Isaac Bickerstaffe or Bickerstaff (26 September 1733 – after 1808) was an Irish playwright and Librettist. Early life Isaac John Bickerstaff was born in Dublin, on 26 September 1733, where his father John Bickerstaff held a government position overseeing the construction and management of sports fields including bowls and tennis courts. The office was abolished in 1745, and he received a pension from the government for the rest of his life. In his early years, Isaac was a page to Lord Chesterfield, the Lord Lieutenant of Ireland which allowed him to mix with fashionable Dublin society. When Chesterfield was replaced in the position in 1745 he arranged for Isaac to be given a commission in the army. In October 1745, Bickerstaff joined the 5th Regiment of Foot known as the Northumberland Fusiliers. He served as an Ensign until 1746, when he was promoted to Lieutenant. The regiment, under the command of Alexander Irwin, was on the Irish Establishment and was based in Kinsale in Ireland. In March 1755, the regiment was moved to Bristol in England. Having recently come into some money, Isaac resigned his commission in August and went on half-pay. He intended to become a writer, but his first work was published but not performed and he soon ran into financial difficulties. By March 1758, he was so short of money that he joined the Marine Corps as a Lieutenant stationed at Plymouth and served through the Seven Years' War. In 1763, following the Treaty of Paris he was honourably discharged as the Corps was reduced in size. Success Bickerstaff had first arrived in London in 1755 and worked as a playwright. His years growing up in Dublin, a cultural hub at the time, had greatly influenced his views on writing and the arts. He developed a view that the English language was totally unsuited for singing operas in, however skilled the composer, and that Italian was the natural language. Later in life, he was to challenge this view. In London he initially struggled, and his first work Leucothoé (1756), a dramatic poem, was a failure. While critically well received by two reviewers, it had not been set to music and performed and was widely ignored. Bickerstaff also hurt his chances of success by publicly criticising David Garrick, the leading actor-manager of the era, for "barbarity" in his recent attempts to set Shakespeare plays to music. These setbacks