myth had held the stage from the beginning of the drama, so that
Shakespeare was making no new departure when he wrote his "Julius
Caesar" about 1600. Therefore when Jonson staged "Sejanus," three
years later and with Shakespeare'scompany once more, he was only
following in the elder dramatist's footsteps. But Jonson's idea of
a play on classical history, on the one hand, and Shakespeare's and
the elder popular dramatists, on the other, were very different.
Heywood some years before had put five straggling plays on the
stage in quick succession, all derived from stories in Ovid and
dramatised with little taste or discrimination. Shakespeare had a
finer conception of form, but even he was contented to take all his
ancient history from North's translation of Plutarch and dramatise
his subject without further inquiry. Jonson was a scholar and a
classical antiquarian. He reprobated this slipshod amateurishness,
and wrote his "Sejanus" like a scholar, reading Tacitus, Suetonius,
and other authorities, to be certain of his facts, his setting, and
his atmosphere, and somewhat pedantically noting his authorities in
the margin when he came to print. "Sejanus" is a tragedy of
genuine dramatic power in which is told with discriminating taste
the story of the haughty favourite of Tiberius with his tragical
overthrow. Our drama presents no truer nor more painstaking
representation of ancient Roman life than may be found in Jonson's
"Sejanus" and "Catiline his Conspiracy," which followed in 1611. A
passage in the address of the former play to the reader, in which
Jonson refers to a collaboration in an earlier version, has led to
the surmise that Shakespeare may have been that "worthier pen."
There is no evidence to determine the matter.

In 1605, we find Jonson in active collaboration with Chapman and
Marston in the admirable comedy of London life entitled "Eastward