Comparing Beggar's Opera And The Importance Of Being E

In the plays by British playwrights, the idea of the love triangle is often interwoven into the framework of the entire play itself. This is a concept that is demonstrated in the dramatic works of John Gay and Oscar Wilde. In Gay’s The Beggar’s Opera and Wilde’s The Importance of Being Earnest, both playwrights situate the plot of their respective plays around the idea of the love triangle in a subtle, yet clever method that is entertaining to audiences and readers alike. However, the presence of the love triangle is not merely included for entertainment, but also to serve a greater dramatic purpose. By examining the love triangles between Polly and Lucy for Macheath in The Beggar’s Opera and Gwendolen and Cecily for Earnest in The Importance

However, this tension inherent in the love triangle functions as a plot device because it elicits a response from the women who are vying for the attention and affection of the man. As Lucy Lockit perceives herself as the wronged individual of the love triangle, she is driven to “murder [the] imprudent happy / strumpet” (Gay 3.1.59-60) that threatens all “that hath passed between” (2.9.2) her and Macheath. The belief that Macheath “hast two wives” (2.13.40) compels Lucy to plot “revenge, revenge, revenge” (3.7.10) against Polly Peachum in order to “appease [her] restless spirite” (3.7.11). This reveals Lucy’s restless spirit is borne of the “jealousy, rage, love and fear” (3.7.1) that she feels as “the unhappy wife” (3.7.37) that must suffer watching another woman win the affection of her Macheath. Consequently, the emotional response that the love triangle creates in Lucy prompts her to take undue measures to remove Polly from the triangular equation. As the plan that Lucy devises to eliminate the threat of a romantic rival involves “poisoning that slut” (3.7.17), Lucy’s action force her to realize that Polly “[is] not happy enough to deserve to be poison'd” (3.10.17). This is significant because it reveals Lucy desperately wants Macheath for herself — to the point of pre-meditatively scheming to “lay [Polly’s] death upon the gin” (3.7.13) —

Subsequently, these main pairings — Macheath and Polly and Earnest and Gwendolen — are realized at the end of their respective plays. As Macheath is graciously allowed to “be brought back / to his wives in triumph” (Gay 3.16.15-16), he makes the decision to “have [one] wife at last” (3.17.2) in order to avoid any unnecessary controversy his dalliances with other women. Macheath’s realization that Polly is the only “partner” (3.17.8) for the dance that — in the context of Gay’s play — is figuratively alluded to be life. This demonstrates that Macheath formally recognizes Polly as his partner “for life” (3.17.10) because they are “really married” (3.17.11) to each other. As Polly forgives Macheath for attempting to “disown her” (2.13.22) claim as his wife in front of Lucy, this indicates that the relationship between Macheath and her is able to grow into a fulfilling one unsullied by anger or resentment for his infidelity. Despite the possibility “that different beauties [may] subdue [Macheath] by turns” (33.17.16) again, Polly “[has] no reason to doubt” (1.13.16) Macheath’s feelings for her anymore because she is the “one he retires” (3.17.18) with — on his own accord — at the end of The Beggar’s Opera. Furthermore, the