_A Looking-Glass for London and England_ shows less bondage to _Tamburlaine_, but falls into a worse error by a recurrence to the deliberate didacticism of the old Moralities. The lessons for London, drawn from the sins of Nineveh, are formally and piously announced by the prophets Oseas and Jonas after the exposure of each offence. Devoid of any proper plot, the play merely brings together various incidents to exhibit such social evils as usury, legal corruption, filial ingratitude, friction between master and servant. Intermingled, with only the slightest connexion, are the widely different stories of King Rasni's amours, of the thirsty career of a drunken blacksmith, and of the prophet Jonah--his disobedience, strange sea-journey, mission in Nineveh and subsequent ill-temper being set forth in full. Vainglorious Rasni talks like Alphonsus, and his ladies are even less charming than Iphigena. Ramilia boasts as outrageously as her brother, and is only prevented by sudden death from an incestuous union with him; Alvida, after poisoning her first husband to secure Rasni, shamelessly attempts to woo the King of Cilicia. Quite the most successful character, perhaps the most amusing of all Greene's clowns, is Adam, the blacksmith. His loyal defence of his trade against derogatory aspersions, his rare drunkenness, his detection and beating of the practical joker who comes disguised as a devil to carry him off like a Vice on his back, his tactful replenishings of his cup at the king's table, and his dissemblings to avoid being discovered in possession of food during the fast are most entertaining. Poor fellow, he ends on the gallows, but goes to his death with a stout heart and a full stomach. No better example is needed of the prose which Greene puts into the mouths of his low characters than that which Adam uses. The following incident occurs during the fast proclaimed by Rasni after Jonah's denunciations: