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—" [6] "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.