A noticeable feature, which shows the closeness of the imitation, is the absence of all intentionally humorous scenes, in spite of Greene's very considerable natural aptitude for comic by-play. Everywhere the influence of _Tamburlaine_ is markedly visible, in the subject, in particular scenes, in such staging as the gruesome canopy, and above all in the incessant bombast. Euphuism also is more pronounced than in his other plays: Venus recites the prologues to the acts. All the male characters are drawn on the same pattern, in differing degrees according to their condition, and the two women, Iphigena and her mother, Fausta, are without attractive qualities. Marlowe, as we know, rarely expended any care on his female characters; Greene, however, proved capable in his later, independent plays, of very different work. Utter disregard of normal conceptions of time and distance produces occasional confusion in the reader's mind as to his supposed imaginary whereabouts. From almost every point of view, then, the play is a poor production. A redeeming trait is the occasional vigour of the verse. For an illustrative passage one may turn to the meeting of Alphonsus and Amurack: _Amurack._ Why, proud Alphonsus, think'st thou Amurack, Whose mighty force doth terrify the gods, Can e'er be found to turn his heels and fly Away for fear from such a boy as thou? No, no! Although that Mars this mickle while Hath fortified thy weak and feeble arm, And Fortune oft hath view'd with friendly face Thy armies marching victors from the field, Yet at the presence of high Amurack Fortune shall change, and Mars, that god of might, Shall succour me, and leave Alphonsus quite. _Alphonsus._ Pagan, I say, thou greatly art deceiv'd. I clap up Fortune in a cage of gold, To make her turn her wheel as I think best; And as for Mars, whom you do say will change, He moping sits behind the kitchen door, Prest[54] at command of every scullion's mouth, Who dares not stir, nor once to move a whit, For fear Alphonsus then should stomach[55] it.