After all, it seems singular, that while so stupid a piece as ‘Polly’ was prohibited, the representation of the ‘Beggars’ Opera’ still went on. The alleged offence was thus seemingly permitted, while visitation was made on an unoffending piece; and subscriptions for the printing of that piece were asked for, as we have seen, by the Duchess of Queensberry, in the very apartments of the Sovereign, who is said to have been most offended at the poet’s alleged presumption. Other poets and the players advanced in the good will of Caroline and her house by producing pieces complimentary to the Brunswick family. Thus Rich, who had offended the royal family by getting up the ‘Beggars’ Opera,’ in January 1728, produced Mrs. Haywood’s tragedy of ‘Frederick, Duke of Brunswick-Lunenberg,’ in March 1729. The authoress dedicated her play to Frederick, Prince of Wales, and her object in writing it was to represent one of the ancestors of his royal highness as raised to the imperial throne in consequence of his virtues. It may be a question whether Caroline, or her husband, or son, could approve of a subject which exhibited the Brunswick monarch falling under the dagger of an assassin. However this may be, the public was indifferent to the piece and its object; and, after being represented three times, it disappeared for ever and left the stage to be again occupied by the ‘Beggars’ Opera:’ Peachum--Walpole, Lockit--Townshend, and Mat o’ the Mint, type of easy financiers, who gaily bid the public ‘stand and deliver!’