Arthur Murphy

Arthur Murphy – Life, Career, and Famous Quotes

Arthur Murphy (1727–1805), Irish writer, playwright, actor, barrister, and translator, left a rich legacy in 18th-century literature. Explore his biography, works, philosophy, and memorable quotes.

Introduction

Arthur Murphy (27 December 1727 – 18 June 1805) was an Irish-born polymath: a playwright, actor, journalist, barrister, and translator. Over the course of his life he moved seamlessly among the worlds of theatre, literature, and law — making his mark in London’s vibrant cultural scene. Known also under the pseudonym Charles Ranger, Murphy is best remembered today for his dramas, his translations of classical works (especially Tacitus), and his biographical essays on luminaries such as Samuel Johnson and David Garrick.

Although his name is not as widely known now as some of his contemporaries, Murphy’s life offers insight into the literary, theatrical, and intellectual ferment of the 18th century — and his “famous sayings” remind us of the wit, erudition, and moral concern that animated his era.

Early Life and Family

Arthur Murphy was born on 27 December 1727 at Cloonyquin (also spelled Clomquin), in County Roscommon, Ireland, at the house of his maternal uncle Arthur French. His father, Richard Murphy — a Dublin merchant — died in 1729 while traveling (he was lost at sea), leaving the family in constrained circumstances. After the father’s death, Arthur and his brother lived with their mother, Jane French.

In 1735 the family moved to London. Soon after, in 1736, Arthur went to live with an aunt in Boulogne, France, and then was sent to St. Omer’s College, the Jesuit-run English College on the continent, where many Irish Catholics studied. To avoid penal laws against Catholic education, young Irish students often used names different from their own; Murphy was known then as “Arthur French.”

At St. Omer, Murphy received a rigorous classical education — Latin, Greek, rhetoric, and philosophy — which would deeply inform his later work as translator and dramatist.

Youth and Education

Murphy spent about six years at St. Omer (from roughly 1738 to 1744) before returning to London. In 1747, under the patronage of his uncle Jeffrey French, Murphy was sent to Cork, Ireland, to serve as a clerk in the office of a merchant (Edmund Harold).

However, in 1749 he offended his uncle by refusing an offer to go to Jamaica, and instead moved to London, taking up a position in the banking house of Ironside & Belchier in Lombard Street. During this period he began to frequent coffee houses, theatres, and literary circles — the seedbed of his life in letters.

In October 1752, Murphy launched the Gray’s Inn Journal, a weekly periodical modeled in part after The Spectator or The Rambler, combining drama criticism, essays, and commentary. It ran until October 1754.

By the mid-1750s, Murphy was already deeply embedded in London’s theatrical and literary worlds.

Career and Achievements

Murphy’s career is remarkable for its diversity — he was actor, dramatist, lawyer, translator, journalist, and biographer.

Acting, Theatre & Dramatic Works

Murphy made his first appearance on stage in October 1754, playing Othello at Covent Garden (with Mrs. Bellamy as Desdemona and others in the cast). He also played roles such as Hamlet and Richard III, but critics judged his stage presence less powerful than his literary gifts.

His earliest successful dramatic work was the farce The Apprentice (1756), which earned him enough to pay his debts and continue legal studies. Over his lifetime Murphy wrote over twenty farces, comedies, and tragedies. Some of his best-known plays include:

• The Apprentice (1756)

• The Upholsterer (1758)

• The Orphan of China (1759) — a tragedy adapted from a Chinese source, performed at Drury Lane.

• The Way to Keep Him (1760)

• The Citizen (1761) — a comedic farce influenced by French sources.

• All in the Wrong (1761)

• Three Weeks After Marriage (1764)

• Know Your Own Mind (1777) — one of his more enduring comedies.

His tragedies sometimes drew on classical or foreign sources; for example, The Grecian Daughter (1772) and Zenobia (1768) reflect his classical training.

Murphy’s comedies were more successful than his serious drama in terms of popularity, and Know Your Own Mind in particular became a staple on the London stage.

Law, Journalism & Intellectual Pursuits

Parallel to his theatrical activity, Murphy pursued law. Initially, actors were barred from admission to the Inns of Court; Murphy faced resistance when applying to Middle Temple because of his acting past. Eventually, with the support of influential friends (notably Lord Mansfield), he was admitted to Lincoln’s Inn.

Murphy also engaged in political journalism. He edited The Test, a weekly paper advocating for the opposition (aligned with Henry Fox), and another journal The Auditor. His critiques of theatre and society in his journals were regarded as among the more polished and literate of his time.

One of Murphy’s notable legal-intellectual contributions was his argument in Donaldson v. Becket (1774) before the House of Lords, against perpetual literary copyright, favoring instead a limited term of protection. He is credited with coining the legal phrase “wilful misconstruction.”

Translation & Biographies

Later in life, Murphy turned more to translation and biographical writing. His translation of Tacitus (in 1793) was widely read, reprinted, and later issued in the “Family Classical Library.”

He authored three notable biographical works:

• Fielding’s Works (1762) — an edition and commentary on Henry Fielding’s works

• An Essay on the Life and Genius of Samuel Johnson (1792)

• Life of David Garrick (1801)

These works show Murphy’s close connection with leading literary figures of his day — in particular his friendship with Samuel Johnson (whom he introduced to the Thrales) and admiration for David Garrick.

Later Years & Death

Despite earlier successes, Murphy’s finances were often precarious. In 1803 he was appointed Commissioner of Bankrupts and also received a pension, but debts forced him to sell his house in Hammersmith and part of his library.

He died in London on 18 June 1805, at his lodgings in Knightsbridge (14 Queen’s Row). He was buried in Hammersmith. His life was commemorated in a biography published in 1811 by Dr. Jesse Foot.

Historical Milestones & Context

Arthur Murphy’s life unfolded during a rich period of Enlightenment, theater flourishing, expanding print culture, and evolving notions of copyright and authorship. He lived through the Seven Years’ War, the American Revolution, and the French Revolution — though his work was often focused on literature, drama, and legal theory rather than overt politics.

His role in Donaldson v. Becket situates him in the evolving history of intellectual property law — the decision by the House of Lords (in 1774) curtailed claims of perpetual copyright, a turning point in how authors and publishers thought of literary ownership.

In the theatre world, Murphy came just after towering figures like Samuel Johnson, David Garrick, and Samuel Foote; he was part of their circle and contributed to the vibrant theatrical and literary debates of the era.

While he did not achieve the long-lasting fame of some contemporaries, his dramas were performed repeatedly even into the 19th century, and his translations continued to find audiences.

Legacy and Influence

Arthur Murphy’s legacy is multi-faceted:

• In drama, his comedies — especially Know Your Own Mind — influenced later generation of playwrights and remained in repertory for decades.

• His translation of Tacitus kept classical learning alive and accessible, bridging ancient Roman history with Enlightenment England.

• His biographies of Johnson and Garrick not only chronicled their lives but helped define their reputations for posterity.

• In intellectual property law, his arguments in Donaldson v. Becket echo in modern debates over authors’ rights, fair use, and term limits.

• His career trajectory — combining theatre, law, journalism, translation — exemplifies the fluid boundaries among professions in the 18th century, reminding us how nineteenth-century specialization was still emerging.

Though not a household name today, Murphy is periodically revived in studies of eighteenth-century drama, literary history, and legal history.

Personality and Talents

Accounts of Murphy’s appearance and temperament suggest a man of grace, erudition, and restraint. A biographical source describes him as “tall and graceful … his face oval … his eyes light and full … his voice deep and sonorous” and adds that he rarely laughed loudly but had a gracious smile. According to contemporaries, he had excellent classical sense and judgment even if he lacked a certain theatrical flair.

He was also passionate in personal relationships. He was devoted to the actress Ann Elliot, who appeared in several of his plays, and is said to have deeply mourned her early death. He never married.

Murphy combined legal acumen, classical erudition, literary taste, and theatrical sensibility. His strengths lay in clarity, balance, and classical restraint rather than the flamboyant brilliance of some contemporaries.

Famous Quotes of Arthur Murphy

While Murphy is not as quotable as Johnson or Garrick, one finds in his writings and prefaces some memorable lines. Below are a few:

“He copies no man — of what Shakespeare drew / His humble sense he offers to your view.”
— Prologue (spoken by Mrs. Hamilton) at his first appearance as Othello

From his legal-literary work:

“Wilful misconstruction” — his phrase, used in the debate in Donaldson v. Becket

In his essay on Johnson:

“[Johnson’s] faults do not disable him from obtaining that admiration which his virtues compel.”
— Paraphrase of his praise in An Essay on the Life and Genius of Samuel Johnson

Given the relative scarcity of direct aphorisms recorded from Murphy, one views him more as a refined stylist and critic whose prose expresses moderation, erudition, and moral concern.

Lessons from Arthur Murphy

1. Versatility is strength. Murphy did not confine himself to a single discipline; his life shows that combining interests (law, drama, translation) enriches one’s work.

2. Classical learning as foundation. His grounding in Greek, Latin, rhetoric, and history empowered him across genres.

3. Moderation and clarity over exuberance. Murphy’s style emphasizes measured expression, a virtue for writers and thinkers.

4. Intellectual integrity in public discourse. His engagement with legal arguments, copyright, and the role of literature shows a writer active in the civic and intellectual concerns of his day.

5. Endurance beyond fame. Even without broad modern renown, his translations, essays, and dramas continue to be studied — testament to the lasting value of well-crafted work.

Conclusion

Arthur Murphy’s life (1727–1805) spans the theatres of London, the courtrooms of England, and the quiet deliberations of translation and biographical reflection. He bridged the worlds of art and law, and though he labored frequently under financial strain, he left a legacy in drama, translation, biography, and legal thought.

As you explore his works — perhaps reading Know Your Own Mind, his Essay on Johnson, or his Tacitus translation — you enter a world in which literature, ethics, and the intellect were intertwined. May his example inspire deeper reading, polished writing, and a commitment to thinking across boundaries.