It is difficult to account for Sheridan's millennial approach to elocution, but his absorption in language study is most understandable. His father, Dr. Thomas Sheridan, was a minister and teacher, judged to be "a good classical scholar, and an excellent schoolmaster."[3] He supervised his son's early education, and Sheridan was being pointed toward a career as school master. His exposure to, and interest in, English were reinforced by his godfather, Dean Swift, who was long an intimate of the elder Sheridan. In later years, Sheridan was eager to acknowledge that his attitudes had been profoundly influenced by those of Swift. To some degree Sheridan's dedication to language study is evidenced in his theatrical activities. As an undergraduate, he wrote a play that was later published; and almost immediately after taking his M.A. at Trinity College, he made his professional acting debut in Dublin. This was 1743, and forty years later he was taking part in Attic Entertainments, performances "consisting of recitation, singing, and music."[4] A selective chronology suggests his involvement with the stage: 1744, acting in London with Garrick; 1750, acting and managing in Dublin; 1760, acting in London; 1780, acting manager for his son at Drury Lane. Successful as an actor, Sheridan appears to have missed greatness because he could not overcome an inflexibility and obstinacy in personality; and the same characteristics helped to precipitate a number of squabbles and riots that marred his managerial efforts. However, much of his frustration in the theatre must be attributed to the more compelling attraction to the theory of delivery in speaking. The stage provided a practical outlet, but Sheridan's fascination with elocutionary theory dominated and deflected the interest in theatre. That elocution was his primary concern is demonstrated in his major publications: _British Education_, 1756; _Lectures on Elocution_, 1762; _A Plan of Education_, 1769; _Lectures on the Art of Reading_, 1775; and _A General Dictionary of the English Language_, 1780. In all of these works the central argument remained unchanged after its initial statement in the complete title of _British Education_.[5] There, Sheridan suggested that a revival of the art of speaking would improve religion, morality, and constitutional government; would undergird a refining of the language; and would pave the way for ultimate perfection in all the arts.