CAMDEN TOWN MURDER TRIAL

Rangitikei Advocate and Manawatu Argus, Volume XXXIII, Issue 9070, 10 February 1908, Page 2

CAMDEN TOWN MURDER TRIAL

(By Barb Kennedy.

It was not that the figures in this drama-were out of the ordinary. They were people such as the people you would pass any day in London. People such as you or me. Neither could it he said that this drama was squalid. For squalor is a word but of a class meaning. In intense, vital, terrible times one man is as another man. At such times one woman is as another woman. All but the essential is burned away as by fire. . , The woof of this drama was of the very essence of life. |And in it there ras no effort, for it was woven out of effect itself. Every word, every look, every gesture, every inflection of the voice was centred on the pivot of absolute reality. „ , , , A drama of foul murder, of treachery, of hate, of revenge, of tears, of tenderness, of pathos, of love of father for son, of inexorable justice, of the shadow of horrible death. It moved in this court where sat the robed man beneath the sword of justice. ■ . . Going on inevitably. And facing the robed judge was' the man in the dock- At times he looked up at the sword under which the judge sat. It was sheathed. "Would it issue forth and destroy him’ The figures in this drama were people such as the people you would pass any day in London. People such as you or me. The people of the ordinary passsing crowd.

Here was the one who was fighting for the life of the man in the dock. Here twas the prisoner’s counsel. A fine, splendid figure of a man. A man dominant and strong and resourceful. His conduct of the defence was magnificent. He was a player worthy of the part assigned him in this terrible drama. His eyes flashed. His voice rang through the court. He was alert. He was everything. He grasped everything. This splendid advocate. He was fighting for the life of this man in the dock. He was fighting as though the shadow of death menaced himself. . . . Yes, there was comedy in this immense drama. There was laughter as well as tears. There was the little old man who loved fishing. The little old man who kept animals. Naively he told the story of how he prepared his bait for the fish. The judge was much interested. He smiled as the little old man explained the mysteries of the preparing of bait. Everyone in court smiled. Everyone was pleased. In a simple, homely way he told what he had to tell. And he was not to be shaken. He was honest, and kindly, and lie had come in the interests of justice. One liked him. He had about him an air of kindliness and good humour. He brought relief into a dark and tragical scene. This little old man who explained to the judge the mysteries of the preparing of bait. 111.

Should a man who is being tried for his life be put into the box? lam sure not. For the long time of tension has unnerved and broken him. It matters not how strong he is. The time of tension has broken / him. I But a counsel must put a man into ' the box. For if he does not, it has a bad effect upon the jury. But it is a most unfair thing. The law that compels—for it practically compels—a man who is being tried for his life to go into the box was surely drafted by someone who had no sound knowledge of human nature. How is a man who is being tried for his life to do well? It matters not how innocent he be. He is a nerveless, broken man. He is afraid. One chance word may put the rope round his neck. You say if he is innocent it will be all right? Nonsense. He may be a man of such a temperament that the very fact of his being innocent will make him all the more halting and stumbling and confused. ' . w. * * It is a ham’ tMag to see a man for his-life xn the witnessbox. He is as a man fighting with his arms tied behind his back—fighting an armoured man who is thrust- ■ ing at him with a sword. IV. Wood was in the box. He was cool and calm and collected, but there was about him some quality of indirectness. “Did you kill Emily Dimmock?” The question sounded out in a Court still as death. And the answer to the question came not from him in a direct manner. It came from him in the form of a comment to the effect that the question in itself was an incredible one. To think that he had killed "her was ridiculous! Why, it was impossible! It “Answer the question directly,” said the advocate. And he answered it. And then he was asked other questions. And the advocate led him through the terrible story. But his*answers all bore the same curious quality of indirectness. He felt that he was the chief figure in the drama. He wished to show himself. At times he turned and addressed the jury. He seemed to think that the great advocate was there to bring out into relief the full expression of himself —the man who was being tried for his life.

And the morning came, and again he was in the box. He was now being cross-examined. Sir Charles Mathews .brought out before the jury the prisoner’s quality of vagueness and suggestion and indirectness. Here was a direct and straight and terrible charge. Sir Chrales put forth facts and circumstances that seemed link him with it. And there came from the prisoner nothing positive and direct. He argued, he put forth suggestions coolly and easily. „ He was always himself. He was always the artist. The one who saw possibilities. You felt that he was looking upon the whole drama as if from the outside. As if he were but a disinterested spectator Y. And then came the powerful and splendid speech for the defence. The voice of the advocate rang out. And here was the speech for the prosecution. A strong, well-bal-anced, powerful speech. But cold. It possessed no qualtiy of emotion. A well-balanced, powerful, speech, setting forth facts And the summing up of the judge —a reasoned, fair setting forth of evidence. The clear, telling voice of the judge put forth the facts and the circumstances for and against. And the jury retired.

“Not guilty?” They'were back, after being away some fitfeeu minutes. The verdict was received with cheers. One of the strangest trials of modern times was over. Slowly the ’■‘people melted out of the court. ; Slowly they came down the steps, out into the street. The strange, intense, terrible drama was over. " i£ f=C The people came out of the court into the ' street—out'into the street where thousands wpre cheering because of the verdict .