has been able to determine how much of the "Looking Glass for
London and England" was written by Lodge, how much by Greene. Knight
thinks the poetry should be assigned to Greene. The whole piece is made
up of an extraordinary mixture of Kings of Nineveh, Crete, Cicilia, and
Paphlagonia; of usurers, judges, lawyers, clowns, and ruffians; of
angels, magi, sailors, lords, and "one clad in Devil's attire." The
Prophet Hosea presides over the whole performance, with the exception of
the first and last scenes,--a silent, invisible observer of the
characters, for the purpose of uttering an exhortation to the people at
the end of each scene, that they should take warning from Nineveh. There
is a flash of lightning which kills two of the royal family, and then
another which strikes the parasite, Radagon. Both admonitions are
equally futile. At last an angel prays repeatedly, and in answer Jonah
is sent to preach repentance. His mission is successful, and at last
Jehovah himself descends in angelic form and proclaims mercy. It has
been thought that the piece was written to silence the Puritan zealots
who claimed that the secular drama had demoralized the stage, and
forgotten the purity of the Moral and Miracle plays; but it has never
been suggested that this was a "chronicle history."

"George-a-Greene, the Pinner of Wakefield," is not generally credited to
Greene, but Ulrici, from the style, assigns it to him. It makes no claim
as an historical drama, but is based upon two popular legends and some
events during the reign of King Edward, without specifying which king of
that name, and "without regard to chronological order or historical
truth."

Such is a brief and fair summary of the works, whether authentic or
doubtful, of Robert Greene. Let us turn to those of Peele, the friend of
Greene and Marlowe.

Dyce assigns to him "The History of the two valiant Knights, Syr
Clyomon, Knight of the Golden Shield, sonne of the King of Denmark, and
Syr Clamides the White Knight," printed without the author's name in
1584.

The subject, a chivalrous romance, with dragons and sorcerers and lost
princesses, is more a narrative in dialogue than a drama. It is full of
long speeches without any real action. It resembles the "Moralities":
the clown is called "Subtle Shift," sometimes "Vice." "Rumour" and
"Providence" appear, the one to tell Clyomon what has happened during
his absence, the other to prevent Clyomon's mistress "from committing