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. "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.