qua";

which are rendered in Marlowe's translation:

"Let base conceited wits admire vile things,
Fair Phoebus lead me to the Muses springs."

In _The Shadow of Night_, published in the following year, Chapman again
resents the fact that one of Shakespeare's "small Latin and less Greek"
should invade the classical preserves of the scholars for his poetical
and dramatic subjects:

"Then you that exercise the virgin court
Of peaceful Thespia, my muse consort,
Making her drunken with Gorgonean dews,
And therewith all your ecstasies infuse,
That she may reach the topless starry brows
Of steep Olympus, crown'd with freshest boughs
Of Daphnean laurel, and the praises sing
Of mighty Cynthia: truly figuring
(As she is Hecate) her sovereign kind,
And in her force, the forces of the mind:
An argument to ravish and refine
An earthly soul and make it more devine.
Sing then with all, her palace brightness bright,
The dazzle-sun perfection of her light;
Circling her face with glories, sing the walks,
Where in her heavenly magic mood she stalks,
Her arbours, thickets, and her wondrous game,
(A huntress being never match'd in fame,)
_Presume not then ye flesh-confounded souls,
That cannot bear the full Castalian bowls_,
Which sever mounting spirits from the senses,
_To look into this deep fount for thy pretenses_."

In these lines, besides indicating Shakespeare's recent Ovidian
excursion in _Venus and Adonis_ by his reference to "Castalian bowls,"
Chapman shows knowledge of Shakespeare's intention, in the composition
of _Love's Labour's Lost_, of exhibiting Queen Elizabeth as a huntress.
Chapman's Cynthia of _The Shadow of Night_ is plainly a rhapsodised
idealisation of the Queen. Later on I shall elaborate the fact that
_Love's Labour's Lost_ was written late in 1591, or early in 1592, as a
reflection of the Queen's progress to Cowdray House, the home of the
Earl of Southampton's maternal grandfather, Viscount Montague, and that
the shooting of deer by the Princess and her ladies fancifully records
phases of the entertainments arranged for the Queen during her visit.

Assuming, then, from the foregoing evidence and inferences that Chapman
composed the early _Histriomastix_ in 1593, let us examine the play
further in order to trace its fuller application to Shakespeare and his
affairs in that year.

Th