CHAPTER IX

And the statesman, because he's so great,

Thinks his trade as honest as mine.

Certainly the songs had much to do in the matter of pleasing the audience. As a literary work, "The Beggar's Opera" has no great claims, but there is a spontaneous humour about it that has charm. But it was themilieuthat, acting on the hint thrown out years before by Swift, Gay chose that appealed to the public taste. Highwaymen and women of the town are not romantic figures, but Gay made the highwaymen handsome and lively, and the women of the town beautiful and attractive, and over them all he cast a glamour of romance and sentimentalism. Even Newgate seemed a pleasing place, for in this fantasy the author was careful to omit anything of the horrors of a prison in the early eighteenth century. Gay, in fact, did for the stage with "The Beggar's Opera" what, a century later Bulwer Lytton and Harrison Ainsworth did for the reading public with "Ernest Maltravers," "Jack Sheppard," and the rest.

The morality of the opera was much discussed. Swift took the field, and wrote in its favour in theIntelligencer(No. 3):—

"It is true, indeed, that Mr. Gay, the author of this piece, has been somewhat singular in the course of his fortune, for it has happened that after fourteen years attending the Court, with a large stock of real merit, a modest and agreeable conversation, a hundred promises, and five hundred friends, he has failed of preferment, and upon a very weighty reason. He lay under the suspicion of having written a libel, or lampoon, against a great minister. It[pg 82]is true, that great minister was demonstratively convinced, and publicly owned his conviction, that Mr. Gay was not the author; but having lain under the suspicion, it seemed very just that he should suffer the punishment; because in this most reformed age, the virtues of a prime minister are no more to be suspected than the chastity of Cæsar's wife.

"It must be allowed, that 'The Beggar's Opera' is not the first of Mr. Gay's works, wherein he has been faulty with regard to courtiers and statesmen. For, to omit his other pieces, even in his 'Fables,' published within two years past, and dedicated to the Duke of Cumberland, for which he was promised a reward, he has been thought somewhat too bold upon the courtiers. And although it be highly probable he meant only the courtiers of former times, yet he acted unwarily, by not considering that the malignity of some people might misinterpret what he said to the disadvantage of present persons and affairs.

"But I have now done with Mr. Gay as a politician and shall consider him henceforth only as the author of 'The Beggar's Opera,' wherein he has, by a turn of humour entirely new, placed vices of all kinds in the strongest and most odious light, and thereby done eminent service, both to religion and morality. This appears from the unparalleled success he has met with. All ranks, parties, and denominations of men, either crowding to see his opera, or reading it with delight in their closets; even Ministers of State, whom he is thought to have most offended (next to those whom the actors represented) appear frequently at the theatre, from a consciousness of their own innocence, and to convince the world how unjust a parallel, malice, envy, and disaffection to the Government have made.

"I am assured that several worthy clergymen in this city went privately to see 'The Beggar's Opera' represented; and that the fleering coxcombs in the pit amused themselves with making discoveries, and spreading the names of those gentlemen round the audience.

"[pg 83]I shall not pretend to vindicate a clergyman who would appear openly in his habit at the theatre, with such a vicious crew as might probably stand round him, at such comedies and profane tragedies as are often represented. Besides, I know very well, that persons of their function are bound to avoid the appearance of evil, or of giving cause of offence. But when the Lords Chancellors, who are Keepers of the King's Conscience; when the Judges of the land, whose title is reverend; when ladies, who are bound by the rules of their sex to the strictest decency, appear in the theatre without censure; I cannot understand why a young clergyman, who comes concealed out of curiosity to see an innocent and moral play, should be so highly condemned; nor do I much approve the rigour of a great prelate, who said, 'he hoped none of his clergy were there.' I am glad to hear there are no weightier objections against that reverend body, planted in this city, and I wish there never may. But I should be very sorry that any of them should be so weak as to imitate a Court chaplain in England, who preached against 'The Beggar's Opera,' which will probably do more good than a thousand sermons of so stupid, so injudicious, and so prostitute a divine.

"In this happy performance of Mr. Gay, all the characters are just, and none of them carried beyond nature, or hardly beyond practice. It discovers the whole system of that commonwealth, or thatimperium in imperioof iniquity established among us, by which neither our lives nor our properties are secure, either in the highways, or in public assemblies, or even in our own houses. It shows the miserable lives, and the constant fate, of those abandoned wretches: for how little they sell their lives and souls; betrayed by their whores, their comrades, and the receivers and purchasers of those thefts and robberies. This comedy contains likewise a satire, which, without enquiring whether it affects the present age, may possibly be useful in times to come; I mean, where the author[pg 84]takes the occasion of comparing the common robbers of the public, and their various stratagems of betraying, undermining and hanging each other, to the several arts of the politicians in times of corruption....

"Upon the whole, I deliver my judgment, that nothing but servile attachment to a party, affectation of singularity, lamentable dulness, mistaken zeal, or studied hypocrisy, can have the least reasonable objection against this excellent moral performance of the celebrated Mr. Gay."

Of course, if "The Beggar's Opera" is taken as irony, there is really nothing at all to be said against it; but the majority of any audience do not understand irony, and to many the whole thing seemed vicious, an approval of vice, and even an incitement to wrong-doing. Dr. Herring, afterwards Archbishop of Canterbury, preached against the Opera in, it is said, Lincoln's Inn Chapel, and censured it as giving encouragement not only to vice but to crimes, by making a highwayman the hero and dismissing him at last unpunished. In the Preface to Dr. Herring's "Sermons," it is added that "several street-robbers confessed in Newgate that they raised their courage at the playhouse by the songs of Macheath."[8]Others certainly shared the views of the clergyman. When on September 15th, 1773, at the Old Bailey, fifteen prisoners were sentenced to death, forty to transportation, and eight to a whipping, it is recorded that the magistrate, Sir John Fielding, "informed the Bench of Justices that he had last year written to Mr. Garrick concerning the impropriety of performing 'The Beggar's Opera,' which never was represented without creating an additional number of real thieves,"[9]and that to this effect he not only wrote to Garrick at Drury Lane Theatre, but also to Colman at Covent Garden Theatre. "Mr. Colman's compliments to Sir John Fielding," the latter replied, "he does not think his the only house in Bow Street where thieves are hardened and encouraged,[pg 85]and will persist in offering the representation of that admirable satire, 'The Beggar's Opera.'"[10]Sir John Hawkins, Chairman of the Middlesex Bench of Justices, also held the view that the Opera was harmful, and in 1776, wrote: "Rapine and violence have been gradually increasing since its first representation."[11]Dr. Johnson took a saner view, and one that was subsequently supported by Sir Walter Scott, and is generally accepted to-day. "Both these decisions are surely exaggerated," he wrote in reference to the opinions expressed by Swift and Dr. Herring. "The play, like many others, was plainly written only to divert, without any moral purpose, and is therefore likely to do good; nor can it be conceived, without more speculation than life requires or admits, to be productive of much wit. Highwaymen and housebreakers seldom frequent the playhouse or mingle in any elegant diversion; nor is it possible for anyone to imagine that he may rob as safely because he sees Macheath reprieved upon the stage."[12]And again, he said: "I do not believe that any man was ever made a rogue by being present at its representation. At the same time I do not deny that it may have some influence by making the character of a rogue familiar and in some degree pleasing."[13]

The success of the piece was immense, and its vogue tremendous. "The famous 'Beggar's Opera' appeared upon the stage early in the ensuing season; and was received with greater applause than was ever known: besides being acted in London sixty-three nights 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; and at Bath and Bristol fifty times," wrote the anonymous editor of the 1760 edition of Gay's plays.

"[pg 86]The ladies carried about with them the favourite songs of it in fans, and houses were furnished with it in screens.... The person who acted Polly, till then obscure, became all at once the favourite of the town; 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 several years."[14]According to Richard's account book, the opera ran at the theatre in Lincoln's Inn Fields for sixty-two (not sixty-three) nights, of which thirty-two nights were in succession, and these thirty-two performances realised the total sum of £5,351, Gay's share amounting to £693.[15]Swift, who was always anxious that Gay should do as well as possible, wrote to Pope on March 5th: "I hope he [Gay] does not intend to print his Opera before it is acted; for I defy all your subscriptions to amount to eight hundred pounds, and yet I believe he lost as much more, for want of human prudence."[16]The advice, however, came too late, for Gay had already sold the copyright of the "Fables" and "The Beggar's Opera" for ninety guineas. The opera was published on February 14th, 1728.

Gay was in these days the happiest man in the world. His play was successful, he was making money, and he had had his little dig at Walpole. "John Gay ... is at present so employed in the elevated airs of his Opera ... that I can scarce obtain a categorical answer ... to anything," Pope wrote to Swift in February, "but the Opera succeeds extremely, to yours and my extreme satisfaction, of which he promises this post to give you a full account."[17]

[pg 87]JOHN GAY TO DEAN SWIFT.Whitehall, February 15th, 1728."I have deferred writing to you from time to time, till I could give you an account of 'The Beggar's Opera.' It is acted at the playhouse in Lincoln's Inn Fields with such success that the playhouse has been crowded every night. To-night is the fifteenth time of acting, and it is thought it will run a fortnight longer. I have ordered Motte[18]to send the play to you the first opportunity. I have made no interest, neither for approbation or money: nor has anybody been pressed to take tickets for my benefit: notwithstanding which, I think I shall make an addition to my fortune of between six and seven hundred pounds. I know this account will give you pleasure, as I have pushed through this precarious affair without servility or flattery."As to any favours from great men, I am in the same state you left me, but I am a great deal happier, as I have no expectations. The Duchess of Queensberry has signalised her friendship to me upon this occasion in such a conspicuous manner, that I hope (for her sake) you will take care to put your fork to all its proper uses, and suffer nobody for the future to put their knives in their mouths. Lord Cobham says, I should have printed it in Italian over against the English, that the ladies might have understood what they read. The outlandish (as they now call it) Opera has been so thin of late, that some have called it the Beggar's Opera, and if the run continues, I fear I shall have remonstrances drawn up against me by the Royal Academy of Music."[19][20][pg 88]DEAN SWIFT TO JOHN GAY.Dublin, February 26th, 1728."I wonder whether you begin to taste the pleasures of independency; or whether you do not sometimes leer upon the Court,sculo retorto? Will you now think of an annuity when you are two years older, and have doubled your purchase-money? Have you dedicated your opera, and got the usual dedication fee of twenty guineas? Does W[alpole] think you intended an affront to him in your opera? Pray God he may, for he has held the longest hand at hazard that ever fell to any sharper's share, and keeps his run when the dice are charged. I bought your Opera to-day for sixpence—a cussed print. I find there is neither dedication nor preface, both which wants I approve; it is thegrand gout."JOHN GAY TO DEAN SWIFT.March 20th, 1728."'The Beggar's Opera' has been acted now thirty-six times, and was as full the last night as the first; and as yet there is not the least probability of a thin audience; though there is a discourse about the town, that the directors of the Royal Academy of Music design to solicit against its being played on the outlandish opera days, as it is now called. On the benefit day of one of the actresses, last week, they were obliged to give out another play, or dismiss the audience. A play was given out, but the people called for 'The Beggar's Opera'; and they were forced to play it, or the audience would not have stayed."I have got by all this success between seven and eight hundred pounds, and Rich (deducting the whole charge of the house) has cleared already near four thousand pounds. In about a month I am going to the Bath with the Duchess of Marlborough and Mr. Congreve; for I have no expectation of receiving any favours from the Court. The Duchess of[pg 89]Queensberry is in Wiltshire, where she has had the small-pox in so favourable a way that she had not above seven or eight on her face; she is now perfectly recovered."There is a mezzotinto print published to-day of Polly, the heroine of 'The Beggar's Opera,' who was before unknown, and is now in so high vogue that I am in doubt whether her fame does not surpass that of the Opera itself."[21]

[pg 87]JOHN GAY TO DEAN SWIFT.

"I have deferred writing to you from time to time, till I could give you an account of 'The Beggar's Opera.' It is acted at the playhouse in Lincoln's Inn Fields with such success that the playhouse has been crowded every night. To-night is the fifteenth time of acting, and it is thought it will run a fortnight longer. I have ordered Motte[18]to send the play to you the first opportunity. I have made no interest, neither for approbation or money: nor has anybody been pressed to take tickets for my benefit: notwithstanding which, I think I shall make an addition to my fortune of between six and seven hundred pounds. I know this account will give you pleasure, as I have pushed through this precarious affair without servility or flattery.

"As to any favours from great men, I am in the same state you left me, but I am a great deal happier, as I have no expectations. The Duchess of Queensberry has signalised her friendship to me upon this occasion in such a conspicuous manner, that I hope (for her sake) you will take care to put your fork to all its proper uses, and suffer nobody for the future to put their knives in their mouths. Lord Cobham says, I should have printed it in Italian over against the English, that the ladies might have understood what they read. The outlandish (as they now call it) Opera has been so thin of late, that some have called it the Beggar's Opera, and if the run continues, I fear I shall have remonstrances drawn up against me by the Royal Academy of Music."[19][20]

[pg 88]DEAN SWIFT TO JOHN GAY.

"I wonder whether you begin to taste the pleasures of independency; or whether you do not sometimes leer upon the Court,sculo retorto? Will you now think of an annuity when you are two years older, and have doubled your purchase-money? Have you dedicated your opera, and got the usual dedication fee of twenty guineas? Does W[alpole] think you intended an affront to him in your opera? Pray God he may, for he has held the longest hand at hazard that ever fell to any sharper's share, and keeps his run when the dice are charged. I bought your Opera to-day for sixpence—a cussed print. I find there is neither dedication nor preface, both which wants I approve; it is thegrand gout."

JOHN GAY TO DEAN SWIFT.

"'The Beggar's Opera' has been acted now thirty-six times, and was as full the last night as the first; and as yet there is not the least probability of a thin audience; though there is a discourse about the town, that the directors of the Royal Academy of Music design to solicit against its being played on the outlandish opera days, as it is now called. On the benefit day of one of the actresses, last week, they were obliged to give out another play, or dismiss the audience. A play was given out, but the people called for 'The Beggar's Opera'; and they were forced to play it, or the audience would not have stayed.

"I have got by all this success between seven and eight hundred pounds, and Rich (deducting the whole charge of the house) has cleared already near four thousand pounds. In about a month I am going to the Bath with the Duchess of Marlborough and Mr. Congreve; for I have no expectation of receiving any favours from the Court. The Duchess of[pg 89]Queensberry is in Wiltshire, where she has had the small-pox in so favourable a way that she had not above seven or eight on her face; she is now perfectly recovered.

"There is a mezzotinto print published to-day of Polly, the heroine of 'The Beggar's Opera,' who was before unknown, and is now in so high vogue that I am in doubt whether her fame does not surpass that of the Opera itself."[21]

Pope and Swift were keenly interested in Gay's triumph, and in their correspondence are many references to the piece. "Mr. Gay's Opera has been acted near forty days running, and will certainly continue the whole season," Pope wrote to Swift, March 23rd, 1728. "So he has more than a fence about his thousand pounds; he will soon be thinking of a fence about his two thousand. Shall no one of us live as we would wish each other to live? Shall he have no annuity, you no settlement on this side, and I no prospect of getting to you on the other?"[22]

DEAN SWIFT TO JOHN GAY.Dublin, March 28th, 1728."We have your opera for sixpence, and we are as full of itpro modulo nostroas London can be; continually acting, and house crammed, and the Lord-Lieutenant several times there, laughing his heart out. I wish you had sent me a copy, as I desired to oblige an honest bookseller. It would have done Motte no harm, for no English copy has been sold, but the Dublin one has run prodigiously."I did not understand that the scene of Lockit and Peachum's quarrel was an imitation of one between Brutus and Cassius, till I was told it."I wish Macheath, when he was going to be hanged,[pg 90]had imitated Alexander the Great, when he was dying. I would have had his fellow-rogues desire his commands about a successor, and he to answer, 'Let it be the most worthy,' etc."We hear a million of stories about the Opera, of the encore at the song, 'That was levell'd at me,' when two great ministers were in a box together, and all the world staring at them."I am heartily glad your Opera has mended your purse, though perhaps it may spoil your Court."I think that rich rogue, Rich, should in conscience make you a present of two or three hundred guineas. I am impatient that such a dog, by sitting still, should get five times more than the author."You told me a month ago of £700, and have you not yet made up the eighth? I know not your methods. How many third days are you allowed, and how much is each day worth, and what did you get for copy?"Will you desire my Lord Bolingbroke, Mr. Pulteney, and Mr. Pope, to command you to buy an annuity with two thousand pounds? that you may laugh at Courts, and bid Ministers 'hiss, etc.'—and ten to one they will be ready to grease you when you are fat."I hope your new Duchess will treat you at the Bath, and that you will be too wise to lose your money at play."Get me likewise Polly's mezzotinto."Lord, how the schoolboys at Westminster and university lads adore you at this juncture! Have you made as many men laugh as ministers can make weep."

DEAN SWIFT TO JOHN GAY.

"We have your opera for sixpence, and we are as full of itpro modulo nostroas London can be; continually acting, and house crammed, and the Lord-Lieutenant several times there, laughing his heart out. I wish you had sent me a copy, as I desired to oblige an honest bookseller. It would have done Motte no harm, for no English copy has been sold, but the Dublin one has run prodigiously.

"I did not understand that the scene of Lockit and Peachum's quarrel was an imitation of one between Brutus and Cassius, till I was told it.

"I wish Macheath, when he was going to be hanged,[pg 90]had imitated Alexander the Great, when he was dying. I would have had his fellow-rogues desire his commands about a successor, and he to answer, 'Let it be the most worthy,' etc.

"We hear a million of stories about the Opera, of the encore at the song, 'That was levell'd at me,' when two great ministers were in a box together, and all the world staring at them.

"I am heartily glad your Opera has mended your purse, though perhaps it may spoil your Court.

"I think that rich rogue, Rich, should in conscience make you a present of two or three hundred guineas. I am impatient that such a dog, by sitting still, should get five times more than the author.

"You told me a month ago of £700, and have you not yet made up the eighth? I know not your methods. How many third days are you allowed, and how much is each day worth, and what did you get for copy?

"Will you desire my Lord Bolingbroke, Mr. Pulteney, and Mr. Pope, to command you to buy an annuity with two thousand pounds? that you may laugh at Courts, and bid Ministers 'hiss, etc.'—and ten to one they will be ready to grease you when you are fat.

"I hope your new Duchess will treat you at the Bath, and that you will be too wise to lose your money at play.

"Get me likewise Polly's mezzotinto.

"Lord, how the schoolboys at Westminster and university lads adore you at this juncture! Have you made as many men laugh as ministers can make weep."

Colley Cibber, in his "Apology" said that "Gay had more skilfully gratified the public taste than all the brightest authors that ever wrote before him," and although this was undoubtedly a piece of friendly exaggeration, it is a fact that John Gay was now a personage. "Mr. Gay's fame continues; but his riches are in a fair way of diminishing; he is gone to the Bath," Martha Blount wrote to Swift,[pg 91]May 7th;[23]and two months later, with great pride, Gay told Swift, "My portrait mezzotinto is published from Mrs. Howard's painting."[24]Indirectly, he secured further notoriety when, in the summer, Lavinia Fenton, who had played the heroine in the Opera, ran away with a Duke. "The Duke of Bolton, I hear," he wrote to Swift from Bath, "has run away with Polly Peachum, having settled £400 a year on her during pleasure, and upon disagreement £200 a year."[25]She had played in the whole sixty-three performances of the Opera, the forty-seventh performance being set aside for her benefit. The sixty-third performance took place on June 19th, and that was her last appearance on the boards of a theatre. In 1751, shortly after the death of his wife, the Duke married her, she being then about forty-three, and he sixty-six.[26]

Footnotes:

[1]

Swift:Work(ed. Scott), XVII, p. 157.

[2]

Ibid., XVII, p. 162.

[3]

Seep. 41 of this work.

[4]

Spence:Anecdotes(ed. Singer), p. 159.

[5]

Pope:Works(ed. Elwin and Courthope), VII, p. 111.

[6]

Boswell:Life of Johnson(ed. Hill), II, p. 368.

[7]

Spence:Anecdotes, p. 159.

[8]

Dr. Herring:Sermons(1763), p. 5.

[9]

Annual Register(1773), I, p. 132.

[10]

Genest:History of the Stage, III, p. 223.

[11]

History of Music, V, p. 317.

[12]

Lives of the Poets(ed. Hill), III, p. 278.

[13]

Boswell:Life of Johnson(ed. Hill), II, p. 367.

[14]

Plays Written by Mr. John Gay: With an Account of the Life and Writings of the Author(1760), VIII.

[15]

Notes and Queries, First Series, I, 178.

[16]

Swift:Works(ed. Scott), XVII, p. 216.

[17]

Swift:Works(ed. Scott), XVII, p. 165.

[18]

Benjamin Motte, the bookseller.

[19]

The managers and patrons of the Italian Opera, with the King at their head, had formed themselves into an association under this title.

[20]

Swift:Works(ed. Scott), XVII, p. 176.

[21]

Swift:Works(ed. Scott), XVII, p. 180.

[22]

Ibid., XVII, p. 183.

[23]

Swift:Works(ed. Scott), XVII, p. 176.

[24]

Ibid., XVII, p. 189.

[25]

Ibid., XVII, p. 188.

[26]

"The Beggar's Opera" has been revived many times. The last and most successful revival was produced by Mr. Nigel Playfair in June, 1920. At the moment of going to press the first anniversary of the revival has just been celebrated. A copy of the programme of the first performance of this revival is printed, by kind permission of Mr. Playfair, on page 162 of this work.

[pg 92]

The success of "The Beggar's Opera" heartened Gay, as a first great success heartens any man. At once he conceived the idea of following up this triumph with another opera, but, before actually getting to work, he took things easily. In March he stayed at Cashiobury with Pulteney, visiting from there Lord Bathurst and the Bolingbrokes. Shortly after he went to Bath, where he found many friends, including Henrietta, Duchess of Marlborough.

JOHN GAY TO DEAN SWIFT.Bath, May 16th, 1728."I have been at the Bath about ten days, and I have played at no game but once, and that at backgammon with Mr. Lewis, who is very much your humble servant. He is here upon account of the ill state of health of his wife, who has as yet found very little benefit from the waters. Lord and Lady Bolingbroke are here; and I think she is better than when I came; they stay, as I guess, only about a fortnight longer. They both desired me to make their compliments; as does Mr. Congreve, who is in a very ill state of health, but somewhat better since he came here.... I do not know how long I shall stay here, because I am now, as I have been all my life, at the disposal of others. I drink the waters, and am in hopes to lay in a stock of health, some of which I wish to communicate to you.... 'The Beggar's Opera' is acted here; but our Polly has got no fame, though the actors have got money. I have[pg 93]sent [you] by Dr. Delany, the Opera, Polly Peachum, and Captain Macheath. I would have sent you my own head (which is now engraving to make up the gang), but it is not yet finished. I suppose you must have heard that I have had the honour to have had a sermon preached against my works by a Court chaplain, which I look upon as no small addition to my fame."[1]JOHN GAY TO DEAN SWIFT.Bath, July 6th, 1728."In five or six days I set out upon an excursion to Herefordshire, to Lady Scudamore's, but shall return here the beginning of August.... The weather is extremely hot, the place is very empty; I have an inclination to study, but the heat makes it impossible."[2]

JOHN GAY TO DEAN SWIFT.

"I have been at the Bath about ten days, and I have played at no game but once, and that at backgammon with Mr. Lewis, who is very much your humble servant. He is here upon account of the ill state of health of his wife, who has as yet found very little benefit from the waters. Lord and Lady Bolingbroke are here; and I think she is better than when I came; they stay, as I guess, only about a fortnight longer. They both desired me to make their compliments; as does Mr. Congreve, who is in a very ill state of health, but somewhat better since he came here.... I do not know how long I shall stay here, because I am now, as I have been all my life, at the disposal of others. I drink the waters, and am in hopes to lay in a stock of health, some of which I wish to communicate to you.... 'The Beggar's Opera' is acted here; but our Polly has got no fame, though the actors have got money. I have[pg 93]sent [you] by Dr. Delany, the Opera, Polly Peachum, and Captain Macheath. I would have sent you my own head (which is now engraving to make up the gang), but it is not yet finished. I suppose you must have heard that I have had the honour to have had a sermon preached against my works by a Court chaplain, which I look upon as no small addition to my fame."[1]

JOHN GAY TO DEAN SWIFT.

"In five or six days I set out upon an excursion to Herefordshire, to Lady Scudamore's, but shall return here the beginning of August.... The weather is extremely hot, the place is very empty; I have an inclination to study, but the heat makes it impossible."[2]

"I suppose Mr. Gay will return from the Bath with twenty pounds more flesh and two hundred pounds less in money," Swift wrote to Pope on July 16th. "Providence never designed him to be above two-and-twenty, by this thoughtlessness and cullibility. He has as little foresight of age, sickness, poverty, or loss of admirers, as a girl of fifteen."[3]From this it may be deduced that Gay, whenever he was free from an attack of colic, persevered in the pleasures of the table and of his favourite quadrille.

JOHN GAY TO ALEXANDER POPE.August 2nd, 1728."I have heard more than once from our friend at Court, who seemed, in the letter she writ, to be in high health and spirits. Considering the multiplicity of pleasures and delights that one is overrun with in those places, I wonder how anyone has health and spirits enough to support them. I am heartily glad she has, and whenever I hear so, I find it contributes to mine. You see, I am not free from[pg 94]dependence, though I have less attendance than I had formerly; for a great deal of my own welfare still depends upon hers. Is the widow's house to be disposed of yet? I have not given up my pretensions to the Dean. If it was to be parted with, I wish one of us had it. I hope you wish so too, and that Mrs. Blount and Mrs. Howard wish the same, and for the very same reason that I wish it."[4]THE HON. MRS. HOWARD TO JOHN GAY.Hampton Court, August [1728]."I am glad you have passed your time so agreeable. I need not tell you how mine has been employed; but as I know you wish me well, I am sure you will be glad to hear that I am much better; whether I owe it to the operation I underwent, or to my medicines, I cannot tell; but I begin to think I shall entirely get the better of my illness. I have written to Dr. Arbuthnot, both to give him a particular account, and to ask his opinion about the Bath. I know him so well that, though in this last illness he was not my physician, he is so much my friend, that he is glad I am better. Put him in mind to tell me what he would have me do in relation to Lady F.; and to send me a direction to write to her."I have made Mr. Nash governor to Lord Peterborough, and Lord Peterborough governor to Mr. Pope. If I should come to the Bath, I propose being governess to the Doctor [Arbuthnot] and you. I know you both to be so unruly, that nothing less than Lady P.'s spirit or mine could keep any authority over you. When you write to Lady Scudamore, make my compliments to her. I have had two letters from Chesterfield, which I wanted you to answer for me; and I have had a thousand other things that I have wanted you to do for me; but, upon my word, I have not had one place to dispose of, or you should not be without one.... My humble service to the Duchess of Marlborough and Mr. Congreve."[pg 95]JOHN GAY TO DEAN SWIFT.London, December 2nd, 1728."I have had a very severe attack of a fever, which, by the care of our friend, Dr. Arbuthnot, has, I hope, almost left me. I have been confined about ten days, but never to my bed, so that I hope soon to get abroad about my business; that is, the care of the second part of 'The Beggar's Opera,' which was almost ready for rehearsal; but Rich received the Duke of Grafton's commands (upon an information that he was rehearsing a play improper to be represented), not to rehearse any new play whatever, till his Grace has seen it. What will become of it I know not; but I am sure I have written nothing that can be legally suppressed, unless the setting vices in general in an odious light, and virtue in an amiable one, may give offence."I passed five or six months this year at the Bath with the Duchess of Marlborough; and then, in the view of taking care of myself, writ this piece. If it goes on in case of success, I have taken care to make better bargains for myself."[5]

JOHN GAY TO ALEXANDER POPE.

"I have heard more than once from our friend at Court, who seemed, in the letter she writ, to be in high health and spirits. Considering the multiplicity of pleasures and delights that one is overrun with in those places, I wonder how anyone has health and spirits enough to support them. I am heartily glad she has, and whenever I hear so, I find it contributes to mine. You see, I am not free from[pg 94]dependence, though I have less attendance than I had formerly; for a great deal of my own welfare still depends upon hers. Is the widow's house to be disposed of yet? I have not given up my pretensions to the Dean. If it was to be parted with, I wish one of us had it. I hope you wish so too, and that Mrs. Blount and Mrs. Howard wish the same, and for the very same reason that I wish it."[4]

THE HON. MRS. HOWARD TO JOHN GAY.

"I am glad you have passed your time so agreeable. I need not tell you how mine has been employed; but as I know you wish me well, I am sure you will be glad to hear that I am much better; whether I owe it to the operation I underwent, or to my medicines, I cannot tell; but I begin to think I shall entirely get the better of my illness. I have written to Dr. Arbuthnot, both to give him a particular account, and to ask his opinion about the Bath. I know him so well that, though in this last illness he was not my physician, he is so much my friend, that he is glad I am better. Put him in mind to tell me what he would have me do in relation to Lady F.; and to send me a direction to write to her.

"I have made Mr. Nash governor to Lord Peterborough, and Lord Peterborough governor to Mr. Pope. If I should come to the Bath, I propose being governess to the Doctor [Arbuthnot] and you. I know you both to be so unruly, that nothing less than Lady P.'s spirit or mine could keep any authority over you. When you write to Lady Scudamore, make my compliments to her. I have had two letters from Chesterfield, which I wanted you to answer for me; and I have had a thousand other things that I have wanted you to do for me; but, upon my word, I have not had one place to dispose of, or you should not be without one.... My humble service to the Duchess of Marlborough and Mr. Congreve."

[pg 95]JOHN GAY TO DEAN SWIFT.

"I have had a very severe attack of a fever, which, by the care of our friend, Dr. Arbuthnot, has, I hope, almost left me. I have been confined about ten days, but never to my bed, so that I hope soon to get abroad about my business; that is, the care of the second part of 'The Beggar's Opera,' which was almost ready for rehearsal; but Rich received the Duke of Grafton's commands (upon an information that he was rehearsing a play improper to be represented), not to rehearse any new play whatever, till his Grace has seen it. What will become of it I know not; but I am sure I have written nothing that can be legally suppressed, unless the setting vices in general in an odious light, and virtue in an amiable one, may give offence.

"I passed five or six months this year at the Bath with the Duchess of Marlborough; and then, in the view of taking care of myself, writ this piece. If it goes on in case of success, I have taken care to make better bargains for myself."[5]

Gay was naturally greatly elated by the success of "The Beggar's Opera." This recompensed him for the neglect, or, as undoubtedly he regarded it, the ingratitude of the Court, and, what pleased him as much, it filled his purse, which he always liked to fill, apparently for the joy of emptying it as soon as possible. Also, it greatly enhanced his reputation: from a writer of minor importance, he now took his place as a personage. After a long apprenticeship, he had at length "arrived."

Thus encouraged, he promptly composed a sequel to "The Beggar's Opera," which he called by the name of the heroine of that piece, that is to say, "Polly." The best summary of "Polly" has been given by Mr. Paull, in his interesting paper on Gay[6]:—

"Macheath has been transported across the herring-pond ...[pg 96]He succeeds in escaping from the plantations, and has become the leader of a band of pirates, under an assumed name, and disguised as a black man. Jenny Driver is now his mistress (presumably he has forgotten her treachery in 'The Beggar's Opera'). Polly sails across the ocean to find him, but is entrapped by Mrs. Trapes, a procuress, who sells her to Ducat, a rich merchant. Mrs. Ducat, who is jealous, helps Polly to escape; she assumes a boy's dress and continues her search for Macheath. She is captured by the pirates, and she and Macheath meet, neither recognising the other. The pirates are attacking the English settlement; the Indians are helping the settlers. At first the pirates are successful, and the young Indian Prince is captured, but ultimately they are defeated, Polly herself capturing Macheath, who is condemned to death by the Indian Prince. Then she learns from Jenny Driver who the pirate chief is, and his life is promised her as her reward; but his execution has already taken place, and she has to console herself with the hand of the Indian Prince, who has fallen in love with her. Even this skeleton will show that the novelty and unity of design which counted for so much in 'The Beggar's Opera' are changed for intricacy of plot. There is no cohesion in the story: there is no reason why the catastrophe should be brought about in one way rather than another; what interest there is turns on an improbable story rather than on the development of character. Evidently Gay reckoned largely on the opportunities he had afforded himself for satire on the Court, and for contrasting the noble and untutored savage with the man tainted by the vices of civilisation."

"Polly" was accepted for production by Rich at the theatre in Lincoln's Inn Fields: the subsequent proceedings are but told by the author himself in his Preface, dated March 25th, 1729, to the printed version of the book of the opera:—

"After Mr. Rich and I were agreed upon terms and[pg 97]conditions for bringing this piece on the stage, and that everything was ready for a rehearsal, the Lord Chamberlain sent an order from the country to prohibit Mr. Rich to suffer any play to be rehearsed upon his stage till it has been first of all supervised by his Grace. As soon as Mr. Rich came from his Grace's secretary (who had sent for him to receive the before-mentioned order) he came to my lodgings and acquainted me with the orders he had received.

"Upon the Lord Chamberlain's coming to town I was confined by sickness, but in four or five days I went abroad on purpose to wait upon his Grace, with a faithful and genuine copy of this piece, excepting theerrataof the transcriber.

"As I have heard several suggestions and false insinuations concerning the copy, I take this occasion in the most solemn manner to affirm, that the very copy I delivered to Mr. Rich was written in my own hand, some months before at the Bath, from my own first foul blotted papers; from this, that for the playhouse was transcribed, from whence Mr. Steele, the prompter, copied that which I delivered to the Lord Chamberlain; and, excepting my own foul blotted papers, I do protest I know of no other copy whatsoever, than those I have mentioned.

"The copy which I gave into the hands of Mr. Rich had been seen before by several persons of the greatest distinction and veracity, who will do me the honour and justice to attest it; so that not only by them, but by Mr. Rich and Mr. Steele, I can (against all insinuation or positive affirmation) prove in the most clear and undeniable manner, if occasion required, what I have here upon my own honour and credit asserted. The Introduction, indeed, was not shown to the Lord Chamberlain, which, as I had not then settled, was never transcribed in the playhouse copy.

"It was on Saturday morning, December 7th, 1728, that I waited upon the Lord Chamberlain. I desired to have the honour of reading the Opera to his Grace, but he[pg 98]ordered me to leave it with him, which I did upon expectation of having it returned on the Monday following; but I had it not till Thursday, December 12th, when I received it from his Grace with this answer, 'that it was not allowed to be acted, but commanded to be suppressed.' This was told me in general, without any reason assigned, or any charge against me, of my having given any particular offence.

"Since this prohibition, I have been told, that I am accused, in general terms, of having written many disaffected libels and seditious pamphlets. As it hath ever been my utmost ambition (if that word may be used on this ocasion) to lead a quiet and inoffensive life, I thought my innocence in this particular would never have required a justification; and as this kind of writing is what I have ever detested, and never practised, I am persuaded so groundless a calumny can never be believed but by those who do not know me. But as general aspersions of this sort have been cast upon me, I think myself called upon to declare my principles; and I do, with the strictest truth, affirm that I am as loyal a subject, and as firmly attached to the present happy establishment, as any of those who have the greatest places or pensions. I have been informed too, that, in the following play, I have been charged with writing immoralities; that it is filled with slander, and calumny against particular great persons, and that Majesty itself is endeavoured to be brought into ridicule and contempt.

"As I knew every one of these charges was in every point absolutely false and without the least grounds, at first I was not at all affected by them; but when I found they were still insisted upon, and that particular passages, which were not in the play, were quoted, and propagated to support what had been suggested, I could no longer bear to lie under those false accusations; so, by printing it, I have submitted and given up all present views of profit which might accrue from the stage; which undoubtedly will be some satisfaction to the worthy gentlemen[pg 99]who have treated me with so much candour and humanity, and represented me in such favourable colours.

"But as I am conscious to myself, that my only intention was to lash, in general, the reigning of fashionable vices, and to recommend and set virtue in as amiable light as I could; to justify and vindicate my own character, I thought myself obliged to print the Opera without delay, in the manner I have done.

"As the play was principally designed for representation, I hope, when it is read, it will be considered in that light; and when all that hath been said against it shall appear to be entirely misunderstood or misrepresented; if, some time hence, it should be permitted to appear on the stage, I think it necessary to acquaint the public that, as far as a contract of this kind can be binding, I am engaged to Mr. Rich to have it represented upon his theatre."

It cannot be denied that there was adequate ground for the Lord Chamberlain'sveto. In "The Beggar's Opera" Gay had beyond all question lampooned Walpole, and in "Polly" he returned to the attack, there being no doubt that in the opening scene, Ducat, the West Indian planter, was intended for the Minister. The production might well have led to disturbances if both political parties had been represented at the first performance. Walpole was the least vindictive of men, as witness his generous attitude towards Sunderland and the other ministers involved in the scandal of the South Sea "Bubble," but he may well have thought that Gay was going too far. Gay himself was harmless, but, as Walpole knew, the author, either consciously or unconsciously, was acting for the Opposition party; and Walpole, when he thought it worth while, had a short and effective way with his political enemies.

The prohibition being largely an affair of party, or at least being so regarded, a battle royal ensued. "Polly" could not be performed in public, but, there being no censorship of books, it could be printed. Gay's friends, therefore,[pg 100]decided that the Opera should be published by subscription. To a man and a woman the Opposition rallied round the author. The Duchess of Queensberry "touted" for him everywhere, even at Court. The King at a Drawing-room asked what she was doing. "What must be agreeable, I am sure," she replied, "to anyone so humane as your Majesty, for it is an act of charity, and a charity to which I do not despair of bringing your Majesty to contribute." This, of course, was a gratuitous piece of impertinence—for the Lord Chamberlain acts as the official mouthpiece of the Sovereign—and it could not be overlooked. Another story is: The Duchess was so vehement in her attempt to have the embargo removed from Gay's play, that she offered to read it to His Majesty in his closet, that he might be satisfied there was no offence in it. George II escaped from this dilemma by saying, he should be delighted to receive her Grace in his closet, but he hoped to amuse her better than by the literary employment she proposed.[7]

Whatever the true story, the day after the Duchess's interview with the King (February 27th, 1729), William Stanhope, the Vice-Chamberlain, carried to the Duchess a verbal message not to come to Court; whereupon she sat down and wrote a letter for him to take to his Majesty. "The Duchess of Queensberry," so ran her reply, "is surprised and well pleased that the King hath given her so agreeable a command as to stay from Court, where she never came for diversion, but to bestow a great civility on the King and Queen; she hopes by such an unprecedented order as this is, that the King will see as few as he wishes at his Court, particularly such as are to think or speak truth. I dare not do otherwise, and ought not, nor could have imagined that it would not have been the very highest compliment that I could possibly pay the King to endeavour to support truth and innocence in his house, particularly when the King and Queen both told me that they had not read Mr. Gay's play. I have certainly[pg 101]done right, then, to stand by my own words rather than his Grace of Grafton's, who hath neither made use of truth, judgment, nor honour, through this whole affair, either for himself or his friends."[8]Stanhope read this, and begged the Duchess to reflect before sending it. She consented to write another letter, did so, and handed it to him. He chose the first. The Duke of Queensberry supported his wife, and although the King pressed him to remain, resigned his office of Admiral of Scotland—though Gay wrote to Swift,[9]"this he would have done, if the Duchess had not met with this treatment, upon account of ill-usage from the Ministers," and that this incident "hastened him in what he had determined." The affair created an immense sensation in Court circles. "The Duchess of Queensberry is still the talk of the town. She is going to Scotland," Mrs. Pendarves wrote to Mrs. Anne Granville, March 14th, 1729.... "My Lady Hervey told her the other day that 'now she was banished, the Court had lost its chief ornament,' the Duchess replied, 'I am entirely of your mind.' It is thought my Lady Hervey spoke to her with a sneer, if so, her Grace's answer was a very good one."[10]

One of the immediate results of the campaign was that the apartments that had been granted to Gay in Whitehall, which belonged to the Crown, had, by order, to be surrendered. On the other hand, two large editions, amounting to 10,500 copies, of "Polly, An Opera: being the Second Part of 'The Beggar's Opera.' Written by Mr. Gay. With the Songs and Basses engraved on Copper-plates," were printed in 1729, and from the sale Gay derived between £1,100 and £1,200.[11]In 1777 Colman produced "Polly" in a revised version, but it failed to attract.

There was an end of Gay's hopes of Court preferment,[pg 102]that was clear to every one. It was not unexpected. "I wish John Gay success in his pursuit," Bolingbroke had written to Swift in June, 1727, "but I think he has some qualities which will keep him down in the world."[12]When the worst was known, Arbuthnot wrote to Swift on the following November 30th: "There is certainly a fatality upon poor Gay. As for hope of preferment [at St. James's], he has laid it aside. He has made a pretty good bargain (that is, a Smithfield one) for a little place in the Custom-house, which was to bring him in about a hundred a year. It was done as a favour to an old man, and not at all to Gay. When everything was concluded, the man repented, and said he would not part with his place. I have begged Gay not to buy an annuity upon my life; I am sure I should not live a week."[13]

It may be that Gay thought that he might in time live down the disfavour at Court in which he had been involved by the Duke and Duchess of Queensberry and his other partisans. He may even have had a momentary hope, in 1730, when the office of Poet-Laureate was vacant that the position might be offered to him, who had written "Fables" for a young Prince. When Colley Cibber was appointed, Gay probably had it brought home to him that his day as a courtier had passed for good and all. Certainly he is credited, though on what authority is not known, with a share in the burlesque, "Ode for the New Year [1731]. Written by Colley Cibber, Esq.," in which his disappointment is vented in somewhat coarse expression. This begins,

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