By A. Norman Jeffares (auth.)
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Congreve got help from Thomas Southerne also, and he had actor friends, among them several who had acted at the Smock Alley Theatre in Dublin: Barton Booth ('Jubilee Dicky'), Henry Norris and Robert Wilks (c. 1665-1732) wh ose career is well told in Daniel o 'Br yan's Authentic Memoirs: or the Life and Character of . . Mr Robert Wilks (1732). The Double Dealer (1694) was a sombre, complicated but COLONIALANDASCENDANCY 47 powerful play which was not a success. His next comedy, Love for Love (1695), was Congreve's best stage play ; a conflict between youth and age in the orthodox traditions of the genre, it has traces of older traditions, for Foresight is a J onsonian figure in his devotion to astrology, and so Tattle and Scandal can make a thorough fool of him,just as Angelica mocks the elderly Sir Sampson Legend for acting the part of a heroic lover.
Unduly neglected by modern criticism and worth revIvmg, Southerne was at times an original as well as a highly popular COLONIAL AND ASCENDANCY 45 dramatist, the blend of sharp dialogue and lively farce in his comedies explaining his contemporary success. Just as Swift's enjoyment of irony at his own expense seems a trait more indulged in Ireland than in England, so a tendency to push farce as far as possible is also noticeable in Irish humour; it has provoked adverse criticism at times from English critics.
Then an amateur interest developed: in the last three yearsofElizabeth 's reign the gentlemen in Dublin Castle acted in plays; the Dublin tradesmen's guilds put on plays, and so did the undergraduates in Trinity College and the apprentice lawyers. Under Strafford's regime plays were performed by his retinue, and John Ogilby (1600-76) came with a company from London, then dangerous with the plague raging in 1636 and 1637. A 'pretty little theatre' was opened in Werburgh Street 42 ANGLO-IRISH LITERATURE in Dublin in 1635 and Ogilby was appointed Master of the Revels in Ireland.
Anglo-Irish Literature by A. Norman Jeffares (auth.)