Near together and under the shadow of Shakespeare's monument lie three men whose lives brought them into close contact with each other: David Garrick, the actor and manager; Dr. Samuel Johnson, the critic and conversationalist; and Richard Brinsley Sheridan, prince of playwriters and parliamentary orators. Little Davy Garrick was the first of the trio on whom the curtain fell, and his funeral in the Abbey, which took place on the 1st of February 1779, was a most imposing one. The streets were crowded with people gathered to see the last of him they had so delighted in applauding. The procession extended far down into the Strand; players from Drury Lane and Covent Garden mourned the kindliest and most lovable of comrades; seven carriages were filled with the members of the Literary Club, and round the grave stood Edmund Burke, Charles James Fox, Sheridan, Dr. Johnson, with many another distinguished man. That was a day of triumph for the English stage. True, indeed, other players had been buried in Westminster—Anne Oldfield, who lies in the nave; Anne Bracegirdle and Mr. Cibber, whose graves are in the cloisters—but the death of David Garrick was accounted a national loss, and all desired to honour him, under whose wise guidance "the drama had risen from utter chaos into order, fine actors had been trained, fine plays had been written for the fine actors to act, and fine, never-failing audiences had assembled to see the fine plays which the fine actors had acted." It has often been said that even had he been neither an actor nor a public character his name would have gone down to future generations as a perfect English gentleman, so great was the spell of his charm and his influence. He was born in an inn at Hereford in the year 1716, the son of a penniless officer in the dragoons, who had married Miss Isabella Clough, the equally penniless daughter of the vicar-choral of Lichfield Cathedral. The lieutenant had to serve at Gibraltar, and little David, a bright lad, ever ready with a witty answer, got his early education in a free school at Lichfield, presided over by a master who used the rod freely, "to save his boys from the gallows," as he assured them for their comfort. An older boy at the same school was Samuel Johnson, the son of a highly respected bookseller in Lichfield. In spite of the great difference in their ages, he became David's friend, and together they used to patronise such plays as the companies of strolling players brought within their reach, the acting taking place in such barns as were available. David, full of enterprise, organised and drilled a little company of his own when he was barely eleven, which company performed a play called "The Recruiting Officer," to the admiration of a large and interested audience, composed mainly of parents. But funds did not allow of many such pastimes, and a year later David was sent out to Portugal to work in the office of an uncle, a prosperous wine merchant there. Never was boy more unfit for the daily routine of an office, a fact which, fortunately, his uncle soon recognised, for in a few months he was back again in Lichfield, slightly in disgrace, it is true, and was sent to his old school that "discipline might repair his deficiencies."
DR. SAMUEL JOHNSON.
DR. SAMUEL JOHNSON.

Young Johnson, who by now had returned from Oxford, had, thanks to the assistance of a wealthy friend, Mr. Walmesley, set up a school of his own in the town, dignified by the name of "The Academy." At this seat of learning Garrick studied for a while, and years afterwards he wrote of his solemn ponderous master, "I honoured him, he endured me." But the academy did not prosper, and Johnson, who had already begun to write, determined to try his fate in London. Thither, too, young Garrick was bent, for it had been decided that he was to study law, and kind Mr. Walmesley had arranged to pay the expenses of the special instruction he would need, declaring him to be "of a good disposition, and as ingenious and promising a young man as ever I knew in my life." So together they set out, and together they lived for awhile, Johnson finding a scanty livelihood as a bookseller's assistant, David working as a student of Lincoln's Inn.

Soon afterwards Captain Garrick died, and at the same time died also the rich wine merchant uncle, who left a fair sum of money to his brother's children, with a special legacy to David, of whom he had been particularly fond. Then it was that for the first time the boy's ambition took definite shape: he knew there was only one life and one career for him, and that was summed up in the stage. His mother, though, shrank in horror from the idea, and to his eternal credit, rather than add to her sorrows, he set aside his own wishes, and made one more desperate effort to please his family by going into the wine business, as the London manager, with his brother Peter. Even in so doing, theatrical life pursued him, for his wines were so patronised by the coffee-houses and clubs to which the actors resorted, that he considered it part of his business to amuse and entertain his customers by "standing on the tables at the clubs to give his diverting and loudly applauded mimicries." To make a long story short, the genius that was in David would not allow him to settle down to a wine merchant's career; he became restless and dissatisfied, and one fine morning two letters fell like bombshells into the Garrick household at Lichfield: one from David, saying that his mind was so inclined to the stage that he could no longer resist it, and he hoped they would all forgive him when they found he had the genius of an actor; the other from an old friend, who hastened to assure the family how great a success Davy's first appearance had been, how the audience was in raptures, and how several men of judgment had wondered that he had kept off the stage so long. Richard II. was the ambitious part Garrick had undertaken. "I played the part to the surprise of every one," he wrote humbly to his furious brother. "It is what I doat upon, and I am resolved to pursue it." The Daily Post had an enthusiastic notice about this unknown gentleman who had never appeared before, "whose reception was the most extraordinary and great that was ever known, whose voice was clear, without monotony, drawling, affectation, bellowing, or grumbling; whose mien was neither strutting, slouching, stiff, nor mincing." Pope, most keen of critics, had watched him delightedly from a box. "That young man never had his equal, and never will have a rival," he remarked; adding, "I only fear lest he should become vain and ruined by applause."

But there was a simplicity of character and a fund of good sense in David which saved him from this latter fate, even though he quickly became the talk of the town, the man about whom the fashionable London world went mad. After acting with ever-increasing success in nineteen different parts, his London season came to an end for the time being, and in response to an urgent invitation he went over to Dublin, where the craze for him was so intense that, when a mild epidemic broke out, it was given the name of the Garrick fever. A second visit to that gay capital was even more successful, and Garrick finally returned to London with a clear ￡600 in his pocket.

It was then that various difficulties beset him, chiefly owing to the bad management of the theatres and the endless quarrels between the principal actors of the day; but at last, thanks to the many friends who firmly believed in him, and whose faith he never disappointed, he was able to invest ￡8000 in Drury Lane Theatre, and to become its manager as well as its leading actor. His determination was to "get together the best company in England," and it is characteristic of him that he let no past jealousies or quarrels interfere with his selection. Even Macklin, who had violently attacked him with tongue and pen, was engaged, as well as his wife, and he skilfully smoothed down the sensitive feelings of the various ladies. He insisted on rehearsals, which hitherto had seldom been enforced, and he also insisted that players should learn their parts, a very necessary proviso. On the opening night he remembered the friend with whom he had entered London, when triumphs such as this had been undreamt of, and it was Dr. Johnson whom he commissioned to write the prologue, which he himself gave with splendid effect. Later on he loyally did his best to make a success of Johnson's heavy and somewhat clumsy play "Irene," and thanks to his efforts and the money he freely spent on its staging, it ran for nine nights, so that the Doctor made the sum of ￡300. But with this the author was far from satisfied, and always declared that the actors had not done justice to their parts!

It would take too long to dwell on the many plays Garrick produced, the many parts he created, the wide range of writers new and old he explored, and the excellent standard he maintained. Whether it was a tragedy of Shakespeare's, or a comedy of Ben Jonson's, or a pantomime, he threw himself heartily into them all and never spared himself. He knew his public and catered for them, but at the same time he taught them to understand and applaud the best. His kindness to every one with whom he came in contact was proverbial; indeed, his greatest weakness lay in his good-nature. He could not bear to vex people by refusing them anything, and this trait often landed him into difficulties with the army of playwriters to whose entreaties that he would produce their works he seldom turned a deaf ear. And when these plays were too hopelessly bad to be dreamt of, David tried to soften the blow by a gift of money, sometimes actually a pension. As might have been expected, he had a wide circle of acquaintances from the highest in the land to the poorest Grub Street poets, and rarely was man so well liked. For in spite of his weaknesses—and he was restless and sensitive to the point of touchiness—he never allowed himself to be unjust or ungenerous to other people, and no thought of self ever interfered with the standard he had set up for his theatre and his own profession.

More than once he talked of retiring, for the strain of his life was heavy, and he looked forward to years of restful enjoyment with his "sweet wife," who had been before her marriage the celebrated dancer Mademoiselle Violette. But the very mention of such an idea raised a storm of excitement. Once even the king intervened when David had taken an unusually long holiday, and his Majesty requested Mr. Garrick to shortly appear again. The night when, thus commanded, he reappeared in "The Beggar's Opera," was one of his greatest triumphs; again "the town went half mad," and the theatre was crowded to an alarming extent. All ideas of retirement vanished from David's mind; the old magic had not lost its spell, and for more than ten years longer he went on with his work as vigorously as ever.

His fame became even more widespread, his public loved him even more dearly, and from far-away country places people journeyed to London so that they might boast of once having seen the great Mr. Garrick.

But in 1776, an illness, which he had long kept at bay, made itself felt, and he was the first to recognise that the time had nearly come for the curtain to fall. He gave a series of his greatest representations, ending with Richard II. "I gained my fame in Richard," he said, "and I mean to close with it."—Though he confessed to being in agonies of pain, in the eyes of his enraptured audience he was as great as he had ever been in his palmiest days of success, as graceful, as winsome, and as gay. His real farewell play, however, was "The Wonder," in which he took his favourite part, that of Don Felix, and "as his grand eyes wandered round the crowded house, he saw a sea of faces, friends, strangers, even foreigners, a boundless amphitheatre representing most affectionate sympathies and exalted admiration. He played as he had never played before. When the last note of applause had died away, the other actors left the stage and he stood there alone. The house listened in awe-struck silence. At first he tried in vain to speak; for once the ready words would not come for his calling. When at last he went on to thank his friends for their wonderful kindness to him, he broke down, and his tears fell fast. Sobs rang through the theatre. "Farewell! Farewell!" was cried in many a quivering voice. Mrs. Garrick wept bitterly in her box, and David slowly walked off the stage with one last wistful glance at the sea of faces all around him.

His interest in his theatre did not cease after he had left it, and he was disturbed at finding that the new manager, Sheridan, was sadly easy-going and unbusiness-like. But there was not much time left for such things to trouble him. Though he kept up his merry heart and his sprightly manner to the end, and though he delighted in the undisturbed companionship of his wife, the disease gained rapidly and he suffered much pain. Gradually a stupor crept over him, and though it sometimes lifted, so that with his old sweet smile he had a jest or a word of welcome for his friends, it never cleared, and he passed gently away in the early dawn of a January morning, 1779, "leaving that human stage where he had played with as much excellence and dignity as ever he had done on his own."

So ended a prosperous, pleasant life, and rarely was a man better liked by his fellows, or more genuinely mourned. Dr. Johnson, in this moment, forgot all his later coldness towards the Davy he had once so loved. He left a card on Mrs. Garrick, and "wished some endeavours of his could enable her to support a loss which the world cannot repair;" while he wrote those well-known words, which Mrs. Garrick had engraved on her husband's memorial monument in Lichfield Cathedral, and which form an inscription more appropriate than that on the Abbey tomb:—"I am disappointed by that stroke of death, which has eclipsed the gaiety of nations and impoverished the public stock of harmless pleasure."

David's devoted wife outlived him for over forty years, keenly interested to the last in all matters theatrical, and a well-known figure in the Abbey, where, little and bent, she often made her way to the tomb which held him she had so loved, and standing there would readily recount over and over again to willing listeners the triumphs of "her Davy."............