170 CHILDREN OF THE CHAPEL AT BLACKFRIARS 
the features of Chrysogonus and gave them a few touches that — 
must undoubtedly have reminded the audience of Jonson. 
Jonson’s Every Man in his Humour (ca. Aug.—Sept. : 98am 
had appeared before either of the above, and consequently con- 
tains no trace of the quarrel in even its mildest form. But his 
next play, Every Man out of his Humour (ca. Aug., 1599) re- 
plied to both of Marston’s jibes by making a character, Clove, 
evidently introduced for no other purpose, talk fustian words — 
culled out of The Scourge of Villainy and Histriomastix, Mean- 
while, Marston had given Antonio and Mellida (ca. first half of 
1599) to the stage at Paul’s without a word of bickering against — 
Jonson. 
Jonson and Dekker during August and September, 1599, 
worked in collaboration for Henslowe on Page of Plymouth and 
Robert II King of Scots. Probably also Marston worked with 
them in September on this latter play. 
Up to this time (Sept., 1599) there seems to be no serious per- — “ 
sonal feeling between Jonson and Marston. Dekker had not yet 
been in the least concerned. It is most probable that the inti- 
macy of collaboration sowed the seeds of discord. Jonson’s per- 
sonality could brook little opposition. He had no patience with 
such as we know Dekker and his work to have been. But om © 
Marston’s side there appears as yet no rankling, for about Nov., 
1599, appeared at Paul’s his Antonio’s Revenge, with no word ~ 
directed at Jonson. 
In September, 1599, Chettle, Dekker, and Haughton completed 
Patient Grisell, probably first acted ca. January, 1599-1600. The 
Emulo-Owen duel of this play is a clear imitation of Jonson’s 
Brisk-Lentulo duel in Every Man out of his Humour that had 
appeared at least four months before. From Jonson’s later at- 
tack (i. e., in Poetaster) he apparently charged this imitation up 
as one of Dekker’s plagiarisms. 
Cynthia's Revels (ca. April-May, 1600) gives us the first real 
personal bitterness of the quarrel and its first importance on the 
stage. There Jonson caricatured some of the features of Mars- 
ton in Hedon, and of Dekker in Anaides, while assuming to him- 
self some of the general excellences of Crites. This was played 
by the Blackfriars Boys. Almost simultaneously Marston pre- 
284 
