The Centre of George Chapman's Plays is a Proud Character on Marlowe’s Model: Critically Discuss

The centre of George Chapman's plays is a proud character on Marlowe’s model, with a bold licence in speech and action, full of elaborate metaphors, phrase tumbling after phrase, as he asserts himself in the French Court. However, John Dryden (1631-1700) unjustly described his style as “a dwarfish thought, dressed up in gigantic words”. Dryden believed that Chapman's plays were full of elaborate language and imagery, but that the underlying ideas were often shallow and unoriginal.

In the case of Chapman, Dryden's criticism is not entirely fair. Chapman was a highly skilled poet and translator, and his plays are full of complex ideas and vivid imagery. However, it is true that his style can be overwrought and pretentious at times.

George Chapman was a playwright who was deeply interested in the classics, particularly the philosophy of stoicism. This interest is evident in his tragedies, which often feature characters who are driven by stoic principles. Some of his most famous tragedies include Bussy D'Ambois (1607), The Conspiracy and Tragedy of Charles, Duke of Byron (1608), and Caesar and Pompey (1631).

Chapman's comedies, on the other hand, are more lively and realistic. They often deal with everyday concerns and relationships. Some of his most famous comedies include May Day (1611), The Widow's Tears (1612), and Eastward Ho! (1605), which was written in collaboration with Ben Jonson and John Marston.

Here is a more detailed breakdown of Chapman's tragedies and comedies:

Tragedies:

Bussy D'Ambois (1607): This play tells the story of a young French nobleman who is killed for his ambition and pride.

The Conspiracy and Tragedy of Charles, Duke of Byron (1608): This play tells the story of a real-life English nobleman who was executed for treason.

Caesar and Pompey (1631): This play tells the story of the rivalry between two of the greatest Roman generals.

Comedies:

May Day (1611): This play is a witty and satirical look at the world of love and marriage.

The Widow's Tears (1612): This play is a moving and realistic portrayal of a widow's struggle to rebuild her life.

Eastward Ho! (1605): This play is a bawdy and hilarious comedy about two young men who set out to make their fortune in London.

Chapman was a versatile writer who was able to produce both serious and comic works. His plays are still performed today, and they continue to be admired for their intelligence, wit, and vivid language.

George Chapman was indeed a prominent playwright during the Jacobean era, and his plays shared some similarities with Marlowe's works. Like Marlowe, Chapman's central characters often display a sense of pride and boldness in speech and action. His style also involved the use of elaborate metaphors and a cascade of phrases, creating a distinctive and grandiose theatrical experience.

A classical influence: Both Chapman and Marlowe were deeply influenced by classical literature, particularly Greek and Roman mythology. This influence is evident in their works, which often feature characters and stories from classical sources. Chapman had great skills in classical translations.  He is most famous for his translations of Homer's Iliad and Odyssey, which were printed together in 1616 and were followed by a collection of Homeric hymns in 1624. They were the inspiration for the poem “On First Looking into Chapman's Homer” by the English poet John Keats. Again, Chapman's poem "The Shadow of Night" is a retelling of the myth of Phaeton, while Marlowe's play "Tamburlaine the Great" is based on the life of the  historical Mongol conqueror Timur.

A bold and innovative use of language: Both Chapman and Marlowe were known for their bold and innovative use of language. They were not afraid to experiment with new words and phrases, and they often used figurative language to create vivid imagery. For example, Chapman's poem "The Georgics of Hesiod" is full of metaphors and similes, while Marlowe's play "Doctor Faustus" is famous for its use of puns and wordplay.

An interest in love, power, and violence: Both Chapman and Marlowe were interested in exploring the themes of love, power, and violence. Their works often feature characters who are driven by these forces, and they explore the complex ways in which these forces can shape human lives. For example, Chapman's play "The Tragedy of Bussy D'Ambois" is a story of love, ambition, and betrayal, while Marlowe's play "The Jew of Malta" is a dark and violent tale of revenge.

In addition to these similarities, Chapman and Marlowe also had some important differences. For example, Chapman was more interested in classical learning than Marlowe, and his works are often more scholarly and intellectual. Marlowe, on the other hand, was more interested in exploring the darker side of human nature, and his works are often more passionate and dramatic.

Despite their differences, Chapman and Marlowe were both highly influential figures in the development of English literature. Their work helped to shape the course of English drama, and their influence can still be seen in the work of many modern writers.

Chapman's literary achievements are evident in his translations of ancient Greek works, most notably his masterful translation of Homer's "The Iliad" and "The Odyssey." His efforts to bring classical literature to the English-speaking world were commendable and contributed significantly to the Renaissance's cultural and intellectual milieu.

However, while Chapman's poetic flair and linguistic prowess were noteworthy, his plays, much like Marlowe's, faced criticism for their excessive verbosity and dramatic exaggerations. Some critics argued that his focus on ornate language and lengthy monologues detracted from the plays' overall impact, making them challenging to follow and connect with emotionally.

Additionally, Chapman's portrayal of female characters mirrored the prevailing gender norms of the time. Women in his plays often played subservient roles and lacked the depth and agency given to male characters, reflecting the patriarchal biases prevalent in Jacobean society.

Furthermore, Chapman's works may have suffered from a lack of widespread popularity during his time, with some contemporaries preferring the more accessible and emotionally engaging dramas of William Shakespeare. While Chapman's plays were undoubtedly ambitious and intellectually stimulating, they might not have resonated as deeply with the broader audience.

Despite these criticisms, George Chapman's contributions to English literature, particularly in the fields of translation and dramatic poetry, cannot be overlooked. His dedication to bringing classical works to English audiences and his artistic experimentation continue to be respected and celebrated by scholars and literary enthusiasts alike.

In conclusion, George Chapman, a Jacobean playwright, demonstrated remarkable linguistic skill and a penchant for elaborate metaphors, much like Christopher Marlowe. While his works faced criticism for their verbosity and portrayal of female characters, Chapman's influence on English literature and his contribution to the cultural exchange between ancient and Renaissance worlds remain lasting legacies of his artistic career.

Ardhendu De

References

Kozuka, T., & Mulryne, J. R. (2013, April 28). Shakespeare Marlowe Jonson: New Directions in Biography.

The Works Of George Chapman : Richard Herne Shepherd : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/in.ernet.dli.2015.186801