The Context of Restoration Comedy

"The Recruiting Officer," penned by George Farquhar in 1705, is often classified as a Restoration comedy, although this categorization is somewhat misleading. The term "Restoration" typically applies to British literature crafted between 1660 and 1700, a period marked by the return of Charles II to the throne after a tumultuous hiatus. While the literary characteristics of this era often extend into the early eighteenth century, it is within this transitional period that Farquhar's play finds its place, bridging the conventions of Restoration drama with evolving theatrical tastes.

Defining Characteristics of Restoration Comedy

Restoration comedies are primarily recognized for their jubilant conclusions, frequently culminating in matrimonial unions or earnest promises of marriage. The narrative structure typically involves initial encounters between men and women, a dance of courtship fraught with obstacles, fleeting misunderstandings, and ultimately, reconciliations that lead to mutual affection. This genre mirrors the complexities and nuances of real-life relationships, albeit with a comedic slant.

The conventions that define Restoration comedy are deeply rooted in the expectations of its original audiences, including the court of Charles II. Influenced by French comedic tastes, these audiences preferred plays that reflected their own lives—elegant, sophisticated, and often set against the backdrop of an idealized London. Characters were expected to embody wit, sharpness, and often a touch of arrogance, reflecting the admired qualities of high society. The cleverest man, rather than the most handsome, was destined to win the heart of the most beautiful woman. This interplay of wit often served as the battleground where social goals, like advantageous marriages, were pursued.

"The Recruiting Officer" as a Second-Stage Comedy

In "The Recruiting Officer," the narrative picks up at a juncture where the central couples have already embarked on their romantic journeys. Unlike typical Restoration comedies, where the courtship is in its nascent stage, Farquhar's play presents characters who are already entangled in love yet must navigate existing misunderstandings to reach resolution. The play's male protagonists, Plume and Worthy, embody intelligence and wit, hallmarks of the Restoration hero. The female leads, equally astute, pursue their romantic interests with vigor and charm.

Sylvia’s use of disguise, a staple of the genre, allows her to showcase both her intellect and her figure—a daring move considering the fashion of the time. The play also engages in the common practice of satirizing older men and depicting country folk as naïve, though it does so with a gentler touch than many of its contemporaries. Unlike the typical urban setting of London, this play’s rural backdrop is an anomaly within the genre.

Tonal Variations and Cultural Reflections

Although the play is imbued with the customary brilliance of wit found in Restoration comedies, it departs from the norm with its less caustic tone. The treatment of country folk, while exploitative, lacks the harshness typical of the period. The audience, familiar with the challenges of recruiting for the ongoing War of Spanish Succession, would have perceived these interactions as a reflection of contemporary societal issues rather than cruelty.

Character complexity also sets "The Recruiting Officer" apart. Plume, while echoing the Restoration hero archetype with a blemished past, exhibits a capacity for genuine emotion. His evolution from a seducer to a man in love with Sylvia adds depth to his character. Justice Balance's shifting perceptions of Plume, catalyzed by changes in Sylvia's inheritance status, are handled with a light touch, avoiding the vindictive retribution common in the genre. This shift foreshadows the rise of sentimentality in later eighteenth-century drama.

Comic Elements and Human Insight

The play also features characters who operate outside the romantic core, contributing to its comedic landscape. Brazen, a caricature of idiocy, and Sergeant Kite, a whirlwind of humor, enliven the narrative with their antics. Kite's fortune-telling scene is a comedic tour de force, showcasing the play's ability to weave wisdom about human folly into seemingly trivial scenarios. "The Recruiting Officer" demonstrates how comedy can reveal profound truths about society, blending humor with insightful commentary on human nature.