Arthur Griffiths' The Chronicles of Newgate (Vol. 1&2) is a captivating exploration of the notorious Newgate Prison in London during the 18th and 19th centuries. Through vivid descriptions and meticulous research, Griffiths delves into the lives of both inmates and staff, shedding light on the harsh conditions and captivating stories within the prison walls. The literary style is engaging, with a mix of historical accounts and personal narratives that bring this dark period of history to life. Griffiths' attention to detail and ability to humanize the characters make this book a valuable contribution to the genre of prison literature. The Chronicles of Newgate provides a valuable insight into the criminal justice system of the time, offering a unique perspective on the lives of those who lived within its confines. Arthur Griffiths' background as a prison administrator and historian adds credibility to the narrative, making this a must-read for anyone interested in the history of incarceration and the resilience of the human spirit.

Over seven centuries London has changed dramatically - from walled medieval settlement to bustling modern metropolis. But throughout its history there has been one inescapable constant: murder. It winds through the heart of the capital as surely as the River Thames. Capital Crimes tells the story of crime and punishment in the city, from the killing of infamous 'questmonger' Roger Legett during the Peasants' Revolt of 1381 through to the hanging of Styllou Christofi in 1954. Along the way we encounter such shocking characters as railway murderer Franz Muller, the ‘baby farmers’ of Finchley and the notorious political assassin John Bellingham. Some are well known, some obscure; the lives and fates of all, however, have much to tell us, providing a glimpse into the workings of London’s mysterious underworld and reminding us that dark deeds are not so far removed from everyday life as we would perhaps like to believe.

The combat with crime is as old as civilization. Unceasing warfare is and ever has been waged between the law-maker and the law-breaker. The punishments inflicted upon criminals have been as various as the nations devising them, and have reflected with singular fidelity their temperaments or development. This is true of the death penalty which in many ages was the only recognized punishment for crimes either great or small. Each nation has had its own special method of inflicting it. One was satisfied simply to destroy life; another sought to intensify the natural fear of death by the added horrors of starvation or the withholding of fluid, by drowning, stoning, impaling or by exposing the wretched victims to the stings of insects or snakes. Burning at the stake was the favourite method of religious fanaticism. This flourished under the Inquisition everywhere, but notably in Spain where hecatombs perished by the autos-da-fŽ or "trials of faith" conducted with great ceremony often in the presence of the sovereign himself. Indeed, so terrible are the records of the ages that one turns with relief to the more humane methods of slowly advancing civilization,Ñthe electric chair, the rope, the garotte, and even to that sanguinary "daughter of the Revolution," "la guillotine," the timely and merciful invention of Dr. Guillotin which substituted its swift and certain action for the barbarous hacking of blunt swords in the hands of brutal or unskilful executioners. Savage instinct, however, could not find full satisfaction even in cruel and violent death, but perforce must glut itself in preliminary tortures. Mankind has exhausted its fiendish ingenuity in the invention of hideous instruments for prolonging the sufferings of its victims. When we read to-day of the cold-blooded Chinese who condemns his criminal to be buried to the chin and left to be teased to death by flies; of the lust for blood of the Russian soldier who in brutal glee impales on his bayonet the writhing forms of captive children; of the recently revealed torture-chambers of the Yildiz Kiosk where Abdul Hamid wreaked his vengeance or squeezed millions of treasure from luckless foes; or of the Congo slave wounded and maimed to satisfy the greed for gold of an unscrupulous monarch;Ñwe are inclined to think of them as savage survivals in "Darkest Africa" or in countries yet beyond the pale of western civilization. Yet it was only a few centuries ago that Spain "did to death" by unspeakable cruelties the gentle races of Mexico and Peru, and sapped her own splendid vitality in the woeful chambers of the Inquisition. Even as late as the end of the eighteenth century enlightened France was filling with the noblest and best of her land those oubliettes of which the very names are epitomes of woe: La Fin d'Aise, "The End of Ease;" La Boucherie, "The Shambles;" and La Fosse, "The Pit" or "Grave;" in the foul depths of which the victim stood waist deep in water unable to rest or sleep without drowning. Buoyed up by hope of release, some endured this torture of "La Fosse" for fifteen days; but that was nature's limit. None ever survived it longer.

When Richard Steele remarked that the greatest Evils in human Society are such as no Law can come at, he was not able to forsee the spectacular success of John Gay's satire of society, the administration of law and crime, politics, the Italian opera and other topics. Gay's The Beggar's Opera, with its mixture of witty dialogue and popular songs, was imitated by 18th century writers, criticized by those on the seats of power, but remained a favourite of the English theatre public ever since. With N. Playfair's 1920 revival and B. Brecht's and K. Weill's 1928 Dreigroschenoper, Gay's play has been a starting-point for dramatists such as V. Havel (Zebrácká opera, 1975), W. Soyinka (Opera Wonyosi, 1977), Ch. Buarque (Ópera do Malandro, 1978), D. Fo (L'opera dello sghignazzo, 1981), A. Ayckbourn (A Chorus of Disapproval, 1984), as well as others such as Latouche, Hacks, Fassbinder, Dear, Wasserman, and Lepage. Apart from contributions by international scholars analysing the above-named plays, the editors' introduction covers other dramatists that have payed hommage to Gay. This interdisciplinary collection of essays is of particular interest for scholars working in the field of drama/theatre studies, the eighteenth century, contemporary drama, postcolonial studies, and politics and the stage.