Of this performance, when it was printed, the reception was different, according to the different opinion of its readers. Swift commended it for the excellence of its morality, as a piece that "placed all kinds of vice in the strongest and most odious light;" but others, and among them Dr. Herring, afterwards archbishop of Canterbury, censured it as giving encouragement not only to vice but to crimes, by making a highwayman the hero, and dismissing him at last unpunished. It has been even said, that, after the exhibitions of the Beggar's Opera, the gangs of robbers were evidently multiplied.
Both these decisions are surely exaggerated. The play, like many others, was plainly 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 or admits, to be productive of much evil. Highwaymen and house-breakers seldom frequent the play-house, or mingle in any elegant diversion; nor is it possible for any one to imagine that he may rob with safety, because he sees Macheath reprieved upon the stage.
This objection however, or some other rather political than moral, obtained such pre-
