There is no record of Master Betty’s school life. We only know that it did not suppress his taste for dramatic poetry and dramatic action. At this time, 1802, Mrs. Siddons, who had been acting with her brother, John Kemble, to empty houses at Drury Lane, left England, in disgust at the so-called ‘Drury treasury,’ for Ireland. It was the journey on which she set out with such morbid feelings of despair, as if she were assured of the trip ending by some catastrophe. It was, in fact, all triumph, and in the course of her triumphant career she arrived in Belfast, where, with other parts, she acted Elvira in ‘Pizarro.’ She had not thought much of the part of the camp-follower when she was first cast for it, and Sheridan was so dilatory that she had to learn the last portion of the character after the curtain had risen for the first acting of the piece. But Sarah Siddons was a true artist. She ever made the best of the very worst materials; she invested Elvira with dignity, and it became by far the most popular of the characters of which she was the original representative. Young Betty entered a theatre for the first time to see Sheridan’s ‘Pizarro’ acted at the Belfast theatre, and Mrs. Siddons as Elvira. The boy’s tastes were in the right direction. He had neither eyes, nor ears, nor senses, but for her. He was, so to speak, ‘stricken’ by her majestic march, her awful brow, her graceful action, and her incomparable delivery. He drank at a fresh fountain; he beheld a new guiding light; he went home in a trance; he now knew what was meant by ‘the stage,’ what acting was, what appropriate speech meant, what it was to be an actor, and what a delicious reward there was for an inspired artist in the music of tumultuous applause. When Master Betty awoke from his dream it was to announce to his parents that he should certainly die if he were not allowed to be a play-actor! He was only eleven years old, and those parents did not wish to lose him. They at first humoured his bent, and listened smilingly to his rehearsal of the whole part of Elvira. They had to listen to other parts, and still had to hear his impressive iteration of his resolution to die if he were thwarted in his views. At length they yielded. The father addressed himself to Mr. Atkins, the proprietor and manager of the Belfast theatre, who consented that the boy should give him a taste of his quality. When this was done, Atkins was sufficiently struck by its novelty not to know exactly what to make of it. He called into council Hough, the prompter, who was warm in his approval. ‘You are my guardian angel!’ exclaimed the excited boy to the old prompter. Atkins, with full faith in Hough’s verdict, observed, when the lad had left, ‘I never expected to see another Garrick, but I have seen an infant Garrick in Master Betty!’