at Lincoln's
Inn, and he also put himself under the tuition of Mr. Colson, an
eminent mathematician at Rochester. But as he applied himself little
to the study of the law, his proficiency in mathematics and philosophy
was not extensive. His mind was theatrically led, and nothing could
divert his thoughts from the study of that to which his genius so
powerfully prompted him. He had L1,000 left him by his uncle at
Lisbon, and he engaged for a short time in the wine trade, in
partnership with his brother, Mr. Peter Garrick; they hired vaults in
Durham Yard, for the purpose of carrying on the business. The union
between the brothers was of no long date. Peter was calm, sedate, and
methodical; David was gay, volatile, impetuous, and perhaps not so
confined to regularity as his partner could have wished. To prevent
the continuance of fruitless and daily altercation, by the
interposition of friends the partnership was amicably dissolved. And
now Garrick prepared himself in earnest for that employment which he
so ardently loved, and in which nature designed he should eminently
excel.

He was frequently in the company of the most eminent actors; he got
himself introduced to the managers of the theatres, and tried his
talent in the recitation of some particular and favorite portions of
plays. Now and then he indulged himself in the practice of mimicry, a
talent which, however inferior, is never willingly resigned by him who
excels in it. Sometimes he wrote criticisms upon the action and
elocution of the players, and published them in the prints. These
sudden effusions of his mind generally comprehended judicious
observations and shrewd remarks, unmixed with that illiberality which
often disgraces the instructions of stage critics.

Garrick's diffidence withheld him from trying his strength at first
upon a London theatre. He thought the hazard was too great, and
embraced the advantage of commencing his noviciate in acting with a
company of players then ready to set out for Ipswich, under the
direction of Mr. William Gifford and Mr. Dunstall, in the summer of
1741.

The first effort of his theatrical talents was exerted as Aboan, in
the play of "Oroonoko," a part in which his features could not be
easily discerned. Under the disguise of a black countenance, he hoped
to escape being known, should it be his misfortune not to please.
Though Aboan is not a first-rate character, yet the scenes of pathetic
persuasion and affecting