Bibliographic Notes on One Hundred Books Famous in English Literature - Henry Watson Kent

GEORGE CHAPMAN
(1559-1634)

Though Butter was the publisher of Dekker's Belman of London, and, with John Busby, of Shakespeare's Lear, he is chiefly to be remembered for two things, for his success as a compiler and publisher of pamphlets of news,—a success which entitles him to the place of father of the London press—and for his connection with Chapman.

In 1609 (?) Samuel Macham brought out, in small folio form, Homer, Prince of Poetts, in Twelve Bookes of his Iliads, embellished with an engraved title-page by William Hole, who was one of the earliest English engravers on copper-plates. Inflated with his subject, the artist crowded the title into a small central panel the better to present his conception of Vulcan, Apollo, Achilles, Hector, and Homer, in a composition which, if topheavy, was more dignified and better drawn than many of the borders ascribed to him.

Under date of April 8, 1611, we find in the Stationers' Register that Butter "Entered for his Copy by consente of Samuell Masham, A Booke called Homers Iliads in English contayning 24 bookes." With his right to print, he also received the right to use the Hole frontispiece, which he had reëngraved on a larger scale for the new book. The date of issue is not given, but it could not have been later than November 6, 1612, the date of the death of the Prince of Wales, to whom the book is dedicated, and it was probably published soon after the date of copyright. The printer's name is also lacking; but reasons exist for thinking that more than one worked on the book, and that there were several issues. There are copies whose signatures agree with those of the volumes of our issue, but these are printed with different type, on poorer paper, and the initial letters and other ornaments are of a much cruder sort.

After Chapman had published his translation of the Iliad, he turned his attention to the Odyssey; and, as in the case of the Iliad, he went to press with half of it first, Butter being the publisher. The volume ends with the words "Finis duodecimi libri Hom. Odyſſ. Opus nouem dierum," and begins with one of the most charming and perfect title-pages of the period, the greater pity therefore that it is unsigned. Its composition shows the poet in the midst of a company of laurel-crowned spirits, whose ethereal forms are expressed in stipple, with legends which read: "Solus ſapit hic homo, Reliqui vero," and "Umbræ mouentur." Above, the title is supported by two cupids, and below are seated figures of Athena, and Ulysses with his dog. The whole plate was very delicately drawn.

The remaining twelve books having been finished, we find Butter entering the whole twenty-four for copyright, November 2, 1614; and, although the volume is not dated, it was probably issued soon afterward. The title reads: Homer's Odysses. Tranſlated according to y^e Greeke. By George Chapman At Miki q^d viuo detraxerit. Inuida Turba Post obitum duplici foenore reddet Honos. Imprinted at London by Rich: Field, for Nathaniell Butter.

The same engraved title-page was used, but its fine lines had now grown fainter, the stippled shades seeming to justify the statement in the inscription. The dedication to the Earl of Somerset, as it appeared with the first twelve books, was somewhat altered in the opening lines, necessitating the resetting of the first page and the consequent change of the head-band and initial letter; but the rest of the first half is precisely the same as in the first issue. The words "Finis," etc., were dropped from the end, in some copies, and a blank leaf marks the division of the first half from the last.

The present book is made up of the complete Iliad, and the complete Odyssey, sewn together. The enterprising Butter made the engraved title of the Iliads answer for the general title-page of this book also, only, of course, changing the wording in the central panel. Some copies have the engraved title of the Odyssey, but more lack it. Its omission was probably due to its having become too faint from continued use to be of service. Butter added one or two new features to some copies of the volume, and among them a fine large portrait of Chapman, which he printed in a very unusual place, on the verso of the title-page. It represents the head of the translator, surrounded by clouds, and bears on the circular frame the inscriptions: Haec est laurigeri facies diuina Georgi; Hic Phœbi Decus est; Phœbinumqz Deus; Georgius Chapmanus Homeri Metaphrastes. Æta: LVII. M.DC.XVI; Conscium Evasi Diem. The date of the inscription is usually given as the date of issue of the book. Below the frame are ten lines beginning with two quotations, one in Latin, and one in English, and followed by this interesting statement: Eruditorum Poetarum huius Æui, facile Principi, Dno Georgio Chapman; Homero (velit nolit Inuidia) Rediuiuo. I.M. Tessellam hanc χαριϛήριον. DD. It would be a gratifying thing to know the name of the friend who thus added so much to the embellishment and interest of the book. Could it have been John Marston?

GEORGE CHAPMAN(1559-1634)

GEORGE CHAPMAN
(1559-1634)