George W. M. Reynolds - The Mysteries of London

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The Mysteries of London is a «penny blood» classic. There are many plots in the story, but the overarching purpose is to reveal different facets of life in London, from its seedy underbelly to its over-indulgent and corrupt aristocrats. The Mysteries of London are considered to be among the seminal works of the Victorian «urban mysteries» genre, a style of sensational fiction which adapted elements of Gothic novels – with their haunted castles, innocent noble damsels in distress and nefarious villains – to produce stories which instead emphasized the poverty, crime, and violence of a great metropolis, complete with detailed and often sympathetic descriptions of the lives of lower-class lawbreakers and extensive glossaries of thieves' cant, all interwoven with a frank sexuality not usually found in popular fiction of the time.

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"No more blood—no more blood!" returned another voice, hastily, and with an accent of horror. "I had enough of that this mornin'. Gag him, and tie him up in a heap."

"D—n him, do for him!" cried a third voice. "Don't be such a cursed coward, Bill."

"Hold your jaw, will ye—and give me a knife, Dick," said the first speaker, who was no other than Tom the Cracksman. "The fellow struggles furious—but I've got hold on him by the throat."

Scarcely had these words issued from the lips of the burglar, when the door was thrown open, and Montague entered the room.

He held a lamp in one hand, and a pistol in the other; and it was easy to perceive that he had been alarmed in the midst of his repose, for he had nothing on save his trousers and his shirt.

On the sudden appearance of an individual thus armed, Tom the Cracksman exclaimed, "At him—down with him! We must make a fight of it."

The light of the lamp, which Montague held in his hand, streamed full upon the countenance and person of Walter Sydney, who was struggling violently in the suffocating grasp of the Cracksman.

"Hell and furies!" ejaculated Dick Flairer, dropping his dark lantern and a bunch of skeleton keys upon the floor, while his face was suddenly distorted with an expression of indescribable horror; then, in obedience to the natural impulse of his alarm, he rushed towards the window, the shutters and casement of which had been forced open, leapt through it, and disappeared amidst the darkness of the night.

Astonished by this strange event, Bill Bolter instantly turned his eyes from Montague, whom he was at that moment about to attack, towards the Cracksman and Walter Sydney.

The colour fled from the murderer's cheeks, as if a sudden spell had fallen upon him: his teeth chattered—his knees trembled—and he leant against the table for support.

There was the identical being whom four years and five months before, they had hurled down the trap-door of the old house in Chick Lane:—and who, that had ever met that fate as yet, had survived to tell the tale?

For an instant the entire frame of the murderer was convulsed with alarm: the apparition before him—the vision of his assassinated wife—and the reminiscences of other deeds of the darkest dye, came upon him with the force of a whirlwind. For an instant, we say, was he convulsed with alarm;—in another moment he yielded to his fears, and, profiting by his companion's example, disappeared like an arrow through the window.

Amongst persons engaged in criminal pursuits, a panic-terror is very catching. The Cracksman—formidable and daring as he was—suddenly experienced an unknown and vague fear, when he perceived the horror and unassumed alarm which had taken possession of his comrades. He loosened his grasp upon his intended victim: Walter made a last desperate effort, and released himself from the burglar's power.

"Approach me, and I will blow your brains out," cried Montague, pointing his pistol at the Cracksman.

Scarcely were these words uttered, when the burglar darted forward, dashed the lamp from the hands of Montague, and effected his escape by the window.

Montague rushed to the casement, and snapped the pistol after him: the weapon only flashed in the pan.

Montague closed the window and fastened the shutters. He then called Walter by name; and, receiving no answer, groped his way in the dark towards the door.

His feet encountered an obstacle upon the carpet: he stooped down and felt with his hands;—Walter Sydney had fainted.

Scarcely two minutes had elapsed since Montague had entered the room; for the confusion and flight of the burglars had not occupied near so much time to enact as to describe. The entire scene had moreover passed without any noise calculated to disturb the household.

There were consequently no servants at hand to afford Walter the succour which he required.

For a moment Montague hesitated what course to pursue; but, after one instant's reflection, he took her in his arms, and carried her up into her own enchanting and delicious boudoir.

CHAPTER XXI.

ATROCITY.

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GEORGE Montague placed his precious burden upon the bed, and for a moment contemplated her pale but beautiful countenance with mingled feelings of admiration, interest, and desire. The lips were apart, and two rows of pearl glittered beneath. The luxuriant light chesnut hair rolled over his arm, on which he still supported that head of perfect loveliness: his hand thus played with those silken, shining tresses.

Still she remained motionless—lifeless.

Gently withdrawing his arm, Montague hastened to sprinkle her countenance with water. The colour returned faintly, very faintly to her cheeks; and her lips moved gently; but she opened not her eyes.

For a moment he thought of summoning Louisa to her assistance; then, obedient to a second impulse, he hastily loosened the hooks of her semi-military frock-coat.

Scarcely had his hand thus invaded the treasures of her bosom, when she moved, and unclosed the lids of her large melting hazel-eyes.

"Where am I?" she exclaimed, instinctively closing her coat over her breast.

"Fear not, dearest," whispered Montague; "it is I—I who love you."

The scene with the burglars instantly flashed to the mind of the lady; and she cried in a tone rendered tremulous by fear—"And those horrible men—are they all three gone?"

"They are gone—and you are safe."

"Oh! you will pardon me this weakness," continued Walter, hastily moving from the bed to a chair; "but two of those villains—I recognised them but too well—were the men who threw me down the trap-door in the old house near Smithfield."

"Hence their alarm—their panic, when they saw you," exclaimed Montague: "they fancied that they beheld a spirit instead of a reality. This accounts for their sudden and precipitate flight, till this moment unaccountable to me."

"And you, George," said the lady, glancing tenderly toward the young man—"you are my saviour from a horrible death! Another moment, and it would have been too late—they were going to murder me! Oh! how can I sufficiently express my gratitude."

She tendered him her hand, which he pressed rapturously to his lips;—and she did not withdraw it.

"I heard a noise of a shutter closing violently, and of a pane of glass breaking," said Montague: "I started from my bed and listened. In a few moments afterwards I heard footsteps on the stairs——"

"Those were mine, as I descended," interrupted Walter; "for I was alarmed by the same disturbance."

"And, then, while I was hastily slipping on my clothes," added Montague, "I heard a scream. Not another moment did I wait; but——"

"You came in time, I repeat, to save my life. Never—never shall I sufficiently repay you."

Again did Montague press the fair hand of that enchanting woman to his lips; and then, as he leant over her, their eyes met, and they exchanged glances of love—hers pure and chaste, his ardent and brimful of desire. He was maddened—he was emboldened by those innocent tokens of affection upon her part; and, throwing his arms around her, he imprinted hot and burning kisses upon her lips.

With difficulty did she disengage herself from his embrace; and she cast upon him a look of reproach mingled with melancholy.

"Pardon me, dearest one," he exclaimed, seizing her hand once more and pressing it to his lips; "is it a crime to love you so tenderly—so well?"

"No, George—no: you are my saviour—you soon will be my husband—you need not ask for my forgiveness. But now leave me—retire to your own room as noiselessly as you can; and to-morrow—to-morrow," she added with a blush, "it is not necessary that Louisa should know that you were here ."

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