Farquhar The Recruiting Officer

Full Text and Introduction (NHB Drama Classics)
1. Auflage 2014
ISBN: 978-1-78001-391-6
Verlag: Nick Hern Books
Format: EPUB
Kopierschutz: 6 - ePub Watermark

E-Book, Englisch, Band 0, 128 Seiten

Reihe: NHB Drama Classi

Drama Classics: The World's Great Plays at a Great Little Price A classic Restoration-era comedy about the sexual exploits of two officers, the womanising Plume and the cowardly Brazen, as they go about their task of recruiting soldiers in the town of Shrewsbury. George Farquhar's play The Recruiting Officer was first staged at Drury Lane in 1706. It was an immediate hit and went on to become one of the most frequently performed plays of the 18th century. This edition in the Nick Hern Books Drama Classics series is edited and introduced by Simon Trussler.

George Farquhar (1677-1707) was an Irish  dramatist  noted for his contributions to late Restoration comedy, particularly for his plays The Recruiting Officer and The Beaux Stratagem.

Autoren/Hrsg.

Farquhar, George

Leseproben

Introduction

George Farquhar (c. 1677-1707)

George Farquhar was born in Londonderry in northern Ireland, probably in 1677, and would have been verging on adolescence when the recently deposed James II besieged that city in 1689. His father, as an Anglican clergyman, was a target for plunder and died soon afterwards, while the barely teenage George is said to have fought (on King William’s victorious side) in the subsequent Battle of the Boyne in 1690 – which imposed the protestant succession (and a great deal of continuing grief) upon the Catholic majority in Ireland.

Prematurely experienced in both the sorrows and the heroisms of war, Farquhar proceeded from the local grammar school to Trinity College, Dublin, in 1694, then in quick succession fell in love with the theatre, performed at the Smock Alley playhouse in Dublin, gave up acting after accidentally killing a fellow-performer in a stage duel, and, like his lifelong friend and compatriot Robert Wilks, determined on a future in London. Here, Farquhar’s first comedy, Love and a Bottle, was performed in 1698; but his precocious success as a playwright (discussed in more detail in the section ‘The Comic Worlds of George Farquhar’, on p. vii) was interrupted by the renewal of war with France in 1702. In 1704 he was granted a commission as a Lieutenant of Grenadiers and sent off on a recruiting campaign to the Midlands.

Meanwhile, in 1703, Farquhar had married – in expectations of an income from his wife’s fortune, which proved to be non-existent. Indeed, he very soon found himself needing to provide for their two daughters as well – at a time when he was beginning to feel the effects of the wasting illness which is now thought to have been tuberculosis. He drew on his provincial experiences in both of his last two plays, The Recruiting Officer and The Beaux Stratagem (and arguably on his marriage in the latter), but his rapidly declining health prevented him from building on their success, and he died in poverty in late May 1707. His friend Wilks paid for his funeral.

The Recruiting Officer: What Happens in the Play

Captain Plume and his wily companion Sergeant Kite arrive on a recruiting campaign in Shrewsbury, where the pair set out to cheat or flatter the country folk into volunteering for the wars. Plume renews his friendship with a local magistrate, Balance, and his lively and beautiful daughter Silvia. Balance looks approvingly on the young officer he once resembled – but fears for the virtue of his daughter, who ill-conceals her love for the gallant Captain. Hopes of a more honourable alliance are dashed when news arrives of the death of Balance’s only son, leaving Silvia an heiress wealthy beyond Plume’s aspirations.

Silvia’s cousin Melinda has also come unexpectedly into an inheritance, making her a suitable match for Plume’s friend Worthy. But Melinda, despising her lover’s earlier attempts to make her his kept mistress, plays hard to get, encouraging the attentions of another recruiting campaigner, the freewheeling Captain Brazen. Plume and Brazen both set out to recruit the handsome Jack Wilful – in reality Silvia, who prefers male disguise to the rustic retreat ordered by her father. Despite Silvia’s suspicions, Plume’s attentions to the local beauty Rose appear designed less to attract the girl into his bed than her suitors and her brother into the army. Kite, disguised as a fortune-teller, tricks more of the locals into joining up – and Melinda into believing that Worthy will go to his death in the wars if she does not secure him by the following morning.

After a disappointing night spent as ‘Wilful’s’ bedfellow, Rose and her supposed seducer are taken before the magistrates, where, along with other petty offenders, the still disguised Silvia is ordered into Plume’s service by her own father – as she had planned. Although a further complication leads Worthy to believe that Melinda is about to elope with Brazen, the couple are eventually betrothed to their mutual satisfaction – as also are Silvia and her Captain, following revelations which satisfy Balance of Plume’s honour. Now intending to resign a martial for a marital role, Plume hands over to Brazen the recruits he had raised, while Rose is taken into service as lady’s maid to Silvia.

The Comic Worlds of George Farquhar

The work of George Farquhar fits awkwardly into that over-extended category which critics have labelled ‘Restoration comedy’. Charles II had been ‘restored’ (following his father’s execution and the ‘interregnum’ under Cromwell) in 1660, and the honeymoon he had enjoyed with his subjects was well over by 1677, the probable year of Farquhar’s birth. Shortly afterwards, the crisis caused by the probability that the Catholic James would succeed his brother to the throne set in motion the struggle for a constitutional monarchy – a struggle which led to King James’s deposition during the ‘bloodless revolution’ of 1688-89, and the enthronement of William and Mary. The bourgeois sensibility of this royal couple proved well-suited to the changing national mood, as pursuit of the pleasure principle (so marked a feature of Charles II’s reign) gave way before the sterner demands of the protestant work ethic.

It is true that Farquhar’s near contemporaries Congreve and Vanbrugh (who both outlived him by some twenty years) continued to develop a dramatic tradition – of high-style, high-life ‘comedy of manners’, rooted in sexual dalliance – begun during the Restoration proper by Dryden, Etherege, Wycherley and Aphra Behn. But both Congreve and Vanbrugh gave up writing for the theatre soon after Jeremy Collier’s influential anti-theatrical polemic, A Short View of the Immorality and Profaneness of the English Stage, published in 1698, had given voice to the changed moral climate of the times. Of the dramatists who have survived in the modern repertoire, Farquhar alone, it seems, found a spiritual as well as a chronological home in the society and the theatre of the years around the turn of the seventeenth and eighteenth centuries.

Even so, he was barely twenty when he wrote his first play, Love and a Bottle, and could not at first afford (or perhaps did not yet know how to manage) so new and personal a dramatic mode. Then in 1699, with The Constant Couple, he wrote a comedy in which conventional sexual pursuits were driven in part by new imperatives of cash and class – and the play found a responsive audience, proving the success of the season. But Farquhar evidently rested a little too long on the income and the laurels it brought him: and when, after eighteen months, he came up with a sequel, Sir Harry Wildair, the play suffered, as do so many sequels, from the law of diminishing returns – though it managed a respectable first run, presumably on the strength of its audience’s curiosity to see how all the familiar characters would make out after marriage.

Farquhar’s next play, The Inconstant, which took over and simplified the plot of John Fletcher’s late Jacobean comedy The Wild Goose Chase, survived to its sixth night; but the death of King William in March 1702 cut short the theatrical season, and Farquhar set to work on The Twin-Rivals, which had its first night in December of the same year. The play is very tightly plotted around a younger brother’s attempt to defraud his marginally older twin out of his inheritance. Sex here not only comes an acknowledged second to money but is rather more closely connected with childbirth than theatrical convention usually allowed. There is more dramatic interest in the fraudulent lordling’s demonstration of his unworthiness than in his eventual exposure, and although the play has not quite caught the tone of voice in which to be ‘seriously funny’, it does strike out in the new direction which Farquhar was shortly to follow through in The Recruiting Officer and The Beaux Stratagem.

In between, the short farce The Stage-Coach – dealing with the ‘mistakes of a night’, as true love blossoms in the attempt to save a girl from her guardian’s preferred suitor – also anticipated Farquhar’s last two plays, in its country setting of an inn. As Eric Rothstein says, ‘it makes one hungry for the work he did not do’ between its production late in 1703 and 1706. On the other hand, it was no doubt precisely Farquhar’s escape from the incestuous world of literary and theatrical London during these years that tempered his final plays with the hard edge of experience – his brief military career providing a background for The Recruiting Officer (1706), and his own unfortunate marriage perhaps a source for his portrayal of sexual incompatibility in The Beaux Stratagem (1707).

In these, the great plays of his maturity, Farquhar does not abandon ‘mannered’ comedy as such; instead he transplants it, choosing locations outside London and including characters of the middling-to-lower social orders. In the process, not only are old conventions and rivalries – between town and country, between leisured elegance and workaday greed – given quite a different focus, but the characters gain a capacity for experiencing subtler nuances of pleasure, and (perhaps more significantly) even for experiencing pain. The modern critic Robert Hume makes a useful distinction between the ‘hard’ comedy of Congreve and Vanbrugh, as late exponents of the Restoration mode, and the ‘humane’ school which (along with Collier’s censure) soon provoked both writers into abandoning playwriting. In the work of Farquhar alone do we find the broader...