The equal unanimity and general consent which identifies the first with Marlowe, identifies the third and last person, who had been co-worker in drama making of the same fellowship, with George Peele, “and thou no less deserving than the other two, in some things rarer, in nothing inferior” driven (as myself) to “extreame shifts, a little have I to say to thee.” Chettle could, however, have bourne witness to Peele “his civil demeanor and factitious grace in writing.” Peele held the situation of city poet and conductor of pageants for the court. His first pageant bears the date of 1585, his earliest known play, “The Arraignment of Paris” was acted before 1584. “Peele was the object of patronage of noblemen for addressing literary tributes for payment. The Earl of Northumberland seems to have presented him with a fee of three pounds. In May, 1591, when Queen Elizabeth visited Lord Burleigh’s seat of Theabald, Peele was employed to compose certain speeches addressed to the queen, which deftly excused the absence of the master of the house, by describing in blank verse in his ‘Polyphymnic,’ the honorable triumph at tilt. Her majesty was received by the Right Honorable the Earl of Cumberland.” In January, 1595, George Peele, Master of Arts, presented his “Tale of Troy” to the great Lord Treasurer through a simple messenger, his eldest daughter, “necessities servant.” Peele was a practised rhetorician, who embellished his writings with elegantly adorned sentences and choice fancies. He was a man of polished intellect and social gifts, and possessed of a very winsome personality. “His soft, caressing woman voice” low, sweet and soothing, may have had a considerable effect upon Chettle, and could not have been unduly honored by Chettle’s apology in witnessing “his civil demeanor and factitious grace in writing.”