[33] In one of his prefaces, Vaughan hits neatly at the crowd of Herbertists: “These aim more at verse than at perfection.” Where there are noble resemblances, it is well to remember that two sides have the right to be heard. Mrs. Thoreau used to say: “Mr. Emerson imitates Henry!” And she was at least as accurate as the critics who annoyed her old age by the reversed statement.
[34] Mr. R. H. Stoddard owns a copy of the first edition of _Nieremberg’s Meditations_, translated by Vaughan in 1654, and published the following year, which has upon the title-page an autographic “J. M.” supposed, by every evidence, to be Milton’s. If it be so, the busy Latin Secretary, meditating his grand work, must have been, on his part, a reader and a lover of the man who was almost his equal at golden phrases.
[35] Congreve and Waller employ the same rather too obvious love-name for their serenaded divinities.
[36] Vaughan openly wears jewels which belong to Jonson.
“Go seek thy peace in war: Who falls for love of God shall rise a star!”
wrote brave Father Ben; and no Englishman of spirit, between 1642 and the Restoration, was likely to forget it. The passage certainly clung to Vaughan’s mind, for he assimilated it later in a sweet line all for peace:
“Do thou the works of day, and rise a star.”
III
GEORGE FARQUHAR
1677-1707
THERE is a narrow dark Essex Street West in the city of Dublin, running between Fishamble Street and Essex Gate, at the rear of the Lower Blind Quay. The older people still bluntly call it what it was called before 1830: Smock Alley. On its north side stands the sufficiently ugly church of SS. Michael and John. The arched passage still in use, parallel with the nave of this church, was the entrance to a theatre on the same site; what is now the burial vault was once the pit, full of ruddy and uproarious faces. The theatre, erected about 1660, which had a long, stormy and eventful history, was rebuilt in 1735, and having been turned into a warehouse, fell into decay, to be replaced by a building of another clay. But while it was still itself, it was great and popular, and the lane between Trinity College and the old arched passage was choked every night with the press of jolly youths, who, as Archbishop King pathetically complained, appeared to love the play better than study! Among those who hung about Smock Alley like a barnacle in the years 1694 and 1695, was a certain George Farquhar, son of William,[37] a poor Londonderry clergyman of the Establishment; a long-faced peculiar lad of mild mien but high spirits. He had come from the north, under episcopal patronage, to wear a queer dress among his social betters, to sweep and scour and carry tankards of ale to the Fellows in hall; and incidentally, to imbibe, on his own part, the lore of all the ages. The major event in his history is that, instead of sitting up nights over _Isocrates de Pace_, he slipped off to see Robert Wilkes and the stock company, and to decide that acting, or, as he afterwards sarcastically defined it, “tearing his Lungs for a Livelihood,” was also the thing for him. Wherefore, at eighteen, either because his benefactor, Bishop Wiseman of Dromore, had died, or else, as is not very credibly reported, because he was cashiered from his class, Master Farquhar, cut loose from his old moorings, applied to Manager Ashbury of the Dublin Theatre, and to such avail that he was able presently to make his own appearance there as no less a personage than Othello. He had a weak voice and a shy presence; but the public encouraged him. One of his first parts was that of Guyomar, Montezuma’s younger brother, in Dryden’s tragedy of _The Indian Emperor_. In the fifth act, as soon as he had declaimed to Vasquez in sounding sing-song:
“Friendship with him whose hand did Odmar kill? Base as he was, he was my brother still! But since his blood has washed away his guilt, Nature asks thine for that which thou hast spilt,”
he made, according to stage directions, a fierce lunge at his too conciliatory foe. Guyomar had armed himself, inadvertently, with a genuine sword, and Vasquez came near enough to being killed in the flesh. The man eventually recovered; but it shows of what impressionable stuff Farquhar was made, that his mental horror and pain, during that moment while he believed he had slain a fellow-creature, should have turned the course of his life. He left the stage; nor would he return to it. Some eight years after, indeed, he visited Dublin again, and on the old boards played Sir Harry Wildair for his own benefit; but this was at a time when he forced himself to undertake all honorable chances of money-making, out of his consuming anxiety for his family.
Wilkes and his wife returned to London, and the lad Farquhar went with them. He obtained a commission in the army from the Earl of Orrery; he was in Holland on duty during a part of the year 1700, and came back to England with one of her earliest military red coats on his back, in the train of his much-approved sovereign, William III. He had already written, thanks to Wilkes and his incessant urging, his first two plays, and had seen them successful at Drury Lane;[38] he had also overheard with enthusiasm, at the Mitre Tavern in St. James’s Market, Mistress Nance Oldfield, an orphan of sixteen, niece of the proprietress, reading _The Scornful Lady_ behind the bar. Captain Vanbrugh was duly told of Farquhar’s delight and admiration, and on the strength of them introduced the girl to Rich, who did few things so good in his lifetime as when he put her upon the stage at fifteen shillings a week. It was not long before this distinguished actress and generous woman, destined to lend her gayety and beautiful bearing to the interpretation of Farquhar’s women, enlivened the town as the glorious Sylvia of _The Recruiting Officer_, who can “gallop all the morning after a hunting-horn, and all the evening after a fiddle.”
“We hear of Farquhar at one time,” says Leigh Hunt, in a pretty summary, “in Essex, hare-hunting (not in the style of a proficient); at another, at Richmond, sick; and at a third, in Shropshire on a recruiting party, where he was treated with great hospitality, and found material for one of the best of his plays.”
_Love and a Bottle_ inaugurated the vogue of the Farquhar comedy; and Wilkes, whose name in London carried favor and precedence, was the Roebuck of the cast. Its successors, _The Constant Couple_ (with a framework transferred and adapted from its author’s earlier _Adventures of Covent Garden_), and its sequel, _Sir Harry Wildair_, again championed by the “friendly and indefatigable” Wilkes, who impersonated the engaging rakish heroes, had long runs, and firmly established their author’s fame. In 1702 Farquhar produced _The Inconstant_ (which he had perverted from Fletcher’s _Wild Goose Chase_, as if a fit setting were sought for the wonderfully effective last act of his own devising); and after _The Inconstant_, _The Twin Rivals_. _The Stage Coach_, a one-act farce in which he had a collaborator,[39] dates from 1704, and _The Recruiting Officer_ from 1706; _The Beaux’ Stratagem_ was written in the spring of 1707. This is a working record of barely nine years; it represents a secure and continuous artistic advance; and it should have brought its patient originator something better than the privilege of dying young, “broken-hearted,” as he confessed to Wilkes, “and without a shilling.”
Farquhar had but the trifling income of an officer’s pay on which to support his wife and his two little daughters. He seems to have sought no political preferment, nor did his numerous patrons put themselves out to advance him, although these were the very days when men of letters were crowded into the public service. Ever and anon he received fifteen guineas, then a very handsome sum, for a play. Perhaps, like his rash gallants, he had “a head to get money, and a heart to spend it.” He greatly wished success, for the sake of those never absent from his thought; and he complained bitterly when the French acrobats and rope-dancers took from _The Twin Rivals_ the attention of pleasure-seeking Londoners, much as poor Haydon complained afterwards of the crowds who surged down Piccadilly, to behold not his “Christ’s Entry into Jerusalem” at all, but General Tom Thumb, holding court under the same roof.
When Farquhar’s health was breaking, and debts began to involve him at last, it appears that the Earl of Ormonde, his general, prompted him to sell his commission in order to liquidate them, and agreed to give him a captaincy. Or, as is yet more probable, in view of the fact that Farquhar was already known by the title of captain, he was urged to sell out of the army, on a given pledge that preferment of another sort awaited him. His other industrious devices to secure support for four having missed fire, he gladly performed his part of the transaction, only to experience a fatal delay on the part of my Lord Ormonde, whose mind had strayed to larger matters. In fine, the unkept promise hurt the subaltern to the heart; he sank, literally from that hour, of grief and disquietude. Lintott the stationer, and his old friend Wilkes stood manfully by him, one with liberal payment in advance, and one with affectionate furtherance and gifts; but Farquhar did not rally. It was to Wilkes, as everybody knows, that he penned this most touching testament: “Dear Bob, I have not anything to leave thee to perpetuate my memory but two helpless girls. Look upon them sometimes! and think of him who was, to the last moment of his life, thine.” The end came on or about April 29, 1707, George Farquhar being just thirty years of age. While he lay dying in Soho, his last and best comedy was in progress at the new magnificent Haymarket, and his audiences, with a barren benevolence not uncharacteristic of the unthinking human species, are said to have wept for him. He was buried in the parish church-yard of St. Martin-in-the-Fields,[40] where Nell Gwynne’s contrite ashes lay, and where her legacied bells tolled for his passing.