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Murder As A Fine Art
by
Two men are on record, perhaps many more might have been on that record, who wrote so many books, and perpetrated so many pamphlets, that at fifty they had forgotten much of their own literary villainies, and at sixty they commenced with murderous ferocity a series of answers to arguments which it was proved upon them afterwards that they themselves had emitted at thirty–thus coming round with volleys of small shot on their own heads, as the Whispering Gallery at St. Paul’s begins to retaliate any secrets you have committed to its keeping in echoing thunders after a time, or as Sir John Mandeville under Arctic skies heard in May all those curses thawing, and exploding like minute-guns, which had been frozen up in November. Even like those self-replying authors, even like those self-reverberators in St. Paul’s, even like those Arctic practitioners in cursing, who drew bills and post obits in malediction, which were to be honoured after the death of winter, many men are living at this moment in merry England who have figured in so many characters, illustrated so many villages, run away from so many towns, and performed the central part in so many careers, that were the character, the village, the town, the career, brought back with all its circumstances to their memories, positively they would fail to recognise their own presence or incarnation in their own acts and bodies.
We have all read the story told by Addison of a sultan, who was persuaded by a dervish to dip his head into a basin of enchanted water, and thereupon found himself upon some other globe, a son in a poor man’s family, married after certain years the woman of his heart, had a family of seven children whom he painfully brought up, went afterwards through many persecutions, walked pensively by the seashore meditating some escape from his miseries, bathed in the sea as a relief from the noon-day heat, and on lifting up his head from the waves found himself lifting up his head from the basin into which that cursed dervish had persuaded him to dip. And when he would have cudgelled the holy man for that long life of misery which had, through his means, been inflicted upon himself, behold! the holy man proved by affidavit that, in this world, at any rate (where only he could be punishable), the life had lasted but thirty-three seconds. Even so do the dark careers of many amongst our obscure and migratory villains from years shrink up to momentary specks, or, by their very multitude, altogether evanesce. Burke and Hare, it is well known, had lost all count of their several murders; they no more remembered, or could attempt to remember, their separate victims, than a respectable old banker of seventy-three can remember all the bills with their indorsements made payable for half-a-century at his bank; or than Foote’s turnpike-keeper, who had kept all the toll-bar tickets to Kensington for forty-eight years, pretended to recollect the features of all the men who had delivered them at his gate. For a time, perhaps, Burke (who was a man of fine sensibility) had a representative vision of spasms, and struggles, and convulsions, terminating in a ten-pound note indorsed by Dr. —-. Hare, on the other hand, was a man of principle, a man that you could depend upon–order a corpse for Friday, and on Friday you had it–but he had no feeling whatever. Yet see the unity of result for him and Burke. For both alike all troublesome recollections gathered into one blue haze of heavenly abstractions: orders executed with fidelity, cheques on the bankers to be crossed and passed and cashed, are no more remembered. That is the acme of perfection in our art.
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