The close and affectionate relation between them was no doubt revived under James. This appears clearly enough from the Dedication of the First Folio. Let us now cast a rapid glance over the remainder of Pembroke's career. His father's death placed him in possession of a large fortune, but the irregularity of his life left him seldom free from money embarrassments. In 1604 he married Lady Mary, the seventh daughter of Lord Talbot, and the marriage was celebrated with a tournament. His wife brought him a large property, but it was thought at the time that he paid very dear for it in having to take her into the bargain. The marriage was far from happy. Pembroke shared the love of literature which had distinguished his mother and his uncle, Sir Philip Sidney. According to Aubrey, he was "the greatest Mæcenas to learned men of any peer of his time or since." Among his "learned" friends were the poets Donne, and Daniel, and Massinger, who was the son of his father's steward. Ben Jonson composed a eulogistic epigram in his honour, as well he might, for every New Year Pembroke sent Ben £20 to buy books with. Inigo Jones is said to have visited Italy at his expense, and was frequently employed by him. Davison's _Poetical Rhapsody_ and numerous other books are dedicated to him. Chapman, who was among his intimates, inscribed a sonnet to him at the close of his translation of the _Iliad_. This fact is of particular interest to us, because Chapman (as Professor Minto succeeded in establishing) is clearly the rival poet who paid court to Pembroke, won his goodwill and admiration, and thereby aroused jealousy and melancholy self-criticism in Shakespeare's breast, as we read in Sonnets lxxviii.-lxxxvi.[2]. It is especially on Sonnet lxxxvi. that Minto bases his identification of the rival poet with Chapman. The very opening line, referring to the "proud full sail of his great verse," suggests at once the fourteen-syllable measure in which Chapman translated the _Iliad_. Chapman was full of a passionate enthusiasm for the art of poetry, which he lost no opportunity of glorifying; and he laid claim to supernatural inspiration. In the Dedication to his poem _The Shadow of the Night_ (1594), he speaks with severe contempt of the presumption of those who "think Skill so mightily pierced with their loves that she should prostitutely show them her secrets, when she will scarcely be looked upon by others but with invocation, fasting, watching--yea, not without having drops of their souls, _like a heavenly familiar. _Hence Shakespeare's lines-- "Was it his spirit, by spirits taught to writ Above a mortal pitch that struck me dead?" and the expression-- "He, nor that affable familiar ghost Which nightly gulls him with intelligence."