SOUTHERNE, Thomas (1660-1746)—“Honest Tom Southerne,” to give the author of The Fatal Marriage the name by which his contemporaries usually called him— was a clever craftsman for tho stage, according to the degenerate tradition of the Restoration dramatists,—with the eye of a born opportunist for the popular interests of the hour in so far as they could be turned to histrionic account, but without deeper seeing of the functions of the drama. Born in Dublin in 1660, he came to London and entered the Middle Temple in 1678, but only to desert law very speedily for dramatic authorship. His first play, The Persian Prince, or the Loyal Brother, is a good example, in its diplomatic reference to passing events and its veiled compliment to James, duke of York, of his ready tact as a playwright. The most important practical result of the play, which was remarkably successful on the stage, was an ensign’s commission, noteworthy in that it supplied Southerne with materials for later dramatization. After an interval of active service more plays followed, and were produced with equal success; of these The Fatal Marriage (1694), known also by the name of its heroine, Isabella, has the best claim to remembrance. Its strain of pathetic quality echoes the later Elizabethans in a way that contrasts suggestively with the shallow, if spirited, indecencies of Southerne’s comedies, which, although their author was commended by Dryden for his purity as a playwright, are certainly not overweighted with delicacy. Sir Anthony Love, or the Rambling Lady, in which the hero assumes female disguise without accession of modesty, is a good example of the rest; one utterance of its hero, “Every day a new mistress and a new quarrel,” might indeed serve as a good motto of Restoration ...comedy in general. Except to the student, Southerne’s work, however, is hardly of permanent interest. The Southerne of whom Pope, who ranked him as friend and praised him for his sterling qualities, remarked in some lines that
“Heaven sent down to raise The price of prologues and of plays”
exemplifies what business tact and dramatic ingenuity can accomplish, for of real artistic faculty he had little. His plays resulted, through ingenious management, in a pecuniary return which dazzled Dryden and made their author a wealthy citizen, but they have not the quality of work which endures. He died in 1746.
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