Page:George Chapman, a critical essay (IA georgechapmancri00swin).pdf/95

 good to bad in this very play of Bussy d'Ambois is enough to outweigh even such demerits as it doubtless shares with too much of its author's work. There is a bright and fiery energy throughout, a vigour of ambitious aspiration, which is transmitted as it were by echo and reflection from the spirit of the poet into the spirit of his hero. The brilliant swordsman of the court of Henri III., who flashes out on us as the joyous central figure of one of the most joyous and vigorous in all the bright list of those large historic groups to which the strong swift hand of Dumas gave colour and life, has undergone at the heavier hand of the old English poet a singular transfiguration. He is still the irresistible duellist and amorist of tradition; but, instead of the grace and courtliness proper to his age and rank, Chapman has bestowed on him the grave qualities of an epic braggart, whose tongue is at least as long as his sword, and whose gasconades have in them less of the Gascon than of our 'Homer-Lucan' himself; who with all his notable interest in the France of his time and her turbulent history had assuredly nothing of the lighter and more gracious