No one better than Mowbray knew the tone of enthusiastic theatric admiration in which the heroes of the stage like, or are supposed to like, to be addressed. Macklin, who was not asy to please, was pleased. The _lines_, or as Quin insisted upon their being called, the _cordage_ of his face relaxed. He raised, turned, and settled his wig, in sign of satisfaction; then with a complacent smile gave me a little nod, and suffered Lord Mowbray to draw him out by degrees into a repetition of the history of his first attempt to play the character of Shylock. A play altered from Shakespeare’s, and called “The Jew of Venice,” had been for some time in vogue. In this play, the Jew had been represented, by the actors of the part, as a ludicrous and contemptible, rather than a detestable character; and when Macklin, recurring to Shakespeare’s original Shylock, proposed, in the revived Merchant of Venice, to play the part in a serious style, he was scoffed at by the whole company of his brother actors, and it was with the utmost difficulty he could screw the manager’s courage to the sticking-place, and prevail upon him to hazard the attempt. Take the account in Macklin’s own words. [Footnote: Vide Macklin’s Life.] “When the long expected night at last arrived, the house was crowded from top to bottom, with the first company in town. The two front rows of the pit, as usual, were full of critics. I eyed them,” said Macklin, “I eyed them, sir, through the slit in the curtain, and was glad to see them there; as I wished, in such a cause, to be tried by a _special jury_. When I made my appearance in the green-room, dressed for the part, with my red hat on my head, my piqued beard, my loose black gown, and with a confidence which I had never before assumed, the performers all stared at one another, and evidently with a stare of disappointment. Well, sir, hitherto all was right, till the last bell rung; then, I confess, my heart began to beat a little: however, I mustered up all the courage I could, and recommending my cause to Providence, threw myself boldly on the stage, and was received by one of the loudest thunders of applause I ever before experienced. The opening scenes being rather tame and level, I could not expect much applause; but I found myself listened to: I could hear distinctly in the pit, the words ‘_Very well--very well indeed! this man seems to know what he is about_.’ These encomiums warmed me, but did not overset me. I knew where I should have the pull, which was in the third act, and accordingly at this period I threw out all my fire; and as the contrasted passions of joy for the merchant’s losses, and grief for the elopement of Jessica, open a fine field for an actor’s powers, I had the good fortune to please beyond my most sanguine expectations. The whole house was in an uproar of applause; and I was obliged to pause between the speeches to give it vent, so as to be heard. The _trial scene_ wound up the fulness of my reputation. Here