic or patriotic principles, and repeating what I have already said once at least—that, as to the majority of murderers, they are very incorrect characters.

      With respect to Williams's murders, the sublimest and most entire in their excellence that ever were committed, I shall not allow myself to speak incidentally. Nothing less than an entire lecture, or even an entire course of lectures, would suffice to expound their merits. But one curious fact, connected with his case, I shall mention, because it seems to imply that the blaze of his genius absolutely dazzled the eye of criminal justice. You all remember, I doubt not, that the instruments with which he executed his first great work, (the murder of the Marrs,) were a ship-carpenter's mallet and a knife. Now the mallet belonged to an old Swede, one John Petersen, and bore his initials. This instrument Williams left behind him, in Marr's house, and it fell into the hands of the magistrates. Now, gentlemen, it is a fact that the publication of this circumstance of the initials led immediately to the apprehension of Williams, and, if made earlier, would have prevented his second great work, (the murder of the Williamsons,) which took place precisely twelve days after. But the magistrates kept back this fact from the public for the entire twelve days, and until that second work was accomplished. That finished, they published it, apparently feeling that Williams had now done enough for his fame, and that his glory was at length placed beyond the reach of accident.

      As to Mr. Thurtell's case, I know not what to say. Naturally, I have every disposition to think highly of my predecessor in the chair of this society; and I acknowledge that his lectures were unexceptionable. But, speaking ingenuously, I do really think that his principal performance, as an artist, has been much overrated. I admit that at first I was myself carried away by the general enthusiasm. On the morning when the murder was made known in London, there was the fullest meeting of amateurs that I have ever known since the days of Williams; old bed-ridden connoisseurs, who had got into a peevish way of sneering and complaining "that there was nothing doing," now hobbled down to our club-room: such hilarity, such benign expression of general satisfaction, I have rarely witnessed. On every side you saw people shaking hands, congratulating each other, and forming dinner parties for the evening; and nothing was to be heard but triumphant challenges of—"Well! will this do?" "Is this the right thing?" "Are you satisfied at last?" But, in the midst of this, I remember we all grew silent on hearing the old cynical amateur, L. S——, that laudator temporis acti, stumping along with his wooden leg; he entered the room with his usual scowl, and, as he advanced, he continued to growl and stutter the whole way—"Not an original idea in the whole piece—mere plagiarism—base plagiarism from hints that I threw out! Besides, his style is as hard as Albert Durer, and as coarse as Fuseli." Many thought that this was mere jealousy, and general waspishness; but I confess that, when the first glow of enthusiasm had subsided, I have found most judicious critics to agree that there was something falsetto in the style of Thurtell. The fact is, he was a member of our society, which naturally gave a friendly bias to our judgments; and his person was universally familiar to the cockneys, which gave him, with the whole London public, a temporary popularity, that his pretensions are not capable of supporting; for opinionum commenta delet dies, naturæ judicia confirmat. There was, however, an unfinished design of Thurtell's for the murder of a man with a pair of dumb-bells, which I admired greatly; it was a mere outline, that he never completed; but to my mind it seemed every way superior to his chief work. I remember that there was great regret expressed by some amateurs that this sketch should have been left in an unfinished state: but there I cannot agree with them; for the fragments and first bold outlines of original artists have often a felicity about them which is apt to vanish in the management of the details.

      The case of the M'Keands I consider far beyond the vaunted performance of Thurtell—indeed above all praise; and bearing that relation, in fact, to the immortal works of Williams, which the Æneid bears to the Iliad.

      But it is now time that I should say a few words about the principles of murder, not with a view to regulate your practice, but your judgment: as to old women, and the mob of newspaper readers, they are pleased with anything, provided it is bloody enough. But the mind of sensibility requires something more. First, then, let us speak of the kind of person who is adapted to the purpose of the murderer; secondly, of the place where; thirdly, of the time when, and other little circumstances.

      As to the person, I suppose it is evident that he ought to be a good man; because, if he were not, he might himself, by possibility, be contemplating murder at the very time; and such "diamond-cut-diamond" tussles, though pleasant enough where nothing better is stirring, are really not what a critic can allow himself to call murders. I could mention some people (I name no names) who have been murdered by other people in a dark lane; and so far all seemed correct enough; but, on looking farther into the matter, the public have become aware that the murdered party was himself, at the moment, planning to rob his murderer, at the least, and possibly to murder him, if he had been strong enough. Whenever that is the case, or may be thought to be the case, farewell to all the genuine effects of the art. For the final purpose of murder, considered as a fine art, is precisely the same as that of tragedy, in Aristotle's account of it, viz., "to cleanse the heart by means of pity and terror." Now, terror there may be, but how can there be any pity for one tiger destroyed by another tiger?

      It is also evident that the person selected ought not to be a public character. For instance, no judicious artist would have attempted to murder Abraham Newland. For the case was this; everybody read so much about Abraham Newland, and so few people ever saw him, that there was a fixed belief that he was an abstract idea. And I remember that once, when I happened to mention that I had dined at a coffee-house in company with Abraham Newland, everybody looked scornfully at me, as though I had pretended to have played at billiards with Prester John, or to have had an affair of honor with the Pope. And, by the way, the Pope would be a very improper person to murder: for he has such a virtual ubiquity as the father of Christendom, and, like the cuckoo, is so often heard but never seen, that I suspect most people regard him also as an abstract idea. Where, indeed, a public character is in the habit

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