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The Project Gutenberg EBook of The Beaux-Stratagem, by George Farquhar This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Beaux-Stratagem Author: George Farquhar Release Date: May 5, 2007 [EBook #21334] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK THE BEAUX-STRATAGEM *** Produced by David Widger THE BEAUX-STRATAGEM By George Farquhar 'He was a delightful writer, and one to whom I should sooner recur for relaxation and entertainment and without after-cloying and disgust, than any of the school of which he may be said to have been the last The Beaux-Stratagem reads quite as well as it acts: it has life, movement, wit, humour, sweet nature and sweet temper from beginning to end.' CHARLES COWDEN CLARKE PREFACE _The Author_. 'It is surprising,' says Mr. Percy Fitzgerald, 'how much English Comedy owes to Irishmen.' Nearly fifty years ago Calcraft enumerated eighty-seven Irish dramatists in a by no means exhaustive list, including Congreve, Southerne, Steele, Kelly, Macklin, and Farquhar--the really Irish representative amongst the dramatists of the Restoration, the true prototype of Goldsmith and Sheridan. Thoroughly Irish by birth and education, Captain George Farquhar (1677-1707) had delighted the town with a succession of bright, rattling comedies--Love and a Bottle (1698), The Constant Couple (1699), Sir Harry Wildair (1701), The Inconstant (1702), The Twin Rivals (1702), The Recruiting Officer (1706). In an unlucky moment, when hard pressed by his debts, he sold out of the army on the strength of a promise by the Duke of Ormond to gain him some preferment, which never came. In his misery and poverty, with a wife and two helpless girls to support, Farquhar was not forsaken by his one true friend, Robert Wilks. Seeking out the dramatist in his wretched garret in St Martin's Lane, the actor advised him no longer to trust to great men's promises, but to look only to his pen for support, and urged him to write another play. 'Write!' said Farquhar, starting from his chair; 'is it possible that a man can write with common-sense who is heartless and has not a shilling in his p
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