acts originate in similar motives--lucre, licentiousness, and rage--the
three stimulants of the highwayman, the debauchee, and the ruffian; with
only the distinction, that, in the case of those who murder when they
cannot possess, the three criminalities are combined.
Even with the execution of the criminal, the excitement did not cease. The
papers of the day tell us, that when the body was conveyed to the
surgeon's hall, so great a crowd was assembled, and the efforts to obtain
entrance were so violent, that caps, gowns, wigs, were torn and cast away
in all directions. Old and young, men, women, and children, were trampled
in the multitude. In the afternoon, the crowd diminished, and several
persons of the better order made their way in, but with not a less
vexatious result; for, on reaching the staircase leading to the theatre,
they found themselves saluted with a shower from some engine worked under
the staircase. This was rather a rough mode of tranquillizing public
excitement, but seems to have been effectual. It was probably a trick of
some of the young surgeons, and excited great indignation at the time.
Hackman was but four-and-twenty, and rather a striking figure.
The letters to which we have alluded, entitled "Love and Madness,"
attracted attention in higher quarters, and even perplexed the
fastidiousness of Walpole himself. In one of his letters of March 1780, he
thus writes:--"Yesterday was published an octavo, pretending to contain
the correspondence of Hackman and Miss Ray. I doubt whether the letters
are genuine, and yet, if fictitious, they are executed well, and enter
into his character. This appears less natural, and yet the editors were
certainly more likely to be in possession of hers than his. It is not
probable that Lord Sandwich should have sent what he found in her
apartments to the press; no account is pretended to be given of how they
came to light."
After having thus puzzled the dilettanti, it transpired that it was
written by Sir Herbert Croft, Bart.
Public-domain text, read in full here on John Shaqi.
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