There are occasions when those feelings of compunction which troubled Macbeth and his wife are wellnigh proof against the utmost powers of suggestion, or, as in the case of Hubert and Prince Arthur, compel the criminal to desist from his enterprise.
A man desires to get rid of his father and mother-in-law. By means of threats, reproaches and inducements he persuades another man to commit the crime. Taking a gun, the latter sets out to do the deed; but he realises the heinousness of it and turns back. "The next day," he says, "at four o'clock in the morning I started again. I passed the village church. At the sight of the place where I had celebrated my first communion I was filled with remorse. I knelt down and prayed to God to make me good. But some unknown force urged me to the crime. I started again—ten times I turned back, but the more I hesitated the stronger was the desire to go on." At length the faltering assassin arrived at the house, and in his painful anxiety of mind shot a servant instead of the intended victims.8
In a town in Austria there dwelt a happy and contented married couple, poor and hard-working. A charming young lady, a rich relation and an orphan, comes to live with them. She brings to their modest home wealth and comfort. But as time goes on, it is likely that the young lady will fall in love and marry. What then? Her hosts will have to return to their original poverty. The idea of how to secure to himself the advantages of his young kinswoman's fortune takes possession of the husband's mind. He revolves all manner of means, and gradually murder presents itself as the only way. The horrid suggestion fixes itself in his mind, and at last he communicates it to his wife. At first she resists, then yields to the temptation. The plan is ingenious. The wife is to disappear to America and be given out as dead. The husband will then marry his attractive kinswoman, persuade her to make a will in his favour, poison her and, the fortune secured, rejoin his wife. As if to help this cruel plan, the young lady has developed a sentimental affection for her relative. The wife goes to America, the husband marries the young lady. He commences to poison her, but, in the presence of her youth, beauty and affection for him, relents, hesitates to commit a possibly unnecessary crime. He decides to forget and ignore utterly his wife who is waiting patiently in America. A year passes. The expectant wife gets no sign of her husband's existence. She comes back to Europe, visits under a false name the town in which her faithless husband and his bride are living, discovers the truth and divulges the intended crime to the authorities. A sentence of penal servitude for life rewards this perfidious criminal.9
Derues said to a man who was looking at a picture in the Palais de Justice: "Why study copies of Nature when you can look at such a remarkable original as I?" A judge once told the present writer that he did not go often to the theatre because none of the dramas which he saw on the stage, seemed to him equal in intensity to those of real life which came before him in the course of his duties. The saying that truth is stranger than fiction applies more forcibly to crime than to anything else. But the ordinary man and woman prefer to take their crime romanticised, as it is administered to them in novel or play. The true stories told in this book represent the raw material from which works of art have been and may be yet created. The murder of Mr. Arden of Faversham inspired an Elizabethan tragedy attributed by some critics to Shakespeare. The Peltzer trial helped to inspire Paul Bourget's remarkable novel, "Andre Cornelis." To Italian crime we owe Shelley's "Cenci" and Browning's "The Ring and the Book." Mrs. Manning was the original of the maid Hortense in "Bleak House." Jonathan Wild, Eugene Aram, Deacon Brodie, Thomas Griffiths Wainewright have all been made the heroes of books or plays of varying merit. But it is not only in its stories that crime has served to inspire romance. In the investigation of crime, especially on the broader lines of Continental procedure, we can track to the source the springs of conduct and character, and come near to solving as far as is humanly possible the mystery of human motive. There is always and must be in every crime a terra incognita which, unless we could enter into the very soul of a man, we cannot hope to reach. Thus far may we go, no farther. It is rarely indeed that a man lays bare his whole soul, and even when he does we can never be quite sure that he is telling us all the truth, that he is not keeping back some vital secret. It is no doubt better so, and that it should be left to the writer of imagination to picture for us a man's inmost soul. The study of crime will help him to that end. It will help us also in the ethical appreciation of good and evil in individual conduct, about which our notions have been somewhat obscured by too narrow a definition of what constitutes crime. These themes, touched on but lightly and imperfectly in these pages, are rich in human interest.
And so it is hardly a matter for surprise that the poet and the philosopher sat up late one night talking about murders.
The Life of Charles Peace
"Charles Peace, or the Adventures of a Notorious Burglar," a large volume published at the time of his death, gives a full and accurate account of the career of Peace side by side with a story of the Family Herald type, of which he is made the hero. "The Life and Trial of Charles Peace" (Sheffield, 1879), "The Romantic Career of a Great Criminal" (by N. Kynaston Gaskell, London 1906), and "The Master Criminal," published recently in London give useful information. I have also consulted some of the newspapers of the time. There is a delightful sketch of Peace in Mr. Charles Whibley's "Book of Scoundrels."
I HIS EARLY YEARS
Charles Peace told a clergyman who had an interview with him in prison shortly before his execution that he hoped that, after he was gone, he would be entirely forgotten by everybody and his name never mentioned again.
Posterity, in calling over its muster-roll of famous men, has refused to fulfil this pious hope, and Charley Peace stands out as the one great personality among English criminals of the nineteenth century. In Charley Peace alone is revived that good-humoured popularity which in the seventeenth and eighteenth centuries fell to the lot of Claude Duval, Dick Turpin and Jack Sheppard. But Peace has one grievance against posterity; he has endured one humiliation which these heroes have been spared. His name has been omitted from the pages of the "Dictionary of National Biography." From Duval, in the seventeenth, down to the Mannings, Palmer, Arthur Orton, Morgan and Kelly, the bushrangers, in the nineteenth century, many a criminal, far less notable or individual than Charley Peace, finds his or her place in that great record of the past achievements of our countrymen. Room has been denied to perhaps the greatest and most naturally gifted criminal England has produced, one whose character is all the more remarkable for its modesty, its entire freedom from that vanity and vaingloriousness so common among his class.
The only possible reason that can be suggested for so singular an omission is the fact that in the strict order of alphabetical succession the biography of Charles Peace would have followed immediately on that of George Peabody. It may have been thought that the contrast was too glaring, that even the exigencies of national biography had no right to make the philanthropist Peabody rub shoulders with man's constant enemy, Peace. To the memory of Peace these few pages can make but poor amends for the supreme injustice, but, by giving a particular and authentic account of his career, they may serve as material for the correction of this grave omission should remorse overtake those responsible for so undeserved a slur on one of the most unruly of England's famous sons.
From the literary point of view Peace was unfortunate even in the hour of his notoriety. In the very year of his trial and execution, the Annual Register, seized