THE INTELLIGENCER, NUMB. III.[1]
—Ipse per omnes
Ibit personas, et turbam reddet in unam.[2]
The players having now almost done with the comedy, called the "Beggar's Opera,"[3] for this season, it may be no unpleasant speculation, to reflect a little upon this dramatic piece, so singular in the subject, and the manner, so much an original, and which hath frequently given so very agreeable an entertainment.[4]
Although an evil taste be very apt to prevail, both here, and in London, yet there is a point which whoever can rightly touch, will never fail of pleasing a very great majority; so great, that the dislikers, out of dullness or affectation will be silent, and forced to fall in with the herd; the point I mean, is what we call humour, which in its perfection is allowed to be much preferable to wit, if it be not rather the most useful, and agreeable species of it.
I agree with Sir William Temple, that the word is peculiar to our English tongue, but I differ from him in the opinion, that the thing itself is peculiar to the English nation,[5] because the contrary may be found in many Spanish, Italian and French productions, and particularly, whoever hath a taste for true humour, will find a hundred instances of it in those volumes printed in France, under the name of Le Théâtre Italien,[6] to say nothing of Rabelais, Cervantes, and many others.
Now I take the comedy or farce, (or whatever name the critics will allow it) called the "Beggar's Opera"; to excel in this article of humour; and, upon that merit, to have met with such prodigious success both here, and in England.
As to poetry, eloquence and music, which are said to have most power over the minds of men, it is certain that very few have a taste or judgment of the excellencies of the two former, and if a man succeeds in either, it is upon the authority of those few judges, that lend their taste to the bulk of readers, who have none of their own. I am told there are as few good judges in music, and that among those who crowd the operas, nine in ten go thither merely out of curiosity, fashion, or affectation.
But a taste for humour is in some manner fixed to the very nature of man, and generally obvious to the vulgar, except upon subjects too refined, and superior to their understanding.
And as this taste of humour is purely natural, so is humour itself, neither is it a talent confined to men of wit, or learning; for we observe it sometimes among common servants, and the meanest of the people, while the very owners are often ignorant of the gift they possess.
I know very well, that this happy talent is contemptibly treated by critics, under the name of low humour, or low comedy; but I know likewise, that the Spaniards and Italians, who are allowed to have the most wit of any nation in Europe, do most excel in it, and do most esteem it.
By what disposition of the mind, what influence of the stars, or what situation of the climate this endowment is bestowed upon mankind, may be a question fit for philosophers to discuss. It is certainly the best ingredient toward that kind of satire, which is most useful, and gives the least offence; which instead of lashing, laughs men out of their follies, and vices, and is the character which gives Horace the preference to Juvenal.
And although some things are too serious, solemn or sacred to be turned into ridicule, yet the abuses of them are certainly not, since it is allowed that corruption in religion, politics, and law, may be proper topics for this kind of satire.
There are two ends that men propose in writing satire, one of them less noble than the other, as regarding nothing further than personal satisfaction, and pleasure of the writer; but without any view towards personal malice; the other is a public spirit, prompting men of genius and virtue, to mend the world as far as they are able. And as both these ends are innocent, so the latter is highly commendable. With regard to the former, I demand whether I have not as good a title to laugh, as men have to be ridiculous, and to expose vice, as another hath to be vicious. If I ridicule the follies and corruptions of a court, a ministry, or a senate; are they not amply paid by pensions, titles, and power, while I expect and desire no other reward, than that of laughing with a few friends in a corner. Yet, if those who take offence, think me in the wrong, I am ready to change the scene with them, whenever they please.
But if my design be to make mankind better, then I think it is my duty, at least I am sure it is the interest of those very courts and ministers, whose follies or vices I ridicule, to reward me for my good intentions; for, if it be reckoned a high point of wisdom to get the laughers on our side, it is much more easy, as well as wise to get those on our side, who can make millions laugh when they please.
My reason for mentioning courts, and ministers, (whom I never think on, but with the most profound veneration) is because an opinion obtains that in the "Beggar's Opera" there appears to be some reflection upon courtiers and statesmen, whereof I am by no means a judge[7].
It is true indeed that Mr. Gay, the author of this piece, hath been somewhat singular in the course of his fortunes, for it hath 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] hath failed of preferment, and upon a very weighty reason. He lay under the suspicion of having written a libel, or lampoon against a great m[inister][8]. It is true that great m[inister] 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 great m[inister] are no more to be suspected, than the chastity of Caesar's wife.
It must be allowed, that the "Beggar's Opera" is not the first of Mr. Gay's works, wherein he hath 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[9]; he hath been thought somewhat too bold upon courtiers. And although it is 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 henceforward only as author of the "Beggar's Opera," wherein he hath 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 hath 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 more immediately represent) appearing 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.
I shall not pretend to vindicate a clergyman, who would appear openly in his habit at a theatre, among such a vicious crew, as would probably stand round him, and at such lewd 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 goes 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 p[rela]te, 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[10].
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 that imperium in imperio of 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 shews 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 these thefts and robberies. This comedy contains likewise a satire, which, although it doth by no means affect the present age, yet might have been useful in the former, and may possibly be so in ages to come. I mean where the author takes occasion of comparing those common robbers to robbers of the public;[11] and their several stratagems of betraying, undermining, and hanging each other,[12] to the several arts of politicians in times of corruption.
This comedy likewise exposeth with great justice, that unnatural taste for Italian music among us,[13] which is wholly unsuitable to our northern climate, and the genius of the people, whereby we are over-run with Italian effeminacy, and Italian nonsense. An old gentleman said to me, that many years ago, when the practice of an unnatural vice grew so frequent in London, that many were prosecuted for it, he was sure it would be a forerunner[14] of Italian operas, and singers; and then we should want nothing but stabbing or poisoning, to make us perfect Italians.
Upon the whole, I deliver my judgment, that nothing but servile attachment to a party, affectation of singularity, lamentable dullness, mistaken zeal, or studied hypocrisy, can have the least reasonable objection against this excellent moral performance of the celebrated Mr. Gay.
[Footnote 1: See title in note above, p. 313. [T.S.]
[Footnote 2: "He will go among the people, and will draw a crowd together." [T.S.]
[Footnote 3: Gay's "The Beggar's Opera" was produced by Rich at the Theatre Royal in Lincoln's Inn Fields, January 29th, 1727/8, and published in book form in 1728. It was shortly afterwards performed in Dublin, Bath, and other places. [T.S.]
[Footnote 4: Writing to Pope, May 10th, 1728, Swift says: "Mr. Gay's Opera has been acted here twenty times, and my lord lieutenant tells me it is very well performed; he has seen it often, and approves it much.... 'The Beggar's Opera' has done its task, discedat uti conviva satur" (Scott's edition, xvii. 188-9). [T.S.]
[Footnote 5: In his essay "Of Poetry," Sir William Temple, writing of dramatic poetry, says: "Yet I am deceived, if our English has not in some kind excelled both the modern and the ancient, which has been by force of a vein natural perhaps to our country, and which with us is called humour, a word peculiar to our language too, and hard to be expressed in any other;" etc.—"Works," vol. i., p. 247 (1720). [T.S.]
[Footnote 6: "Le Théâtre Italian, ou le Recueil de toutes les Comédies et Scènes Françoises, qui out été jouées sur le Théâtre Italian." The collection was edited by Evariste Gherardi, and published in 1695. Two further volumes were issued in 1698, the third containing complete plays. The collection was afterwards extended to six volumes. [T.S.]
[Footnote 7: A modern writer says of it: "It bristles with keen, well-pointed satire on the corrupt and venal politicians and courtiers of the day" (W.H. Husk in Grove's "Dict. of Music").[T.S.]
[Footnote 8: In the character of Robin of Bagshot Gay intended Sir Robert Walpole.[T.S.]
[Footnote 9: Gay's "Fables" was first published in 1727, with a dedication "To his Highness William Duke of Cumberland." The Fables are said to have been "invented for his amusement." Cumberland was the second son of George, Prince of Wales, and was afterwards known as "the butcher."[T.S.]
[Footnote 10: Dr. Thomas Herring, preacher at Lincoln's Inn, and afterwards Archbishop of Canterbury, preached a sermon against "The Beggar's Opera" in March, 1727-8. It is referred to in a letter to the "Whitehall Evening Post," dated March 30th, 1728, reprinted in the Appendix to "Letters from Dr. T. Herring to W. Duncombe," 1777. As Archbishop of York, Herring interested himself greatly, during the rebellion of 1745, in forming an association for the defence of the liberties of the people and the constitution of the country. Writing to Swift, under date May 16th, 1728, Gay remarks: "I suppose you must have heard, that I 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" (Scott, xvii. 194). [T.S.]
[Footnote 11: The edition of 1729 has "those common robbers of the public." [T.S.]
[Footnote 12: Peachum says: "Can it be expected that we should hang our acquaintance for nothing, when our betters will hardly save theirs without being paid for it?"—Act II., sc. x. [T.S.]
[Footnote 13: The rivalry between Handel and the Italian composers had then been keen for nearly twenty years. [T.S.]
[Footnote 14: The edition of 1729 has "the fore-runner." [T.S.]