George Farquhar, Irish dramatist, dies in London on April 29, 1707. 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).

Born in Derry in 1677, Farquhar is 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 editions of his works, claims that he “discovered a Genius early devoted to the Muses. When he was very young, he gave Specimens of his Poetry; and discovered a Force of Thinking, and Turn of Expression, much beyond his years.”

Farquhar is educated at Foyle College and later enters Trinity College Dublin at age seventeen as a sizar under the patronage of the Bishop of Dromore, who may have been related to Farquhar’s mother. He may have initially intended to follow his father’s profession and become a clergyman but is “unhappy and rebellious as a student” and leaves college after two years to become an actor. His 18th-century biographer claims that the departure is 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.” The two accounts are not necessarily mutually exclusive.

Farquhar joins a company performing on the Dublin stage, probably through his acquaintance with the well-known actor Robert Wilks. However, he is reportedly not that impressive as an actor. It is said that “his voice was somewhat weak” and that “his movements [were] stiff and ungraceful.” But he is well received by audiences and thought to continue in this career “till something better should offer.” Some of the roles reportedly played by Farquhar are Lennox in William Shakespeare‘s Macbeth, Young Bellair in The Man of Mode by George Etherege, Lord Dion in Philaster by Francis Beaumont and John Fletcher, and Guyomar in The Indian Emperour by John Dryden.

During one of the performances in the Dryden play, an accident on stage puts an end to Farquhar’s acting career. As Guyomar, he is supposed to “kill” Vasquez, one of the Spanish generals in the drama. Forgetting to exchange his sword for a foil before enacting this scene, he severely wounds Price, the actor playing Vasquez. Although Price recovers, Farquhar resolves after this mishap to give up acting for good.

Farquhar then leaves 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. Wilks is also credited with encouraging Farquhar’s efforts at writing plays.

Farquhar’s first comedy, Love and a Bottle, premieres in 1698 and is 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 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.”

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

In 1700, Farquhar’s The Constant Couple is acted at Drury Lane and proves a great success, helped considerably by his friend Wilks’ portrayal of the character of Sir Henry Wildair. The playwright follows up with a sequel, Sir Harry Wildair, the following year, and in 1702 writes the comedies The Inconstant and The Twin Rivals. Also in 1702, he publishes Love and Business, a collection that includes letters, verse, and A Discourse Upon Comedy.

The next year, Farquhar marries Margaret Pemell, “a widow with three children, ten years his senior,” who reportedly tricks 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 is 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, an adaptation of a French play. He draws on his recruiting experience for his next comedy, The Recruiting Officer (1706). However, he has to sell his army commission to pay debts, reportedly after the Duke of Ormonde advises him to do so, promising him another but failing to keep his promise.

Early in 1707, Farquhar’s friend Wilks visits him. Farquhar is 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, is given its première on March 8, 1707. It is known from Farquhar’s own statement prefacing the published version of the play that he wrote it during his sickness:

“The reader may find some faults in this play, which my illness prevented the amending of; but there is great amends made in the representation, which cannot be match’d, no more than the friendly and indefatigable care of Mr. Wilks, to whom I chiefly owe the success of the play.”

Farquhar dies in London on April 29, 1707, not quite two months after the opening of this last play. He is buried on May 3 in St. Martin-in-the-Fields, a Church of England parish church in the City of Westminster, London.