The story of the piece is quite entertaining in itself, and is set forth with a good deal of vivacity and spirit.  Among the characters are King Edward of England, King James of Scotland, the Earl of Kendall, with other lords, and Robin Hood.  George a Greene is the hero; who, what with his wit, and what with his strength, gets the better of all the other persons in turn.  Withal he is full of high and solid manhood, and his character is drawn with more vigour and life than any hitherto noticed.  The piece opens with the Earl of Kendall and his adherents in rebellion against the State.  The Earl sends Sir Nicholas Mannering to Wakefield, to demand provision for his camp.  Sir Nicholas enters the town, and shows his commission:  the magistrates are at a loss what to do, till the hero comes amongst them, outfaces the messenger, tears up his commission, makes him eat the seals, and sends him back with an answer of defiance.

Greene was concerned, along with Thomas Lodge, in writing another extant play, entitled A Looking-Glass for London and England.  This is little better than a piece of stage trash, being a mixture of comedy, tragedy, and Miracle-Play; an Angel, a Devil, and the Prophet Hosea taking part in the action.  The verse parts are in Greene’s puffiest style, the prose parts in his filthiest.

Greene probably wrote divers other plays, but none others have survived that are known to be his.

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MARLOWE, the greatest of Shakespeare’s senior contemporaries, was baptized in St. George’s church, Canterbury, on the 26th of February, 1564, just two months before the baptism of Shakespeare.  He took his first degree at Cambridge in 1583, became Master of Arts in 1587, and was soon after embarked among the worst literary adventurers in London, living by his wits, and rioting on the quick profits of his pen.  His career was brief, but fruitful,—­fruitful in more senses than one.  He was slain by one Francis Archer in a brawl, on the 1st of June, 1593.

His first dramatic work was Tamburlaine the Great, in two parts; printed in 1590, but written before 1588.  In this work, what Ben Jonson describes as “Marlowe’s mighty line” is out in all its mightiness.  The lines, to be sure, have a vast amount of strut and swell in them, but then they also have a good deal of real energy and force.  Marlowe has had much praise, perhaps more than his due, as the introducer of blank-verse on the public stage; it being alleged that the previous use of it was only in what may be called private theatricals.  Be that as it may, he undoubtedly did much towards fixing it as the habit of English dramatic poetry. Tamburlaine had a sudden, a great, and long-continued popularity.  And its success may have been partly owing to its faults, inasmuch as the public ear, long used to rhyme, needed some compensation in the way of grandiloquent stuffing, which was here supplied in abundance.