Henry, eldest son of James I. The Prince encouraged him to proceed with his translation, and about 1609 appeared the first twelve books of the Iliad (including the seven formerly published) with a fine "Epistle Dedicatory," to "the high-born Prince of men, Henry." In 1611 the version of the Iliad was completed, and that of the Odyssey was, at Prince Henry's desire, now taken in hand. But the untimely death of the Prince, on November 6th, 1612, dashed all Chapman's hopes of receiving the anticipated reward of his labours. According to a petition which he addressed to the Privy Council, the Prince had promised him on the conclusion of his translation £300, and "uppon his deathbed a good pension during my life." Not only were both of these withheld, but he was deprived of his post of "sewer" by Prince Charles. Nevertheless 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 (Athenæum, 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 was 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, Cæsar 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 been his good fortune to draw in after years splendid tributes from such successors in the poetic art as Keats and A. C. Swinburne.

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