Bowen was not absent from the stage more than a year. He was so jealous of his reputation, that when he had been driven to fury by the assertion that Johnson played Jacomo, in the "Libertine," better than he did, and by the emphatic confirmation of the assertion by Quin, he fastened a quarrel on the latter, got him in a room in a tavern, alone, set his back to the door, drew his sword, and assailed Quin with such blind fury, that he killed himself by falling on Quin's weapon. The dying Irishman, however, generously acquitted his adversary of all blame, and the greater actor, after trial, returned to his duty, having innocently killed, but not convinced poor Bowen, who naturally preferred his Jacomo to that of Johnson.[45] Peer, later in life, came to grief also, but in a different way. The spare man was famous for two parts; the Apothecary, in "Romeo and Juliet," and the actor who humbly speaks the prologue to the play in "Hamlet." These parts he played excellently well. Nature had made him for them; but she was not constant to her meek and lean favourite; for Peer grew fat, and being unable to act any other character with equal effect, he lost his vocation, and he died lingeringly of grief, in 1713, when he had passed threescore years and ten. He had been property-man also, and in this capacity the theatre owed him, at the time of his decease, among other trifling sums, "threepence, for blood, in 'Macbeth.'"[46] Norris, or "Jubilee Dicky," was a player of an odd, formal, little figure, and a squeaking voice. He was a capital comic actor, and owed his by-name to his success in playing Dicky, in the "Constant Couple." So great was this success, that his sons seemed to derive value from it, and were announced as the sons of Jubilee Dicky. He is said to have acted Cato, and other tragic characters, in a serio-burlesque manner. He was the original Scrub, and Don Lopez in the "Wonder," and died about the year 1733.