[1] The last twelve cantos of _La Pucelle_ were edited (1882) from
the MS. with corrections and a preface in the author's autograph, in
the _Bibliotheque Nationale_, by H. Herluison. Another edition, by E.
de Molenes (2 vols.), was published in 1892.
CHAPEL-EN-LE-FRITH, a market town in the High Peak parliamentary
division of Derbyshire, England, 20 m. S.E. of Manchester, on the London
& North-Western and Midland railways. Pop. (1901) 4626. It lies in an
upland valley of the Peak district, the hills of which rise above 1200
ft. in its immediate vicinity. There are paper-works and ironworks, and
brewing is carried on. The foundation of the church of St Thomas of
Canterbury is attributed to the foresters of the royal forest or frith
of the Peak early in the 13th century; and from this the town took name.
After the defeat of the Scottish forces at Preston by Cromwell in 1648,
it is said that 1500 prisoners were confined in the church at
Chapel-en-le-Frith.
CHAPEL HILL, a town of Orange county, North Carolina, U.S.A., about 28
m. N.W. of Raleigh. Pop. (1900) 1099; (1910) 1149. It is served by a
branch of the Southern railway, connecting at University, 10 m. distant,
with the Greensboro & Goldsboro division. The town is best known as the
seat of the University of North Carolina (see NORTH CAROLINA), whose
campus contains 48 acres. There are cotton and knitting mills and lumber
interests of some importance. Chapel Hill was settled late in the 18th
century, and was first incorporated in 1851.
CHAPELLE ARDENTE (Fr. "burning chapel"), the chapel or room in which the
corpse of a sovereign or other exalted personage lies in state pending
the funeral service. The name is in allusion to the many candles which
arc lighted round the catafalque. This custom is first chronicled as
occurring at the obsequies of Dagobert I. (602-638).
CHAPERON, originally a cap or hood (Fr. _chape_) worn by nobles and
knights of the Garter in full dress, and after the 16th century by
middle-aged ladies. The modern use of the word is of a married or
elderly lady (cf. "duenna") escorting or protecting a young and
unmarried girl in public places and in society.
CHAPLAIN, strictly one who conducts service in a chapel (q.v.), i.e. a
priest or minister without parochial charge who is attached for special
duties to a sovereign or his representatives (ambassadors, judges, &c.),
to bishops, to the establishments of nobles, &c., to institutions (e.g.
parliament, congress, colleges, schools, workhouses, cemeteries), or to
the army and the navy. In some cases a parish priest is also appointed
to a chaplaincy, but in so far as he is a chaplain he has no parochial
duties. Thus a bishop of the English Church appoints examining chaplains
who conduct the examination of candidates for holy orders; such
officials generally hold ordinary benefices also. The British sovereign
has 36 "Chaplains in Ordinary," who perform service at St James's in
rotation, as well as "Honorary Chaplains" and "Chaplains of the
Household." There are also royal chaplains in Scotland and Ireland. The
Scottish chaplains in ordinary are on the same basis as those in
England, but the Irish chaplains are attached to the household of the
lord-lieutenant. The Indian civil service appoints a number of clergymen
of the Church of England and the Church of Scotland. These clergymen are
known as Chaplains, and are subject to the same conditions as other
civil servants, being eligible for a retiring pension after 23 years of
service. Chaplains are also appointed under the foreign office to
embassies, legations, consulates, &c.
Workhouse chaplains are appointed by overseers and guardians on the
direction of the Local Government Board, to which alone such chaplains
are responsible. Prison chaplains are appointed by the home secretary.
In the British army there are two kinds of chaplains, permanent and
occasional. The former, described as Chaplains to the Forces, hold
commissions, serving throughout the empire except in India: they include
a Chaplain-General who ranks as a major-general, and four classes of
subordinate chaplains who rank respectively as colonels,
lieutenant-colonels, majors and captains. There are about 100 in all.
Special chaplains (Acting Chaplains for Temporary Service) may be
appointed by a secretary of state under the Army Chaplains Act of 1868
to perform religious service for the army in particular districts. The
permanent chaplains may be Church of England, Roman Catholic, or
Presbyterian; Wesleyans (if they prefer not to accept commissions) may
be appointed Acting Chaplains. The Church of England chaplains report to
the chaplain-general, while other chaplains report to the War Office
direct. In the navy, chaplains are likewise appointed but do not hold
official rank. They must have a special ecclesiastical licence from the
archbishop of Canterbury. In 1900 a Chaplains' Department of the
Territorial Force was formed; there is no denominational restriction.
In the armies and navies of all Christian countries chaplains are
officially appointed, with the single exception of France, where the
office was abolished on the separation of Church and State. In the army
of the United States of America chaplains are originally appointed by
the president, and subsequently are under the authority of the secretary
of war, who receives recommendations as regards transfer from department
commanders. By act of Congress, approved in April 1904, the
establishment of chaplains was fixed at 57 (15 with the rank of major),
12 for the artillery corps and 1 each for the cavalry and infantry
regiments. There is no distinction of sect. In the U.S. navy the
chaplains are 24 in number, of whom 13 rank as lieutenants, 7 as
commanders, 4 as captains.
In the armies of Roman Catholic countries there are elaborate
regulations. Where the chaplains are numerous a chaplain-major is
generally appointed, but in the absence of special sanction from the
pope such officer has no spiritual jurisdiction. Moreover, chaplains
must be approved by the ordinary of the locality. In Austria there are
Roman Catholic, Greek Church, Jewish and Mahommedan chaplains. The Roman
Catholic chaplains are classed as parish priests, curates and
assistants, and are subject to an army Vicar Apostolic. In war, at an
army headquarters there are a "field-rabbi," a "military imam," an
evangelical minister, as well as the Roman Catholic hierarchy. By a
decree of the Sacred Congregation of Propaganda (May 15, 1906), the
archbishop of Westminster is the ecclesiastical superior of all
commissioned Roman Catholic chaplains in the British army and navy, and
he is empowered to negotiate with the civil authorities concerning
appointments.
In Germany, owing to the fact that there are different religions in the
different states, there is no uniform system. In Prussia there are two
_Feldprobste_ (who are directly under the war minister), one Lutheran,
one Roman Catholic. The latter is a titular bishop, and has sole
spiritual authority over soldiers. There are also army corps and
divisional chaplains of both faiths. Bavaria and Saxony, both Roman
Catholic states, have no special spiritual hierarchy; in Bavaria, the
archbishop of Munich and Freysing is _ex officio_ bishop of the army.
The origin of the office of _capellanus_ or _cappellanus_ in the
medieval church is generally traced (see Du Cange, _Gloss, med. et
infim. Latin_.) to the appointment of persons to watch over the sacred
cloak (_cappa_ or _capella_) of St Martin of Tours, which was preserved
as a relic by the French monarchs. In time of war this cloak was carried
with the army in the field, and was kept in a tent which itself came to
be known as a _cappella_ or _capella_. It is also suggested that the
_capella_ was simply the tent or canopy which the French kings erected
over the altar in the field for the worship of the soldiers. However
this may be, the name _capellanus_ was generally applied to those who
were in charge of sacred relics: such officials were also known as
_custodes, martyrarii, cubicularii_. Thus we hear of a _custos palatinae
capellae_ who was in charge of the palace chapel relics, and guarded
them in the field; the chief of these _custodes_ was sometimes called
the _archicapellanus_. From the care of sacred relics preserved in royal
chapels, &c. (_sacella_ or _capellae_), the office of _capellanus_
naturally extended its scope until it covered practically that of the
modern court chaplain, and was officially recognized by the Church.
These clerics became the confessors in royal and noble houses, and were
generally chosen from among bishops and other high dignitaries. The
arch-chaplain not only received jurisdiction within the royal household,
but represented the authority of the monarch in religious matters, and
also acquired more general powers. In France the arch-chaplain was
grand-almoner, and both in France and in the Holy Roman Empire was also
high chancellor of the realm. The office was abolished in France at the
Revolution in 1789, revived by Pius IX. in 1857, and again abolished on
the fall of the Second Empire.
The Roman Catholic Church also recognizes a class of beneficed
chaplains, supported out of "pious foundations" for the specific duty of
saying, or arranging for, certain masses, or taking part in certain
services. These chaplains are classified as follows:--_Ecclesiastical_,
if the foundation has been recognized officially as a benefice; _Lay_,
if this recognition has not been obtained; _Mercenary_, if the person
who has been entrusted with the duty of performing or procuring the
desired celebration is a layman (such persons also are sometimes called
"Lay Chaplains"); _Collative_, if it is provided that a bishop shall
collate or confer the right to act upon the accepted candidate, who
otherwise could not be recognized as an ecclesiastical chaplain. There
are elaborate regulations governing the appointment and conduct of these
chaplains.
Other classes of chaplains are:--(1) _Parochial_ or _Auxiliary
Chaplains_, appointed either by a parish priest (under a provision
authorized by the Council of Trent) or by a bishop to take over certain
specified duties which he is unable to perform; (2) _Chaplains of
Convents_, appointed by a bishop: these must be men of mature age,
should not be regulars unless secular priests cannot be obtained, and
are not generally to be appointed for life; (3) _Pontifical Chaplains_,
some of whom (known as Private Chaplains) assist the pontiff in the
celebration of Mass; others attached directly to the pope are honorary
private chaplains who occasionally assist the private chaplains, private
clerics of the chapel, common chaplains and supernumerary chaplains. The
common chaplains were instituted by Alexander VII., and in 1907 were
definitely allowed the title "Monsignore" by Pius X.
CHAPLIN, HENRY (1841- ), English statesman, second son of the Rev.
Henry Chaplin, of Blankney, Lincolnshire, was educated at Harrow and
Christ Church, Oxford, and first entered parliament in 1868 as
Conservative member for Mid-Lincolnshire. He represented this
constituency (which under the Redistribution Act of 1885 became the
Sleaford division) till 1906, when he was defeated, but in 1907 returned
to the House of Commons as member for Wimbledon at a by-election. In
1876 he married a daughter of the 3rd duke of Sutherland, but lost his
wife in 1881. Outside the House of Commons he was a familiar figure on
the Turf, winning the Derby with Hermit in 1867; and in politics from
the first the "Squire of Blankney" took an active interest in
agricultural questions, as a popular and typical representative of the
English "country gentleman" class. Having filled the office of
chancellor of the duchy of Lancaster in Lord Salisbury's short ministry
of 1885-1886, he became president of the new Board of Agriculture in
1889, with a seat in the cabinet, and retained this post till 1892. In
the Conservative cabinet of 1895-1900 he was president of the Local
Government Board, and was responsible for the Agricultural Rates Act of
1896; but he was not included in the ministry after its reconstruction
in 1900. Mr Chaplin had always been an advocate of protectionism, being
in this respect the most prominent inheritor of the views of Lord George
Bentinck; and when in 1903 the Tariff Reform movement began under Mr
Chamberlain's leadership, he gave it his enthusiastic support, becoming
a member of the Tariff Commission and one of the most strenuous
advocates in the country of the new doctrines in opposition to free
trade.
CHAPMAN, GEORGE (? 1559-1634), English poet and dramatist, was born near
Hitchin. The inscription on the portrait which forms the frontispiece of
_The Whole Works of Homer_ states that he was then (1616) fifty-seven
years of age. Anthony a Wood (_Athen. Oxon._ ii. 575) says that about
1574 he was sent to the university, "but whether first to this of Oxon,
or that of Cambridge, is to me unknown; sure I am that he spent some
time in Oxon, where he was observed to be most excellent in the Latin
and Greek tongues, but not in logic or philosophy." Chapman's first
extant play, _The Blind Beggar of Alexandria_, was produced in 1596, and
two years later Francis Meres mentions him in _Palladis Tamia_ among the
"best for tragedie" and the "best for comedie." Of his life between
leaving the university and settling in London there is no account. It
has been suggested, from the detailed knowledge displayed in _The Shadow
of Night_ of an incident in Sir Francis Vere's campaign, that he saw
service in the Netherlands. There are frequent entries with regard to
Chapman in Henslowe's diary for the years 1598-1599, but his dramatic
activity slackened during the following years, when his attention was
chiefly occupied by his _Homer_. In 1604 he was imprisoned with John
Marston for his share in _Eastward Ho_, in which offence was given to
the Scottish party at court. Ben Jonson voluntarily joined the two, who
were soon released. Chapman seems to have enjoyed favour at court, where
he had a patron in Prince Henry, but in 1605 Jonson and he were for a
short time in prison again for "a play." Beaumont, the French ambassador
in London, in a despatch of the 5th of April 1608, writes that he had
obtained the prohibition of a performance of _Biron_ in which the queen
of France was represented as giving Mademoiselle de Verneuil a box on
the ears. He adds that three of the actors were imprisoned, but that the
chief culprit, the author, had escaped (Raumer, _Briefe aus Paris_,
1831, ii. 276). Among Chapman's patrons was Robert Carr, earl of
Somerset, to whom he remained faithful after his disgrace. Chapman
enjoyed the friendship and admiration of his great contemporaries. John
Webster in the preface to _The White Devil_ praised "his full and
heightened style," and Ben Jonson told Drummond of Hawthornden that
Fletcher and Chapman "were loved of him." These friendly relations
appear to have been interrupted later, for there is extant in the
Ashmole MSS. an "Invective written by Mr George Chapman against Mr Ben
Jonson." Chapman died in the parish of St Giles in the Fields, and was
buried on the 12th of May 1634 in the churchyard. A monument to his
memory was erected by Inigo Jones. (M. Br.)
Chapman, his first biographer is careful to let us know, "was a person
of most reverend aspect, religious and temperate, qualities rarely
meeting in a poet"; he had also certain other merits at least as
necessary to the exercise of that profession. He had a singular force
and solidity of thought, an admirable ardour of ambitious devotion to
the service of poetry, a deep and burning sense at once of the duty
implied and of the dignity inherent in his office; a vigour, opulence,
and loftiness of phrase, remarkable even in that age of spiritual
strength, wealth and exaltation of thought and style; a robust
eloquence, touched not unfrequently with flashes of fancy, and kindled
at times into heat of imagination. The main fault of his style is one
more commonly found in the prose than in the verse of his time,--a
quaint and florid obscurity, rigid with elaborate rhetoric and tortuous
with labyrinthine illustration; not dark only to the rapid reader
through closeness and subtlety of thought, like Donne, whose miscalled
obscurity is so often "all glorious within," but thick and slab as a
witch's gruel with forced and barbarous eccentricities of articulation.
As his language in the higher forms of comedy is always pure and clear,
and sometimes exquisite in the simplicity of its earnest and natural
grace, the stiffness and density of his more ambitious style may perhaps
be attributed to some pernicious theory or conceit of the dignity proper
to a moral and philosophic poet. Nevertheless, many of the gnomic
passages in his tragedies and allegoric poems are of singular weight and
beauty; the best of these, indeed, would not discredit the fame of the
very greatest poets for sublimity of equal thought and expression:
witness the lines chosen by Shelley as the motto for a poem, and fit to
have been chosen as the motto for his life.
The romantic and sometimes barbaric grandeur of Chapman's _Homer_
remains attested by the praise of Keats, of Coleridge and of Lamb; it is
written at a pitch of strenuous and laborious exaltation, which never
flags or breaks down, but never flies with the ease and smoothness of an
eagle native to Homeric air. From his occasional poems an expert and
careful hand might easily gather a noble anthology of excerpts, chiefly
gnomic or meditative, allegoric or descriptive. The most notable
examples of his tragic work are comprised in the series of plays taken,
and adapted sometimes with singular licence, from the records of such
part of French history as lies between the reign of Francis I. and the
reign of Henry IV., ranging in date of subject from the trial and death
of Admiral Chabot to the treason and execution of Marshal Biron. The two
plays bearing as epigraph the name of that famous soldier and
conspirator are a storehouse of lofty thought and splendid verse, with
scarcely a flash or sparkle of dramatic action. The one play of
Chapman's whose popularity on the stage survived the Restoration is
_Bussy d'Ambois_ (d'Amboise),--a tragedy not lacking in violence of
action or emotion, and abounding even more in sweet and sublime
interludes than in crabbed and bombastic passages. His rarest jewels of
thought and verse detachable from the context lie embedded in the
tragedy of _Caesar and Pompey_, whence the finest of them were first
extracted by the unerring and unequalled critical genius of Charles
Lamb. In most of his tragedies the lofty and labouring spirit of Chapman
may be said rather to shine fitfully through parts than steadily to
pervade the whole; they show nobly altogether as they stand, but even
better by help of excerpts and selections. But the excellence of his
best comedies can only be appreciated by a student who reads them fairly
and fearlessly through, and, having made some small deductions on the
score of occasional pedantry and occasional indecency, finds in _All
Fools_, _Monsieur d'Olive_, _The Gentleman Usher_, and _The Widow's
Tears_ a wealth and vigour of humorous invention, a tender and earnest
grace of romantic poetry, which may atone alike for these passing
blemishes and for the lack of such clear-cut perfection of character and
such dramatic progression of interest as we find only in the yet higher
poets of the English heroic age.
So much it may suffice to say of Chapman as an original poet, one who
held of no man and acknowledged no master, but from the birth of Marlowe
well-nigh to the death of Jonson held on his own hard and haughty way of
austere and sublime ambition, not without kindly and graceful
inclination of his high grey head to salute such younger and still
nobler compeers as Jonson and Fletcher. With Shakespeare we should never
have guessed that he had come at all in contact, had not the keen
intelligence of William Minto divined or rather discerned him to be the
rival poet referred to in Shakespeare's sonnets with a grave note of
passionate satire, hitherto as enigmatic as almost all questions
connected with those divine and dangerous poems. This conjecture
Professor Minto fortified by such apt collocation and confrontation of
passages that we may now reasonably accept it as an ascertained and
memorable fact.
The objections which a just and adequate judgment may bring against
Chapman's master-work, his translation of Homer, may be summed up in
three epithets: it is romantic, laborious, Elizabethan. The qualities
implied by these epithets are the reverse of those which should
distinguish a translator of Homer; but setting this apart, and
considering the poems as in the main original works, the superstructure
of a romantic poet on the submerged foundations of Greek verse, no
praise can be too warm or high for the power, the freshness, the
indefatigable strength and inextinguishable fire which animate this
exalted work, and secure for all time that shall take cognizance of
English poetry an honoured place in its highest annals for the memory of
Chapman. (A. C. S.)
Chapman's works include:--[Greek: Skia nyktos]: _The Shadow of Night:
Containing two Poeticall Hymnes_ ... (1594), the second of which deals
with Sir Francis Vere's campaign in the Netherlands; _Ovid's Banquet
of Sence. A Coronet for his Mistresse Philosophie; and His Amorous
Zodiacke with a translation of a Latine coppie, written by a Fryer,
Anno Dom. 1400_ (1595, 2nd ed. 1639), a collection of poems frequently
quoted from in _England's Parnassus_ (1600); "De Guiana, carmen
epicum," a poem prefixed to Lawrence Keymis's _A Relation of the
second voyage to Guiana_ (1596); _Hero and Leander. Begun by
Christopher Marloe; and finished by George Chapman_ (1598); _The
Blinde begger of Alexandria, most pleasantly discoursing his variable
humours_ ... (acted 1596, printed 1598), a popular comedy; _A Pleasant
Comedy entituled An Humerous dayes Myrth_ (identified by Mr Fleay with
the "Comodey of Umero" noted by Henslowe on the 11th of May 1597;
printed 1599); _Al Fooles, A Comedy_ (paid for by Henslowe on the 2nd
of July 1599, its original name being "The World runs on wheels";
printed 1605); _The Gentleman Usher_ (c. 1601, pr. 1606), a comedy;
_Monsieur d'Olive_ (1604, pr. 1606), one of his most amusing and
successful comedies; _Eastward Hoe_ (1605), written in conjunction
with Ben Jonson and John Marston, an excellent comedy of city life;
_Bussy d'Ambois,[1] A Tragedie_ (1604, pr. 1607, 1608, 1616, 1641,
&c.), the scene of which is laid in the court of Henry III.; _The
Revenge of Bussy d'Ambois. A Tragedie_ (pr. 1613, but probably written
much earlier); _The Conspiracie, And Tragedie of Charles Duke of
Byron. Marshall of France, ... in two plays_ (1607 and 1608; pr. 1608
and 1625); _May-Day, A witty Comedie_ (pr. 1611; but probably acted as
early as 1601); _The widdowes Teares. A Comedie_ (pr. 1612; produced
perhaps as early as 1605); _Caesar and Pompey: A Roman Tragedy,
declaring their warres. Out of whose events is evicted this
Proposition. Only a just man is a freeman_ (pr. 1631), written, says
Chapman in the dedication, "long since," but never staged.
_The Tragedy of Alphonsus Emperour of Germany_ (see the edition by Dr
Karl Elye; Leipzig, 1867) and _Revenge for Honour_ (1654)[2] both bear
Chapman's name on the title-page, but his authorship has been
disputed. In _The Ball_ (lic. 1632; pr. 1639), a comedy, and _The
Tragedie of Chabot Admirall of France_ (lic. 1635; pr. 1639) he
collaborated with James Shirley. _The memorable Masque of the two
Honourable Houses or Inns of Court; the Middle Temple and Lyncoln's
Inne_, was performed at court in 1613 in honour of the marriage of the
Princess Elizabeth.
_The Whole Works of Homer: Prince of Poets. In his Iliads and
Odysseys_ ... appeared in 1616, and about 1624 he added _The Crowne
of all Homers works Batrachomyomachia or the Battaile of Frogs and
Mise. His Hymns and Epigrams._ But the whole works had been already
published by instalments. _Seaven Bookes of the Iliades of Homer_ had
appeared in 1598, _Achilles Shield_ in the same year, books i.-xii.
about 1609; in 1611 _The Iliads of Homer, Prince of Poets_ ...; and
in 1614 _Twenty-four Bookes of Homer's Odisses_ were entered at
Stationers' Hall. In 1609 he addressed to Prince Henry _Enthymiae
Raptus; or the Teares of Peace_, and on the death of his patron he
contributed _An Epicede, or Funerall Song_ (1612). A paraphrase of
_Petrarchs Seven Penitentiall Psalms_ (1612), a poem in honour of the
marriage of Robert Carr, earl of Somerset, and Frances, the divorced
countess of Essex, indiscreetly entitled _Andromeda Liberata_ ...
(1614), a translation of _The Georgicks of Hesiod_ (1618), _Pro Vere
Autumni Lachrymae_ (1622), in honour of Sir Horatio Vere, _A
justification of a Strange Action of Nero ... also ... the fifth
Satyre of Juvenall_ (1629), and _Eugenia_ ... (1614), an elegy on Sir
William Russell, complete the list of his separately published works.
Chapman's _Homer_ was edited in 1857 by the Rev. Richard Hooper; and a
reprint of his dramatic works appeared in 1873. The standard edition
of Chapman is the _Works_, edited by R.H. Shepherd (1874-1875), the
third volume of which contains an "Essay on the Poetical and Dramatic
works of George Chapman," by Mr Swinburne, printed separately in 1875.
The selection of his plays (1895) for the Mermaid Series is edited by
Mr W.L. Phelps. For the sources of the plays see Emil Koeppel,
"Anellen Studien zu den Dramen George Chapman's, Philip Massinger's
und John Ford's" in _Quellen und Forschungen zur Sprach und
Kulturgeschichte_ (vol. 82, Strassburg, 1897). The suggestion of W.
Minto (see _Characteristics of the English Poets_, 1885) that Chapman
was the "rival poet" of Shakespeare's sonnets is amplified in Mr A.
Acheson's _Shakespeare and the Rival Poet_ (1903). Much satire in
Chapman's introduction is there applied to Shakespeare. For other
criticisms of his translation of Homer see Matthew Arnold, _Lectures
on translating Homer_ (1861), and Dr A. Lohff, _George Chapman's
Ilias-Ubersetzung_ (Berlin, 1903). (M. Br.)