goes to his own baser experience for his comment, and then there is, as in _Orlando Furioso_ (p. 191), a touch of the awful invective delivered against prostitutes in his _Never too Late_. But Greene's later art was better than this. Scottish Ida, who wins the heart of the King of Scots from English Doll, is no courtesan. Something of the respect and love that breathes through Greene's allusions to Doll his wife is seen in his treatment of all womankind. Even Angelica in _Orlando Furioso_, unformed as are her outlines, represents that fidelity of a patient Grizzel so well exemplified in Margaret in _Friar Bacon_ and Dorothea in _James IV._ Nothing in Marlowe's Queen Isabella of _Edward II._, Zenocrate of _Tamburlaine_, Abigail of _The Jew of Malta_, can equal the sweet and simple womanliness of Greene's gallery, comprising Isabel in _Never too Late_, Bellaria and Fawnia in _Pandosto_, Sephestia in _Menaphon_, Philomela and the shepherd's wife in the _Mourning Garment_, Margaret in _Friar Bacon and Friar Bungay_, and Ida and Dorothea in _James IV._ Greene's skill in the treatment of character grew out of his knowledge of life, and is involved in his most significant and enduring contribution to the stage. This is the introduction of realism onto a stage that was essentially romantic, and it arises from the application of dramatic art to the experiences of everyday life. Greene's low life is not artificial pastoral, nor is it the boorish clownage of the interludes. It is the characteristic life of England that we see in Harrison's _Description_, refined and beautified by a mature and chastened art. Only in such art can come the homely ideal of "beauty tempered with ... huswifery." By the time of _Friar Bacon and Friar Bungay_ Greene's art has come home. Now in a series of domestic thumb sketches he shows us Margaret: "And there amongst the cream bowls she did shine As Pallas 'mongst her princely huswifery," and the hostess in the kitchen, "Spitting the meat 'gainst supper for my guess,"