A similar criticism is made by Whetstone in his dedication of "Promus and Cassandra" (1578): "The Englishman in this qualitie, is most vaine, indiscreete, and out of order: he first groundes his work on impossibilities: then in three howers more likely ronnes he throwe the worlde: marryes, gets Children, makes Children men, men to conquer kingdomes, murder monsters, and bringeth Gods from Heaven and fetcheth Divels from Hel." Sidney in the well-known passage on the contemporary drama in his "Apologie for Poetrie" (1595, but written about 1580) amplified these same criticisms, deploring the lack of "noble moralitie," the violation of the unities, and the admixture of farce in current tragedies, and especially animadverting on the histories and the "mongrel Tragy-comedie." He asks scornfully: "And doe they not knowe, that a Tragedie is tied to the lawes of Poesie, and not of Historie? not bound to follow the storie, but having liberty either to faine a quite new matter, or to frame the history to the most tragicall conveniencie. Againe, many things may be told, which cannot be shewed, if they knewe the difference betwixt reporting and representing,"--and he goes on to illustrate. Evidently the medieval methods were still potent rather than those of Sidney's models, Euripides, Seneca, and "Gorboduc"; and the tragedies in the theatres followed their sources without recognition of the difference between a narrative and a dramatic structure, and with an appeal to vulgar taste by means of hideous monsters, pitched fields, scurrility, or "some extreme shew of doltishness." From these critical comments we may infer that the popular drama had before 1585 triumphed over the Senecan. The few extant tragedies before that date have shown little which was not paralleled in the contemporary drama of western Europe; but in the popularization of a professional drama that rejected Senecan technic but still delighted in the presentation of tragic fact we have the first clear differentiation of English tragedy from that of other nations. Unfortunately we have only this indirect evidence that such differentiation was well under way before Marlowe.