"An Old Woman Clothed in Gray appears in Playford's Dancing Master under the title "Unconstant Roger" after the Roger in the song. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 120-121. Howe (1000 Jigs and Reels), c. 1867; pg. 152. Raven (English Country Dance Tunes), 1984; pg. 50. See this link for further information. |
1. Gay's work was first produced on January 29, 1728, a little over 50 years after the production of The Country Wife. On what grounds might you compare these two dramatic works?
In thieves, pickpockets, highwaymen, and prostitutes, we've moved a long way from the more elegant society of The Country Wife. How would you describe that distance?
2. What do you think of the names:
Peachum, Lockit, Macheath, Filch, Jemmy Twitcher, Crook-fingered Jack, Wat Dreary, Robin of Bagshot, etc.?
3. Peachum's first "air" has the melody of "An Old Woman Clothed in Gray." Peachum represents Jonathan Wild and points to Robert Walpole. What is the effect of Peachum's singing this song?
See below for music. The original song begins:
An old woman clothed in gray
Whose daughter was charming and young,
But chanced to be once led astray
By Roger's false flattering tongue.
4. How does the satire of The Beggar's Opera work?
5. The Beggar's Opera can also be seen as sentimental. Identify the the sentimental elements. How do the satiric and sentimental strains work together?
6. The huge success of The Beggar's Opera can partly be accounted for by its novelty. How can you describe that novelty?
7. This "ballad opera" was closely linked to its historical setting, both political and musical. How can you account for its continuing popularity when the details of that particular history are no longer vivid?
8. Parody, irony, wit, mash-up: Use these terms to explain how The Beggar's Opera works.
9. Because the play works through irony, wit, and innuendo, you may need to analyze various speeches in order to get the meaning they point to.
|| What are the satiric objects in the following speech?
PEACHUM. Look ye, Wife, a handsome wench in our way of business is as profitable as at the bar of a Temple3 coffee house, who looks upon it as her livelihood to grant every liberty but one. You see I would indulge the girl as far as prudently we can. In anything but marriage! (85) After that, my dear, how shall we be safe? Are we not then in her husband's power? For a husband hath the absolute power over all a wife's secrets but her own. If the girl had the discretion of a Court lady, who can have a dozen young fellows at her ear without complying (90) with one, I should not matter it. But Polly is tinder, and a spark will at once set her on a flame. Married! If the wench does not know her own profit, sure she knows her own pleasure better than to make herself a property! My daughter to me should be, like a Court lady to a
95 minister of state, a key to the whole gang. Married! If the affair is not already done, I'll terrify her from it by the example of our neighbors.
MRS. PEACHUM. Mayhap, my dear, you may injure the girl. She loves to imitate the fine ladies, and she may 100 only allow the Captain liberties in the view of interest. (I, iv).
|| Consider also the following examples of Mrs. Peachum's dialogue in the first act.
Mrs Peachumto Mr. Peachum: You know, my dear, I never meddle in matters of death; I always leave those affairs to you. Women indeed are bitter bad judges in those cases, for they are so partial to the brave that they think every man handsome who is going to the camp or the gallows? (I, iv).
Mrs. Peachum to Filch: If an unlucky Session does not cut the rope of thy life, I pronounce, boy, thou wilt be a great man in history. (I, vi).
Mrs. Peachum to Polly: You baggage! you hussy! you inconsiderate jade! had you been hang'd, it would not have vex'd me, for that might have been your misfortune; but to do such a mad thing by choice! The wench is married, husband. (I, viii).
Mrs. Peachum to Polly: If you must be married, could you introduce no-body into our family but a highwayman? Why, thou foolish jade, thou wilt be as ill-us'd, and as much neglectred, as if thou hadst married a lord! (I, viii).
Mrs. Peachum to Mr. Peachum: If she had had only an intrigue with the fellow, why the very best families have excus'd and huddled up a frailty of that sort. 'Tis marriage, husband, that makes it a blemish" (I, ix).
10. What, in the end, is the estimate of love? of marriage?
What survives in this play?
11. Are readers/spectators invited to form sympathetic alliances wtih characters? What is the basis of the alliances? How long do they last?
12. Does The Beggar's Opera strengthen any particular moral view? See below for discussion in Boswell's The Life of Johnson:
From The Life of Johnson:
"The Beggar's Opera," and the common question, whether it was pernicious in its effects, having been introduced; -- JOHNSON. "As to this matter, which has been very much contested, I myself am of opinion, that more influence has been ascribed to 'The Beggar's 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 labefactation of all principles as may be injurious to morality."
While he pronounced this response, we sat in a comical sort of restraint, smothering a laugh, which we were afraid might burst out. In his life of Gay, he has been still more decisive as to the inefficiency of "The Beggar's Opera" in corrupting society. But I have ever thought somewhat differently; for, indeed, not only are the gaiety and heroism of a highwayman very captivating to a youthful imagination, but the arguments for adventurous depredation are so plausible, the allusions so lively, and the contrasts with the ordinary and more painful modes of acquiring the property are so artfully displayed, that it requires a cool and strong judgement to resist so imposing an aggregate: yet, I own, I should be very sorry to have "The Beggar's Opera" suppressed; for there is in it so much of real London life, so much brilliant wit, and such a variety of airs, which, from early association of ideas, engage, soothe, and enliven the mind, that no performance which the theatre exhibits, delights me more. || http://www.hoasm.org/VIIA/JohnsononBeggars.html
|