Probably we have not all the plays that Greene wrote. Evidence points to the loss of his earlier ones. Those preserved are (the order is approximately that in which they were written)--_Alphonsus, King of Arragon_, _A Looking-Glass for London and England_, _Orlando Furioso_, _Friar Bacon and Friar Bungay_, _James the Fourth_, and _George-a-Greene, the Pinner of Wakefield_. The authorship of the last is not certain, and that of the second was shared with Lodge. With regard to the dates it is hardly safe to be more definite than to allot them to the period 1587-92. In all we see a preference for ready-made stories. The writer rarely invents a plot, choosing instead to dramatize the history, romance, epic or ballad of another. Where he does invent, as in the love plot in _Friar Bacon and Friar Bungay_, the result is notable. Blank verse is his medium, but in all except the first prose is freely used for the speech of the uncultured persons. Most of the verse is quite good, modelled on the form of Marlowe's; it is commonly least satisfactory where the imitation is most deliberate. The prose, adopted from Lyly's 'servants' and 'pages', not from his courtly 'goddesses', is clear and vigorous. Euphuism asserts itself occasionally in the verse, and the affectation of scholarship, customary in that day, is responsible for a superabundance of classical allusions in unexpected places. Since Greene was at first much under the influence of Marlowe it is necessary to say something here of that dramatist's work. For a full consideration of the essential qualities of Marlowe the reader must be asked to wait. Perhaps he has already discovered them in the ordinary course of his reading, for Marlowe is too widely known to need introduction through any text-book. Briefly, _Tamburlaine_--the play which made the greatest impression on the playwrights of its time--may be described as a magniloquent account of the career of a world-conqueror whose resistless triumph over kingdoms and potentates, signalized by acts of monstrous insolence, provides excuse for outbursts of extravagant vainglory. Such a description is intended to indicate the traditional Marlowesque qualities: it is a very inadequate criticism of the play as a whole. This kind of loud, richly coloured drama leapt into instant popularity, and it was in direct imitation of it that Greene wrote the first of the plays credited to him.