of the very greatest poets for sublimity of equal thought and expression: witness the lines chosen by Shelley as the motto for a poem, and fit to have been chosen as the motto for his life.
The romantic and sometimes barbaric grandeur of Chapman's Homer remains attested by the praise of Keats, of Coleridge, and of Lamb; it is written at a pitch of strenuous and laborious exaltation, which never flags or breaks down, but never flies with the ease and smoothness of an eagle native to Homeric air. From his occasional poems an expert and careful hand might easily gather a noble anthology of excerpts, chiefly gnomic or meditative, allegoric or descriptive. The most notable examples of his tragic work are comprised in the series of plays taken, and adapted sometimes with singular licence, from the records of such part of French history as lies between the reign of Francis I. and the reign of Henry IV., ranging in date of subject from the trial and death of Admiral Chabot to the treason and execution of Marshal Biron. The two plays bearing as epigraph the name of that famous soldier and conspirator are a storehouse of lofty thought and splendid verse, with scarcely a flash or sparkle of dramatic action. The one play of Chapman's whose popularity on the stage survived the Restoration is 'Bussy d'Ambois' (d'Amboise)—a
