A number of plays dealing with "revenge for a father" followed. In 1602 "The Revenge of Hamlet" was entered in the Stationers' Register; and the first quarto, a pirated and very corrupt edition, appeared in the following year. This quarto, in the opinion of a majority of critics, represents Shakespeare's partial revision of the old play, which was put on the stage by Burbage's company in 1601-02. In the same years Ben Jonson was receiving pay from Henslowe of the rival company for two sets of additions to "The Spanish Tragedy," and these were published in 1602. In that year Henslowe also paid Chettle for a tragedy, "Hoffman" (1631); and in 1602-03 Tourneur's "Atheist's Tragedy" (1611) was probably acted.[18] By 1603 Shakespeare had given "Hamlet" its final form as represented by the second quarto (1604). The almost simultaneous appearance of these various plays is sufficient testimony to the popularity of the old revenge story with both audiences and authors. Dealing with similar plots, they naturally have many elements in common, but they exhibit few or no signs of servile imitation of one another. They represent independent developments of the type that Kyd had introduced a dozen years before and that Marston had revived, each retaining many of the old conventions, and each adding much that was new. Jonson's additions to "The Spanish Tragedy" are distinct from the rest of the play and affect the proportion and movement of the action rather for the worse. They deal in the main with Hieronimo; his irony is increased and made more effective; his reflections become more elaborate and pregnant; above all, his madness gains enormously in reality and intensity. His madness, indeed, receives a disproportionate development. Throughout the additions Jonson is picturing a mind diseased by grief, sometimes conscious of life's unrelaxing pain and again lost in frenzied delirium. Thus, the imaginative impulses that responded to the demand for revenge plays here stirred a great poet to a rehabilitation of the crude ravings of the old Hieronimo in a form more intellectual, more vitally human, and of immensely greater imaginative range.