Yet in characterization Jonson's interest, like that of his contemporaries, largely centres. Catiline, Cicero, Sejanus, and Tiberius are thoughtfully conceived and faithfully represented. The representation, indeed, is that of exposition, each scene illustrating and emphasizing some trait without securing much illusion of life. The style, especially in the long speeches, is too often rhetorical, and rarely displays great beauty or dramatic power. Yet it is masterly in its way, careful and competent to its purposes, and free from obscurity or over-richness. His plays mark another failure to turn popular tragedy back into the classical mould. They contributed, perhaps, to a greater regularity of action on the part of his contemporaries and to a more serious consideration of the functions of drama, but the scholarly student of history failed to make it live, the author of "Bartholomew Fair" did not find his best opportunity in the acceptance of classicist theory. Chapman's tragedies attempted a field hitherto untried except in Marlowe's "Massacre," that of contemporary French history. While treating historical events with freedom of invention, he dealt with real persons and careers familiar to his audience. In the long-popular tragedy of "The Death of Bussy D'Ambois" (1607, acted 1600-1604) he turned to the court of Henry III and centred a story of treasonable ambition, conspiracy, and adultery about the interesting personality of the insolent and indomitable D'Ambois. After the fashion of Kyd and Marston, he followed "The Death" with a "Revenge of Bussy D'Ambois," which adopted the established technic of the revenge plays, with less alteration than might have been expected after Shakespeare's transformation in "Hamlet." The avenger, Clermont, is a "Senecal man," and his sententious and rhetorical philosophizing was doubtless incited by "Hamlet," though it followed a long-established precedent. The "Conspiracy and Tragedy of Byron" (two parts, 1608, acted 1607) dealt with important affairs in the reign of Henry IV that were still fresh in the memory of the audience, Biron having been executed in 1602. In the original form of the play, in fact, Queen Elizabeth was represented, and the French queen boxed the ears of her husband's mistress, but the protest of the French ambassador made a revision necessary.