Джудит Фландерс – The Invention of Murder: How the Victorians Revelled in Death and Detection and Created Modern Crime (страница 22)

* This meeting has been much disputed, and Egan may simply have worked from press reports and information supplied by sporting friends.

* The Coburg changed its name to the Royal Victoria (the Vic) in 1833. Later in the century it became known fi rst colloquially, then formally, as the Old Vic, which it remains today.

* All plays were subject to governmental oversight, and all theatres had to submit their scripts to the offi ce of the Lord Chamberlain before performances could be licensed. Historians have cause to be grateful for this censorship. The Lord Chamberlain’s offi ce kept the scripts, and they are frequently the only surviving copies, particularly for plays produced at the minor theatres. Much of the material that follows relies heavily on the Lord Chamberlain’s Plays, now held in the British Library, and only slightly the worse for wear after being kept for a century or so in a coal cellar in St James’s Palace.

* The author of the Surrey’s play is always listed as ‘unknown’, but a seemingly hitherto unnoticed letter from the journalist Leman Blanchard, dated 23 April 1883, has survived in the British Library: ‘The piece called The Gamblers [was] hashed up by Milner if I remember rightly.’ Blanchard cannot actually have ‘remembered’ the production at all, as he was born only in 1820, but he was a professional playwright by 1839, and his father, William Blanchard, was a comic actor before him, so he may well have heard the play spoken of. Certainly its notoriety long outlived its run at the Surrey.

* Some of these items retained a posthumous glamour. In the twentieth century Norwich Public Record Offi ce was the proud owner of a pair of scissors said to have been Thurtell’s in his cloth-merchant days, and of his original certifi cate in bankruptcy.

* Almost every report agrees that Thurtell read his defence, and read it well. Yet a contemporary scholar thinks that Thurtell’s letters ‘show him to have been semi-literate’ at best, and suggests that Egan may have had a hand in his defence speech. Perhaps Thurtell, a lover of theatre, had memorized it.

* Probert’s escape via immunity was short-lived. In 1825 he was convicted of stealing a horse and hanged at Newgate. A broadside claimed that so many people attended his execution that ‘a boy actually walked from one side of the street to the other, on the heads of the people’.

† Mulready also sketched both Hunt and Probert. The drawings are now in the Victoria and Albert Museum.

§ Thurtell lived on among the sporting set. In 1868, at a dog show, a ‘champion stud’ included the pups Palmer, Probert and Williams. For Palmer, the Rugeley poisoner, see below, pp.258ff. Williams may either be the Ratcliffe Highway murderer, or one of a trio of murderers in the Burke and Hare style, who was executed for the murder of an Italian beggar-boy in 1831.

* Jack Ketch was a seventeenth-century hangman, and his name was used colloquially to mean any executioner.

* Bulwer-Lytton (1803–73) was born Edward George Earle Lytton Bulwer, and until 1838 he was known as Edward Lytton Bulwer. On his father’s death he became Sir Edward Bulwer, and in 1843 he added his mother’s maiden name, Lytton, to become Sir Edward Bulwer-Lytton. Ultimately he became 1st Baron Lytton of Knebworth. For simplicity, I refer to him as Bulwer throughout. Unlike Bulwer, Hannah Jones’s success was one of scale, not fi nance or renown: she wrote and sold widely, but was, according to The Times, given a pauper’s burial. For more on penny-bloods, see pp.58–60.

* Catherine Hayes (1690–1726) murdered her coal-merchant husband by beating him to death with the help of two men, then dismembering the body. She was the last woman in England to be burned alive for petty treason.

† It perhaps suits the theatricality of Thurtell’s legend that Lyon’s Inn was later pulled down to build the New Globe Theatre.

* Jerrold (1803–57) was a prolifi c playwright, with over seventy plays to his name, including the smash hit Black-Ey’d Susan. He wrote for Punch, and from 1852 he was the editor of Lloyd’s Weekly Newspaper. His son Blanchard Jerrold (1826–84) was also a journalist, and became editor of Lloyd’s on his father’s death. He was named for his father’s great friend, the journalist Laman Blanchard (1803–45), not to be confused with the playwright Leman [sic] Blanchard (1820–1889), who was no relation, but who also turns up in this book.

* In very simplifi ed form, until the 1880s, prosecutions in England and Wales were brought privately, by the victims or (in cases of murder) representatives of the victims. (Scottish law had slightly different procedures.) The most important cases were frequently taken over by the Home Offi ce, with the Treasury Solicitor overseeing the case for the prosecution. In 1879 the creation of the Department of Public Prosecutions gave the Attorney General an enhanced role, and improved coordination. The police, as hunters of criminals, gradually took over the preparation of the prosecutions through the century.

While the government was not necessarily involved in any prosecution, for much of the century there was a marked lack of separation of function. As late as 1877, in the case of a woman accused of murdering a child, the Chief Constable sat on the bench during the magistrates’ hearing, and a policeman who gave evidence at the same hearing served as a juror at the inquest on the child.

† Many newspapers claimed that Corder was planning to use Thurtell’s defence speech. He may have been planning it, although given the different circumstances of the two cases it would be hard to understand how, much less why. Ultimately he did not, and the story is probably more likely to be newspaper hype, a way of alluding to the previous exciting murder.

* It is probably safe to say that Huish was the only penny-blood author who was also an expert on beekeeping. For many years he was a columnist for the Gardener, Florist and Agriculturalist, and he was the author of A Treatise on the Nature, Economy, and Practical Management of Bees.

* John Williams’ body, too, had been described as ‘naked’, and it too was dressed in shirt, trousers and stockings. For much of the century ‘naked’ meant dressed only in underclothes, but in these cases it seems to mean without jacket, hat, kerchief or neck-cloth – that is, without any outdoor clothes.

† In 1943 The Times reported that the town clerk in Bury St Edmunds had turned up the prosecution brief for the trial. It was given to the Bury St Edmunds museum, which was already the proud possessor of the book bound in Corder’s skin, and his preserved scalp.

* Almost everything we know about penny theatres comes from middle-class journalists, who wrote for equally middle-class readers who expected to be horrifi ed and perhaps titillated by their reports. Class biases are a given, even from the most sympathetic reporters.

* Some puppets from the Tiller-Clowes company have survived and are now in the Victoria and Albert Museum. The museum has fi lmed a tiny clip of the marionettes in action in the Red Barn, which was at one point viewable on its website. It has recently vanished, and can now be seen only by appointment at their Hammersmith archive. This is a great pity, for it is well worth watching for the red handkerchief that fl owers on Maria’s bosom as she is knifed, and the dastardly Corder’s fi nal ‘heh-heh-heh’ and hop for joy after her death.

* Benefi ts were performances for which the box-offi ce receipts were given to a particular actor, playwright, or some other person connected with the theatre. At many East End theatres, all actors and writers – even the stage manager – expected to have a benefi t every season. The theatres also had benefi ts for local causes, or for famous people in need of fi nancial support, like Lee.

* There is no evidence that Hare or Burke ever married the women they lived with, but under Scottish law, living together made them legally man and wife.

† ‘Not proven’ is a verdict in Scottish law, indicating that the prosecution has failed to make its case suffi ciently strongly to secure a conviction, yet neither has the jury been persuaded that the accused had no involvement in the crime. A ‘not proven’ verdict means that the prisoner is released.

* He may not have gone, but he remained fascinated: two years later he wrote to the publisher of one of the trial reports, saying he had compared Burke’s and Hare’s confessions, and listing over twenty instances where they confl icted.

* It seems impossible that Stevenson could be thinking of anyone except Sir William Fergusson here (see p.63).

* I will deal with policing and enforcement practices as they related to the crimes I discuss, but the major change – how the centralization of policing led to it becoming part of the apparatus of state – needs another book.

* The Riot Act (1 Geo. I St.2. c.5) of 1715 permitted ‘tumults and riotous assemblies’ to be broken up after strict procedure was followed: the Act had to be read aloud, using a set form of words, to those whom the offi cials wished to disperse. The crowd then had one hour to leave the area. Force was not permitted until that hour had elapsed.