a week has rolled into the past since the event at the keno den.
madame montford, pale, thoughtful, and abstracted, sits musing in her parlor. "between this hope and fear-this remorse of conscience, this struggle to overcome the suspicions of society, i have no peace. i am weary of this slandering-this unforgiving world. and yet it is my own conscience that refuses to forgive me. go where i will i see the cold finger of scorn pointed at me: i read in every countenance, 'madame montford, you have wronged some one-your guilty conscience betrays you!' i have sought to atone for my error-to render justice to one my heart tells me i have wronged, yet i cannot shake off the dread burden; and there seems rest for me only in the grave. ah! there it is. the one error of my life, and the means used to conceal it, may have brought misery upon more heads than one." she lays her hand upon her heart, and shakes her head sorrowfully. "yes! something like a death-knell rings in my ears-'more than one have you sent, unhappy, to the grave.' rejected by the one i fancy my own; my very touch scorned; my motives misconstrued-all, perhaps, by-a doubt yet hangs between us-an abandoned stranger. duty to my conscience has driven me to acts that have betrayed me to society. i cannot shake my guilt from me even for a day; and now society coldly cancels all my claims to its attentions. if i could believe her dead; if i but knew this girl was not the object of all my heart's unrest, then the wearying doubt would be buried, and my heart might find peace in some remote corner of the earth. well, well-perhaps i am wasting all this torture on an unworthy object. i should have thought of this sooner, for now foul slander is upon every tongue, and my misery is made thrice painful by my old flatterers. i will make one more effort, then if i fail of getting a certain clue to her, i will remove to some foreign country, shake off these haunting dreams, and be no longer a victim to my own thoughts." somewhat relieved, madame is roused from her reverie by a gentle tap at the door. "i have waited your coming, and am glad to see you;" she says, extending her hand, as a servant, in response to her command, ushers into her presence no less a person than tom swiggs. "i have sent for you," she resumes, motioning him gracefully to a chair, in which she begs he will be seated, "because i feel i can confide in you--"
"anything in my power is at your service, madame," modestly interposes tom, regaining confidence.
"i entrusted something of much importance to me, to mr. snivel--"
"we call him the hon. mr. snivel now, since he has got to be a great politician," interrupts tom.
"and he not only betrayed my confidence," pursues madame montford, "but retains the amount i paid him, and forgets to render the promised service. you, i am told, can render me a service--"
"as for mr. snivel," pursues tom, hastily, "he has of late had his hands full, getting a poor but good-natured fellow, by the name of george mullholland, into trouble. his friend, judge sleepyhorn, and he, have for some time had a plot on hand to crush this poor fellow. a few nights ago snivel drove him mad at a gambling den, and in his desperation he robbed a man of his pocket-book. he shared the money with a poor woman he rescued at the den, and that is the way it was discovered that he was the criminal. he is a poor, thoughtless man, and he has been goaded on from one thing to another, until he was driven to commit this act. first, his wife was got away from him--" tom pauses and blushes, as madame montford says: "his wife was got away from him?"
"yes, madame," returns tom, with an expression of sincerity. "the judge got her away from him; and this morning he was arraigned before that same judge for examination, and mr. snivel was a principal witness, and there was enough found against him to commit him for trial at the sessions." discovering that this information is exciting her emotions, tom pauses, and contemplates her with steady gaze. she desires he will be her guide to the poor-house, and there assist her in searching for mag munday, whom, report says, is confined in a cell. tom having expressed his readiness to serve her, they are soon on their way to that establishment.
a low, squatty building, with a red, moss-covered roof, two lean chimneys peeping out, the windows blockaded with dirt, and situated in one of the by-lanes of the city, is our poor-house, standing half hid behind a crabbed old wall, and looking very like a much-neglected quaker church in vegetation. we boast much of our institutions, and this being a sample of them, we hold it in great reverence. you may say that nothing so forcibly illustrates a state of society as the character of its institutions for the care of those unfortunate beings whom a capricious nature has deprived of their reason. we agree with you. we see our poor-house crumbling to the ground with decay, yet imagine it, or affect to imagine it, a very grand edifice, in every way suited to the wants of such rough ends of humanity as are found in it. like satan, we are brilliant believers in ourselves, not bad sophists, and singularly clever in finding apologies for all great crimes.
at the door of the poor-house stands a dilapidated hearse, to which an old gray horse is attached. a number of buzzards have gathered about him, turn their heads suspiciously now and then, and seem meditating a descent upon his bones at no very distant day. madame casts a glance at the hearse, and the poor old horse, and the cawing buzzards, then follows tom, timidly, to the door. he has rung the bell, and soon there stands before them, in the damp doorway, a fussy old man, with a very broad, red face, and a very blunt nose, and two very dull, gray eyes, which he fortifies with a pair of massive-framed spectacles, that have a passion for getting upon the tip-end of his broad blunt nose.
"there, you want to see somebody! always somebody wanted to be seen, when we have dead folks to get rid of," mutters the old man, querulously, then looking inquiringly at the visitors. tom says they would like to go over the premises. "yes-know you would. ain't so dull but i can see what folks want when they look in here." the old man, his countenance wearing an expression of stupidity, runs his dingy fingers over the crown of his bald head, and seems questioning within himself whether to admit them. "i'm not in a very good humor to-day," he rather growls than speaks, "but you can come in--i'm of a good family-and i'll call glentworthy. i'm old-i can't get about much. we'll all get old." the building seems in a very bad temper generally.
mr. glentworthy is called. mr. glentworthy, with a profane expletive, pops his head out at the top of the stairs, and inquires who wants him. the visitors have advanced into a little, narrow passage, lumbered with all sorts of rubbish, and swarming with flies. mr. saddlerock (for this is the old man's name) seems in a declining mood, the building seems in a declining mood, mr. glentworthy seems in a declining mood-everything you look at seems in a declining mood. "as if i hadn't enough to do, gettin' off this dead cribber!" interpolates mr. glentworthy, withdrawing his wicked face, and taking himself back into a room on the left.
"he's not so bad a man, only it doesn't come out at first;" pursues mr. saddlerock, continuing to rub his head, and to fuss round on his toes. his mind, madame montford verily believes stuck in a fog. "we must wait a bit," says the old man, his face seeming to elongate. "you can look about-there's not much to be seen, and what there is-well, it's not the finest." mr. saddlerock shuffles his feet, and then shuffles himself into a small side room. through the building there breathes a warm, sickly atmosphere; the effect has left its marks upon the sad, waning countenances of its unfortunate inmates.
tom and madame montford set out to explore the establishment. they enter room after room, find them small, dark, and filthy beyond description. some are crowded with half-naked, flabby females, whose careworn faces, and well-starved aspect, tells a sorrowful tale of the chivalry. an abundant supply of profane works, in yellow and red covers, would indeed seem to have been substituted for food, which, to the shame of our commissioners, be it said, is a scarce article here. cooped up in another little room, after the fashion of wild beasts in a cage, are seven poor idiots, whose forlorn condition, sad, dull countenances, as they sit round a table, staring vacantly at one another, like mummies in contemplation, form a wild but singularly touching picture. each countenance pales before the seeming study of its opponent, until, enraptured and amazed, they break out into a wild, hysterical laugh. and thus, poisoned, starved, and left to die, does time with these poor mortals fleet on.
the visitors ascend to the second story. a shuffling of feet in a room at the top of the stairs excites their curiosity. mr. glentworthy's voice grates harshly on the ear, in language we cannot insert in this history. "our high families never look into low places-chance if the commissioner has looked in here for years," says tom, observing madame montford protect her inhaling organs with her perfumed cambric. "there is a principle of economy carried out-and a very nice principle, too, in getting these poor out of the world as quick as possible." tom pushes open a door, and, heavens! what a sight is here. he stands aghast in the doorway-madam, on tip-toe, peers anxiously in over his shoulders. mr. glentworthy and two negroes-the former slightly inebriated, the latter trembling of fright-are preparing to box up a lifeless mass, lying carelessly upon the floor. the distorted features, the profusion of long, red hair, curling over a scared face, and the stalworth figure, shed some light upon the identity of the deceased. "who is it?" ejaculates mr. glentworthy, in response to an inquiry from tom. mr. glentworthy shrugs his shoulders, and commences whistling a tune. "that cove!" he resumes, having stopped short in his tune, "a man what don't know that cove, never had much to do with politics. stuffed more ballot boxes, cribbed more voters, and knocked down more slip-shod citizens-that cove has, than, put 'em all together, would make a south carolina regiment. a mighty man among politicians, he was! now the devil has cribbed him-he'll know how good it is!" mr. glentworthy says this with an air of superlative satisfaction, resuming his tune. the dead man is milman mingle, the vote-cribber, who died of a wound he received at the hands of an antagonist, whom he was endeavoring to "block out" while going to the polls to cast his vote. "big politician, but had no home!" says madame, with a sigh.
mr. glentworthy soon had what remained of the vote-cribber-the man to whom so many were indebted for their high offices-into a deal box, and the deal box into the old hearse, and the old hearse, driven by a mischievous negro, hastening to that great crib to which we must all go. "visitors," mr. glentworthy smiles, "must not question the way we do business here, i get no pay, and there's only old saddlerock and me to do all the work. old saddlerock, you see, is a bit of a miser, and having a large family of small saddlerocks to provide for, scrapes what he can into his own pocket. no one is the wiser. they can't be-they never come in." mr. glentworthy, in reply to a question from madame montford, says mag munday (he has some faint recollection of her) was twice in the house, which he dignifies with the title of "institution." she never was in the "mad cells"--to his recollection. "them what get there, mostly die there." a gift of two dollars secures mr. glentworthy's services, and restores him to perfect good nature. "you will remember," says tom, "that this woman ran neglected about the streets, was much abused, and ended in becoming a maniac." mr. glentworthy remembers very well, but adds: "we have so many maniacs on our hands, that we can't distinctly remember them all. the clergymen take good care never to look in here. they couldn't do any good if they did, for nobody cares for the rubbish sent here; and if you tried to christianize them, you would only get laughed at. i don't like to be laughed at. munday's not here now, that's settled-but i'll-for curiosity's sake-show you into the 'mad cells.'" mr. glentworthy leads the way, down the rickety old stairs, through the lumbered passage, into an open square, and from thence into a small out-building, at the extreme end of which some dozen wet, slippery steps, led into a dark subterranean passage, on each side of which are small, dungeon-like cells. "heavens!" exclaims madame montford, picking her way down the steep, slippery steps. "how chilling! how tomb-like! can it be that mortals are confined here, and live?" she mutters, incoherently. the stifling atmosphere is redolent of disease.
"it straightens 'em down, sublimely-to put 'em in here," says mr. glentworthy, laconically, lighting his lamp. "i hope to get old saddlerock in here. give him such a mellowing!" he turns his light, and the shadows play, spectre-like, along a low, wet aisle, hung on each side with rusty bolts and locks, revealing the doors of cells. an ominous stillness is broken by the dull clank of chains, the muttering of voices, the shuffling of limbs; then a low wail breaks upon the ear, and rises higher and higher, shriller and shriller, until in piercing shrieks it chills the very heart. now it ceases, and the echoes, like the murmuring winds, die faintly away. "look in here, now," says mr. glentworthy--"a likely wench-once she was!"
he swings open a door, and there issues from a cell about four feet six inches wide, and nine long, the hideous countenance of a poor, mulatto girl, whose shrunken body, skeleton-like arms, distended and glassy eyes, tell but too forcibly her tale of sorrow. how vivid the picture of wild idiocy is pictured in her sad, sorrowing face. no painter's touch could have added a line more perfect. now she rushes forward, with a suddenness that makes madame montford shrink back, appalled-now she fixes her eyes, hangs down her head, and gives vent to her tears. "my soul is white-yes, yes, yes! i know it is white; god tells me it is white-he knows-he never tortures. he doesn't keep me here to die-no, i can't die here in the dark. i won't get to heaven if i do. oh! yes, yes, yes, i have a white soul, but my skin is not," she rather murmurs than speaks, continuing to hold down her head, while parting her long, clustering hair over her shoulders. notwithstanding the spectacle of horror presented in this living skeleton, there is something in her look and action which bespeaks more the abuse of long confinement than the result of natural aberration of mind. "she gets fierce now and then, and yells," says the unmoved glentworthy, "but she won't hurt ye--"
can it be possible that such things as are here pictured have an existence among a people laying any claim to a state of civilization? the reader may ask. the author would here say that to the end of fortifying himself against the charge of exaggeration, he submitted the ms. of this chapter to a gentleman of the highest respectability in charleston, whose unqualified approval it received, as well as enlisting his sympathies in behalf of the unfortunate lunatics found in the cells described. four years have passed since that time. he subsequently sent the author the following, from the "charleston courier," which speaks for itself.
"from the reports of council.
"january 4th, 1843.
"the following communication was received from william m. lawton, esq., chairman of the commissioners of the poor-house.
"'charleston, dec. 17th, 1852. "'to the honorable, the city council of charleston:
"'by a resolution of the board of commissioners of this city, i have been instructed to communicate with your honorable body in relation to the insane paupers now in poor-house', (the insane in a poorhouse!) 'and to request that you will adopt the necessary provision for sending them to the lunatic asylum at columbia.
* * * *
there are twelve on the list, many of whom, it is feared, have already remained too long in an institution quite unsuited to their unfortunate situation.
"'with great respect, your very obedient servant,
"'(signed) wm. m. lawton, "'chairman of the board of commissioners.'"
"how long," inquires madame montford, who has been questioning within herself whether any act of her life could have brought a human being into such a place, "has she been confined here?" mr. glentworthy says she tells her own tale.
"five years,--five years,--five long, long years, i have waited for him in the dark, but he won't come," she lisps in a faltering voice, as her emotions overwhelm her. then crouching back upon the floor, she supports her head pensively in her left hand, her elbow resting on her knee, and her right hand poised against the brick wall. "pencele!" says mr. glentworthy, for such is the wretched woman's name, "cannot you sing a song for your friends?" turning aside to madame montford, he adds, "she sings nicely. we shall soon get her out of the way-can't last much longer." mr. glentworthy, drawing a small bottle from his pocket, places it to his lips, saying he stole it from old saddlerock, and gulps down a portion of the contents. his breath is already redolent of whiskey. "oh, yes, yes, yes! i can sing for them, i can smother them with kisses. good faces seldom look in here, seldom look in here," she rises to her feet, and extends her bony hand, as the tears steal down madame montford's cheeks. tom stands speechless. he wishes he had power to redress the wrongs of this suffering maniac-his very soul fires up against the coldness and apathy of a people who permit such outrages against humanity. "there!--he comes! he comes! he comes!" the maniac speaks, with faltering voice, then strikes up a plaintive air, which she sings with a voice of much sweetness, to these words: when you find him, speed him to me, and this heart will cease its bleeding, &c.
the history of all this poor maniac's sufferings is told in a few simple words that fall incautiously from mr. glentworthy's lips: "poor fool, she had only been married a couple of weeks, when they sold her husband down south. she thinks if she keeps mad, he'll come back."
there was something touching, something melancholy in the music of her song, as its strains verberated and reverberated through the dread vault, then, like the echo of a lover's lute on some alpine hill, died softly away.