红谷仓谋杀案：修订间差异

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[[File:RedBarn.jpg|缩略图|300x300像素|谋杀现场，红色谷仓，之所以这么叫，是因为它的半红色粘土瓦屋顶，在这幅素描中可以看到正门的左边。 屋顶的其余部分都是用茅草盖的。]]
[[File:RedBarn.jpg|缩略图|300x300像素|谋杀现场，红色谷仓，之所以这么叫，是因为它的半红色粘土瓦屋顶，在这幅素描中可以看到正门的左边。 屋顶的其余部分都是用茅草盖的。]]
'''红谷仓谋杀案'''是1827年发生在[[英国]][[萨福克郡]]波尔斯特德的一起著名谋杀案。 年轻女子'''玛丽亚 · 马滕'''（英语：'''Maria Marten'''）被她的情人威廉 · 考德（英语：'''William Corder'''）枪杀。两人在当地的标志性建筑红谷仓见面，约定之后私奔去[[伊普斯维奇]]。之后玛丽亚再也没有活着出现过，科德也逃离了现场。他写信给马滕的家人说她身体健康。后来玛利亚的继母说她梦见了谋杀，之后她的尸体被发现埋在了谷仓里。
'''红谷仓谋杀案'''是1827年发生在[[英国]][[萨福克郡]]波尔斯特德的一起著名谋杀案。 年轻女子'''玛丽亚 · 马滕'''（英语：'''Maria Marten'''）被她的情人威廉 · 考德（英语：'''William Corder'''）枪杀。两人在当地的标志性建筑红谷仓见面，约定之后私奔去[[伊普斯维奇]]。之后玛丽亚再也没有活着出现过，科德也逃离了现场。他写信给马滕的家人说她身体健康。后来玛利亚的继母说她梦见了谋杀，之后她的尸体被发现埋在了谷仓里。
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马滕的确切死因无法确定。人们认为是利器刺入了她的眼窝，可能是科德的短剑，但这个伤口也可能是她父亲挖掘尸体时用的铲子造成的。不能排除勒死的可能性，因为在她的脖子上发现了科德的手帕；更让人困惑的是，她身上的伤口显示她是被枪杀的。起诉书指控科德“谋杀玛丽亚 · 马丁，邪恶地蓄意地用手枪射穿她的身体，还如此地用匕首刺伤她。”<ref name="CT">{{Cite book|url=https://books.google.com/?id=pj3FyXaS91YC&printsec=toc|title=Celebrated Trials of All Countries, and Remarkable Cases of Criminal Jurisprudence|last=Smith, John Hay|publisher=J.Harding|year=1847}}</ref>为了规避任何出现无效审判的可能性，他被指控九项罪名，包括一项伪造罪。
马滕的确切死因无法确定。人们认为是利器刺入了她的眼窝，可能是科德的短剑，但这个伤口也可能是她父亲挖掘尸体时用的铲子造成的。不能排除勒死的可能性，因为在她的脖子上发现了科德的手帕；更让人困惑的是，她身上的伤口显示她是被枪杀的。起诉书指控科德“谋杀玛丽亚 · 马丁，邪恶地蓄意地用手枪射穿她的身体，还如此地用匕首刺伤她。”<ref name="CT">{{Cite book|url=https://books.google.com/?id=pj3FyXaS91YC&printsec=toc|title=Celebrated Trials of All Countries, and Remarkable Cases of Criminal Jurisprudence|last=Smith, John Hay|publisher=J.Harding|year=1847}}</ref>为了规避任何出现无效审判的可能性，他被指控九项罪名，包括一项伪造罪。


安 · 马滕被传唤为玛丽亚失踪那天发生的事情以及她后来的梦境作证；托马斯 · 马滕随后告诉法庭他是如何挖出他的女儿的；玛丽亚10岁的弟弟乔治说他在所谓谋杀发生之前看到科德拿着一把上了膛的手枪，后来又看到他拿着一把镐从谷仓里走出来。李为科德被捕时搜查他家时发现的物品作证。<ref name="GM2">{{Cite journal|title=Domestic Occurrences|url=https://books.google.com/?id=Lz7AQhG2eWkC|last=Urban, Sylvanus|journal=The Gentleman's Magazine|publisher=J.B Nichols|issue=21|year=1828|location=London|volume=98}}</ref>控方指出，科德从未想过要娶玛丽亚，但玛丽亚知道他的一些犯罪行为，使她有了他的把柄，而科德盗用了玛利亚孩子的生父寄来的钱，使他们之间关系紧张。<ref>凯恩斯，p. 40</ref>
安·马滕被传唤为玛丽亚失踪那天发生的事情以及她后来的梦境作证；托马斯 · 马滕随后告诉法庭他是如何挖出他的女儿的；玛丽亚10岁的弟弟乔治说他在所谓谋杀发生之前看到科德拿着一把上了膛的手枪，后来又看到他拿着一把镐从谷仓里走出来。李为科德被捕时搜查他家时发现的物品作证。<ref name="GM2">{{Cite journal|title=Domestic Occurrences|url=https://books.google.com/?id=Lz7AQhG2eWkC|last=Urban, Sylvanus|journal=The Gentleman's Magazine|publisher=J.B Nichols|issue=21|year=1828|location=London|volume=98}}</ref>控方指出，科德从未想过要娶玛丽亚，但玛丽亚知道他的一些犯罪行为，使她有了他的把柄，而科德盗用了玛利亚孩子的生父寄来的钱，使他们之间关系紧张。<ref>凯恩斯，p. 40</ref>


然后科德说出了他自己的版本。他承认曾和玛丽亚一起待在谷仓里，但他们吵架后他就离开了。他声称在他离开的时候听到一声枪响，然后跑回谷仓，发现她死了，旁边还有一支手枪。他请求陪审团相信他，但是在他们退庭后，陪审团只花了35分钟就做出了有罪的判决。<ref name="GM2">{{Cite journal|title=Domestic Occurrences|url=https://books.google.com/?id=Lz7AQhG2eWkC|last=Urban, Sylvanus|journal=The Gentleman's Magazine|publisher=J.B Nichols|issue=21|year=1828|location=London|volume=98}}</ref>亚历山大男爵判处他绞刑，然后尸体被解剖：
然后科德说出了他自己的版本。他承认曾和玛丽亚一起待在谷仓里，但他们吵架后他就离开了。他声称在他离开的时候听到一声枪响，然后跑回谷仓，发现她死了，旁边还有一支手枪。他请求陪审团相信他，但是在他们退庭后，陪审团只花了35分钟就做出了有罪的判决。<ref name="GM2">{{Cite journal|title=Domestic Occurrences|url=https://books.google.com/?id=Lz7AQhG2eWkC|last=Urban, Sylvanus|journal=The Gentleman's Magazine|publisher=J.B Nichols|issue=21|year=1828|location=London|volume=98}}</ref>亚历山大男爵判处他绞刑，然后尸体被解剖：

{{quote|That you be taken back to the prison from whence you came, and that you be taken from thence, on Monday next, to a place of Execution, and that you there be hanged by the Neck until you are Dead; and that your body shall afterwards be [[Dissection#Britain|dissected]] and [[autopsy|anatomized]]; and may the Lord God Almighty, of his infinite goodness, have mercy on your soul!<ref>Curtis p. 248</ref>}}
 
 
科德在监狱里度过了接下来的三天，苦苦思索是否要在上帝面前承认自己的罪行，坦白自己的罪行。 在与监狱牧师见了几次面、妻子的恳求以及狱吏和监狱长约翰 · 奥里奇的恳求之后，他终于认罪了。<ref>Langbein p. 270</ref> 他坚决否认刺伤了玛利亚，声称在她换伪装的时候他们发生了争执，他不小心射中了她的眼睛。<ref name="BSE">{{Cite web|url=http://www.stedmundsburychronicle.co.uk/rbpeople.htm|title=The Red Barn Murder|publisher=St Edmundsbury Council|date=|accessdate=15 February 2007}}</ref>
科德在监狱里度过了接下来的三天，苦苦思索是否要在上帝面前承认自己的罪行，坦白自己的罪行。 在与监狱牧师见了几次面、妻子的恳求以及狱吏和监狱长约翰 · 奥里奇的恳求之后，他终于认罪了。<ref>Langbein p. 270</ref> 他坚决否认刺伤了玛利亚，声称在她换伪装的时候他们发生了争执，他不小心射中了她的眼睛。<ref name="BSE">{{Cite web|url=http://www.stedmundsburychronicle.co.uk/rbpeople.htm|title=The Red Barn Murder|publisher=St Edmundsbury Council|date=|accessdate=15 February 2007}}</ref>
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[[File:WilliamCorder-hanging.jpg|缩略图|威廉 · 科德的死刑]]
[[File:WilliamCorder-hanging.jpg|缩略图|威廉 · 科德的死刑]]
1828年8月11日，科德被带到伯里圣埃德蒙的绞刑架上，显然他太虚弱了，没有支撑站不起来。<ref>加特尔 p. 13</ref>快到中午时，他在广大人群面前被绞死；一家报纸称当时有7000名观众，另一份报纸称有多达20000名观众。<ref>加特尔 p. 32</ref>在典狱长的指示下，就在头巾被套在他头上之前，他说:
1828年8月11日，科德被带到伯里圣埃德蒙的绞刑架上，显然他太虚弱了，没有支撑站不起来。<ref>加特尔 p. 13</ref>快到中午时，他在广大人群面前被绞死；一家报纸称当时有7000名观众，另一份报纸称有多达20000名观众。<ref>加特尔 p. 32</ref>在典狱长的指示下，就在头巾被套在他头上之前，他说:

{{quote|I am guilty; my sentence is just; I deserve my fate; and, may God have mercy on my soul.<ref>Cairns p. 18</ref>}}
His body was cut down after an hour by the hangman, [[John Foxton]], who claimed Corder's trousers and stockings according to his rights. The body was taken back to the courtroom at Shire Hall, where it was slit open along the abdomen to expose the muscles. The crowds were allowed to file past until six o'clock, when the doors were shut. According to the ''Norwich and Bury Post'', over 5,000 people queued to see the body.<ref>Curtis p. 210</ref>
 
 
一个小时后，他的尸体被刽子手约翰 · 福克斯顿取了下来，福克斯顿根据他的权利认领了考德的裤子和长袜。尸体被带回了县政厅的法庭，在那里，尸体沿着腹部被切开以暴露肌肉。人群被允许排队经过，直到六点钟关门时。 据《诺威奇邮报》和《伯利邮报》报道，超过5000人排队看尸体。<ref>柯蒂斯 p. 210</ref>
一个小时后，他的尸体被刽子手约翰 · 福克斯顿取了下来，福克斯顿根据他的权利认领了考德的裤子和长袜。尸体被带回了县政厅的法庭，在那里，尸体沿着腹部被切开以暴露肌肉。人群被允许排队经过，直到六点钟关门时。 据《诺威奇邮报》和《伯利邮报》报道，超过5000人排队看尸体。<ref>柯蒂斯 p. 210</ref>


The following day, the dissection and [[Autopsy|post-mortem]] were carried out in front of an audience of students from [[Cambridge University]] and physicians. Reports circulated around Bury St Edmunds that a "galvanic battery" had been brought from Cambridge, and it is likely that the group experimented with [[galvanism]] on the body;<ref>McCorristine p. 31</ref> a battery was attached to Corder's limbs to demonstrate the contraction of the muscles. The [[Human sternum|sternum]] was opened and the internal organs examined. There was some discussion as to whether the cause of death was [[asphyxia|suffocation]]; it was reported that Corder's chest was seen to rise and fall for several minutes after he had dropped, and it was thought probable that pressure on the [[spinal cord]] had killed him. The skeleton was to be reassembled after the dissection and it was not possible to examine the brain, so the surgeons contented themselves with a [[phrenology|phrenological]] examination of Corder's [[human skull|skull]]. The skull was asserted to be profoundly developed in the areas of "secretiveness, acquisitiveness, destructiveness, [[philoprogenitiveness]], and imitativeness" with little evidence of "benevolence or veneration".<ref name="gatrell257">Gatrell pp. 256–57</ref> The bust of Corder held by [[Bury St Edmunds#Culture|Moyse's Hall Museum]] in Bury St Edmunds is an original made by Child of [[Bungay]] as a tool for the study of Corder's phrenology.
解剖和[[驗屍|尸检]]于第二天在[[剑桥大学]]的学生和医生面前进行。伯里圣埃德蒙流传的说，一个"原电池"已经从剑桥带来，很可能是该小组实验的身体上的原电池，一个电池连接到科德的四肢，以显示肌肉的收缩。<ref>麦克科里斯汀 p. 31</ref> 胸骨被打开，内脏被检查。 关于死因是否是窒息引起了一些讨论; 据报道，Corder 的胸部在他倒下后几分钟内上下起伏，人们认为可能是脊髓受到压迫致死。 骨骼在解剖后要重新组装，因此无法检查大脑，所以外科医生只好对科德的头骨进行颅相学检查。 据称，颅骨在"秘密性、占有性、破坏性、亲密性和模仿性"等方面发育得很好，几乎没有"仁慈或尊敬"的迹象。<ref name="gatrell257">盖特雷尔页256-57</ref> 这尊半身像由圣埃德蒙兹博物馆的莫伊斯大厅博物馆保存，是本盖之子为了研究科德的颅相学而制作的原件。

Several copies of Corder's [[death mask]] were made and a replica of one is still held at Moyse's Hall Museum. Artefacts from the trial, some of which were in Corder's possession, are also held at the museum.<ref>{{cite web|url=http://www.stedmundsbury.gov.uk/sebc/visit/moyses-local-history.cfm|title=Local History of Moyse's Hall|publisher=St. Edmundsbury Borough Council|date=|accessdate=4 July 2007}}</ref> Another replica death mask is kept in the dungeons of [[Norwich Castle]]. Corder's skin was [[Tanning (leather)|tanned]] by surgeon George Creed and [[anthropodermic bibliopegy|used to bind an account of the murder]].{{Ref label|B|b|none}}

Corder's skeleton was reassembled, exhibited, and used as a teaching aid in the [[West Suffolk Hospital]].<ref name="gatrell257"/> The skeleton was put on display in the [[Royal College of Surgeons of England#Hunterian Museum|Hunterian Museum]] in the [[Royal College of Surgeons of England]], where it hung beside that of [[Jonathan Wild]]. In 2004, Corder's bones were removed and [[cremation|cremated]].<ref>{{cite news|url=http://news.bbc.co.uk/1/hi/england/suffolk/3573244.stm|title=Killer cremated after 180 years|publisher=BBC News|accessdate=4 July 2007 | date=17 August 2004}}</ref>

==Rumours==
After the trial, doubts were raised about both the story of Ann's dreams and the fate of Corder and Marten's child. Ann was only a year older than Maria, and it was suggested that she and Corder had been having an affair and that the two had planned the murder to dispose of Maria so that it could continue without hindrance. Ann's dreams had started only a few days after Corder married Moore, and it was suggested that jealousy was the motive for revealing the body's resting place and that the dreams were a simple [[wikt:subterfuge|subterfuge]].<ref name="BSE" />

Further rumours circulated about the death of Corder and Marten's child. Both claimed that they had taken their dead child to be buried in [[Sudbury, Suffolk|Sudbury]], but no records of this could be discovered and no trace was found of the child's burial site.<ref name="BSE" /> In his written confession, Corder admitted that he and Marten had argued on the day of the murder over the possibility of the burial site being discovered.

In 1967, [[Donald McCormick]] wrote ''The Red Barn Mystery'', which brought out a connection between Corder and forger and [[serial killer]] [[Thomas Griffiths Wainewright]] when the former was in London. According to McCormick, Caroline Palmer, an actress who was appearing frequently in a [[melodrama]] based on the Red Barn case and had been researching the murder, concluded that Corder may have not killed Maria, but that a local [[gypsy]] woman might have been the killer. However, McCormick's research has been brought into question on other police- and crime-related stories, and this information has not been generally accepted.<ref>McCorristine p. 17</ref>

==Popular interest==
The case had all the elements to ignite a fervent popular interest: the wicked squire and the poor girl, the iconic murder scene, the supernatural element of the stepmother's prophetic dreams, the detective work by Ayres and Lea (who later became the single character "Pharos Lee" in stage versions of the events), and Corder's new life which was the result of a lonely hearts advertisement. As a consequence, the case created its own small industry.

[[File:Corder-catnach.png|left|thumb|upright|[[James Catnach]]'s broadside sold well over a million copies]]
[[File:Corder-broadside2.jpg|left|thumb|upright|A broadside issued by T. Birt includes images and Corder's last letter to his wife]]

Plays were being performed while Corder was still awaiting trial, and an anonymous author published a melodramatic version of the murder after the execution, a precursor of the [[Newgate novel]]s which quickly became best-sellers. The Red Barn Murder was a popular subject, along with the story of [[Jack Sheppard]] and other highwaymen, thieves and murderers, for [[penny gaff]]s, cheap plays performed in the back rooms of public houses.<ref>Picard p. 198</ref> [[James Catnach]] sold more than a million [[Broadside (printing)|broadsides]]<ref>Gatrell p. 159</ref>{{Ref label|C|c|none}} (sensationalist single sheet newspapers) which gave details of Corder's confession and execution, and included a sentimental [[ballad]] supposedly written by Corder himself (though more likely to have been the work of Catnach or somebody in his employ).<ref>Neuberg p. 138</ref><ref>Hindley p. 79</ref><ref name="natmusscot">{{cite web|url=http://digital.nls.uk/broadsides/broadside.cfm/id/15013|title=Broadside ballad entitled 'The Murder of Maria Marten'|work=The WORD on the STREET|publisher=[[National Library of Scotland]]|accessdate=15 August 2016}}</ref> It was one of at least five ballads about the crime that appeared directly following the execution.<ref>{{cite web|url=http://web.mit.edu/comm-forum/mit4/papers/Pettitt.pdf|format=PDF|title=The Murdered Sweetheart: Child of Print and Panic?|author=Tom Pettitt|date=May 2005|publisher=Massachusetts Institute of Technology |accessdate=12 February 2007}}</ref>

Many different versions of the events were set down and distributed due to the excitement around the trial and the public demand for entertainments based on the murder, making it hard for modern readers to discern fact from melodramatic embellishment. Good official records exist from the trial, and the best record of the events surrounding the case is generally considered to be that of [[James Curtis (journalist)|James Curtis]], a journalist who spent time with Corder and two weeks in Polstead interviewing those concerned.<ref name="BSE" /> He was apparently so connected with the case that a newspaper artist who was asked to produce a picture of the accused man drew a likeness of Curtis instead of Corder.<ref>Caulfield p. 55</ref>
[[File:Memorial to Maria Marten - geograph.org.uk - 615930.jpg|thumb|Memorial to Maria Marten in the churchyard of St Mary's, Polstead]]
[[File:Red Barn Murder exhibit (Moyse's Hall, Bury St Edmunds).jpg|thumb|Red Barn Murder exhibit at Moyse's Hall, Bury St Edmunds]]
Pieces of the rope which was used to hang Corder sold for a [[guinea (British coin)|guinea]] each. Part of Corder's scalp with an ear still attached was displayed in a shop in [[Oxford Street]].<ref>Gatrell p. 258</ref> A lock of Maria's hair sold for two guineas. Polstead became a tourist venue, with visitors travelling from as far afield as Ireland;<ref name="Mackay">Mackay p. 700</ref> Curtis estimated that 200,000 people visited Polstead in 1828 alone.<ref name="BSE" /> The Red Barn and the Martens' cottage excited particular interest.<ref name="Mackay" /> The barn was stripped for [[souvenir]]s, down to the planks being removed from the sides, broken up, and sold as toothpicks.<ref>Gatrell p. 43</ref> It was slated to be demolished after the trial, but it was left standing and eventually burned down in 1842.<ref name="BSE" />{{Ref label|D|d|none}} Even Maria's gravestone in the churchyard of St Mary's, Polstead was eventually chipped away to nothing by souvenir hunters; only a sign on the shed now marks the approximate place where it stood,<ref name=beauty>{{cite web|url=http://www.beautifulengland.net/photos/main.php/suffolk/polstead/|title=Polstead|publisher=BeautifulEngland.net|quote=Maria's tombstone in St. Mary's Churchyard, was chipped away by souvenir hunters, so that only a sign on the shed wall now marks the approximate place where it stood.|accessdate=15 August 2016|deadurl=yes|archiveurl=https://web.archive.org/web/20120603121314/http://www.beautifulengland.net/photos/main.php/suffolk/polstead/|archivedate=3 June 2012|df=}}</ref> although her name is given to Marten's Lane in the village. Pottery models and sketches were sold and songs were composed, including one quoted in the [[Ralph Vaughan Williams|Vaughan Williams]] opera ''[[Hugh the Drover]]'' and ''[[Five Variants of Dives and Lazarus]]''.

Corder's skeleton was put on display in a glass case in the West Suffolk Hospital, and apparently was rigged with a mechanism that made its arm point to the collection box when approached. Eventually, the skull was removed by Dr John Kilner, who wanted to add it to his extensive collection of Red Barn memorabilia. After a series of unfortunate events, he became convinced that the skull was cursed and handed it on to a friend named Hopkins. Further disasters plagued both men, and they finally paid for the skull to be given a Christian burial in an attempt to lift the supposed curse.<ref>Storey p. 118</ref>

Interest in the case did not quickly fade. The play ''Maria Marten, or The Murder in the Red Barn'' existed in various anonymous versions; it was a sensational hit throughout the mid-19th century and may have been the most performed play of the time. Victorian fairground [[peep show]]s were forced to add extra apertures for their viewers when exhibiting their shows of the murder.<ref name="Brewers" /> The plays of the Victorian era tended to portray Corder as a cold-blooded monster and Maria as the innocent whom he preyed upon; her reputation and her children by other fathers were airbrushed out,<ref>Wiener pp. 138–39</ref> and Corder was made into an older man.<ref name="Richards">Richards p. 136</ref> [[Charles Dickens]] published an account of the murder in his magazine ''[[All the Year Round]]'' after initially rejecting it because he felt the story to be too well known and the account of the stepmother's dreams rather far-fetched.<ref>Letters of Charles Dickens p. 371</ref>

The fascination continued into the 20th century with five film versions, including the 1935 ''[[Maria Marten, or The Murder in the Red Barn]]''<ref name="Richards" /> starring [[Tod Slaughter]],{{Ref label|E|e|none}} and the 1980 [[BBC]] drama ''Maria Marten'', with [[Pippa Guard]] in the title role.<ref>{{cite web|url=http://bufvc.ac.uk/screenplays/index.php/prog/1478|title=Maria Marten; or, Murder in the Red Barn, Part 3 · British Universities Film & Video Council|website=bufvc.ac.uk}}</ref> A fictionalised account of the murder was produced in 1953 for the [[CBS]] radio series ''[[Crime Classics]]'', entitled "The Killing Story of William Corder and the Farmer's Daughter."<ref>{{cite web|url=http://www.radio4all.net/index.php/program/47672|title=Night Transmissions # 83|work=Program Information|publisher=[[Radio4all.net]]|accessdate=15 August 2016}}</ref><ref>{{cite web|url=http://comicbookplus.com/?dlid=63319|title=Crime Classics #22 – The Killing Story of William Corder and the Farmer's Daughter|publisher=Comic Book Plus|accessdate=15 August 2016}}</ref> [[Christopher Bond]] wrote ''The Mysterie of Maria Marten and the Murder in the Red Barn'' in 1991, a melodramatic stage version with some political and folk-tale elements.<ref>{{cite web|url=http://www.offwestend.com/index.php/plays/view/4468|title=About: The Mysterie of Maria Marten and the Murder in the Red Barn|publisher=offwestend.com|date=2010|accessdate=15 August 2016}}</ref><ref>{{cite web|url=http://www.romfordrecorder.co.uk/entertainment/theatre/murder_mystery_comes_to_queen_s_theatre_stage_1_715844|title=Murder mystery comes to Queen’s Theatre stage|author=Lucy Dickinson|publisher=[[Romford Recorder]]|date=2 November 2010|accessdate=15 August 2016}}</ref>
{{clearleft}}

==注释==
{{Refbegin}}
'''a.''' {{Note label|A|a|none}} Moore's first name is occasionally reported as Maria but an inscription in Corder's journal and later reports make it clear she was called Mary. The initial newspaper reports said that she had seen Corder's advertisement in a pastry shop window. Whether this is true or not is unknown, but Corder had certainly received replies for his advertisement in ''The Times'', a number of which can be found in Curtis' account of the case.

'''b.''' {{Note label|B|b|none}} The account of the case bound in Corder's tanned skin is held at Moyse's Hall Museum and contains a hand-written account of a witticism on the inside cover: on the night of the execution, during a performance of ''Macbeth'' at Drury Lane, when the line "Is execution done on Cawdor?" was spoken, a man shouted from the gallery "Yes! – He was hung this morning at Bury"

'''c.''' {{Note label|C|c|none}} Accounts of how many were sold vary but are consistently quoted as either 1,160,000 or 1,600,000. Catnach claimed it had sold over 1,650,000.<ref>{{cite web|url=http://www.cc.gla.ac.uk/courses/scottish/ballads/introduction_broadside_ballads_.htm
|title=Broadside Ballads and the Oral Tradition|publisher=University of Glasgow|date=|accessdate=16 February 2007| archiveurl = https://web.archive.org/web/20061010053032/http://www.cc.gla.ac.uk/courses/scottish/ballads/introduction_broadside_ballads_.htm| archivedate = October 10, 2006}}</ref>

'''d.''' {{Note label|D|d|none}} In November 2007 a report of a fire that nearly destroyed Marten's cottage was on the front page of the ''East Anglian Daily Times''. Firefighters saved 80% of the thatched roof at Marten's former home after a chimney fire threatened the "iconic Suffolk cottage", now run as a [[bed and breakfast]].<ref>{{cite news|url=http://www.eadt.co.uk/content/eadt/news/story.aspx?brand=EADOnline&category=News&tBrand=EADOnline&tCategory=news&itemid=IPED26%20Nov%202007%2023%3A25%3A30%3A853|title= Blaze at home of famous murder victim|date=27 November 2007|author=Claydon, Russell|work=East Anglian Daily Times|accessdate=2007-11-27}}</ref>

'''e.''' {{Note label|E|e|none}} In Britain the script was submitted to the British Board of Film Censors who passed it on the condition that the execution scene was cut. The scene was filmed anyway, but the Board demanded it be removed before the film was passed.<ref name="Richards" /> In the U.S., scenes emphasising Maria's pregnancy, and featuring the words ''slut'' and ''wench'' were cut, and the scene of her burial shortened. Virginia and Ohio made further cuts to the versions they approved for distribution.<ref>Slide p. 103</ref>
{{Refend}}

==脚注==
{{Reflist}}

==引用==
{{Refbegin|2}}
* {{cite book| last=Anon |title=An Accurate Account of the Trial of William Corder, for the Murder of Maria Marten, of Polstead, Suffolk ... to which are added, and explanatory preface, and fifty-three of the letters, Sent by various Ladies, in answer to Corder's Matrimonial Advertisement|publisher = George Foster|location=London|year =1828}}
* {{cite book|title=The Letters of Charles Dickens: 1865–1867 Vol 11|author=Brown, Margaret (Ed.)|publisher=Clarendon Press|year=1999|isbn=0-19-812295-0|page=598}}
* {{cite book|title=Advocacy and the Making of the Adversarial Criminal Trial 1800–1865 (Oxford Studies in Modern Legal History)|author=Cairns, David |publisher=Clarendon Press|year=1999|isbn=0-19-826284-1|page=230}}
* {{cite book|title=The Man Who Ate Bluebottles: And Other Great British Eccentrics|author=Caulfield, Catherine|publisher=Icon Books Ltd|year=2005|isbn=1-84046-697-9|page=224}}
* {{cite book|title=More murders in East Anglia|author=Church, Robert|publisher=Robert Hale|year=1990|isbn=0-7090-4031-8|pages=11–28}}
* {{cite book|title=The Mysterious Murder of Maria Marten|author=Curtis, James |publisher=William Clowes|year=1828|location=London}}
* {{cite book|title=Brewer's Rogues, Villains and Eccentrics|author=Donaldson, Willie|publisher=Phoenix Press|year=2004|isbn=0-7538-1791-8|page=736}}
* {{cite book |last=Flanders |first=Judith |year=2011 |title=The Invention of Murder : How the Victorians Revelled in Death and Detection and Created Modern Crime |publisher=HarperPress |page=45|isbn=0-00-724888-1|authorlink=Judith Flanders}}
* {{cite book|title=The Hanging Tree: Execution and the English People, 1770–1868|author=Gatrell, V. A. C.|publisher=Oxford Paperbacks|year=1996|isbn=0-19-285332-5|page=654}}
* {{cite book|title=Thomas Hardy's 'Facts' Notebook|author=Hardy, Thomas|editor=Greenslade, William |publisher=Ashgate Publishing, Ltd.|year=2004|isbn=1-84014-235-9|page=365|authorlink=Thomas Hardy}}
* {{cite book|title=The History of the Catnach Press|author=Hindley, Charles|publisher=Singing Tree Press|year=1969|location=Detroit|origyear=1869}}
* {{cite book|title=The Origins of Adversary Criminal Trial (Oxford Studies in Modern Legal History)|author=Langbein, John H.|publisher=Oxford University Press|year=2003|isbn=0-19-925888-0|page=376}}
* {{cite book|title=[[Extraordinary Popular Delusions and the Madness of Crowds]]|author=Mackay, Charles|publisher=Wordsworth Editions Ltd|year=1995|isbn=1-85326-349-4|page=748}}
* {{cite book|title=The Trials of Masculinity: policing sexual boundaries, 1870–1930|author=Maclaren, Angus |publisher=University of Chicago Press|year=1997|isbn=0-226-50067-5|page=307}}
* {{cite book|title=The Red Barn Mystery: some new evidence on an old murder|author=McCormick, Donald|publisher=A.S.Barnes and Co.|year=1968|page=206|authorlink=Donald McCormick }}
* {{cite book|title=William Corder and the Red Barn Murder: Journeys of the Criminal Body|author=McCorristine, Shane|url=http://www.palgrave.com/gb/book/9781137439383|publisher=Palgrave Macmillan|year=2014|page=31|isbn=978-1-137-43939-0|doi=10.1057/9781137439390}}
* {{cite book|title=Popular Literature: A History and Guide|author=Neuburg, Victor |publisher=Routledge|year=1977|isbn=0-7130-0158-5|page=302|authorlink=Victor E. Neuburg}}
* {{cite book|title=Victorian London: The Tale of a City 1840–1870|author=Picard, Liza|publisher=St. Martin's Press|year=2006|isbn=0-312-32567-3|page=384}}
* {{cite book|title=The Unknown 1930s: An Alternative History of the British Cinema 1929–1939|author=Richards, Jeffrey (Ed.)|publisher=I B Tauris & Co Ltd|year=2001|page=287|isbn=1-86064-628-X}}
* {{cite book|title=Banned in the U.S.A.: British Films in the United States and their Censorship, 1933–1966|author=Slide, Anthony|publisher=I. B. Tauris|year=1998|isbn=1-86064-254-3|page=232}}
* {{cite book|title=A Grim Almanac of Suffolk|author=Storey, Neil R.|publisher=Sutton Publishing|year=2004|isbn=0-7509-3498-0|page=192}}
* {{cite book|title=Men of Blood: Violence, Manliness, and Criminal Justice in Victorian England|author=Wiener, Martin J.|publisher=Cambridge University Press|year=2004|isbn=0-521-83198-9|page=312}}
* {{cite web|url=http://www.stedmundsbury.gov.uk/sebc/visit/redbarn-intro.cfm|title=The Red Barn Murder|publisher=St Edmundsbury Council|date=|accessdate=13 November 2006}}
* {{cite web|url=http://www.norfolkcoast.co.uk/pasttimes/pt_murderredbarn.htm|title=Victorian Murder at the Red Barn – Polstead – Suffolk|publisher=Suffolk Coast|date=|accessdate=13 November 2006}}

[[Category:英格兰谋杀案]]
[[Category:英格兰谋杀案]]
[[Category:有未审阅翻译的页面]]
[[Category:有未审阅翻译的页面]]

2019年1月30日 (三) 08:59的版本

谋杀现场，红色谷仓，之所以这么叫，是因为它的半红色粘土瓦屋顶，在这幅素描中可以看到正门的左边。 屋顶的其余部分都是用茅草盖的。

红谷仓谋杀案是1827年发生在英国萨福克郡波尔斯特德的一起著名谋杀案。 年轻女子玛丽亚 · 马滕（英语：Maria Marten）被她的情人威廉 · 考德（英语：William Corder）枪杀。两人在当地的标志性建筑红谷仓见面，约定之后私奔去伊普斯维奇。之后玛丽亚再也没有活着出现过，科德也逃离了现场。他写信给马滕的家人说她身体健康。后来玛利亚的继母说她梦见了谋杀，之后她的尸体被发现埋在了谷仓里。

科德后被发现在伦敦，他在那里结婚并开始了新的生活。他被带回萨福克郡，在一场广泛关注的审判中被判谋杀罪名成立。他于1828年在伯里聖埃德蒙茲被绞死，多人目睹了处决过程。这个故事引发了广泛的报章报道，歌曲和戏剧改编。发生犯罪的村庄变成了旅游胜地，而谷仓被猎人们拆除了。这些戏剧和民谣一直到下一个世纪都很受欢迎，直到今天仍在演出。[1]

谋杀

玛丽亚 · 马滕。她的妹妹安据说和玛丽亚非常相似，是柯蒂斯基于这个案件的描述画出的这幅素描的模特

玛丽亚 · 马滕（生于1801年7月24日）的父亲是来自波尔斯特德的鼹鼠猎人托马斯 · 马滕。[2]1826年3月，她24岁时，她和22岁的威廉 · 科德确立恋爱关系。马滕是一个很有魅力的女人，已经和邻里的男人们交往并生了两个孩子。其中一个在婴儿时期就去世了，是威廉的哥哥托马斯的孩子，而另一位托马斯 · 亨利在科德遇到她的时候还活着。[3]托马斯 ·的父亲彼得 · 马修斯并没有和马滕结婚，而是定期寄钱供养这个孩子。[3]

威廉 · 科德（生于1803年）是当地一个农民的儿子，有诈骗犯和花花公子之称。他因为狡猾的举止在学校被称作"狐狸"。他欺诈性地卖掉了他父亲的猪，尽管他父亲后在没有诉诸法律的情况下解决了这个问题，科德从没有改正他的行为。他后来用一张93英镑的假支票骗钱，还帮助当地小偷塞缪尔 ·“美女”· 史密斯从邻村偷了一头猪。当史密斯被当地警察盘问这起盗窃案时，他预言性地说："如果他（威廉）不在几天内被绞死，我会被诅咒的。" 科德因为欺诈性地卖猪肉而被押送到伦敦，但他的兄弟托马斯在穿越一个结冰的池塘时溺水而死后，他就被召回波尔斯特德。[4]他的父亲和三个兄弟都在18个月内相继去世，只有威廉留下来和他的母亲一起经营农场。

科德希望保密他和马滕的关系，但是1827年，25岁的马滕生下了他们的孩子，并且希望和科德结婚。这个孩子之后死了（后来有报道暗示这个孩子可能是被杀的），但是科德显然还是打算和马滕结婚。那年夏天，他当着她继母的面提议她去红谷仓见他，之后他们再私奔到伊普斯维奇。科德声称他听到了一些谣言，说当地官员要起诉玛利亚有私生子。他最初建议在星期三晚上私奔，但后来推迟到星期四晚上。星期四，他再次推迟。一些资料提到这是因为他兄弟的病情，但大多数资料都表示他的兄弟在这时都死了。1827年5月18日，星期五的白天，他出现在马滕的小屋里，据安说，他告诉玛丽亚他们必须马上离开，因为他听说当地警察已经获得了起诉她的许可证（其实没有，尚不确定科德是撒谎还是弄错了)。玛丽亚担心她不能在光天化日之下逃跑，科德告诉她，她应该穿上男人的衣服，以免引起怀疑。[2]

玛丽亚的灵魂指着她的坟墓。 安 · 马滕声称她梦到了玛利亚的坟墓所在地，这增加了此案对公众和媒体的吸引力。

柯德离开房子后不久，玛丽亚出发去红谷仓见他，那里位于巴恩菲尔德山，离马滕的小屋约半英里（800m）。这是她最后一次活着被人看见。科德先是失踪，后来又出现了，表示马滕在伊普斯威奇或附近的地方，他还不能带她回来结婚，因为担心激起他的亲友的愤怒。迫于交出马滕的压力，科德逃离了这个地区。他写信给马滕的家人，声称他们已经结婚，住在怀特岛上，他为不能联络马滕找了各种借口：身体不适，手受伤或是信弄丢了。[3]

怀疑的声音越来越大，玛利亚的继母开始谈论她梦见玛利亚被谋杀并埋葬在红谷仓。1828年4月19日，她说服丈夫到红谷仓去挖一个谷物储藏箱。很快他女儿的尸体被发现装在一个麻袋里埋了起来。尸体严重腐烂，但仍然可以辨认出来。在波尔斯特德的科克酒店（至今仍然存在）进行了一次验尸，玛丽亚的姐姐安根据她的一些身体特征正式确认了她的身份。她的头发和一些衣服可以被辨认，而且据说她少了一颗牙齿，这颗牙齿在尸体的颚骨上也找不到。并且找到了表明科德与此案有关的证据：在尸体的脖子上发现了他的绿色手帕。[3]

抓获凶手

这部1833年的“廉价恐怖漫画”展示了玛丽亚的葬礼以及艾尔斯和李逮捕科德的过程

科德很容易就被找到了，因为波尔斯特德的警察艾尔斯从一个朋友那里得到了他的旧地址。艾尔斯得到了詹姆斯·李（伦敦警局的一名警官，后来领导了对弹簧腿杰克的调查）的协助。他们跟踪科德到了埃弗里·格罗夫宅——賓福特的一家女性寄宿公寓。[4] 科德和他的新婚妻子玛丽·莫勒一起经营着寄宿寄宿公寓，他们是通过他在《泰晤士报》上登的广告认识的（这则广告已经收到了100多条回复）[5][6][a]。朱迪丝 · 弗兰德斯在她2011年出版的书中说，他还在《先驱晨报》和《星期日泰晤士報》上刊登了广告。[7]他通过《先驱晨报》收到了40多封信，而他未收到通过《星期日泰晤士报》寄给他的53封信。[8]这些信后来在1828年由乔治 · 福斯特出版。[9]

李以他想把女儿寄宿在那里为借口进入了公寓。科德在客厅里看到他时非常惊讶。托马斯·哈代注意到《多塞特郡纪事报》有关于他被捕的报道:

…in parlour with 4 ladies at breakfast, in dressing gown & had a watch before him by which he was 'minuting' the boiling of some eggs.[10]

李把他拉到一边，宣布对他的指控，但科德不承认知道玛丽亚和她的谋杀。 搜查房子后发现了一对据说在谋杀当天买的手枪；一些来自加德纳先生的信件，其中可能有关于犯罪被发现的对他的警告；还有一本法国大使签发的护照，表明科德可能已经准备逃跑。[3]

审讯

威廉 · 科德正在等待审判

科德被带回萨福克郡，之后在县政府受审。审判由于案件引起的关注而推迟了几天，于1828年8月7日开始。早在7月21日，伯里圣埃德蒙兹的酒店就开始人满为患，而且进入法庭必须凭票，因为有太多人想观看庭审。法官和法庭官员不得不从聚集在门口的人群中挤过去。

法官是最高理财法院首席法官威廉·亚历山大，他对媒体对此案的报道感到不满，因为报道“明显中伤了被公开审判的囚犯”。[11]《泰晤士报》赞扬公众在反对科德时表现出了良好的判断力。[12] 科德为自己提出无罪抗辩。

马滕的确切死因无法确定。人们认为是利器刺入了她的眼窝，可能是科德的短剑，但这个伤口也可能是她父亲挖掘尸体时用的铲子造成的。不能排除勒死的可能性，因为在她的脖子上发现了科德的手帕；更让人困惑的是，她身上的伤口显示她是被枪杀的。起诉书指控科德“谋杀玛丽亚 · 马丁，邪恶地蓄意地用手枪射穿她的身体，还如此地用匕首刺伤她。”[2]为了规避任何出现无效审判的可能性，他被指控九项罪名，包括一项伪造罪。

安·马滕被传唤为玛丽亚失踪那天发生的事情以及她后来的梦境作证；托马斯 · 马滕随后告诉法庭他是如何挖出他的女儿的；玛丽亚10岁的弟弟乔治说他在所谓谋杀发生之前看到科德拿着一把上了膛的手枪，后来又看到他拿着一把镐从谷仓里走出来。李为科德被捕时搜查他家时发现的物品作证。[13]控方指出，科德从未想过要娶玛丽亚，但玛丽亚知道他的一些犯罪行为，使她有了他的把柄，而科德盗用了玛利亚孩子的生父寄来的钱，使他们之间关系紧张。[14]

然后科德说出了他自己的版本。他承认曾和玛丽亚一起待在谷仓里，但他们吵架后他就离开了。他声称在他离开的时候听到一声枪响，然后跑回谷仓，发现她死了，旁边还有一支手枪。他请求陪审团相信他，但是在他们退庭后，陪审团只花了35分钟就做出了有罪的判决。[13]亚历山大男爵判处他绞刑，然后尸体被解剖：

That you be taken back to the prison from whence you came, and that you be taken from thence, on Monday next, to a place of Execution, and that you there be hanged by the Neck until you are Dead; and that your body shall afterwards be dissected and anatomized; and may the Lord God Almighty, of his infinite goodness, have mercy on your soul![15]

  科德在监狱里度过了接下来的三天，苦苦思索是否要在上帝面前承认自己的罪行，坦白自己的罪行。 在与监狱牧师见了几次面、妻子的恳求以及狱吏和监狱长约翰 · 奥里奇的恳求之后，他终于认罪了。[16] 他坚决否认刺伤了玛利亚，声称在她换伪装的时候他们发生了争执，他不小心射中了她的眼睛。[3]

死刑和解剖

刽子手调整科德脖子上的绳子
威廉 · 科德的死刑

1828年8月11日，科德被带到伯里圣埃德蒙的绞刑架上，显然他太虚弱了，没有支撑站不起来。[17]快到中午时，他在广大人群面前被绞死；一家报纸称当时有7000名观众，另一份报纸称有多达20000名观众。[18]在典狱长的指示下，就在头巾被套在他头上之前，他说:

I am guilty; my sentence is just; I deserve my fate; and, may God have mercy on my soul.[19]

His body was cut down after an hour by the hangman, John Foxton, who claimed Corder's trousers and stockings according to his rights. The body was taken back to the courtroom at Shire Hall, where it was slit open along the abdomen to expose the muscles. The crowds were allowed to file past until six o'clock, when the doors were shut. According to the Norwich and Bury Post, over 5,000 people queued to see the body.[20]   一个小时后，他的尸体被刽子手约翰 · 福克斯顿取了下来，福克斯顿根据他的权利认领了考德的裤子和长袜。尸体被带回了县政厅的法庭，在那里，尸体沿着腹部被切开以暴露肌肉。人群被允许排队经过，直到六点钟关门时。 据《诺威奇邮报》和《伯利邮报》报道，超过5000人排队看尸体。[21]

The following day, the dissection and post-mortem were carried out in front of an audience of students from Cambridge University and physicians. Reports circulated around Bury St Edmunds that a "galvanic battery" had been brought from Cambridge, and it is likely that the group experimented with galvanism on the body;[22] a battery was attached to Corder's limbs to demonstrate the contraction of the muscles. The sternum was opened and the internal organs examined. There was some discussion as to whether the cause of death was suffocation; it was reported that Corder's chest was seen to rise and fall for several minutes after he had dropped, and it was thought probable that pressure on the spinal cord had killed him. The skeleton was to be reassembled after the dissection and it was not possible to examine the brain, so the surgeons contented themselves with a phrenological examination of Corder's skull. The skull was asserted to be profoundly developed in the areas of "secretiveness, acquisitiveness, destructiveness, philoprogenitiveness, and imitativeness" with little evidence of "benevolence or veneration".[23] The bust of Corder held by Moyse's Hall Museum in Bury St Edmunds is an original made by Child of Bungay as a tool for the study of Corder's phrenology.

Several copies of Corder's death mask were made and a replica of one is still held at Moyse's Hall Museum. Artefacts from the trial, some of which were in Corder's possession, are also held at the museum.[24] Another replica death mask is kept in the dungeons of Norwich Castle. Corder's skin was tanned by surgeon George Creed and used to bind an account of the murder.[b]

Corder's skeleton was reassembled, exhibited, and used as a teaching aid in the West Suffolk Hospital.[23] The skeleton was put on display in the Hunterian Museum in the Royal College of Surgeons of England, where it hung beside that of Jonathan Wild. In 2004, Corder's bones were removed and cremated.[25]

Rumours

After the trial, doubts were raised about both the story of Ann's dreams and the fate of Corder and Marten's child. Ann was only a year older than Maria, and it was suggested that she and Corder had been having an affair and that the two had planned the murder to dispose of Maria so that it could continue without hindrance. Ann's dreams had started only a few days after Corder married Moore, and it was suggested that jealousy was the motive for revealing the body's resting place and that the dreams were a simple subterfuge.[3]

Further rumours circulated about the death of Corder and Marten's child. Both claimed that they had taken their dead child to be buried in Sudbury, but no records of this could be discovered and no trace was found of the child's burial site.[3] In his written confession, Corder admitted that he and Marten had argued on the day of the murder over the possibility of the burial site being discovered.

In 1967, Donald McCormick wrote The Red Barn Mystery, which brought out a connection between Corder and forger and serial killer Thomas Griffiths Wainewright when the former was in London. According to McCormick, Caroline Palmer, an actress who was appearing frequently in a melodrama based on the Red Barn case and had been researching the murder, concluded that Corder may have not killed Maria, but that a local gypsy woman might have been the killer. However, McCormick's research has been brought into question on other police- and crime-related stories, and this information has not been generally accepted.[26]

Popular interest

The case had all the elements to ignite a fervent popular interest: the wicked squire and the poor girl, the iconic murder scene, the supernatural element of the stepmother's prophetic dreams, the detective work by Ayres and Lea (who later became the single character "Pharos Lee" in stage versions of the events), and Corder's new life which was the result of a lonely hearts advertisement. As a consequence, the case created its own small industry.

James Catnach's broadside sold well over a million copies
A broadside issued by T. Birt includes images and Corder's last letter to his wife

Plays were being performed while Corder was still awaiting trial, and an anonymous author published a melodramatic version of the murder after the execution, a precursor of the Newgate novels which quickly became best-sellers. The Red Barn Murder was a popular subject, along with the story of Jack Sheppard and other highwaymen, thieves and murderers, for penny gaffs, cheap plays performed in the back rooms of public houses.[27] James Catnach sold more than a million broadsides[28][c] (sensationalist single sheet newspapers) which gave details of Corder's confession and execution, and included a sentimental ballad supposedly written by Corder himself (though more likely to have been the work of Catnach or somebody in his employ).[29][30][31] It was one of at least five ballads about the crime that appeared directly following the execution.[32]

Many different versions of the events were set down and distributed due to the excitement around the trial and the public demand for entertainments based on the murder, making it hard for modern readers to discern fact from melodramatic embellishment. Good official records exist from the trial, and the best record of the events surrounding the case is generally considered to be that of James Curtis, a journalist who spent time with Corder and two weeks in Polstead interviewing those concerned.[3] He was apparently so connected with the case that a newspaper artist who was asked to produce a picture of the accused man drew a likeness of Curtis instead of Corder.[33]

Memorial to Maria Marten in the churchyard of St Mary's, Polstead
Red Barn Murder exhibit at Moyse's Hall, Bury St Edmunds

Pieces of the rope which was used to hang Corder sold for a guinea each. Part of Corder's scalp with an ear still attached was displayed in a shop in Oxford Street.[34] A lock of Maria's hair sold for two guineas. Polstead became a tourist venue, with visitors travelling from as far afield as Ireland;[35] Curtis estimated that 200,000 people visited Polstead in 1828 alone.[3] The Red Barn and the Martens' cottage excited particular interest.[35] The barn was stripped for souvenirs, down to the planks being removed from the sides, broken up, and sold as toothpicks.[36] It was slated to be demolished after the trial, but it was left standing and eventually burned down in 1842.[3][d] Even Maria's gravestone in the churchyard of St Mary's, Polstead was eventually chipped away to nothing by souvenir hunters; only a sign on the shed now marks the approximate place where it stood,[37] although her name is given to Marten's Lane in the village. Pottery models and sketches were sold and songs were composed, including one quoted in the Vaughan Williams opera Hugh the Drover and Five Variants of Dives and Lazarus.

Corder's skeleton was put on display in a glass case in the West Suffolk Hospital, and apparently was rigged with a mechanism that made its arm point to the collection box when approached. Eventually, the skull was removed by Dr John Kilner, who wanted to add it to his extensive collection of Red Barn memorabilia. After a series of unfortunate events, he became convinced that the skull was cursed and handed it on to a friend named Hopkins. Further disasters plagued both men, and they finally paid for the skull to be given a Christian burial in an attempt to lift the supposed curse.[38]

Interest in the case did not quickly fade. The play Maria Marten, or The Murder in the Red Barn existed in various anonymous versions; it was a sensational hit throughout the mid-19th century and may have been the most performed play of the time. Victorian fairground peep shows were forced to add extra apertures for their viewers when exhibiting their shows of the murder.[4] The plays of the Victorian era tended to portray Corder as a cold-blooded monster and Maria as the innocent whom he preyed upon; her reputation and her children by other fathers were airbrushed out,[39] and Corder was made into an older man.[40] Charles Dickens published an account of the murder in his magazine All the Year Round after initially rejecting it because he felt the story to be too well known and the account of the stepmother's dreams rather far-fetched.[41]

The fascination continued into the 20th century with five film versions, including the 1935 Maria Marten, or The Murder in the Red Barn[40] starring Tod Slaughter,[e] and the 1980 BBC drama Maria Marten, with Pippa Guard in the title role.[42] A fictionalised account of the murder was produced in 1953 for the CBS radio series Crime Classics, entitled "The Killing Story of William Corder and the Farmer's Daughter."[43][44] Christopher Bond wrote The Mysterie of Maria Marten and the Murder in the Red Barn in 1991, a melodramatic stage version with some political and folk-tale elements.[45][46]

注释

a. ^ Moore's first name is occasionally reported as Maria but an inscription in Corder's journal and later reports make it clear she was called Mary. The initial newspaper reports said that she had seen Corder's advertisement in a pastry shop window. Whether this is true or not is unknown, but Corder had certainly received replies for his advertisement in The Times, a number of which can be found in Curtis' account of the case.

b. ^ The account of the case bound in Corder's tanned skin is held at Moyse's Hall Museum and contains a hand-written account of a witticism on the inside cover: on the night of the execution, during a performance of Macbeth at Drury Lane, when the line "Is execution done on Cawdor?" was spoken, a man shouted from the gallery "Yes! – He was hung this morning at Bury"

c. ^ Accounts of how many were sold vary but are consistently quoted as either 1,160,000 or 1,600,000. Catnach claimed it had sold over 1,650,000.[47]

d. ^ In November 2007 a report of a fire that nearly destroyed Marten's cottage was on the front page of the East Anglian Daily Times. Firefighters saved 80% of the thatched roof at Marten's former home after a chimney fire threatened the "iconic Suffolk cottage", now run as a bed and breakfast.[48]

e. ^ In Britain the script was submitted to the British Board of Film Censors who passed it on the condition that the execution scene was cut. The scene was filmed anyway, but the Board demanded it be removed before the film was passed.[40] In the U.S., scenes emphasising Maria's pregnancy, and featuring the words slut and wench were cut, and the scene of her burial shortened. Virginia and Ohio made further cuts to the versions they approved for distribution.[49]

脚注

  1. ^ Maria Marten. The Crushed Tragedian. [11 August 2010]. 
  2. ^ 2.0 2.1 2.2 Smith, John Hay. Celebrated Trials of All Countries, and Remarkable Cases of Criminal Jurisprudence. J.Harding. 1847. 
  3. ^ 3.00 3.01 3.02 3.03 3.04 3.05 3.06 3.07 3.08 3.09 3.10 The Red Barn Murder. St Edmundsbury Council. [15 February 2007]. 
  4. ^ 4.0 4.1 4.2 酿酒人队第168-69页
  5. ^ 马克拉伦 p. 250
  6. ^ Urban, Sylvanus. Obituary. The Gentleman's Magazine (London: John Henry and James Parker). 1857, 3 (203). 
  7. ^ 弗兰德斯 p. 47
  8. ^ 弗兰德斯 p. 48
  9. ^ 1828年由乔治 · 福斯特出版
  10. ^ Hardy p. 131 Note 85.b
  11. ^ 纽约时报》1828年8月9日第3页，维也纳香肠第138页
  12. ^ 12 August 1828 p. 3 quoted in Wiener p. 138
  13. ^ 13.0 13.1 Urban, Sylvanus. Domestic Occurrences. The Gentleman's Magazine (London: J.B Nichols). 1828, 98 (21). 
  14. ^ 凯恩斯，p. 40
  15. ^ Curtis p. 248
  16. ^ Langbein p. 270
  17. ^ 加特尔 p. 13
  18. ^ 加特尔 p. 32
  19. ^ Cairns p. 18
  20. ^ Curtis p. 210
  21. ^ 柯蒂斯 p. 210
  22. ^ McCorristine p. 31
  23. ^ 23.0 23.1 Gatrell pp. 256–57
  24. ^ Local History of Moyse's Hall. St. Edmundsbury Borough Council. [4 July 2007]. 
  25. ^ Killer cremated after 180 years. BBC News. 17 August 2004 [4 July 2007]. 
  26. ^ McCorristine p. 17
  27. ^ Picard p. 198
  28. ^ Gatrell p. 159
  29. ^ Neuberg p. 138
  30. ^ Hindley p. 79
  31. ^ Broadside ballad entitled 'The Murder of Maria Marten'. The WORD on the STREET. National Library of Scotland. [15 August 2016]. 
  32. ^ Tom Pettitt. The Murdered Sweetheart: Child of Print and Panic? (PDF). Massachusetts Institute of Technology. May 2005 [12 February 2007]. 
  33. ^ Caulfield p. 55
  34. ^ Gatrell p. 258
  35. ^ 35.0 35.1 Mackay p. 700
  36. ^ Gatrell p. 43
  37. ^ Polstead. BeautifulEngland.net. [15 August 2016]. （原始内容存档于3 June 2012）. Maria's tombstone in St. Mary's Churchyard, was chipped away by souvenir hunters, so that only a sign on the shed wall now marks the approximate place where it stood. 
  38. ^ Storey p. 118
  39. ^ Wiener pp. 138–39
  40. ^ 40.0 40.1 40.2 Richards p. 136
  41. ^ Letters of Charles Dickens p. 371
  42. ^ Maria Marten; or, Murder in the Red Barn, Part 3 · British Universities Film & Video Council. bufvc.ac.uk. 
  43. ^ Night Transmissions # 83. Program Information. Radio4all.net. [15 August 2016]. 
  44. ^ Crime Classics #22 – The Killing Story of William Corder and the Farmer's Daughter. Comic Book Plus. [15 August 2016]. 
  45. ^ About: The Mysterie of Maria Marten and the Murder in the Red Barn. offwestend.com. 2010 [15 August 2016]. 
  46. ^ Lucy Dickinson. Murder mystery comes to Queen’s Theatre stage. Romford Recorder. 2 November 2010 [15 August 2016]. 
  47. ^ Broadside Ballads and the Oral Tradition. University of Glasgow. [16 February 2007]. （原始内容存档于October 10, 2006）. 
  48. ^ Claydon, Russell. Blaze at home of famous murder victim. East Anglian Daily Times. 27 November 2007 [2007-11-27]. 
  49. ^ Slide p. 103

引用

  • Anon. An Accurate Account of the Trial of William Corder, for the Murder of Maria Marten, of Polstead, Suffolk ... to which are added, and explanatory preface, and fifty-three of the letters, Sent by various Ladies, in answer to Corder's Matrimonial Advertisement. London: George Foster. 1828. 
  • Brown, Margaret (Ed.). The Letters of Charles Dickens: 1865–1867 Vol 11. Clarendon Press. 1999: 598. ISBN 0-19-812295-0. 
  • Cairns, David. Advocacy and the Making of the Adversarial Criminal Trial 1800–1865 (Oxford Studies in Modern Legal History). Clarendon Press. 1999: 230. ISBN 0-19-826284-1. 
  • Caulfield, Catherine. The Man Who Ate Bluebottles: And Other Great British Eccentrics. Icon Books Ltd. 2005: 224. ISBN 1-84046-697-9. 
  • Church, Robert. More murders in East Anglia. Robert Hale. 1990: 11–28. ISBN 0-7090-4031-8. 
  • Curtis, James. The Mysterious Murder of Maria Marten. London: William Clowes. 1828. 
  • Donaldson, Willie. Brewer's Rogues, Villains and Eccentrics. Phoenix Press. 2004: 736. ISBN 0-7538-1791-8. 
  • Flanders, Judith. The Invention of Murder : How the Victorians Revelled in Death and Detection and Created Modern Crime. HarperPress. 2011: 45. ISBN 0-00-724888-1. 
  • Gatrell, V. A. C. The Hanging Tree: Execution and the English People, 1770–1868. Oxford Paperbacks. 1996: 654. ISBN 0-19-285332-5. 
  • Hardy, Thomas. Greenslade, William , 编. Thomas Hardy's 'Facts' Notebook. Ashgate Publishing, Ltd. 2004: 365. ISBN 1-84014-235-9. 
  • Hindley, Charles. The History of the Catnach Press. Detroit: Singing Tree Press. 1969 [1869]. 
  • Langbein, John H. The Origins of Adversary Criminal Trial (Oxford Studies in Modern Legal History). Oxford University Press. 2003: 376. ISBN 0-19-925888-0. 
  • Mackay, Charles. Extraordinary Popular Delusions and the Madness of Crowds. Wordsworth Editions Ltd. 1995: 748. ISBN 1-85326-349-4. 
  • Maclaren, Angus. The Trials of Masculinity: policing sexual boundaries, 1870–1930. University of Chicago Press. 1997: 307. ISBN 0-226-50067-5. 
  • McCormick, Donald. The Red Barn Mystery: some new evidence on an old murder. A.S.Barnes and Co. 1968: 206. 
  • McCorristine, Shane. William Corder and the Red Barn Murder: Journeys of the Criminal Body. Palgrave Macmillan. 2014: 31. ISBN 978-1-137-43939-0. doi:10.1057/9781137439390. 
  • Neuburg, Victor. Popular Literature: A History and Guide. Routledge. 1977: 302. ISBN 0-7130-0158-5. 
  • Picard, Liza. Victorian London: The Tale of a City 1840–1870. St. Martin's Press. 2006: 384. ISBN 0-312-32567-3. 
  • Richards, Jeffrey (Ed.). The Unknown 1930s: An Alternative History of the British Cinema 1929–1939. I B Tauris & Co Ltd. 2001: 287. ISBN 1-86064-628-X. 
  • Slide, Anthony. Banned in the U.S.A.: British Films in the United States and their Censorship, 1933–1966. I. B. Tauris. 1998: 232. ISBN 1-86064-254-3. 
  • Storey, Neil R. A Grim Almanac of Suffolk. Sutton Publishing. 2004: 192. ISBN 0-7509-3498-0. 
  • Wiener, Martin J. Men of Blood: Violence, Manliness, and Criminal Justice in Victorian England. Cambridge University Press. 2004: 312. ISBN 0-521-83198-9. 
  • The Red Barn Murder. St Edmundsbury Council. [13 November 2006]. 
  • Victorian Murder at the Red Barn – Polstead – Suffolk. Suffolk Coast. [13 November 2006]. 
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