And yet, for seven nights, the receipts averaged but about £30 a night; and Garrick only slowly made his way at first. Then suddenly the town was aroused. The western theatres were abandoned. "Mr. Garrick," says Davies, "drew after him the inhabitants of the most polite parts of the town. Goodman's Fields were full of the splendour of St. James's and Grosvenor Square. The coaches of the nobility filled up the space from Temple Bar to Whitechapel." Among these, even bishops might have been found. Pope came up from Twickenham, and without disparaging Betterton, as some old stagers were disposed to do, only "feared the young man would be spoiled, for he would have no competitor." Quin felt his laurels shaking on his brow, and declared that if this young man was right, he and all the old actors must be wrong. But Quin took courage. Dissent was a-foot, and he compared the attraction of Garrick to the attraction of Whitfield. The sheep would go astray. The throwster's shop-theatre was, in his eyes, a sort of conventicle. It would all come right by-and-bye. The people, he said, who go to chapel will soon come to church again. Meanwhile let us trace the new actor through his first and only season in the far east. During that season, from the 19th of October 1741, to the 29th of May 1742, Garrick acted more comic than tragic characters; of the latter he played Richard (eighteen times), Chamont, Lothario, the Ghost in "Hamlet" (Giffard, the manager, playing the Dane), Aboan, King Lear, and Pierre. In comedy, he played Clodio ("Love Makes a Man"), Fondlewife, Costar Pearmain, Witwoud, Bayes, Master Johnny ("School Boy"), Lord Foppington ("Careless Husband"), Duretete, Captain Brazen, and two characters in farces, of which he was the original representative; Jack Smatter in "Pamela," and Sharp in the "Lying Valet." This is, at least, a singular selection. [Illustration: (David Garrick)] The most important of his comic essays in his first busy season, when he frequently played in tragedy and farce, on the same night, without affecting to be wearied, was in the part of Bayes. His wonderful powers of mimicry, or imitation, were not known till then; and in displaying them, his Bayes was a triumph, although other actors excelled him in that part, as a whole.