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 in other
respects "The Case is Altered" is not a conspicuous play, and, save
for the satirising of Antony Munday in the person of Antonio
Balladino and Gabriel Harvey as well, is perhaps the least
characteristic of the comedies of Jonson.

"Every Man in His Humour," probably first acted late in the summer
of 1598 and at the Curtain, is commonly regarded as an epoch-making