"Both these decisions are surely exaggerated," he wrote in reference to the opinions expressed by Swift and Dr.Herring.

"The play, like many others, was plainly written only to divert, without any moral purpose, and is therefore likely to do good; nor can it be conceived, without more speculation than life requires or admits, to be productive of much wit.

Highwaymen and housebreakers seldom frequent the playhouse or mingle in any elegant diversion; nor is it possible for anyone to imagine that he may rob as safely because he sees Macheath reprieved upon the stage."[12] And again, he said: "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."[13] The success of the piece was immense, and its vogue tremendous.

"The famous 'Beggar's Opera' appeared upon the stage early in the ensuing season; and was received with greater applause than was ever known: besides being acted in London sixty-three nights without interruption, and renewed the next season with equal applause, it spread into all the great towns of England; was played in many places to the thirtieth and fortieth time; and at Bath and Bristol fifty times," wrote the anonymous editor of the 1760 edition of Gay's plays.
"The ladies carried about with them the favourite songs of it in fans, and houses were furnished with it in screens....