GEORGE CHAPMAN (1559?-1634). Chapman spent his long, quiet life among the dramatists, and wrote chiefly for the stage. His plays, which were for the most part merely poems in dialogue, fell far below the high dramatic standard of his time and are now almost unread. His most famous work is the metrical translation of the _Iliad_ (1611) and of the _Odyssey_ (1614). Chapman's _Homer_, though lacking the simplicity and dignity of the original, has a force and rapidity of movement which makes it superior in many respects to Pope's more familiar translation. Chapman is remembered also as the finisher of Marlowe's _Hero and Leander_, in which, apart from the drama, the Renaissance movement is seen at perhaps its highest point in English poetry. Out of scores of long poems of the period, _Hero and Leander_ and the _Faery Queen_ are the only two which are even slightly known to modern readers. MICHAEL DRAYTON (1563-1631). Drayton is the most voluminous and, to antiquarians at least, the most interesting of the minor poets. He is the Layamon of the Elizabethan Age, and vastly more scholarly than his predecessor. His chief work is _Polyolbion_, an enormous poem of many thousand couplets, describing the towns, mountains, and rivers of Britain, with the interesting legends connected with each. It is an extremely valuable work and represents a lifetime of study and research. Two other long works are the _Barons' Wars_ and the _Heroic Epistle of England;_ and besides these were many minor poems. One of the best of these is the "Battle of Agincourt," a ballad written in the lively meter which Tennyson used with some variations in the "Charge of the Light Brigade," and which shows the old English love of brave deeds and of the songs that stir a people's heart in memory of noble ancestors. III. THE FIRST ENGLISH DRAMATISTS THE ORIGIN OF THE DRAMA. First the deed, then the story, then the play; that seems to be the natural development of the drama in its simplest form. The great deeds of a people are treasured in its literature, and later generations represent in play or pantomime certain parts of the story which appeal most powerfully to the imagination. Among primitive races the deeds of their gods and heroes are often represented at the yearly festivals; and among children, whose instincts are not yet blunted by artificial habits, one sees the story that was heard at bedtime repeated next day in vigorous action, when our boys turn scouts and our girls princesses, precisely as our first dramatists turned to the old legends and heroes of Britain for their first stage productions. To act a part seems as natural to humanity as to tell a story; and originally the drama is but an old story retold to the eye, a story put into action by living performers, who for the moment "make believe" or imagine themselves to be the old heroes.