Beggar's Opera Irony

Wrought with double irony and an overall sense of mock-pastoral, English playwright John Gay’s The Beggar’s Opera (1728) has its forefront of irony vividly expressed between the dynamic of the central characters Macheath and Peachum. Even the names of the characters comically resemble their occupations within the play, Peachum’s being a play on the word “peach” which means to bring one to trial, while Macheath’s meaning “son of heath” and being a play on the heaths of London, which were prime places worked on by highwaymen (Tillotson, et al.). While both characters were used as a political satire towards Jonathan Wild and the then Prime Minister Robert Walpole (after all, The Beggar’s Opera was a political satire first and a potential literary

I beg you, Gentlemen, act with Conduct and Discretion. A Pistol is your last resort. (1.2)

Due to Macheath’s lifestyle as a criminal, one would think that he would throw such characteristics of “Conduct and Discretion” aside, much like how fellow criminal Peachum does. However, he abides by such standards, resulting in surface irony. The double irony is how intensely he believes in this. If he were a villain who joked at how his actions were righteous while clearly knowing they were not, then the statement would only be surface irony. But, much like Peachum (but perhaps more rightfully so), Macheath views he is the hero of the story, and one can see him as a hero as well. Act III, Scene XI expresses this dichotomy well as Macheath’s and Peachum’s interactions with other characters are side-by-side for comparison. After being betrayed and peached by one of his many hussies Jenny Twitcher, Macheath prepares for his impending demise and speaks to his wives, Polly and Lucy: MACH. What would you have me say, Ladies? —You see, this Affair will soon be at an end, without my disobliging either of

There’s Comfort for you, you Slut. Afterwards, a scene is dedicated to Macheath’s lament in which he expresses his tragedy through the use of various airs: MACH. Since Laws were made for every Degree, To curb Vice in others, as well as me, I wonder we han’t better Company, Upon Tyburn Tree!

His words signal that he understands that he is deserving of his punishment, knowing that he had the chance to redeem himself, but did not: qualities of the tragic hero. Finally, within the hypothetical last scene of the play (Act III, Scene XIV), Macheath faces a tragic hero’s end. Unlike Peachum, who wins by trickery and deceit he believes is justified, Macheath does not receive a happy ending. However, despite this, Macheath remains strong and delivers a heroic final message to his fellow gang member Mat of the Mint and Ben Budge: MACH. Peachum and Lockit, you know, are in- famous Scoundrels. Their Lives are as much in your Power, as yours are in theirs.—Remember your dying Friend!—’Tis my last Request.—Bring those Villains to the Gallows before you, and I am