Two other prose pamphlets of an autobiographical nature were issued posthumously. Of these, _The Repentance of Robert Greene, Master of Arts_ (1592), must originally have been written by him on his death-bed, under the influence, as he says, of Father Parsons's _Booke of Resolution_ (_The Christian Directorie, appertayning to Resolution_, 1582, republished in an enlarged form, which became very popular, in 1585); but it bears traces of having been improved from the original; while _Greene's Vision_ was certainly not, as the title-page avers, written during his last illness. Altogether not less than thirty-five prose-tracts are ascribed to Greene's prolific pen. Nearly all of them are interspersed with verses; in their themes they range from the "misticall" wonders of the heavens to the familiar but "pernitious sleights" of the sharpers of London. But the most widely attractive of his prose publications were his "love-pamphlets," which brought upon him the outcry of Puritan censors. The earliest of his novels, as they may be called, _Mamillia_, was licensed in 1583. This interesting story may be said to have accompanied Greene through life; for even part ii., of which, though probably completed several years earlier, the earliest extant edition bears the date 1593, had a sequel, _The Anatomie of Love's Flatteries_, which contains a review of suitors recalling Portia's in _The Merchant of Venice_. _The Myrrour of Modestie_ (the story of Susanna) (1584); _The Historie of Arhasto, King of Denmarke_ (1584); _Morando, the Tritameron of Love_ (a rather tedious imitation of the _Decameron_ (1584); _Planetomachia_ (1585) (a contention in story-telling between Venus and Saturn); _Penelope's Web_ (1587) (another string of stories); _Alcida_, _Greene's Metamorphosis_ (1588), and others, followed. In these popular productions he appears very distinctly as a follower of John Lyly; indeed, the first part of _Mamillia_ was entered in the Stationers' Registers in the year of the appearance of _Euphues_, and two of Greene's novels are by their titles announced as a kind of sequel to the parent romance: _Euphues his Censure to Philautus_ (1587), _Menaphon. Camilla's Alarum to Slumbering Euphues_ (1589), named in some later editions _Greene's Arcadia_. This pastoral romance, written in direct emulation of Sidney's, with a heroine called Samila, contains St Sephestia's charming lullaby, with its refrain "Father's sorowe, father's joy." But, though Greene's style copies the balanced oscillation, and his diction the ornateness (including the proverbial philosophy) of Lyly, he contrives to interest by the matter as well as to attract attention by the manner of his narratives. Of his highly moral intentions he leaves the reader in no doubt, since they are exposed on the title-pages. The full title of the _Myrrour of Modestie_ for instance continues: "wherein appeareth as in a perfect glasse how the Lord delivereth the innocent from all imminent perils, and plagueth