November had now been reached. In that month John Kemble, who is supposed to have protested against the dignity of the stage being lowered by a speaking puppet, wrote a letter to Mr. Betty. In this letter John said: ‘I could not deny myself the satisfaction I feel in knowing I shall soon have the happiness of welcoming you and Master Betty to Covent Garden Theatre. Give me leave to say how heartily I congratulate the stage on the ornament and support it is, by the judgment of all the world, to receive from Master Betty’s extraordinary talents and exertions.’ After this we may dismiss as nonsense the lofty talk about the Kemble feeling as to the dignity of the stage being wounded. Mr. Kemble and Mrs. Siddons would not play in the same piece with Master Betty, as Jones, Charles Young, Miss Smith (Mrs. Bartley), and others had done in the country, but Mr. Kemble (as manager) was delighted that the Covent Garden treasury should profit by the extraordinary talents of a boy whom the Kemble followers continually depreciated. On Saturday, December 1, 1804, Master Betty appeared at Covent Garden in the character of Selim. Soon after mid-day the old theatre--the one which Rich had built and to which he transferred his company from Lincoln’s Inn Fields--was beset by a crowd which swelled into a multitude, not one in ten of whom succeeded in fighting his way into the house when the doors were opened. Such a struggle--sometimes for life--had never been known. Even in the house strong men fainted like delicate girls; an hour passed before the shrieks of the suffering subsided, and we are even told that ‘the ladies in one or two boxes were employed almost the whole night in fanning the gentlemen who were behind them in the pit!’ The only wonder is that the excited multitude, faint for want of air, irritable by being overcrowded, and fierce in struggling for space which no victor in the struggle could obtain, ever was subdued to a condition of calm sufficient to enable them to enjoy the ‘rare delight’ within reach. However, in the second act Master Betty appeared--modest, self-possessed, and not at all moved out of his assumed character by the tempest of welcome which greeted him. From first to last, he ‘electrified’ the audience. He never failed, we are told, whenever he aimed at making a point. His attention to the business of the stage was that of a careful and conscientious veteran. His acting denoted study. His genius won applause--not his age, and youthful grace. There was ‘conception,’ rather than ‘instruction’ to be seen in all he did and said. His undertones could be heard at the very back of the galleries. The pathos, the joy, the exultation of a part (once so favourite a part with young actors), enchanted the audience. That they felt all these things sincerely is proved by the fact that--as one newspaper critic writes--‘the audience could not lower their minds to attend to the farce, which was not suffered to be concluded.’