s one of the series performed in honour of the
marriage of the Princess Elizabeth and the Elector Palatine. Another
hymeneal work, produced on a much less auspicious occasion, was an
allegorical poem, _Andromeda Liberata_, celebrating the marriage of the
Earl of Somerset with the divorced Lady Essex in December, 1613.

The year 1614, when the _Odyssey_ was completed, marks the culminating
point of Chapman's literary activity. Henceforward, partly perhaps owing
to the disappointment of his hopes through Prince Henry's death, his
production was more intermittent. Translations of the _Homeric Hymns_,
of the _Georgicks_ of Hesiod, and other classical writings, mainly
occupy the period till 1631. In that year he printed another tragedy,
_Caesar and Pompey_, which, however, as we learn from the dedication, had
been written "long since." The remaining plays with which his name has
been connected did not appear during his lifetime. A comedy, _The Ball_,
licensed in 1632, but not published till 1639, has the names of Chapman
and Shirley on the title-page, but the latter was certainly its main
author. Another play, however, issued in the same year, and ascribed to
the same hands, _The Tragedie of Chabot, Admiral of France_ makes the
impression, from its subject-matter and its style, of being chiefly due
to Chapman. In 1654 two tragedies, _Alphonsus Emperour of Germany_ and
_The Revenge for Honour_, were separately published under Chapman's
name. Their authorship, however, is doubtful. There is nothing in the
style or diction of _Alphonsus_ which resembles Chapman's undisputed
work, and it is hard to believe that he had a hand in it. _The Revenge
for Honour_ is on an Oriental theme, entirely different from those
handled by Chapman in his other tragedies, and the versification is
marked by a greater frequency of feminine endings than is usual with
him; but phrases and thoughts occur which may be paralleled from his
plays, and the work may be from his hand.

On May 12, 1634, he died, and was buried in the churchyard of St.
Giles's in the Field, where his friend Inigo Jones erected a monument to
his memory. According to Wood, he was a person of "most reverend aspect,
religious and temperate, qualities rarely meeting in a poet." Though his
material success seems to have been small, he gained the friendship of
many of the most illustrious spirits of his time--Essex, Prince Henry,
Bacon, Jonson, Webster, among the number--and it has bee