The Secrets of the Great City: A Work Descriptive of the Virtues and the Vices, the Mysteries, Miseries and Crimes of New York CityMcCabe, James Dabney
History
The Secrets of the Great City: A Work Descriptive of the Virtues and the Vices, the Mysteries, Miseries and Crimes of New York City
McCabe, James Dabney
New York (N.Y.) -- Description and travel; New York (N.Y.) -- History
A horrible murder had been committed. All engaged in it, including the
victim, were foreigners. There was not a redeeming feature, not even
the rather equivocal one of passion's frenzy, connected with the deed.
It was deliberate, long-concerted, mercenary, atrocious, and bloody.
The murderers--there were two--were shortly afterwards arrested; tried,
convicted, and sentenced to death, with a dispatch and inexorableness
which--probably owing to their friendlessness--was somewhat unusual
under the statutes of this State. The most affecting incident connected
with the condemned--both of them desperate villains--was the parting
scene between the Italian criminal (his comrade was a Spaniard) and his
child. This was a little girl, scarcely ten years of age; I doubt if
she numbered so many. The man was low-browed, narrow-templed, and of a
generally brutal, repulsive aspect. They were about to lead him into
the dungeon of the condemned, the studded door of which would not open
again save to admit his passage to the gallows-tree; and his poor child
was beside him. Hardened, sin-stained as he was, the father was himself
visibly affected; but the tempest of wild, passionate grief that
agitated the little girl, so soon to be left an orphan, was something
remarkable in one of her years.
She was evidently a child of the streets. Her dress was ragged and
foul, and even her face so unclean as to be barely redeemed by the
large, beautiful black eyes which would alone have betrayed the sunny
clime of her origin. While the wretched criminal stood, shame-facedly
and with drooping crest, before her, she fell upon his manacled hands,
kissing them wildly, and betraying in her childish grief all the deep,
sensitive, despairing sorrow of a woman. The villain before her might
have often beaten her, debased her immeasurably, but the mysterious
cord that linked their beating hearts was unbroken, though it sang like
a bowstring in the gusty horror that swept between, and stretched to
attenuation as the elder spirit sank, groaning, into the abyss of its
own wickedness. Hot tears gushed from her eyes, her little throat was
swollen with the choking sobs, and her narrow, rag-covered chest heaved
with tumultuous agony. But after he was taken away, when the iron door
which to her was, indeed, the door of the tomb, had closed between them
forever, she became quickly calm, and her face soon wore an air of
quiet resignation.
As she was about leaving the court-room she stooped and picked up a
weather-stained guitar. I guessed her vocation, and was resolved to
speak to her.
'What is your name, little one?'
'Angela, sir.' It was a sad voice, but very sweet.
'And do you play on this for a living?'
'I play and sing also, sir.'
The court had been dismissed, and the crowd were confusedly
dispersing.
'I say, little gal, can't you give us a song 'afore you go?' said an
inconsiderate policeman, meaning to be good-natured.
Public-domain text, read in full here on John Shaqi.
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