The Beggar's Opera: An Encore for Crime

One impression that I felt was heavily embedded within the text is having no purpose in your actions is a crime. One example, is when Peachum is speaking about the fate of Betty. He says, “…there is nothing to be got by the death of women- except our wives” (Pg 44, 1.2). Basically, women should not be executed unless someone is gaining something. Especially in this instance, the death of a wife would provide freedom, retain the husband’s respectability, and she may have reproduced before the ‘unfortunate incident.’ This makes me wonder if there was a high mortality rate among women during this time. One’s curiosity is heightened when considering Lucy’s attempt on Polly’s life, “much of the cheap gin sold in London in the 1720s was improperly distilled and therefore literally poisonous” (Footnote 46, pg 108, 3.7). A quote that caught my interest is when the criminal gang is having a ’philosophical’ debate. Matt of the Mint says, “…where is the injury of taking from another, what he hath not the heart to make use of?” (Pg 69, 2.1). If someone is ridiculously rich, why not take money from them that they will not be able to spend? Why not have someone who is in need of that money put it to use?
This question makes it hard to rationalize who is guilty and who is innocent. Taking into account the political message, it is easy to see the point that Gay is demonstrating. Upper class criminals are the same as lower class criminals. The cynicism is just emanating from this play. All of the characters, especially the men, are motivated by selfishness. Peachum finds out that Polly may have married the Captain, or Macheath and he is furious. Polly’s parents wanted her to marry for money not love and she disobeyed their wishes. How dare her! Promoting further selfishness, Peachum and his wife are concerned that the Captain “…may hang his father and mother-in-law, in hope to get into their daughter’s fortune” (Pg 57, 1.8). Peachum beats the Captain to the game and decides to hand him over. In taking this action, not only does Peachum get a price for catching a criminal but his daughter will inherit any estate that he possesses. What else is to be expected in a cycle of deceit?
The ultimate father/daughter moment occurs during the revelation that Polly may be married. Upon interrogation of Polly, Peachum threatens her, “…But if I find out that you have played the fool and are married, you jade you, I’ll cut your throat, hussy…” (Pg 54, 1.7). This has to be one of my favorite lines in the play. This is just outrageous and over the top. Another favorite moment is near the end when Macheath is preparing to hang. All of a sudden more wives and children appear and he says, “What- four wives more! This is too much. Here- tell the Sheriff’s Officers I am ready” (Pg 120, 3.15). He is a very contradictive character. Macheath sees what he has done and does not want to accept the responsibility so he accepts death. Early in the play, when he was with the prostitutes he says, “The town perhaps hath been as much obliged to me, for recruiting it with free-hearted ladies, as to any recruiting officer in the army” (Pg 72, 2.2). Macheath recognizes that women do not have many opportunities once they are ‘ruined’ but partakes in activities that condemn them.

The Rover, or The Banished Cavaliers by Aphra Behn

The Rover, or The Banished Cavaliers by Aphra Behn

I began my exploration of this text by identifying what a rover is. Most dictionaries agree that it is a wanderer. This seems to be consistent with the historical facts that Behn lifted much of the play from Sir Thomas Killigrew’s Thomaso, or the Wanderer. Keeping this definition in mind, Willmore is identified as dominant wanderer of the play in the cast listing. This title has an ambiguous meaning. By the nature of his career, Willmore is forced to go from place to place. A second meaning is forced to be recognized when he falls for Hellena and says, “A pox on’t, I cannot get her out of my head” (Pg 19, 2.1 Ln 7-8). Just after this remark he is introduced to Angelica. He becomes so enamored with her that he steals her picture, knowing that he cannot afford her. Willmore’s infatuation to two women in this scene suggests a wondering not only of the physical kind but of the emotional as well. His wandering seems to be uncontrollable at times. He constantly falls for Florinda in disguise.
Furthermore, Willmore may be designated as the dominant rover of the play but the other characters share this identity. This play taking place during Carnival introduces various disguises that manipulates the characters identities. Belville acknowledges the motivation behind the disguises perfectly, “Because whatever extravagances we commit in these faces, our own may not be obliged to answer ’em” (Pg 19, 2.1 Ln 2-3). Basically, whatever they do when they are in disguise is not anything they can be held accountable for when they resume their normal identities. Florinda, Hellena, and Valeria make the choice of dressing as gypsies. This is an interesting selection because gypsies are known as a migrating group. All three of these women are constantly moving around the city. Florinda and Hellena are deviating from the conventions of their family. Wandering away from what life their family has chosen for them. Florinda marries Belville instead of following the course of action determined, as what her life should be, by her brother and father. Hellena is expected to join the convent but instead marries Willmore. These instances demonstrate the independence these women have discovered within themselves. Instead of adhering to what is expected they actively make their own choices. In a sense, they deny society’s control over them.
Gender roles are challenged in this play. One of the obvious times is when Hellena dresses up as a page (Pg 56, 4.2). She intercedes the conversation between Angellica and Willmore regarding his intrigues with another woman. As the scene precedes, it becomes quite humorous. Angellica and Hellena alternate turns bombarding Willmore with questions of his unfaithfulness. This is a type of revenge for Hellena against Willmore. Near the end of the play, Angellica dresses in disguise as a gypsy and finds Willmore at Belvilles house. He immediately thinks that this is his mysterious gypsy, Hellena. Angellica is sought on avenging the wrong done to her by Willmore and places a pistol at his chest. This is a significant scene because Willmore makes a valid observation of the reversal of gender roles. He says, “Angellica, that beauty has been too long tempting, not to have made a thousand lovers languish…” (Pg 77, 5.1 Ln 267-8). Essentially, Willmore turns the tables on her. Has she not made many men lust after her without giving them anything? How many men have been chasing after her? Angellica is now in the position of all of those lovers that she has denied. This is a great defense on Willmores part. I loved this scene tremendously!
Overall, I found this play very enjoyable. I cannot wait to see what everyone else thought.