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It has been suggested that while 'cry' represents the sound of the voices of the pursuers, 'hue' applies to the sound of horns or other instruments used in the pursuit and so Blackstone, Comment. A swift fate awaited any one overtaken 1 The word 'hue,' which is now obsolete except in this phrase and in the 'huers' on the Cornish coast who direct the pilchardfishing from the cliffs, is generally connected with the Old French verb huer, to cry, shout, especially in war or the chase. In the case of a hue and cry, all those joining in the pursuit were justified in arresting the person pursued, even though it turned out that he was innocent. It was the duty of any person aggrieved, or discovering a felony, to raise the hue and cry,' and his neighbours were bound to turn out with him and assist in the discovery of the offender. 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).HUE AND CRY, a phrase employed in English law to signify the old common law process of pursuing a criminal with horn and voice. 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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