Memoirs of Extraordinary Popular Delusions and the Madness of Crowds
By Charles Mackay
Charles Mackay, Scottish poet, journalist, and editor was best known in his day for his verses, some of which were set to music. His book, Memoirs of Extraordinary Popular Delusions, was first published in 1841 (London: Richard Bentley, New Burlington Street, Publisher in Ordinary to Her Majesty), with a promise of additional material “should these be favorably received.” Apparently the work was indeed favorably received, resulting in a substantially revised, two-volume second edition being published in 1852 (London, Office of the National Illustrated Library, 227 Strand). The book has been reprinted often since.We present the second edition (1852) here. The two-volume set did not number the chapters. Volume I covered the present Chapters 1-8; Volume II began with “The Crusades.”Minor editorial modifications are: removing periods after the roman numerals designating kings and modifying some short abbreviations such as 2d to 2nd. Occasional typos are corrected, and a few corrections are made for consistency. Periods after subtitles are dropped.Lauren Landsburg
Editor, Library of Economics and Liberty
First Pub. Date
London: Office of the National Illustrated Library
The text of this edition is in the public domain.
- Ch.1, Money Mania--The Mississippi Scheme
- Ch.2, The South-Sea Bubble
- Ch.3, The Tulipomania
- Ch.4, The Alchymists, (file a.)
- Ch.5, Modern Prophecies
- Ch.6, Fortune-Telling
- Ch.7, The Magnetisers
- Ch.8, Hair and Beard
- Ch.9, The Crusades
- Ch.10, The Witch Mania
- Ch.11, The Slow Poisoners
- Ch.12, Haunted Houses
- Ch.13, Popular Follies of Great Cities
- Ch.14, Popular Admiration of Great Thieves
- Ch.15, Duels and Ordeals
- Ch.16, Relics
Popular Admiration of Great Thieves
Jack. Where shall we find such another set of practical philosophers who, to a man, are above the fear of death?
Wat. Sound men and true!
Robin. Of tried courage and indefatigable industry!
Ned. Who is there here that would not die for his friend?
Harry. Who is there here that would betray him for his interest?
Mat. Show me a gang of courtiers that could say as much!
Dialogue of thieves in the Beggars’ Opera.
Whether it be that the multitude, feeling the pangs of poverty, sympathise with the daring and ingenious depredators who take away the rich man’s superfluity, or whether it be the interest that mankind in general feel for the records of perilous adventures, it is certain that the populace of all countries look with admiration upon great and successful thieves. Perhaps both these causes combine to invest their career with charms in the popular eye. Almost every country in Europe has its traditional thief, whose exploits are recorded with all the graces of poetry, and whose trespasses
“Are cited up in rhymes,
And sung by children in succeeding times.”
Those travellers who have made national manners and characteristics their peculiar study, have often observed and remarked upon this feeling. The learned Abbé le Blanc, who resided for some time in England at the commencement of the eighteenth century, says, in his amusing letters on the English and French nations, that he continually met with Englishmen who were not less vain in boasting of the success of their highwaymen than of the bravery of their troops. Tales of their address, their cunning, or their generosity, were in the mouths of everybody, and a noted thief was a kind of hero in high repute. He adds that the mob, in all countries, being easily moved, look in general with concern upon criminals going to the gallows; but an English mob looked upon such scenes with ‘extraordinary interest: they delighted to see them go through their last trials with resolution, and applauded those who were insensible enough to die as they had lived, braving the justice both of God and men: such, he might have added, as the noted robber Macpherson, of whom the old ballad says:
“Sae rantingly, sae wantonly,
Sae dauntingly gaed he:
He played a spring, and danced it round
Beneath the gallows tree.”
Among these traditional thieves the most noted in England, or perhaps in any country, is Robin Hood, a name which popular affection has encircled with a peculiar halo. “He robbed the rich to give to the poor;” and his reward has been an immortality of fame, a tithe of which would be thought more than sufficient to recompense a benefactor of his species. Romance and poetry have been emulous to make him all their own; and the forest of Sherwood, in which he roamed with his merry men, armed with their long bows, and clad in Lincoln green, has become the resort of pilgrims, and a classic spot sacred to his memory. The few virtues he had, which would have ensured him no praise if he had been an honest man, have been blazoned forth by popular renown during seven successive centuries, and will never be forgotten while the English tongue endures. His charity to the poor, and his gallantry and respect for women, have made him the pre-eminent thief of all the world.
Among English thieves of a later date, who has not heard of Claude Duval, Dick Turpin, Jonathan Wild, and Jack Sheppard, those knights of the road and of the town, whose peculiar chivalry formed at once the dread and the delight of England during the eighteenth century ? Turpin’s fame is unknown to no portion of the male population of England after they have attained the age of ten. His wondrous ride from London to York has endeared him to the imagination of millions; his cruelty in placing an old woman upon a fire, to force her to tell him where she had hidden her money, is regarded as a good joke; and his proud bearing upon the scaffold is looked upon as a virtuous action. The Abbé le Blanc, writing in 1747, says he was continually entertained with stories of Turpin˜how, when he robbed gentlemen, he would generously leave them enough to continue their journey, and exact a pledge from them never to inform against him, and how scrupulous such gentlemen were in keeping their word. He was one day told a story with which the relator was he the highest degree delighted. Turpin, or some other noted robber, stopped a man whom he knew to be very rich, with the usual salutation˜” Your money or your life!” but not finding more than five or six guineas about him, he took the liberty of entreating him, in the most affable manner, never to come out so ill provided; adding that, if he fell in with him, and he had no more than such a paltry sum, he would give him a good licking. Another story, told by one of Turpin’s admirers, was of a robbery he had committed upon a Mr. C. near Cambridge. He took from this gentleman his watch, his snuff-box, and all his money but two shillings, and, before he left him, required his word of honour that he would not cause him to be pursued or brought before a justice. The promise being given, they both parted very courteously. They afterwards met at Newmarket, and renewed their acquaintance. Mr. C. kept his word religiously; he not only refrained from giving Turpin into custody, but made a boast that he had fairly won some of his money back again in an honest way. Turpin offered to bet with him on some favourite horse, and Mr. C. accepted the wager with as good a grace as he could have done from the best gentleman in England. Turpin lost his bet and paid it immediately, and was so smitten with the generous behaviour of Mr. C. that he told him how deeply he regretted that the trifling affair which had happened between them did not permit them to drink together. The narrator of this anecdote was quite proud that England was the birthplace of such a highwayman.
Not less familiar to the people of England is the career of Jack Sheppard, as brutal a ruffian as ever disgraced his country, but who has claims upon the popular admiration which are very generally acknowledged. He did not, like Robin Hood, plunder the rich to relieve the poor, nor rob with an uncouth sort of courtesy, like Turpin; but he escaped from Newgate with the fetters on his limbs. This achievement, more than once repeated, has encircled his felon brow with the wreath of immortality, and made him quite a pattern thief among the populace. He was no more than twenty-three years of age at the time of his execution, and he died much pitied by the crowd. His adventures were the sole topics of conversation for months; the print-shops were filled with his effigies, and a fine painting of him was made by Sir Richard Thornhill. The following complimentary verses to the artist appeared in the
British Journal of November 28th, 1724.
“Thornhill! ’tis thine to gild with fame
Th’ obscure, and raise the humble name;
To make the form elude the grave,
And Sheppard from oblivion save!
Apelles Alexander drew—
Cesar is to Aurelius due;
Cromwell in Lilly’s works doth shine,
And Sheppard, Thornhill, lives in thine!”
So high was Jack’s fame that a pantomime entertainment, called
Harlequin Jack Sheppard, was devised by one Thurmond, and brought out with great success at Drury Lane Theatre. All the scenes were painted from nature, including the public-house that the robber frequented in Claremarket, and the condemned cell from which he had made his escape in Newgate.
The Rev. Mr. Villette, the editor of the
Annals of Newgate, published in 1754, relates a curious sermon which, he says, a friend of his heard delivered by a street-preacher about the time of Jack’s execution. The orator, after animadverting on the great care men took of their bodies, and the little care they bestowed upon their souls, continued as follows, by way of exemplifying the position:—”We have a remarkable instance of this in a notorious malefactor, well known by the name of Jack Sheppard. What amazing difficulties has he overcome! what astonishing things has he performed! and all for the sake of a stinking, miserable carcass; hardly worth the hanging! How dexterously did he pick the chain of his padlock with a crooked nail! how manfully he burst his fetters asunder!—climb up the chimney!—wrench out an iron bar!—break his way through a stone wall!—make the strong door of a dark entry fly before him, till he got upon the leads of the prison! then, fixing a blanket to the wall with a spike, he stole out of the chapel. How intrepidly did he descend to the top of the turner’s house!—how cautiously pass down the stair, and make his escape to the street door!
“Oh! that ye were all like Jack Sheppard! Mistake me not, my brethren; I don’t mean in a carnal, but in a spiritual sense, for I propose to spiritualise these things. What a shame it would be if we should not think it worth our while to take as much pains, and employ as many deep thoughts, to save our souls as he has done to preserve his body!
“Let me exhort ye, then, to open the locks of your hearts with the nail of repentance! Burst asunder the fetters of your beloved lusts!—mount the chimney of hope!—take from thence the bar of good resolution!—break through the stone wall of despair, and all the strongholds in the dark entry of the valley of the shadow of death! Raise yourselves to the leads of divine meditation!—fix the blanket of faith with the spike of the church! let yourselves down to the turner’s house of re signation, and descend the stairs of humility! So shall you come to the door of deliverance from the prison of iniquity, and escape the clutches of that old executioner the Devil!”
Jonathan Wild, whose name has been immortalised by Fielding, was no favourite with the people. He had none of the virtues which, combined with crimes, make up the character of the great thief. He was a pitiful fellow, who informed against his comrades, and was afraid of death. This meanness was not to be forgiven by the crowd, and they pelted him with dirt and stones on his way to Tyburn, and expressed their contempt by every possible means. How different was their conduct to Turpin and Jack Sheppard, who died in their neatest attire, with nosegays in their button-holes, and with the courage that a crowd expects! It was anticipated that the body of Turpin would have been delivered up to the surgeons for dissection, and the people seeing some men very busily employed in removing it, suddenly set upon them, rescued the body, bore it about the town in triumph, and then buried it in a very deep grave, filled with quick-lime, to hasten the progress of decomposition. They would not suffer the corpse of their hero, of the man who had ridden from London to York in four-and-twenty hours to be mangled by the rude hands of unmannerly surgeons.
The death of Claude Duval would appear to have been no less triumphant. Claude was a gentlemanly thief. According to Butler, in the famous ode to his memory, he
“Taught the wild Arabs of the road
To rob in a more gentle mode;
Take prizes more obligingly than those
Who never had breen bred
And how to hang in a more graceful fashion
Than e’er was known before to the dull English nation.”
In fact, he was the pink of politeness, and his gallantry to the fair sex was proverbial. When he was caught at last, pent in “stone walls and chains and iron grates,”—their grief was in proportion to his rare merits and his great fame. Butler says, that to his dungeon
“Came ladies from all parts,
To offer up close prisoners their hearts,
Which he received as tribute due—
* * * * *
Never did bold knight, to relieve
Distressed dames, such dreadful feats achieve,
As feeble damsels, for his sake,
Would have been proud to undertake,
And, bravely ambitious to redeem
The world’s loss and their own,
Strove who should have the honour to lay down,
And change a life with him.”
Among the noted thieves of France, there is none to compare with the famous Aimerigot Têtenoire, who flourished in the reign of Charles VI. This fellow was at the head of four or five hundred men, and possessed two very strong castles in Limousin and Auvergne. There was a good deal of the feudal baron about him, although he possessed no revenues but such as the road afforded him. At his death he left a singular will. “I give and bequeath,” said the robber, “one thousand five hundred francs to St. George’s Chapel, for such repairs as it may need. To my sweet girl who so tenderly loved me, I give two thousand five hundred; and the surplus I give to my companions. I hope they will all live as brothers, and divide it amicably among them. If they cannot agree, and the devil of contention gets among them, it is no fault of mine; and I advise them to get a good strong, sharp axe, and break open my strong box. Let them scramble for what it contains, and the Devil seize the hindmost.” The people of Auvergne still recount with admiration the daring feats of this brigand.
Of later years, the French thieves have been such unmitigated scoundrels as to have left but little room for popular admiration. The famous Cartouche, whose name has become synonymous with ruffian in their language, had none of the generosity, courtesy, and devoted bravery which are so requisite to make a robber-hero. He was born at Paris, towards the end of the seventeenth century, and broken alive on the wheel in November 1727. He was, however, sufficiently popular to have been pitied at his death, and afterwards to have formed the subject of a much admired drama, which bore his name, and was played with great success in all the theatres of France during the years 1734, 5, and 6. In our own day the French have been more fortunate in a robber; Vidocq bids fair to rival the fame of Turpin and Jack Sheppard. Already he has become the hero of many an apocryphal tale—already his compatriots boast of his manifold achievements, and express their doubts whether any other country in Europe could produce a thief so clever, so accomplished, so gentlemanly, as Vidocq.
Germany has its Schinderhannes, Hungary its Schubry, and Italy and Spain a whole host of brigands, whose names and exploits are familiar as household words in the mouths of the children and populace of those countries.
The Italian banditti are renowned over the world; and many of them are not only very religious (after a fashion), but very charitable. Charity from such a source is so unexpected, that the people dote upon them for it. One of them, when he fell into the hands of the police, exclaimed, as they led him away, “Ho fatto pitt carita!”—” I have given away more in charity than any three convents in these provinces.” And the fellow spoke truth.
In Lombardy, the people cherish the memory of two notorious robbers, who flourished about two centuries ago under the Spanish government. Their story, according to Macfarlane, is contained in a little book well known to all the children of the province, and read by them with much more gusto than their Bibles.
Schinderhannes, the robber of the Rhine, is a great favourite on the banks of the river which he so long kept in awe. Many amusing stories are related by the peasantry of the scurvy tricks he played off upon rich Jews, or too-presuming officers of justice—of his princely generosity, and undaunted courage. In short, they are proud of him, and would no more consent to have the memory of his achievements dissociated from their river than they would to have the rock of Ehrenbreitstein blown to atoms by gunpowder.
There is another robber-hero, of whose character and exploits the people of Germany speak admiringly. Mausch Nadel was captain of a considerable band that infested the Rhine, Switzerland, Alsatia, and Lorraine during the years 1824, 5, and 6. Like Jack Sheppard, he endeared himself to the populace by his most hazardous escape from prison. Being confined, at Bremen, in a dungeon, on the third story of the prison of that town, he contrived to let himself down without exciting the vigilance of the sentinels, and to swim across the Weser, though heavily laden with irons. When about half way over, he was espied by a sentinel, who fired at him, and shot him in the calf of the leg: but the undaunted robber struck out manfully, reached the shore, and was out of sight before the officers of justice could get ready their boats to follow him. He was captured again in 1826, tried at Mayence, and sentenced to death. He was a tall, strong, handsome man, and his fate, villain as he was, excited much sympathy all over Germany. The ladies especially were loud in their regret that nothing could be done to save a hero so good-looking, and of adventures so romantic, from the knife of the headsman.
Mr. Charles Macfarlane, in speaking of Italian banditti, remarks, that the abuses of the Catholic religion, with its confessions and absolutions, have tended to promote crime of this description. But, he adds, more truly, that priests and monks have not done half the mischief which has been perpetrated by ballad-mongers and story-tellers. If he had said play-wrights also, the list would have been complete. In fact, the theatre, which can only expect to prosper, in a pecuniary sense, by pandering to the tastes of the people, continually recurs to the annals of thieves and banditti for its most favourite heroes. These theatrical robbers; with their picturesque attire, wild haunts, jolly, reckless, devil-may-care manners, take a wonderful hold upon the imagination, and, whatever their advocates may say to the contrary, exercise a very pernicious influence upon public morals. In the
Memoirs of the Duke of Guise upon the Revolution of Naples in 1657 and 1658, it is stated, that the manners, dress, and mode of life of the Neapolitan banditti were rendered so captivating upon the stage, that the authorities found it absolutely necessary to forbid the representation of dramas in which they figured, and even to prohibit their costume at the masquerades. So numerous were the banditti at this time, that the Duke found no difficulty in raising an army of. them, to aid him in his endeavours to seize on the throne of Naples. He thus describes them:
3 “They were three thousand five hundred men, of whom the oldest came short of five and forty years, and the youngest was above twenty. They were all tall and well made, with long black hair, for the most part curled, coats of black Spanish leather, with sleeves of velvet, or cloth of gold, cloth breeches with gold lace, most of them scarlet; girdles of velvet, laced with gold, with two pistols on each side; a cutlass hanging at a belt, suitably trimmed, three fingers broad and two feet long; a hawking-bag at their girdle, and a powder-flask hung about their neck with a great silk riband. Some of them carried firelocks, and others blunder-busses; they had all good shoes, with silk stockings, and every one a cap of cloth of gold, or cloth of silver, of different colours, on his head, which was very delightful to the eye.”
The Beggars’ Opera, in our own country, is another instance of the admiration that thieves excite upon the stage. Of the extraordinary success of this piece, when first produced, the following account is given in the notes to
The Dunciad, and quoted by Johnson in his
Lives of the Poets. “This piece was received with greater applause than was ever known. Besides being acted in London sixty-three days without interruption, and renewed the next season with equal applause, it spread into all the great towns of England; was played in many places to the thirtieth and fortieth time; at Bath and Bristol, &c. fifty. It made its progress into Wales, Scotland, and Ireland, where it was performed twenty-four days successively. The ladies carried about with them the favourite songs of it in fans, and houses were furnished with it in screens. The fame of it was not confined to the author only. The person who acted Polly, till then obscure, became all at once the favourite of the town;
4 her pictures were engraved and sold in great numbers; her life written, books of letters and verses to her published, and pamphlets made even of her sayings and jests. Furthermore, it drove out of England, for that season, the Italian Opera, which had carried all before it for ten years.” Dr. Johnson, in his Life of the Author, says, that Herring, afterwards Archbishop of Canterbury, censured the opera, as giving encouragement, not only to vice, but to crimes, by making the highwayman the hero, and dismissing him at last unpunished; and adds, that it was even said, that after the exhibition the gangs of robbers were evidently multiplied. The Doctor doubts the assertion, giving as his reason that highwaymen and housebreakers seldom frequent the playhouse, and that it was not possible for any one to imagine that he might rob with safety, because he saw Macheath reprieved upon the stage. But if Johnson had wished to be convinced, he might very easily have discovered that highwaymen and housebreakers did frequent the theatre, and that nothing was more probable than that a laughable representation of successful villany should induce the young and the already vicious to imitate it. Besides, there is the weighty authority of Sir John Fielding, the chief magistrate of Bow Street, who asserted positively, and proved his assertion by the records of his office, that the number of thieves was greatly increased at the time when that opera was so popular.
We have another instance of the same result much nearer our own times. Schiller’s
Räuber, that wonderful play, written by a green youth, perverted the taste and imagination of all the young men in Germany. An accomplished critic of our own country (Hazlitt), speaking of this play, says it was the first he ever read, and such was the effect it produced on him, that “it stunned him, like a blow.” After the lapse of five-and-twenty years he could not forget it; it was still, to use his own words, “an old dweller in the chambers of his brain,” and he had not even then recovered enough from it, to describe how it was. The high-minded, metaphysical thief, its hero, was so warmly admired, that several raw students, longing to imitate a character they thought so noble, actually abandoned their homes and their colleges, and betook themselves to the forests and wilds to levy contributions upon travellers. They thought they would, like Moor, plunder the rich, and deliver eloquent soliloquies to the setting sun or the rising moon; relieve the poor when they met them, and drink flasks of Rhenish with their free companions in rugged mountain passes, or in tents in the thicknesses of the forests. But a little experience wonderfully cooled their courage; they found that real, every-day robbers were very unlike the conventional banditti of the stage, and that three months in prison, with bread and water for their fare, and damp straw to lie upon, was very well to read about by their own fire sides, but not very agreeable to undergo in their own proper persons.
Lord Byron, with his soliloquising, high-souled thieves, has, in a slight degree, perverted the taste of the greenhorns and incipient rhymesters of his country. As yet, however, they have shown more good sense than their fellows of Germany, and have not taken to the woods or the highways. Much as they admire Conrad the Corsair, they will not go to sea, and hoist the black flag in emulation of him. By words only, and not by deeds, they testify their admiration, and deluge the periodicals and music shops of the hand with verses describing pirates’ and bandits’ brides, and robber adventures of every kind.
But it is the play-wright who does most harm; and Byron has fewer sins of this nature to answer for than Gay or Schiller, and the modern dramatizers of Jack Sheppard. With the aid of scenery, fine dresses, and music, and the very false notions they convey, they vitiate the public taste, not knowing,
Quelle force ont les arts pour demolir les mœurs.”
In the penny theatres that abound in the poor and populous districts of London, and which are chiefly frequented by striplings of idle and dissolute habits, tales of thieves and murderers are more admired, and draw more crowded audiences, than any other species of representation. There the footpad, the burglar, and the highwayman are portrayed in unnatural colours, and give pleasant lessons in crime to their delighted listeners. There the deepest tragedy and the broadest farce are represented in the career of the murderer and the thief, and are applauded in proportion to their depth and their breadth. There, whenever a crime of unusual atrocity is committed, it is brought out afresh, with all its disgusting incidents copied from the life, for the amusement of those who will one day become its imitators.
With the mere reader the case is widely different; and most people have a partiality for knowing the adventures of noted rogues. Even in fiction they are delightful: witness the eventful story of Gil Blas de Santillane, and of that great rascal Don Guzman d’Alfarache. Here there is no fear of imitation. Poets, too, without doing mischief, may sing of such heroes when they please, wakening our sympathies for the sad fate of Gilderoy, or Macpherson the Dauntless; or celebrating in undying verse the wrongs and the revenge of the great thief of Scotland, Rob Roy. If, by the music of their sweet rhymes, they can convince the world that such heroes are but mistaken philosophers, born a few ages too late, and having both a theoretical and practical love for
“The good old rule, the simple plan,
That they should take who have the power,
That they should keep who can,”
the world may, perhaps, become wiser, and consent to some better distribution of its good things, by means of which thieves may become reconciled to the age, and the age to them. The probability, however, seems to be, that the charmers will charm in vain, charm they ever so wisely.