The commonest incidents have been tortured to depreciate Garrick's character. When, in 1775, Sheridan's "Duenna" was in the course of its first run of seventy-five nights, the name of the author was extraordinarily popular. At this juncture Garrick did further honour to that name by reviving the "Discovery," by Sheridan's mother, and acting the principal part in it himself.[111] The carpers immediately exclaimed, that the mother had been revived in opposition to the son. They did not even take the low ground of the revival being adopted as a source of profit on account of the author's family name. Even Mrs. Siddons's disparagement of Garrick tells in his favour. She played two or three nights with him, but her first appearances were comparatively failures. Garrick observed some awkward action of the lady's arms, and he gave her good advice how to use them. But Mrs. Siddons, in telling the story, used to say: "He was only afraid that I should overshadow his nose." Years subsequently Walpole remarked this very action of the arms, which Garrick had endeavoured to amend! To those who object that Garrick was personally vain, it may suffice to point out that he was the first to allude to his own defect of stature. In the prologue to the tragedy of "Hecuba," written and spoken by himself, he mentions the high-soled buskins of the ancient stage; and adds-- "Then rais'd on stilts, our play'rs would stalk and rage, And at three steps stride o'er a modern stage; Each gesture then would boast unusual charms, From lengthen'd legs, stuff'd body, sprawling arms! Your critic eye would then no pigmies see, But buskins make a giant e'en of me." If he esteemed little of himself personally, he had, on the other hand, the highest estimation of his profession. In this he bears a resemblance to Montfleury, who, being asked, when his marriage articles were preparing, how he wished to be described, answered: that ancestry conferred no talent, and that the most honourable title he desired to be known by, was, that of "_Actor to the King_." Garrick was often severe enough with conceited aspirants, who came to offer samples of their quality, to whom he listened while he shaved, and whom he often interrupted by imitative _yaw, yaws_! But when convinced there was stuff in a young man, Garrick helped him to do his best, without thought of rivalry. It is pleasant thus to contemplate him preparing Wilkinson, in 1759, for his attempt at tragedy, in Bajazet, to the Arpasia of Mrs. Pritchard.[112] Garrick heard him recite the character in his own private room; gave him some valuable advice; presided at the making up of his face; and put the finishing strokes of the pencil, to render the young face of one and twenty as nearly like that of the elder Oriental, as might be.