[2] Farquhar may have initially intended to follow his father's profession and become a clergyman,[6] but was "unhappy and rebellious as a student" and left college after two years to become an actor.

[7] His 18th-century biographer claims that the departure was because "his gay and volatile Disposition could not long relish the Gravity and Retirement of a College-life,"[4] but another story of uncertain veracity has him being expelled from Trinity College due to a "profane jest.

[further explanation needed] Farquhar joined a company performing on the Dublin stage, probably through his acquaintance with the well-known actor Robert Wilks.

"[4] Some of the roles reportedly played by Farquhar were Lennox in Shakespeare's Macbeth, Young Bellair in The Man of Mode by George Etherege, Lord Dion in Philaster by Beaumont and Fletcher, and Guyomar in The Indian Emperor by John Dryden.

"[12] Called a "licentious piece" by one scholar,[7] and cited as proof that Farquhar had "absorbed the stock topics, character-types, and situations of Restoration comedy" by another,[6] the play deals with Roebuck, "An Irish Gentleman of a wild roving Temper" who is "newly come to London.

Impressed, he brought her to the notice of Sir John Vanbrugh, and this led to her theatrical career, during which she was the first performer of major female roles in Farquhar's last comedies.

[20] His 18th century biographer records that "though he found himself deceived, his Circumstances embarrassed, and his Family increasing, he never upbraided her for the Cheat, but behaved to her with all the Delicacy and Tenderness of an indulgent Husband.

"[21] He was engaged in recruiting for the army, due to the War of the Spanish Succession, for the next three years, writing little except The Stage Coach in collaboration with Peter Motteux; this was an adaptation of a French play.