s he
completed the version of the _Odyssey_ in 1614, and in 1616 he published
a folio volume entitled _The Whole Works of Homer_. The translation, in
spite of its inaccuracies and its "conceits," is, by virtue of its
sustained dignity and vigour, one of the noblest monuments of
Elizabethan genius.

By 1605, if not earlier, Chapman had resumed his work for the stage. In
that year he wrote conjointly with Marston and Jonson the comedy of
_Eastward Hoe_. On account of some passages reflecting on the Scotch,
the authors were imprisoned. The details of the affair are obscure.
According to Jonson, in his conversation later with Drummond, Chapman
and Marston were responsible for the obnoxious passages, and he
voluntarily imprisoned himself with them. But in one of the recently
printed letters, which apparently refers to this episode, Chapman
declares that he and Jonson lie under the Kings displeasure for "two
clawses and both of them not our owne," i. e., apparently, written by
Marston.[vii-1] However this may be, the offenders were soon released,
and Chapman continued energetically his dramatic work. In 1606 appeared
two of his most elaborate comedies, _The Gentleman Usher_ and _Monsieur
D'Olive_, and in the next year was published his first and most
successful tragedy, _Bussy D'Ambois_. In 1608 were produced two
connected plays, _The Conspiracie and Tragedie of Charles, Duke of
Byron_, dealing with recent events in France, and based upon materials
in E. Grimeston's translation (1607) of Jean de Serres' History. Again
Chapman found himself in trouble with the authorities, for the French
ambassador, offended by a scene in which Henry IV's Queen was introduced
in unseemly fashion, had the performance of the plays stopped for a
time. Chapman had to go into hiding to avoid arrest, and when he came
out, he had great difficulty in getting the plays licensed for
publication, even with the omission of the offending episodes. His
fourth tragedy based on French history, _The Revenge of Bussy D'Ambois_,
appeared in 1613. It had been preceded by two comedies, _May-Day_
(1611), and _The Widdowes' Teares_ (1612). Possibly, as Mr Dobell
suggests (_Athenaeum_, 23 March, 1901), the coarse satire of the latter
play may have been due to its author's annoyance at the apparent refusal
of his suit by a widow to whom some of the recently printed letters are
addressed. In 1613 he produced his _Maske of the Middle Temple and
Lyncolns Inne_, which wa