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leather pitch by a play-wagon" taking at one time the
part of Hieronimo in Kyd's famous play, "The Spanish Tragedy." By
the beginning of 1598, Jonson, though still in needy circumstances, had
begun to receive recognition. Francis Meres-- well known for his
"Comparative Discourse of our English Poets with the Greek, Latin,
and Italian Poets," printed in 1598, and for his mention therein of a
dozen plays of Shakespeare by title--accords to Ben Jonson a place as
one of "our best in tragedy," a matter of some surprise, as no known
tragedy of Jonson from so early a date has come down to us. That
Jonson was at work on tragedy, however, is proved by the entries in
Henslowe of at least three tragedies, now lost, in which he had a hand.
These are "Page of Plymouth," "King Robert II. of Scotland," and
"Richard Crookback." But all of these came later, on his return to
Henslowe, and range from August 1599 to June 1602.
Returning to the autumn of 1598, an event now happened to sever for a
time Jonson's relations with Henslowe. In a letter to Alleyn, dated
September 26 of that year, Henslowe writes: "I have lost one of my
company that hurteth me greatly; that is Gabriel [Spencer], for he is
slain in Hogsden fields by the hands of Benjamin Jonson, bricklayer."
The last word is perhaps Henslowe's thrust at Jonson in his displeasure
rather than a designation of his actual continuance at his trade up to this

time. It is fair to Jonson to remark however, that his adversary appears
to have been a notorious fire-eater who had shortly before killed one
Feeke in a similar squabble. Duelling was a frequent occurrence of the
time among gentlemen and the nobility; it was an impudent breach of
the peace on the part of a player. This duel is the one which Jonson
described years after to Drummond, and for it Jonson was duly
arraigned at Old Bailey, tried, and convicted. He was sent to prison and
such goods and chattels as he had "were forfeited." It is a thought to
give one pause that, but for the ancient law permitting convicted felons
to plead, as it was called, the benefit of clergy, Jonson might have been
hanged for this deed. The circumstance that the poet could read and
write saved him; and he received only a brand of the letter "T," for
Tyburn, on his left thumb. While in jail Jonson became a Roman
Catholic; but he returned to the faith of the Church of England a dozen
years later.
On his release, in disgrace with Henslowe and his former associates,
Jonson offered his services as a playwright to Henslowe's rivals, the
Lord Chamberlain's company, in which Shakespeare was a prominent
shareholder. A tradition of long standing, though not susceptible of
proof in a court of law, narrates that Jonson had submitted the
manuscript of "Every Man in His Humour" to the Chamberlain's men
and had received from the company a refusal; that Shakespeare called
him back, read the play himself, and at once accepted it. Whether this
story is true or not, certain it is that "Every Man in His Humour" was
accepted by Shakespeare's company and acted for the first time in 1598,
with Shakespeare taking a part. The evidence of this is contained in the
list of actors prefixed to the comedy in the folio of Jonson's works,
1616. But it is a mistake to infer, because Shakespeare's name stands
first in the list of actors and the elder Kno'well first in the dramatis
personae, that Shakespeare took that particular part. The order of a list
of Elizabethan players was generally that of their importance or priority
as shareholders in the company and seldom if ever corresponded to the
list of characters.
"Every Man in His Humour" was an immediate success, and with it
Jonson's reputation as one of the leading dramatists of his time was
established once and for all. This could have been by no means
Jonson's earliest comedy, and we have just learned that he was already

reputed one of "our best in tragedy." Indeed, one of Jonson's extant
comedies, "The Case is Altered," but one never claimed by him or
published as his, must certainly have preceded "Every Man in His
Humour" on the stage. The former play may be described as a comedy
modelled on the Latin plays of Plautus. (It combines, in fact, situations
derived from the "Captivi" and the "Aulularia" of that dramatist). But
the pretty story of the beggar-maiden, Rachel, and her suitors, Jonson
found, not among the classics, but in the ideals of romantic love which
Shakespeare had already popularised on the stage. Jonson never again
produced so fresh and lovable a feminine personage as Rachel,
although