George Chapman is fully compatible with a pseudonym of Marlowe (aka Shakespeare)
Chapman is no authentic real poet, it is more logic to adopt a pseudonym for the hidden poet [Marlowe]
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First prints of Marlowe's Hero and Leander (1598)
without and with Chapman , only month apart.
without and with Chapman , only month apart.
A few arguments why George Chapman is compatible with a pseudonym of Marlowe (similar to Shake-speare)
▷ It is unlikely that, for its first 35 years of life no sources about Chapmans literary work can be substantiated!
▷ There is a lack of solid evidence of biographic sources for Chapmans living, training and studies.
▷ The extreme late start of Chapman's poetic activity in his 35. year of life is hardly understandable!
▷ The many plagiarism of Chapman at Marlowe's dispense cannot be understood ( an example:
Marlowe: Tamburlaine I. Act V, Scene. 1 (1592)
Like to Flora in her morning's pride
Shaking her silver tresses in the aire,
Rain'st on the earth resolved pearl in showers.
Chapman: England's Parnassus, Extract 2054 p.417,
As Flora to salute the morning Sunne:
Who When She shakes her dresses in the ayre.
Raines on the earth Dissolved Pearle in showres ...
▷ Chapman's first work (op.1) "The Shadow of Night, Σκἰὰ νyκτōς" (1594) was not published until after Marlowe's death (similar to "Venus and Adonis", Shakespeare’s op.1)
▷ "The Shadow of Night" bears all autobiographical traits and details of a previous disaster (similar to Shakespeare's "Lucrece) -
(" ... that I may Quickly weepe the shipwracke of the world: or let self sleepe (Binding my sences) loose My working souls ... ").
▷The motive of Chapman. in 1594, to begin his poetic work with a hymn to his concealment, [the shadow of night] his blackout, his death (along with a hymn to the Queen, "Hymn in Cynthiam) is (auto)biographically comprehensible for Marlowe, but not for Chapman.
▷ There are significant close linguistic and literary relationships between Chapman and Shakespeare (->JMRobertson, 1917)
▷ There are links to the "Pembroke’s" and "Philip Sidney". - Chapmans "Ovid's Banquet of Sence" (1595) can be regarded as a response to the erotic poems like "Astrophel and Stella" by Phillip Sydney, and "Venus and Adonis".
▷ The deliberately ambiguous dedicatory poem of JD (John Davies s.Blog 297 ff) to Chapman in "Ovid's Banquet of Sence" (1595) reveals his concealment and double nature (First Maister dyed - she [Queene] calles thee Second Maister)
Since Ovid (Joves first gentle Maister) dyed
He hath a most notorious trueant beene,
And hath not once in thrice five ages seene
(…)Which unto thee (sweet Chapman) she [Queene] hath doone:
She makes (in thee the Spirit of Ovid move,
And calles thee[Chapman] second Maister of her love)
Futurum invisible.
▷ There is no logic or plausibility to accept the bizarre fact that within month after the first appearance of Marlowe’s “Hero and Leander” in print (2 sestiads, 1598 ) a second author Chapman republished the poem enlarging it by two thirds of the original volume (4 sestiads), not to mention significant textual allusions to Marlowe's fate ....
▷ The dedication for "Hero and Leander [" finished by George Chapman "] in 1598 by EB [Edward Blount] to Thomas Walsingham is full of allegorical references to a covert existence of the poet Marlowe. (" ... Living in afterlife ... putteth us in Minde of farther obsequies .... what-soever we may judge shall make his living to credit .... this unfinished Tragedy happens under a double duty, the one to your selfe, the other to the diseased (!) ", among others
▷ In the dedication of Chapman's part of "Hero and Leander" to Audrey (Shelton), Lady Walsingham, Chapman a) identifies her husband, Thomas [Marlowe's friend and patron] as "my best friend honored" in his hidden state " (my) still-obscured estate ", and b) “to Which the unhappines of my life hath hitherto been uncomfortable and painfull dumbnes ".
▷ In Chapman's translation of "The Georgicks of Hesiod '(1618), the confidentiality of the dedicatory text to Francis Bacon is indicative for a personal proximity of both persons which may be assumed for Marlowe (chapt 12-Tobias Matthew). A correspondence between Chapman and Bacon is not known.
▷ Contents of the dedication to Robert Devereux, Earl of Essex (1598) and the outstanding quality of Chapman's Iliad translation is indicative for an exceptional poet and translator, such as Marlowe. He knew the whole Greek mythology and their specific characteristics by heart.
▷ John Davies' rated Chapman in "The Scourge of Folly (1611)" (Epigram, p.476 - To my highly vallued Mr. George Chapman) as "Father of our English Poets". This may actually apply only to Marlowe alias Shakespeare.
▷ The excellence of Chapman's translations [• "Iliad" of Homer (1616), • "Georgics" of Virgil (1618), • "Workes" of Hesiod, • "Hero and Leander" of Musaeus (1618), • "Fifth Satire "Juvenal (1624)] has to be reconciled with the extreme linguistic quality of ...and relationship to Marlowe/ Shakespeare.
▷ Allusions in the dedication of Chapman's "Ovid's Banquet of Sence (1595)" points to Marlowe's fate ... Not Affecting glory for mine owne sleight laboratories, but desirous other Should be more worthely glorious, nor precessing sacred poetry in any degree ..... With that darkness I want to quietly labor to be shadowed)
▷ in Chapman's "The Conspiracie, and tragedie of Charles Duke of Byron" (1608) the contents of the dedication to Thomas Walsingham ("my honorable and constant friend") and his son ("to my much beloved from his birth, right toward and worthy gentleman his sun Thomas Walsingham, Esquire ") and the references in the prologue (" ... not the fair shadow of himself: Which of empoisened Spring; ... and Rising, sinckes: which now behold in our Conspirator ") is indicative or mandatory only for Marlowe's fate, but not for Chapman.
▷ In Chapman's "All Fooles" (1605) the content of his intimate dedication to Thomas Walsingham ("My Long loved friend") with the "biographical" outlining of his situation ( "Should I expose to every common eye, the least allow'd birth of my shaken brain ", "without my passport patched with other's wit", "my olde Fortune keep me silent obscure" is highly indicative for Marlowe, but not Chapman.
▷ For Chapman's successful stage play "The Blind Beggar of Alexandria", 1596/7, ( disguised as a beggar for the main and double figures "Cleanthes" / "Irus" "[= Marlowe] there are significant parable-like references to literary contents (such as "Tamburlaine") and the biography of the author [Marlowe] (eg: Queen Aegiale to Irus: Ah my Cleanthes, Where Art Thou become But since I saved thy guiltless life from death, And turn'd it only into banishment ...!?) ..
▷ According to Chapman's conviction, he represented the heritage of the literary inspiration Marlowe's (!)
▷ in Thomas Freemans »Rubbe, and A Great Cast" (1614 –Book II) Epigram 87 "To George Chapman" reveals a split identity between Chapman and the author . Freeman is also a cover identity Marlowe's ("No Chapman but thy selfe were to be sought") . (Epigr.I / 35 and 82, II / 57, 92, 100)
and so on , and so on......
▷ There is a lack of solid evidence of biographic sources for Chapmans living, training and studies.
▷ The extreme late start of Chapman's poetic activity in his 35. year of life is hardly understandable!
▷ The many plagiarism of Chapman at Marlowe's dispense cannot be understood ( an example:
Marlowe: Tamburlaine I. Act V, Scene. 1 (1592)
Like to Flora in her morning's pride
Shaking her silver tresses in the aire,
Rain'st on the earth resolved pearl in showers.
Chapman: England's Parnassus, Extract 2054 p.417,
As Flora to salute the morning Sunne:
Who When She shakes her dresses in the ayre.
Raines on the earth Dissolved Pearle in showres ...
▷ Chapman's first work (op.1) "The Shadow of Night, Σκἰὰ νyκτōς" (1594) was not published until after Marlowe's death (similar to "Venus and Adonis", Shakespeare’s op.1)
▷ "The Shadow of Night" bears all autobiographical traits and details of a previous disaster (similar to Shakespeare's "Lucrece) -
(" ... that I may Quickly weepe the shipwracke of the world: or let self sleepe (Binding my sences) loose My working souls ... ").
▷The motive of Chapman. in 1594, to begin his poetic work with a hymn to his concealment, [the shadow of night] his blackout, his death (along with a hymn to the Queen, "Hymn in Cynthiam) is (auto)biographically comprehensible for Marlowe, but not for Chapman.
▷ There are significant close linguistic and literary relationships between Chapman and Shakespeare (->JMRobertson, 1917)
▷ There are links to the "Pembroke’s" and "Philip Sidney". - Chapmans "Ovid's Banquet of Sence" (1595) can be regarded as a response to the erotic poems like "Astrophel and Stella" by Phillip Sydney, and "Venus and Adonis".
▷ The deliberately ambiguous dedicatory poem of JD (John Davies s.Blog 297 ff) to Chapman in "Ovid's Banquet of Sence" (1595) reveals his concealment and double nature (First Maister dyed - she [Queene] calles thee Second Maister)
Since Ovid (Joves first gentle Maister) dyed
He hath a most notorious trueant beene,
And hath not once in thrice five ages seene
(…)Which unto thee (sweet Chapman) she [Queene] hath doone:
She makes (in thee the Spirit of Ovid move,
And calles thee[Chapman] second Maister of her love)
Futurum invisible.
▷ There is no logic or plausibility to accept the bizarre fact that within month after the first appearance of Marlowe’s “Hero and Leander” in print (2 sestiads, 1598 ) a second author Chapman republished the poem enlarging it by two thirds of the original volume (4 sestiads), not to mention significant textual allusions to Marlowe's fate ....
▷ The dedication for "Hero and Leander [" finished by George Chapman "] in 1598 by EB [Edward Blount] to Thomas Walsingham is full of allegorical references to a covert existence of the poet Marlowe. (" ... Living in afterlife ... putteth us in Minde of farther obsequies .... what-soever we may judge shall make his living to credit .... this unfinished Tragedy happens under a double duty, the one to your selfe, the other to the diseased (!) ", among others
▷ In the dedication of Chapman's part of "Hero and Leander" to Audrey (Shelton), Lady Walsingham, Chapman a) identifies her husband, Thomas [Marlowe's friend and patron] as "my best friend honored" in his hidden state " (my) still-obscured estate ", and b) “to Which the unhappines of my life hath hitherto been uncomfortable and painfull dumbnes ".
▷ In Chapman's translation of "The Georgicks of Hesiod '(1618), the confidentiality of the dedicatory text to Francis Bacon is indicative for a personal proximity of both persons which may be assumed for Marlowe (chapt 12-Tobias Matthew). A correspondence between Chapman and Bacon is not known.
▷ Contents of the dedication to Robert Devereux, Earl of Essex (1598) and the outstanding quality of Chapman's Iliad translation is indicative for an exceptional poet and translator, such as Marlowe. He knew the whole Greek mythology and their specific characteristics by heart.
▷ John Davies' rated Chapman in "The Scourge of Folly (1611)" (Epigram, p.476 - To my highly vallued Mr. George Chapman) as "Father of our English Poets". This may actually apply only to Marlowe alias Shakespeare.
▷ The excellence of Chapman's translations [• "Iliad" of Homer (1616), • "Georgics" of Virgil (1618), • "Workes" of Hesiod, • "Hero and Leander" of Musaeus (1618), • "Fifth Satire "Juvenal (1624)] has to be reconciled with the extreme linguistic quality of ...and relationship to Marlowe/ Shakespeare.
▷ Allusions in the dedication of Chapman's "Ovid's Banquet of Sence (1595)" points to Marlowe's fate ... Not Affecting glory for mine owne sleight laboratories, but desirous other Should be more worthely glorious, nor precessing sacred poetry in any degree ..... With that darkness I want to quietly labor to be shadowed)
▷ in Chapman's "The Conspiracie, and tragedie of Charles Duke of Byron" (1608) the contents of the dedication to Thomas Walsingham ("my honorable and constant friend") and his son ("to my much beloved from his birth, right toward and worthy gentleman his sun Thomas Walsingham, Esquire ") and the references in the prologue (" ... not the fair shadow of himself: Which of empoisened Spring; ... and Rising, sinckes: which now behold in our Conspirator ") is indicative or mandatory only for Marlowe's fate, but not for Chapman.
▷ In Chapman's "All Fooles" (1605) the content of his intimate dedication to Thomas Walsingham ("My Long loved friend") with the "biographical" outlining of his situation ( "Should I expose to every common eye, the least allow'd birth of my shaken brain ", "without my passport patched with other's wit", "my olde Fortune keep me silent obscure" is highly indicative for Marlowe, but not Chapman.
▷ For Chapman's successful stage play "The Blind Beggar of Alexandria", 1596/7, ( disguised as a beggar for the main and double figures "Cleanthes" / "Irus" "[= Marlowe] there are significant parable-like references to literary contents (such as "Tamburlaine") and the biography of the author [Marlowe] (eg: Queen Aegiale to Irus: Ah my Cleanthes, Where Art Thou become But since I saved thy guiltless life from death, And turn'd it only into banishment ...!?) ..
▷ According to Chapman's conviction, he represented the heritage of the literary inspiration Marlowe's (!)
▷ in Thomas Freemans »Rubbe, and A Great Cast" (1614 –Book II) Epigram 87 "To George Chapman" reveals a split identity between Chapman and the author . Freeman is also a cover identity Marlowe's ("No Chapman but thy selfe were to be sought") . (Epigr.I / 35 and 82, II / 57, 92, 100)
and so on , and so on......
Thus, this small sample of arguments raises doubts that Chapman was an authentic real poet. It is more logic to adopt a pseudonym "Chapman" for the hidden poet [Marlowe] and abandon the established view of an independent Genius parallel to Shakspeare / Marlowe!.
See the "Chapman Part "of this video
