Caroline the Illustrious, vol. 2 (of 2) : $b Queen-Consort of George II. and sometime Queen-Regent; a study of her life and timeWilkins, W. H. (William Henry)
History
Caroline the Illustrious, vol. 2 (of 2) : $b Queen-Consort of George II. and sometime Queen-Regent; a study of her life and time
Wilkins, W. H. (William Henry)
Caroline, Queen, consort of George II, King of Great Britain, 1683-1737
Gay, like Swift, also had a grievance against the Queen, though if
Swift had any reason on his side, Gay certainly had none. Caroline had
frequently showed him kindness when Princess of Wales, and had promised
to help him when it was in her power. This promise she redeemed within
a few weeks of the King’s accession. She laughingly told Mrs. Howard
that she would now take up the “Hare with many friends”--an allusion to
one of Gay’s fables--and she offered him the post of gentleman usher
to the little Princess Louisa, a sinecure with a salary of £200 a
year, which would be equivalent to £400 in the present day. There was
little else that the Queen could offer him: the public service was now
closed to writers, and as Gay was not in holy orders, he could not be
provided for in the Church. This appointment, she thought, would secure
him from want, and give him leisure for his pen. But Gay, whose head
was quite turned by the adulation of foolish women, not only refused
the Queen’s offer, but resented it as an insult. Soon after he was
taken up by the Duke and Duchess of Queensberry, who were among his
kindest friends.
The Duchess of Queensberry was one of the most beautiful and graceful
women of her day; she was a daughter of Lord Clarendon, and therefore
cousin of the late Queen Anne. She was of a haughty disposition,
and considered herself quite equal, if not superior, to the princes
of the House of Hanover. The fact that Gay had been slighted (as he
considered) by Queen Caroline was enough to make her champion his cause
more warmly. Gay soon declared war against the court and the Government
in his famous _Beggars’ Opera_, which teemed with topical allusions and
covert political satire. The character of “Bob Booty,” for instance,
was understood to be Sir Robert Walpole, and was especially a butt
for ridicule. _The Beggars’ Opera_ took the town by storm; it enjoyed
not only an unprecedented run in London, but was played in all the
great towns of England, Ireland and Scotland. It became a fashionable
craze; ladies sang the favourite songs and carried about fans depicting
incidents and characters in the piece; pictures of the actress, Miss
Fenton, who played the leading part, were sold by the thousand, and
songs and verses were composed in her honour; she became a popular
toast and a reigning beauty, and finally married the Duke of Bolton,
who ran away with her. But the Queen and Walpole resented the covert
sarcasm in the play, and when Gay, encouraged by the success of _The
Beggars’ Opera_, wrote a sequel called _Polly_, and had it ready for
rehearsal, the Duke of Grafton, Lord Chamberlain, acting under the
orders of the King, who was instigated by the Queen, refused to license
the performance. It was said that Walpole was satirized in _Polly_
under a thin disguise as a highwayman, but whatever the reason, the
prohibition of the play only made it more popular. If it could not
be played it could be read, and every one who had a grudge against
Public-domain text, read in full here on John Shaqi.
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