George Farquhar

George Farquhar (1677The explanation for the dual birth year appears in Louis A. Strauss, ed.,
A Discourse Upon Comedy, The Recruiting Officer, and The Beaux’ Stratagem by George Farquhar
' (Boston: D.C. Heath & Co., 1914), p. v. Strauss notes that "Our sole source of information as to the time of his birth is the entry of his matriculation in the register of Trinity College" on 17 July 1694, where "His age is given as 17." Earlier biographers took this to mean Farquhar was in his 17th year—hence born in 1678—and Strauss favors this date. But later writers, such as William Myers, ed.,
George Farquhar: The Recruiting Officer and Other Plays
'' (Oxford: Oxford University Press, 1995), p. vii, give the dual year, and John Ross, ed., ''George Farquhar: The Recruiting Officer (New Mermaids),'' 2nd ed., (London: A&C Black, 1991), p. xiii, gives a birthdate of "''ca.'' 1677" for the playwright. – 29 April 1707) was an Irish dramatist. He is noted for his contributions to late Restoration comedy, particularly for his plays ''The Constant Couple'' (1699), ''The Recruiting Officer'' (1706) and ''The Beaux' Stratagem'' (1707).

Early life

Born in Derry, Farquhar was one of seven children born to William Farquhar, a clergyman of modest means. The author of "Memoirs of Mr. George Farquhar," a biographical sketch prefixed to certain 18th-century editionsAlex. Charles Ewald quotes from a slightly different version of these "Memoirs" in the introduction to his edition of
The Dramatic Works of George Farquhar
' (London: John C. Nimmo, 1892), Vol. 1, p. vi–vii, and Strauss, op. cit, p. vi ''et seq.,'' cites from but does not quote a biographical writing by "T. Wilkes" given in the 1775 Dublin edition of Farquhar which agrees in some but not all details with the version quoted in this article (referenced in the next note). of his works, claims that Farquhar

He was educated at Foyle College and later entered Trinity College Dublin at age 17 as a sizar under the patronage of the Bishop of Dromore, who may have been related to Farquhar's mother. Farquhar may have initially intended to follow his father's profession and become a clergyman, but was "unhappy and rebellious as a student" and left college after two years to become an actor. His 18th-century biographer claims that the departure was because "his gay and volatile Disposition could not long relish the Gravity and Retirement of a College-life," but another story of uncertain veracity has him being expelled from Trinity College due to a "profane jest."

Acting career

Farquhar joined a company performing on the Dublin stage, probably through his acquaintance with the well-known actor Robert Wilks. However, Farquhar was reportedly not that impressive as an actor. We are told that "his Voice was somewhat weak" and that "his movements erestiff and ungraceful." But he was well received by audiences and thought to continue in this career "till something better should offer." Some of the roles reportedly played by Farquhar were Lennox in Shakespeare's '' Macbeth,'' Young Bellair in ''The Man of Mode'' by George Etherege, Lord Dion in ''Philaster'' by Beaumont and Fletcher, and Guyomar in ''The Indian Emperor'' by John Dryden.

But while he was performing in the Dryden play, an accident on stage put an end to Farquhar's acting career. As Guyomar, Farquhar was supposed to "kill" Vasquez, one of the Spanish generals in the drama. Forgetting to exchange his sword for a foil before enacting this scene, Farquhar severely wounded Price, the actor playing Vasquez. Although Price recovered, Farquhar resolved after this mishap to give up acting for good.

Writing career

Farquhar then left for London, "possibly with a draft of his first play in his portmanteau." Some writers tie his move to that of his friend Wilks, who had received an offer from the manager of Drury Lane to come to London and join that theatre, and Wilks is also credited with encouraging Farquhar's efforts at writing plays.

Farquhar's first comedy, ''Love and a Bottle,'' was premiered in 1698; "for its sprightly Dialogue and busy Scenes," it is said to have been "well received by the Audience." Called a "licentious piece" by one scholar, and cited as proof that Farquhar had "absorbed the stock topics, character-types, and situations of Restoration comedy" by another, the play deals with Roebuck, "An ''Irish'' Gentleman of a wild roving Temper" who is "newly come to ''London.''" The general character of the play can be evaluated by considering that in the opening scene, Roebuck tells his friend Lovewell that he has left Ireland due to getting a woman pregnant with twins (a boy and a girl) and to Roebuck's father trying to force Roebuck to marry the woman; however, Roebuck remarks, "Heav'n was pleas'd to lessen my Affliction, by taking away the She-brat." Most of these plot details are pointed out by William Myers, ''op. cit.,'' p. vii.

After the favourable reception of ''Love and a Bottle,'' Farquhar decided to devote himself to playwriting. He also at this point received a commission in the regiment of the Earl of Orrery, so his time for the next few years was divided between the vocations of soldier and dramatist. It was also at about this time that Farquhar discovered Anne Oldfield, who was reading aloud a scene from ''The Scornful Lady'' at her aunt's tavern. Impressed, he brought her to the notice of Sir John Vanbrugh, and this led to her theatrical career, during which she was the first performer of major female roles in Farquhar's last comedies.

In 1700, Farquhar's ''The Constant Couple'' was acted at Drury Lane and proved a great success, helped considerably by his friend Wilks' portrayal of the character of Sir Henry Wildair (a performance that Farquhar himself praised generously in his "Preface to the Reader" when the play was published). The playwright followed up with a sequel, ''Sir Harry Wildair,'' the following year, and in 1702 wrote the comedies ''The Inconstant'' and ''The Twin Rivals.'' Also in 1702, Farquhar published ''Love and Business,'' a collection that included letters, verse, and ''A Discourse Upon Comedy.''

The next year, he married Margaret Pemell, "a widow with three children, ten years his senior," who reportedly tricked him into the marriage by pretending to have a great fortune. His 18th century biographer records that "though
he found himself deceived, his Circumstances embarrassed, and his Family increasing, he never upbraided her for the Cheat, but behaved to her with all the Delicacy and Tenderness of an indulgent Husband." He was engaged in recruiting for the army, due to the War of the Spanish Succession, for the next three years, writing little except '' The Stage Coach'' in collaboration with Peter Motteux; this was an adaptation of a French play. He drew on his recruiting experience for his next comedy, ''The Recruiting Officer'' (1706). However, Farquhar had to sell his army commission to pay debts, reportedly after the Duke of Ormonde advised him to do so, promising him another but failing to keep his promise.

Early in 1707, Farquhar's friend Wilks visited him; Farquhar was ill and in distress, and Wilks is said to have "cheered him with a substantial present, and urged him to write another comedy." This comedy, ''The Beaux' Stratagem,'' was given its première on 8 March 1707; we know from Farquhar's own statement prefacing the published version of the play that he wrote it during his sickness:

Farquhar died on 29 April 1707, not quite two months after the opening of this last play. He was buried in the Church of St. Martin in the Fields, London, on 3 May.

Works referencing Farquhar

* The 1987 play, ''Our Country's Good'' by Timberlake Wertenbaker, revolves around the story of 18th-century Australian convicts attempting to put on Farquhar's ''The Recruiting Officer.'' Wertenbaker's play is based on a novel by Thomas Keneally.
* Bertolt Brecht set his adaptation of ''The Recruiting Officer,'' called ''Pauken und Trompeten,'' in America during the Civil War.
* In Act III of ''She Stoops to Conquer'' by Oliver Goldsmith, Kate Hardcastle asks her maid, "Tell me, Pimple, how do you like my present dress? Don't you think I look something like Cherry in the ''Beaux Stratagem''?" A theatrical notice in the ''New York Times'' for 7 February 1885 remarked that at that date Goldsmith's allusion was "all that the stage adknown of George Farquhar for many a year.""Daly's Theatre" in the ''New York Times'' for February 7, 1885
accessed on 19 December 2007
* Alexander Pope famously refers to the playwright in "The First Epistle of the Second Book of Horace, Imitated," where he comments (line 288), "What pert low Dialogue has Farqu'ar writ!" (It has been argued that this is not an attack by Pope on Farquhar, but an illustration of "how seldom ev'n the best succeed" two lines earlier.)
*In his essay "On Actors and Acting," essayist William Hazlitt praises the reformative power of the last act of Farquar's play ''The Inconstant'', calling it " e most striking lesson ever read to levity and licentiousness...where young Mirabel is preserved by the fidelity of his mistress, Orinda, in the disguise of a page, from the hands of assassins, into whose power he has been allured by the temptations of vice and beauty. There never was a rake who did not become in imagination a reformed man during the representation of the last trying scenes of this admirable comedy."

See also

* List of Northern Irish writers
* Timberlake Wertenbaker

References

*Shirley Strum Kenny, editor (1988). The Works of George Farquhar. Oxford University Press, 2 volumes.
*Barry Sales. Eighteenth Century Studies, volume 47, no 3 (2014). The Landlord's Tale (1708). An anonymous poem, probably written by George Farquhar.

External links

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*
*
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* ''The Dramatic Works of George Farquhar,'
Vol. 1
an
Vol. 2

* Farquhar's
A Discourse Upon Comedy
''
* Project Gutenberg's text of
The Beaux' Stratagem
''


by George Farquhar - multiple formats at the Ex-Classics Web Site

{{DEFAULTSORT:Farquhar, George
1677 births
1707 deaths
Irish male dramatists and playwrights
Writers from Derry (city)
People educated at Kilkenny College
People from Lichfield
17th-century Irish writers
18th-century Irish dramatists and playwrights
Ulster Scots people
17th-century Irish male actors
18th-century Irish male writers
17th-century male writers