Magic and fairy-land loom large in the plays of Robert Greene, whose place in English literature rests at least as much upon his prose-tracts as on his dramas. It seems to me fairly obvious that _The Honourable History of Friar Bacon and Friar Bungay_, which almost certainly dates from 1589, although the first quarto is 1594, was composed owing to the success of Marlowe’s _Doctor Faustus_. Greene was not the man to lose an opportunity of exploiting fashion, and with his solid British bent I have no doubt he considered an old English tale of an Oxford magician would be just as effective as imported legends from Frankfort and Wittenberg. To say that the later play is on an entirely different level is not to deny it interest and considerable charm. But in spite of Bacon’s avowal Thou know’st that I have divèd into hell And sought the darkest palaces of fiends; That with my magic spells great Belcephon, Hath left his lodge and kneeled at my cell, his sorceries are in lighter vein than those of Faustus; moreover neither his arts nor the magic of Friar Bungay form the essential theme of the play, which also sketches the love of Edward, Prince of Wales (afterwards Edward I) for Margaret, “the fair Maid of Fressingfield.” It is true Bacon conjures up spirits enough, and we are shown his study at Brasenose with the episode of the Brazen Head. It may be noted that Miles, Bacon’s servant, is exactly the Vice of the Moralities, and at the end he rides off farcically enough on the Devil’s back, whilst Bacon announces his intention of spending the remainder of his years in becoming penitence for his necromancy and magic. In Greene’s _Orlando Furioso_, 4to, 1594, which is based on Ariosto, canto XXIII, we meet Melissa, an enchantress: and in _Alphonsus, King of Arragon_, 4to, 1599, which is directly imitative of _Tamburlaine_, a sibyl with the classical name Medea, conjures up Calehas “in a white surplice and cardinal’s mitre,” and here we also have a Brazen Head through which Mahomet speaks. A far more interesting play is _A Looking Glasse for London and England_, 4to, 1594, an elaborated Mystery upon the history of the prophet Jonah and the repentance of Nineveh. Among the characters are a Good Angel, an Evil Angel, and “one clad in Devil’s attire,” who is soundly drubbed by Adam the buffoon. In 1598 was published, “As it hath bene sundrie times publikely plaide,” _The Scottish Historic of Iames the fourth, slaine at Flodden. Entermixed with a pleasant Comedie, presented by Oboram, King of Fayeries._ But the fairies only appear in a species of prose prologue, and in brief interludes between the acts.