The Invention of Murder: How the Victorians Revelled in Death and Detection and Created Modern Crime. Judith Flanders

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СКАЧАТЬ evil aristocrats, the next penny development was the remorseless policeman hunting down criminals. A Corder blood merged the two genres. The evil William Corder, hoping to marry ‘lady Amelia’, has first to ‘dispose’ of his illegitimate child by Maria, who stands between ‘Amelia, happiness and myself!’ Maria threatens to tell Amelia of her situation, and, ‘yelling in demoniac rage and ungovernable passion, the sinful man’ drives his knife ‘into her throbbing breast, from which the fell demon had torn the covering’, shoots her for good measure and buries her in the barn. Now Captain Dash, a notorious highwayman, appears at Corder’s ‘grand masked ball’ and reveals all, before taking up a siege position in the Red Barn. Dash turns out to be Maria’s rejected suitor, who loved her truly and became a highwayman from grief. There is no date on this publication, but it must be post-1860, as a detective appears to tidy away everything at the end, and a further title is advertised on the back cover: ‘Lightning Dick, the Young Detective’ – boy detectives first appeared in the 1860s.

      Melodrama, too, took Maria Marten to its heart. The earliest stage version of the story was announced at the Pavilion Theatre, Mile End, shortly after the trial, and there is a brief outline of the scenes in the playbill. In Act I, Corder promises to marry Maria, but is already planning her betrayal: ‘The deed were bloody, sure, but I will do’t …’ After Maria’s murder, her mother wakes from a nightmare: ‘Help, help! My child! I saw her, sure, lifeless, smeared with blood! ‘Twas in the Red Barn! – and there stood Corder with a pickaxe digging out her grave.’ When Mr Marten discovers the body, there is an ‘affecting scene’: ‘she was the darling of my age, the prop of my existence’. In the final scene in Bury Gaol, Maria appears to Corder as a ghost. His last words are ‘Guilt, guilt … I am, I am her murderer!’

This story remained a favourite: a version in Cheltenham in 1828 had Miss Marten shot in front of the audience’s eyes; a production in Weymouth introduced gypsies into the plot (this element swiftly infiltrated most productions, usually in the guise of Pharos Lee, the renamed Runner); there was a Welsh version in 1829, in Monmouth and later in Cardiff; an undated production in Swansea; a production in Hull advertised ‘Maria Marlin [sic], the Pride of the Village’, who after death conducts her mother to her resting place ‘IN A FLAME OF FIRE’. In an early 1860s version, James Lee, the Bow Street Runner who had arrested Corder, now aged seventy-six, recreated his arrest onstage for a benefit performance. *All of these productions conformed to the standard melodrama casting, with Corder played by the ‘heavy’; Mr Marten the ‘second heavy’, or ‘heavy father’; Tim Bobbin, the comic servant, by the ‘first low comedian’; Mrs Marten the ‘character old woman’; and Maria herself, the ‘leading lady’.

      Despite the multiplicity of productions, only two Red Barn scripts survive from the nineteenth century, one from what may be the Swansea production, the second from an 1890s northern touring company. The Swansea production conforms to all the standard melodrama requirements: it has the aged father blessing his child’s forthcoming marriage, the comic servants, the villain resolved on murder, the beautiful heroine pleading for her life ‘For my aged parents’ sake’, ‘the voice of Heaven conveying to a mother’s heart the murder of her darling child’, and finally, forgiveness for the sinner, amidst scenic effects in the condemned cell: ‘Ghost music. Blue fire. The spirit of Maria Marten appears.’ Corder confesses, ‘Bell tolls. Characters form picture [that is, stand frozen in a tableau]. Blue fire.’

      By the 1890s, melodrama was no longer treated entirely seriously. A Manchester revival had music-hall turns interpolated into the story: ‘Sometimes the actor brings in a sly sentence in a burlesque of a line in Hamlet, and sometimes the house is made to roar over an allusion to a great cabbage which is brought on the stage.’ There was also a role for the ‘intelligent donkey, Jerry’, who would ‘prove that all men are descended from donkeys’, not to mention an unexplained ‘statue song’ and some dancing.

      Long before the intelligent donkey took over, more frightening murderers were to stalk the stage. These were two Irishmen living in Edinburgh: William Burke and William Hare. Burke and Hare were, if you will, pioneers of capitalism, meeting rising demand with a more efficient supply. Medical schools officially used only the corpses of executed criminals for dissection, but by the late 1820s demand far outstripped the number of criminals executed – in Surgeons’ Square, Edinburgh, alone there were six lecturers on anatomy, all of whom required bodies on which to demonstrate. Thus, most medical schools quietly dealt with resurrection men, men who stole recently buried corpses from cemeteries. This was semi-illegal (‘semi’ because dead bodies in law belonged to no one; resurrectionists could be charged only with stealing grave clothes), but for the most part the trade was winked at.

      The resurrection market was, however, tightly controlled, and two good-for-nothings like Burke and Hare had no hope of entering this macabre profession. These two men, whose names became synonyms for brutal murder, stumbled into their occupation by chance. Burke had been a navvy on the Union Canal, and then a cobbler; Hare kept a poor man’s lodging house in Tanner’s Close, where a third-share in a bed could be purchased for 3d. a night. Sometime in 1827, Burke and his common-law wife Helen McDougal moved in with Hare and his wife Margaret, after their own lodgings had burned down. Together they drank and got through life as best they could until a pensioner named Dougal died owing Hare rent. Burke and Hare recouped the debt by selling his body to Dr Knox, who ran one of Edinburgh’s three anatomy schools. To their astonishment, they received £7.10s. for the body – easily six months’ pay for an unskilled labourer. They lived off this windfall for the entire winter, and it was only in the new year that they realized that even £7.10s. would not keep them for ever. But old, frail people with no family ties don’t die on command. Then they had their brainwave – old, frail people with no family ties died every day among Edinburgh’s underclass, and no one questioned the death of one pauper more or less. So Burke, the more personable character, lured the unwary to Hare’s lodgings, where the two men gave them a drink and, when they were pleasantly fuddled, asphyxiated them. Then there was another fresh corpse for Dr Knox, and another few months’ income for the Burke and Hare families. In February 1828 an old woman, name unknown, vanished from their lodgings; sometime later that winter so did ‘Joseph the miller’. There were possibly more before Mary Paterson, a local prostitute, was disposed of the same way in April. But the pair were getting reckless. Mary Paterson’s friend Janet Brown had accompanied her when Burke enticed them to his lodgings, offering to keep them in fine style. Mary became stupefied with drink, but Janet left before she reached that stage. There was now a witness to the fact that at least one person had visited the Tanner’s Close lodging house and then vanished. Mary Paterson had been dead only five or six hours when her body was purchased by Dr Knox’s attendant. Yet no questions were asked about her obviously recent death, nor the lack of any indication that she had ever been buried. In his confession, Burke said no questions ever were asked. The assistant who bought Mary Paterson’s corpse was one William Fergusson – later Sir William Fergusson Bart, FRS, Serjeant-Surgeon to Queen Victoria and President of the Royal College of Surgeons.

      Fergusson and his associates regularly paid Burke and Hare between £8 and £10 per corpse, and things went on smoothly until October 1828, when hubris was followed by nemesis. James Wilson, or ‘Daft Jamie’, was their next victim. Daft Jamie was a well-known Edinburgh street character who lived by begging and petty trading. He was about twenty years old at the time of his murder, physically large, but simple-minded and with a physical handicap, possibly club feet. It appears that Jamie refused the offers of alcohol, and thus, unlike all the other victims, was young, strong and sober, and able to fight back. Burke and Hare finally overpowered him, but it was impossible that his body showed no signs of violent death. It was even more impossible that no one would recognize his corpse. Some of the students did, but this simply hastened the dissection. Daft Jamie’s head and feet, which would have been familiar to many, were kept separate, again contrary to practice, as if Dr Knox and his assistants wanted to get rid of the recognizable bits first.

      Even then, Burke and Hare continued unchecked. Their final victim was an elderly СКАЧАТЬ