[215] To the honour of Sir John Fielding, he once attempted to prevent its being performed, but the attempt failed. Since that time it has been so completely disfigured by Mr. Charles Bannister being disguised in the character of Polly, and Macheath personated by Mrs. Cargill, etc. etc. etc., that no person who had the least pretensions to taste would be seen at such a drama in masquerade.
[216] "Johnson. I am of opinion that more influence has been ascribed to the Beggars' Opera than it in reality ever had; for 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." Then collecting himself, as it were to give a heavy stroke; "There is in it such a labefaction of all principles, as may be injurious to morality."—Boswell's Johnson.
[217] A very eminent physician, whose discernment is as acute and penetrating in judging of the human character as it is in his own profession, remarked once at a club where I was, that a lively young man would hardly resist a solicitation from his mistress to go upon the highway, immediately after being present at the Beggars' Opera. I have been told of an ingenious observation by Mr. Gibbon, that "the Beggars' Opera may perhaps have sometimes increased the number of highwaymen, but that it has had a beneficial effect in refining that class of men, making them less ferocious, more polite, in short, more like gentlemen." Upon this Mr. Courtenay said, that Gay was the Orpheus of highwaymen.—Note upon Boswell's Johnson, vol. i. p. 488.
[218] Glory be to great Apollo! At that auspicious period his lyre should have been new strung, and exalted in Britain; for her nobles were as much interested in the disputes between a trio of Italian singers, as they now are in those on which depends the salvation of the empire.
[219] The Ridiculous Travellers returned to Italy.
An Italian I was once talking with upon this crotchet contest, concluded an harangue, calculated to throw Gay's talents and taste into ridicule, with "Saire, this simple signor did tri to pelt mine countrymen out of England with Lumps of Pudding," another of the Beggars' Opera tunes.
[220] Doctor Arbuthnot, describing the declining state of operas (in a letter printed in the Daily Journal), says, "I take the Beggars' Opera to be the touchstone to try British taste on, and it has accordingly proved effectual in discovering our true inclinations, which, how artfully soever they may be disguised by a childish fondness for Italian poetry and music, in preference to our own, will, in one way or other, start up and disclose themselves."
[221] In the London Chronicle for April 6, 1762, is the following paragraph: "On Friday last, at the sale of the late Mr. Rich's pictures, jewels, etc., a clock by Graham was bought by the Right Honourable the Earl of Chesterfield for £42; and a scene in the Beggars' Opera, where Lucy and Polly are pleading for Macheath, painted by Hogarth, was sold for £32, 14s. to his Grace the Duke of Leeds. The money arising from the whole sale amounted to £683, 14s."
[222] The name of that right cunning workman, Filch, is not introduced in the description of the outline; by an edition of the opera, published in 1729, I find he was personated by a Mr. Clark.
[223] The part of this hero of the highway being originally cast for Quin, intimates the style in which it was thought characteristic to play it. Walker was praised for performing it with dignity!