Some poets, such as Horton, adopted standard Euro-American poetic techniques and seldom wrote about racial issues. Slave poet George Moses Horton and abolitionist Frances Ellen Watkins Harper were the most prominent southern black voices in antebellum poetry. Southern black poetry was basically undistinguished before the 1920s. Over the past century southern black literature has evolved from a relatively sparse body of writings, mainly imitative of Euro-American literary forms and thematically focused on the plight of blacks in the South, to a sophisticated literary canon whose forms and meanings coalesce to give it a distinct identity. While The Case is Altered is not a major element in Jonson's dramatic achievement, critics have regarded it as significant in that it probably represents Jonson's first attempt at a comedy of humours, a type of play he would develop further in Every Man in His Humour (1598) and Every Man out of His Humour (1599).From: Wilson, Charles Reagan, and William Ferris, eds., Encyclopedia of Southern Culture, Chapel Hill, N.C.: University of North Carolina Press, 1989. The result is an Elizabethan/Plautine confection at least somewhat comparable to Shakespeare's The Comedy of Errors. The former supplies the plot of the Milanese Count Ferneze and his persecuted slave – who turns out to be his long-lost son and the latter the tale of the miser Jaques and his supposed daughter Rachel. The play, however, is strongly dependent upon Classical examples in a way suggestive of Jonson: The Case is Altered borrows plots from two of the plays of Plautus, the Captivi ("The Captives") and the Aulularia ("The Pot of Gold"). One commentator calls the play a "false start" and a "loose end" in Jonson's canon. Critics have noted that the play was never included in any of the three folio collections of Jonson's works in the 17th century, and was apparently never mentioned by him and also that its romantic plot and its loose structure (with a blending of multiple plots and subplots) are atypical of the general nature of Jonson's drama. (Revision could also explain a few anomalies in the text, like an allusion to Jonson's Every Man in His Humour, which was written later than The Case is Altered.) Anthony Munday is certainly connected with the play in at least one sense: Act I satrises him as "Antonio Balladino" – though he has also been put forward as a possible part-author of the play, as has Henry Porter. The play's first three acts adhere to the scheme of formal act–scene division that Jonson favoured in his works – but Acts IV and V do not, suggesting a second author or a revision by another hand. The text of the 1609 edition is somewhat irregular. It is not known what company may have performed the original version of the play before 1599 (The Children of the Chapel were not active in dramatic performance in 1597–98). In this case, it is thought that The Case is Altered was printed in 1609 because it had recently been revived by the boys' troupe playing at the Blackfriars Theatre.
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This company of boy actors had originated as the Children of the Chapel, and went through a series of name changes during its tempestuous career the version of the name used in a given case can help to date a performance or production. Performance Īll three title pages state that the play was acted by the Children of the Blackfriars.
Q1c: under the same title as Q1b, and from the same publishers, but with Jonson's name as author removed. Jonson." Published by Sutton and William Barrenger. Q1b: as A Pleasant Comedy, called: The Case is Altered, and "Written by Ben. Q1a: under the title Ben Jonson, His Case is Altered, published by Bartholomew Sutton. The quarto that appeared in 1609 was printed in three states with three different title pages. The Case is Altered was entered into the Stationers' Register on 26 January 1609, with the publishing rights assigned to the booksellers Henry Walley and Richard Bonion a second entry in the Register, dated 20 July the same year, adds Bartholomew Sutton's name to Walley's and Bonion's.
Yet it did not appear in print until a decade later. The play's title was first used by the jurist Edmund Plowden, who died in 1585.
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