active collaboration with Chapman and Marston
in the admirable comedy of London life entitled "Eastward Hoe." In
the previous year, Marston had dedicated his "Malcontent," in terms
of fervid admiration, to Jonson; so that the wounds of the war of the
theatres must have been long since healed. Between Jonson and Chapman
there was the kinship of similar scholarly ideals. The two continued
friends throughout life. "Eastward Hoe" achieved the extraordinary
popularity represented in a demand for three issues in one year. But
this was not due entirely to the merits of the play. In its earliest
version a passage which an irritable courtier conceived to be derogatory
to his nation, the Scots, sent both Chapman and Jonson to jail; but the
matter was soon patched up, for by this time Jonson had influence at
court.

With the accession of King James, Jonson began his long and successful
career as a writer of masques. He wrote more masques than all his
competitors together, and they are of an extraordinary variety
and poetic excellence. Jonson did not invent the masque; for such
premeditated devices to set and frame, so to speak, a court ball had
been known and practised in varying degrees of elaboration long before
his time. But Jonson gave dramatic value to the masque, especially in
his invention of the antimasque, a comedy or farcical element of relief,
entrusted to professional players or dancers. He enhanced, as well, the
beauty and dignity of those portions of the masque in which noble lords
and ladies took their parts to create, by their gorgeous costumes and
artistic grouping and evolutions, a sumptuous show. On the mechanical
and scenic side Jonson had an inventive and ingenious partner in
Inigo Jones, the royal architect, who more than any one man raised
the standard of stage representation in the England of his day. Jonson
continued active in the service of the court in the writing of masques
and other entertainments far into the reign of King Charles; but,
towards the end, a quarrel with Jones embittered his life, and the two
testy old men appear to have become not only a constant irritation to
each other, but intolerable bores at court. In "Hymenaei," "The Masque
of Queens," "Love Freed from Ignorance," "Lovers made Men," "Pleasure
Reconciled to Virtue," and many more will be found Jonson's aptitude,
his taste, his poetry and inventiveness in these by-forms of the drama;
while in "The Masque of Christmas," and "The Gip