Part 6

As may be readily conceived; the stage soon claimed "Tom and Jerry." The first drama founded upon the work was from the pen of Mr. Barrymore, and produced--"in hot haste," at the Royal Amphitheatre, on Monday, Sept. 17, 1821. The second dramatic version was written for the Olympic Theatre, by Charles Dibden, and first played on Monday, Nov. 12, 1821.

Mr. Moncrieff appeared as the third on the list of dramatists, and it was announced at the Adelphi Theatre in the following style:--"On Monday, Nov. 26th, 1821, will be presented for the first time, on a scale of unprecedented extent (having been many weeks in preparation under the superintendence of several of the most celebrated Artists, both in the _Ups and Downs_ of Life, who have all kindly come forward to assist the Proprietors in their endeavours to render the Piece a complete out-and-outer), an entirely new Classic, Comic, Operatic, Didactic, Aristophanic, Localic, Analytic, Panoramic, Camera-Obscura-ic Extravaganza-Burletta of Fun, Frolic, Fashion and Flash, in three acts, called 'TOM and JERRY; or LIFE in LONDON.' Replete with Prime Chaunts, Rum Glees, and Kiddy Catches, founded on Pierce Egan's well-known and highly popular work of the same name, by a celebrated extravagant erratic Author. The music selected and modified by him from the most eminent composers, ancient and modern, and every Air furnished with an attendant train of Graces. The costumes and scenery superintended by Mr. I. R. Cruikshank, from the Drawings by himself and his brother, Mr. George Cruikshank, the celebrated Artists of the original Work.

"Corinthian Tom, Mr. Wrench; Jerry Hawthorn, Mr. John Reeve; Logic, Mr. Wilkinson; Jemmy Green, Mr. Keeley; Dusty Bob, Mr. Walbourn; African Sal, Mr. Sanders; Billy Waters, Mr. Paulo; Kate, Mrs. Baker; Sue, Mrs. Waylett, &c., &c.

Besides the authors already mentioned, Tom Dibden, Farrell, and Douglas Jerrold, each produced dramas upon the popular theme, and during the seasons of 1821-2, "Life in London" was performed with _éclat_, at ten theatres in and around the metropolis, to overflowing houses. But Pierce Egan at length became tired of the successes of the playwrights in using his book, and resolved to try his own hand at a dramatic version--or, as he termed it, to "take a leaf out of his own book,"--and the AUTHOR'S PIECE was "got up" and performed for the first time at Sadler's Wells, under the management of Mr. Egerton, on Monday, April 8, 1822, with most decided success.

It was thus announced by Mrs. Egerton, in the address written for the occasion by T. Greenwood, Esq.:--

"To-night my friends, this modern taste to meet, We show you JERRY at his country seat: Then up to town transport the rustic beau, And show him 'Life in London,' HIGH and LOW."

At length TOM and JERRY had been repeated so often in the Metropolis, that the performers, notwithstanding the great applause they nightly received in the above piece, absolutely became tired and worn-out with the repetition of their characters, when the following piece of satire, written by T. Greenwood, Esq., was published, entitled, "The Tears of Pierce Egan, Esq., for the Death of 'Life in London;' or, the Funeral of Tom and Jerry, dedicated to Robert and George Cruikshank, Esqs. Price Two Shillings, with an engraving by George Cruikshank."

"Beat out of the Pit and thrown over the Ropes, TOM and JERRY resign'd their last breath, With them, too, expired the Managers' hopes, Who are left to deplore their sad death!

"Odd and various reports of the cause are about, But the real one was _this_, I opine: They were run to a _standstill_, and, therefore, no doubt, That the cause was a rapid _decline_.

"When Death showed his _Nob_, out of _Time_ they were beat, And neither would come to the _scratch_; They hung down their heads and gave up the last heat, Not prepared with the Spectre to _match_.

"All wept at the FUNERAL! the FANCY and all-- Some new, but a great many mended: And EGAN, while CRUIKSHANK and _Bob_ held the pall, As _Chief-Mourner_ in person attended!!!

"Their _Sprees_ and their _Rambles_ no more shall amuse, Farewell to all nocturnal parleys: The Town felt regret as the bell tolled the news, And no one rejoiced--but the _Charleys_!

"A monument, too, their kind Patrons will raise, Inscribed on--'Here lies TOM and JERRY, Who, departing the _stage_ to their immortal praise, ONE THOUSAND NIGHTS made the _Town Merry_!!!'

"May their souls rest in peace, since they've chosen to flit, Like other great heroes departed; May no mischief arise from the _sudden_ exit, Nor PIERCE EGAN die--_broken-hearted_!"

In reference to the above, Pierce Egan states in "The Finish to the Adventures of Tom, Jerry, and Logic," that Catnach, in less than twelve hours after the publication, produced a pirated edition for street sale, for twopence.

Mr. Pierce Egan, in his "_Finish_," states that he reckoned no less than sixty-five separate publications, which he enumerates _in extenso_, all derived from his own work, and adds, with his usual amount of large and small CAPITALS and _italics_--"We have been _pirated_, COPIED, _traduced_; but unfortunately, not ENRICHED by our indefatigable exertions; therefore NOTORIETY must satisfy us, instead of the smiles of FORTUNE."

Jemmy Catnach, true to his line of life, soon joined what Pierce Egan designates as the "Mob of Literary Pirates," and brought out a "whole sheet" for street-sale, entitled "Life in London," with twelve woodcuts, which are reduced and very roughly executed copies of the centre figures of the original plates by the Brothers Cruikshank--but all in reverse. The letter-press matter consists of a poetical epitome of the plot and design of the original work of "Life in London." And taking it as it stands, and from whence it emanated, rather a creditable performance, particularly when we take into consideration--as duly announced by the street-patterer, that it was "Just printed and pub--lish--ed, all for the low charge of twopence."

On the rarity of this Catnachian and pirated edition of "Life in London" it is superfluous to enlarge, and it is easy to account for this circumstance, if we reflect that the broadside form of publication is by no means calculated for preservation; hundreds of similar pieces printed for street-sale must have perished. The more generally acceptable a broadside or street ballad became, and was handed about for perusal, the more it was exposed to the danger of destruction. No copy of Catnach's version is preserved in the British Museum, therefore, and for the reason above stated, it must be considered as a great "Literary Rarity."[8]

CUT I.--JERRY IN TRAINING FOR A SWELL.

Now Jerry must needs be a swell, His coat must have a swallow-tail, And Mr. Snip, so handy, O, Soon rigg'd him out a Dandy, O.

CUT II.--TOM AND JERRY AMONG THE LADIES.

Ladies, your most humble servants, Tom and Jerry stand before you. Our blood is thrilling, you're so killing; At once we love you and adore you.

CUT III.--JERRY LOSES AT PLAY.

At St. James's they dine, when, flushed with new wine, To the Gaming Tables they reel, Where blacklegs and sharps, often gammon the flats, As their pockets do presently feel.

CUT IV.--JERRY LEARNING TO SPAR.

Now Jerry's become a Fancy blade, To Jackson's he often goes, And to shew his skill in the milling trade, He crack'd poor Logick's nose.

CUT V.--TOM AND JERRY AT A FORTUNE-TELLER'S.

Here lives a Fortune-Telling Gipsy, Wrinkled, crabbed, grim and old; And Tom and Jerry's fancy ladies Are gone to get their Fortunes told.

CUT VI.--BEGGAR'S OPERA. TOM, JERRY, AND LOGICK AMONG THE CADGERS IN THE HOLY LAND.

Now to keep up the spree, Tom, Jerry and Logick, Went disguis'd to the Slums in the Holy Land; Through each crib and each court, they hunted for sport, Till they came to the BEGGAR'S OPERA so named.

CUT VII.--NIGHT SCENE.--TOM AND JERRY UPSETTING THE CHARLEYS.

Hark! the watchman springs his rattle, Now the midnight lark's begun; Boxes crashing, lanthorns smashing, Mill the Charleys--oh! what fun.

CUT VIII.--BROUGHT BEFORE THE MAGISTRATES.

An' please your Worship here's three fellows Been hammering of us all about; Broke our boxes, lanthorns, smellers, And almost clos'd our peepers up.

CUT IX.--TOM, JERRY, AND LOGICK IN A ROW.

Mercy! what a din and clatter Breaks the stillness of the night, Lamps do rattle--'tis a battle, Quick, and let us see the sight.

CUT X.--SCENE IN A GIN-SHOP.

Here some are tumbling and jumping in, And some are staggering out; One's pawn'd her smock for a quartern of gin, Another, her husband's coat.

CUT XI.--POOR LOGICK IN THE FLEET.

All in the Fleet poor Logick's moor'd His swaggering's now at an end!

CUT XII.--JERRY GOING BACK TO THE COUNTRY.

Three merry boys were Logick, Tom and Jerry, And many funny larks they have seen; Farewell, gay London, the country calls me home again, The coach moves on--the play is done--Goodbye, Goodbye.

_Quod._ JAS. C-N-H, March 23, 1822.

How delightful Pierce Egan's book was to the youths of England, and how eagerly all its promised feasts of pleasure were devoured by them, Thackeray has told us in his "Roundabout Papers--DE JUVENTUTE" in the "Cornhill Magazine" for October, 1860.

* * * * *

Mr., afterwards Sir William Cubitt, of Ipswich, erected a treadmill at Brixton Gaol, and soon afterwards in other large prisons. A street ballad on the subject was issued from the "Catnach Press" and had a most unprecedented sale, keeping the pressmen and boys working for weeks--

"And we're all treading at fam'd Brixton Mill."

The treadmill--that "terror to evil doers"--excited much attention, and the inventor's name gave rise to many jokes on the subject among such of the prisoners as could laugh at their own crimes, who said they were punished by the _cubit_!.

THE TREADMILL.

This Brixton Mill's a fearful ill, And he who brought the Bill in, Is threat'n'd by the _cribbing_ coves, That he shall have a _milling_. They say he shew'd a simple pate, To think of felons mending; As every _step_ which here they take They're still in crime _ascending_.

Tom, Jerry, Logic, three prime sprigs, Find here they cannot _come_ it, For though their _fancy_ soars aloft, They ne'er will reach the _summit_. Corinthian Kate and buxom Sue Must change their _warm_ direction, For if they make one _false step_ more They'll have _Cold Bath Correction_.

There can be little doubt that Jemmy Catnach, the great publisher of the Seven Dials, had his mind mostly centred upon the chronicling of doubtful scandals, fabulous duels between ladies of fashion, "cooked" assassinations, and sudden deaths of eminent individuals, apochryphal elopements, real or catch-penny account of murders, impossible robberies, delusive suicides, dark deeds, and--though last, not least, in _his_ love--public executions, _vulgo_ "Hanging Matches," to which was usually attached the all-important and necessary "Sorrowful Lamentations," or "Copy of Affectionate Verses," which according to the established custom, the criminal composed in the condemned cell the night before his execution, after this manner:--

THE FLYING STATIONER, OTHERWISE PATTERER.

"All you that have got feeling, I pray you now attend To these few lines so sad and true, a solemn silence lend; It is of a cruel murder, to you I will unfold---- The bare recital of the tale must make your blood run cold."

"Mercy on earth I'll not implore, to crave it would be vain, My hands are dyed with human gore, none can wash off the stain, But the merits of a Saviour, whose mercy alone I crave; Good Christians pray, as thus I die, I may His pardon have."

A mournful and affecting COPY OF VERSES on the death of ANN WILLIAMS, Who was barbarously and cruelly murdered by her sweetheart, W. JONES, near Wirksworth, in Derbyshire, July, 1823.

William Jones, a young man aged 20, has been fully committed to Derby gaol for the murder of his sweetheart, under circumstances of unheard of barbarity. The poor victim was a servant girl, whom under pretence of marriage he seduced. On her proving with child the villain formed the horrid design of murdering her, and carried his diabolical plan into execution on Monday evening last. The following verses are written upon the occasion, giving a complete detail of this shocking affair:--

Come all false hearted young men And listen to my song, 'Tis of a cruel murder, That lately has been done On the body of a maiden fair The truth I will unfold, The bare relation of this deed Will make your blood run cold. Near Wirksworth town in Derbyshire, Ann Williams she did dwell, In service she long time had lived, Till this to her befel. Her cheeks were like the blushing rose All in the month of May, Which made this wicked young man Thus unto her did say: Nancy, my charming creature, You have my heart ensnared, My love is such I am resolved To wed you I declare. Thus by his false deluding tongue Poor Nancy was beguil'd, And soon to her misfortune, By him she proved with child. Some days ago this damsel fair Did write to him with speed, Such tenderness she did express Would make a heart to bleed. She said, my dearest William, I am with child by thee; Therefore, my dear, pray let me know When you will marry me. The following day at evening, This young man did repair, Unto the town of Wirksworth, To meet his Nancy there. Saying, Nancy dear, come let us walk, Among the flowery fields, And then the secrets of my heart To you I will reveal. O then this wicked young man A knife he did provide, And all unknown to his true love Concealed it by his side. When to the fatal spot they came, These words to her did say: All on this very night I will Your precious life betray. On bended knees she then did fall, In sorrow and despair, Aloud for mercy she did call, Her cries did rend the air; With clasped hands and uplift eyes She cried, Oh spare my life, I never more will ask you To make me your wedded wife. O then this wicked young man said, No mercy will I show; He took the knife all from his side, And pierced her body through. But still she smiling said to him While trembling with fear, Aä! William, William, spare my life, Think on your baby dear. Twice more then with the bloody knife He ran her body through, Her throat was cut from ear to ear, Most dreadful for to view; Her hands and arms and beauteous face He cut and mangled sore, While down upon her milk white breast The crimson blood did pour. He took the shawl from off her neck, And round her body tied, With pebble stones he did it fill, Thinking the crime to hide. O then into the silver stream He plunged her straightway, But with her precious blood was stained Which soon did him betray. O then this young man taken was, And into prison sent, In ratling chains he is confin'd His crime for to lament, Until the Assizes do come on When trembling he must stand, Reflecting on the deed he's done; Waiting the dread command. Now all you thoughtless young men A timely warning take; Likewise ye fair young maidens, For this poor damsel's sake. And Oh beware of flattering tongues, For they'll your ruin prove; So may you crown your future day, In comfort, joy, and love.

Or take another and stereotyped example, which from time to time has served equally well for the verses _written by_ the culprit--Brown, Jones, Robinson, or Smith:

"Those deeds I mournfully repent, But now it is too late, The day is past, the die is cast, And fixed is my fate.

I see the hangman before me stand, Ready to seize me by the law's command; When my life is ended on the fatal tree, Then will be clear'd up all mystery."

Occasionally the Last Sorrowful Lamentation contained a "Love Letter"--the criminal being unable, in some instances, to read or write, being no obstacle to the composition--written according to the street patterer's statement: "from the depths of the condemned cell, with the condemned pen, ink, and paper." This mode of procedure in "gallows" literature, and this style of composition having prevailed for from sixty to seventy years.

Then they would say: "Here you have also an exact likeness of the murderer, taken at the bar of the Old Bailey by an eminent artist!" when all the time it was an old woodcut that had been used for every criminal for many years. The _block!_ opposite, to our own knowledge, served as the _counterfeit_ presentment of all popular murderers for upwards of forty years.

"There's nothing beats a stunning good murder after all," said a "running patterer" to Mr. Henry Mayhew, the author of "London Labour and London Poor." It is only fair to assume that Mr. James Catnach shared in the sentiment, for it is said that he made over £500 by the publication of:--

"The Full, True and Particular Account of the Murder of Mr. Weare by John Thurtell and his Companions, which took place on the 24th of October, 1823, in Gill's Hill-lane, near Elstree, in Hertfordshire:--Only One Penny."

There were eight formes set up, for old Jemmy had no notion of stereotyping in those days, and pressmen had to re-cover their own tympans with sheep-skins. But by working day and night for a week they managed to get off about 250,000 copies with the four presses, each working two formes at a time.

As the trial progressed, and the case became more fully developed, the public mind became almost insatiable. Every night and morning large bundles were despatched to the principal towns in the three kingdoms.

One of the many street-ballads on the subject informed the British public that:--

"Thurtell, Hunt, and Probert, too, for trial must now prepare, For that horrid murder of Mr. William Weare."

The circumstances immediately attending the murder are so fully and so well detailed in the proper channels that we need not here say more than that the trial took place at Hertford on the 5th January, 1824.

The prisoners who stood indicted were John Thurtell and Joseph Hunt. The latter was at the time well known as a public singer and was somewhat celebrated for the talent which he possessed. Both prisoners were found guilty, but Hunt was reprieved and subsequently ordered to be transported for life. Thurtell, who fully confessed to the crime, was executed in front of Hertford gaol on Friday, the 9th of January, 1824.

As before observed, Catnach cleared over £500 by this event, and was so loth to leave it, that when a wag put him up to a joke, and showed him how he might set the thing a-going again, he could not withstand it; and so, about a fortnight after Thurtell had been hanged, Jemmy brought out a startling broad-sheet, headed, "WE ARE ALIVE AGAIN!" He put so little space between the words "WE" and "ARE" that it looked at first sight like "WEARE." Many thousands were bought by the ignorant and gullible public, but those who did not like the trick called it a "catch penny," and this gave rise to this peculiar term, which ever afterwards stuck to the issues of the "Seven Dials' Press," though they sold as well as ever.

Probert, who had been mixed up in the affair, was admitted as King's evidence and discharged at the rising of the Court. He subsequently met the fate he so richly deserved, for, having been found guilty at the Old Bailey of horse stealing, he was executed there on the 20th of June, 1825.

THE CONFESSION AND EXECUTION OF JOHN THURTELL At HERTFORD GAOL, On Friday, the 9th of January, 1824.

THE EXECUTION.

_Hertford, half-past twelve o'clock._

This morning, at ten minutes before twelve, a bustle among the javelin-men stationed within the boarded enclosure on which the drop was erected, announced to the multitude without that the preparations for the execution were nearly concluded. The javelin-men proceeded to arrange themselves in the order usually observed upon these melancholy but necessary occurrences. They had scarcely finished their arrangements, when the opening of the gate of the prison gave an additional impulse to public anxiety

When the clock was on the stroke of twelve, Mr Nicholson, the Under-Sheriff, and the executioner ascended the platform, followed on to it by Thurtell, who mounted the stairs with a slow but steady step. The principal turnkey of the gaol came next, and was followed by Mr Wilson and two officers. On the approach of the prisoner being intimated by those persons who, being in an elevated situation, obtained the first view of him, all the immense multitude present took off their hats.

Thurtell immediately placed himself under the fatal beam, and at that moment the chimes of a neighbouring clock began to strike twelve. The executioner then came forward with the rope, which he threw across it. Thurtell first lifted his eyes up to the drop, gazed at it for a few moments, and then took a calm but hurried survey of the multitude around him. He next fixed his eyes on a young gentleman in the crowd, whom he had frequently seen as a spectator at the commencement of the proceedings against him. Seeing that the individual was affected by the circumstance, he removed them to another quarter, and in so doing recognised an individual well known in the sporting circles, to whom he made a slight bow.

The prisoner was attired in a dark brown great coat, with a black velvet collar, white corduroy breeches, drab gaiters and shoes. His hands were confined with handcuffs, instead of being tied with cord, as is usually the case on such occasions, and, at his own request, his arms were not pinioned. He wore a pair of black kid gloves, and the wrists of his shirt were visible below the cuffs of his coat. As on the last day of his trial, he wore a white cravat. The irons, which were very heavy, and consisted of a succession of chain links, were still on his legs, and were held up in the middle by a Belcher handkerchief tied round his waist.