We said in beginning that Greene is clearly typical of his time. And indeed his plays are complexes of the dominant dramatic types of the years just before Shakespeare. In his work are focused the strains leading from the three most clearly marked dramatic movements of the age. The English morality combines with rustic low life to produce the interlude, which continues its course of didacticism and horse-play until the end of the century. The Senecan drama scatters ghosts and horrors through English plays until it is etherealised in the poetry of _Tamburlaine_, and laughed to death in the parodies of _The Spanish Tragedy_. The English chronicle play gives life to the dry bones of history, and celebrates the solidarity of an England united over the face of the globe, and through all the eras of her splendid history. Of all these elements the one that remains in Greene's work from beginning to end is the didactic strain. _A Looking-Glass for London and England_ is the last full flowering of English religious drama. Yet didactic elements appear in Friar Bacon's strangely unmotivated repentance, and in the interpolated scene of a lawyer, a merchant and a divine in _James IV._ In Greene's dramas many of the types and figures from a bygone stage are mingled with the newer creations of his invention. The vices of the interludes spring up incongruously in the midst of the characters of a later drama. In _Friar Bacon_ the Vice is again carried off to hell on the back of the Devil, just as had been done years before in simpler plays; and in the same play, by the use of the expedient of perspective glasses, two actions are represented as taking place in widely separate localities, after the manner of the early masques. And aside from these persisting formulas from an older drama there are influences and obligations in relation with Lyly and Marlowe and Kyd that are literally too numerous for enumeration. As significant as any service Greene performed for English drama is the assimilation to a single dramatic end of the adverse expedients of a heterogeneous dramaturgy.