song after song to Polly, with a few unmeaning words of prose “dialogue” between, we have no suspicion that he is ridiculing the absurd formula of the Italian opera. The actor does nothing to indicate anything of the kind. He is solely intent on singing his songs well, and we are solely intent on hearing them sung. Instead of being a burlesque upon opera, it is an opera itself, recommended only in that it possesses the one enjoyable element of an opera—good music. This is only another proof that the burlesque writer can never trust to his satire and his “purpose,” to make his piece “go” with the public. Aristophanes introduced the gross jokes, which he condemned, to rescue his satire from dulness; and Gay adopted sprightly airs, for the same purpose. Walker, who first played Macheath, was a better actor than he was a singer; and it is probable that, to this circumstance, the _Beggar’s Opera_ owes its great reputation as a burlesque. Walker imitated the manner of the Italian actors to perfection, and caused roars of laughter by gestures and by mimicry of operatic action, which are now altogether lost sight of. Had Quin, for whom the part was originally intended, played Macheath, the burlesque of the piece would, probably, never have been brought out; and the _Beggar’s Opera_ would have been originally what it is now—simply a pleasing burletta. The most opposite opinions were expressed with regard to the piece at the time. Swift said, “It placed all kinds of vice in the strongest and most odious light.” Another critic asserted that, “after an exhibition of the _Beggar’s Opera_, the gains of robbers were multiplied.” Dr. Johnson declares both these decisions to be exaggerated, and hits the real truth—a truth which applies to the burlesque drama universally. “The play,” he says, “was written only to divert, without any moral purpose, and is therefore not likely to do good; nor can it be conceived, without more speculation than life requires and admits, to be productive of much evil. Highwaymen and housebreakers seldom frequent the playhouse, or mingle in elegant diversions; nor is it possible for any one to imagine that he may rob in safety, because he sees Macheath reprieved upon the stage.” The doctor’s first remark was literally true. The piece was written solely to divert. Gay aimed at a “purpose” in his original design, and when he had carried it out, Colley Cibber rejected the piece. Gay’s friends, Swift and Spence, did not think the piece would succeed, though the Duke of Argyle (with a preternatural perception of jokes for a Scotchman) swore that it would. It was not until Gay subdued his “purpose,” and put in some extra ballads, that Rich accepted the piece; and then, in this shape, it made “Gay rich and Rich gay,” as the jokers said at the time.