When Greene surrendered the attractions of sanguinary warfare and the panoplied splendour of conquerors to treat of the pursuit of love in peace he descended from the exclusive ranks of high-born lords and ladies to the company of simple working folk, presenting a farmer's daughter, winsome, loving and virtuous, and worthy to become the wife of an earl. This aspect of the Fressingfield romance must have had a special appeal for those of his audiences who stood outside the pale of wealth and aristocracy. An earlier bid for their applause has been seen in the figure of the blacksmith, Adam, whose sturdy defence of his trade was referred to when we discussed A Looking-Glass for London and England. If Greene wrote George-a-Greene, the Pinner of Wakefield, and there is a strong probability that he did, he carried forward the glorification of the lower classes, in this play, to its furthest point.
It is a hearty yeoman play; the time represented, the reign of one of the Edwards. The plot revolves about the rebellion of an Earl of Kendal. The principal figure is just such a stout typical hero of a countryside as Robin Hood himself, but more law-abiding. His rough honest loyalty is up in arms at once on the least disrespect to the crown. When Sir Nicholas Mannering, on behalf of the rebel Earl of Kendal, insolently demands a contribution of provisions from Wakefield, George tears up his commission and makes him swallow the three seals. By craft—being disguised as a hermit-seer—he takes prisoner Kendal and another nobleman, and so single-handed crushes the rebellion. About the same time the ally of Kendal, James of Scotland, is captured by another country hero, Musgrove, a veteran of great renown but no less in age than 'five score and three'. Thus the yeomen prove their superiority over traitor nobles. But George has other affairs to manage. Fair Bettris, who runs away from a disagreeable father to join him, suddenly refuses to marry him without her father's consent, not easily obtainable in the circumstances. However a trick overcomes that difficulty too in the end. Meanwhile the fame of the lass excites the rival jealousy of Maid Marian, who insists on Robin Hood's challenging George's supremacy. In three single fights Robin's two comrades, Scarlet and Much, are overthrown and Robin himself is driven to call a halt: his identity being discovered, George treats him with great honour. In accordance with former practices kings are brought upon the scene. The King of Scotland, as we have seen, is captured by Musgrove. King Edward of England and his nobles, in disguise, visit Yorkshire to see the redoubtable George who has crushed the king's rebels. An ancient custom of 'vailing (trailing) the staff' through Bradford, or, as an alternative, fighting the shoemakers of that town, produces a laughable episode. The king at first 'vails' at discretion, but is compelled by George and Robin to adopt a bolder attitude; George then beats all the shoemakers, who, at the finish, however, recognizing him, award him a hearty welcome. All are brought to their knees at the revelation of the king's identity, but Edward is merry over the affair, offering to dub George a knight. This distinction the latter begs to be allowed to refuse, saying,
—Let me live and die a yeoman still;
So was my father, so must live his son.
For 'tis more credit to men of base degree
To do great deeds, than men of dignity.
Closing the play the king pays high honour to the worshipful guild of shoemakers.
And for the ancient custom of Vail staff,
Keep it still, claim privilege from me:
If any ask a reason why or how,
Say, English Edward vail'd his staff to you.
An amount of careless irregularity unusual with Greene is displayed in the verse, pointing to hasty production. But the whole play is humorous, vigorous and healthy. George's man, Jenkin, a dull-witted, faint-hearted fellow, is the clown. There is an abundance of incident, though not the complexity of Friar Bacon and Friar Bungay. We have noticed the historical atmosphere repeated from that play and from James the Fourth. With regard to the love-plot, Bettris has only a small part, but in her preference for George above a nobleman who comes wooing her, and in her simple rank, she is quite like Margaret. Thus, when her titled admirer offers himself, she sings,
I care not for earl, nor yet for knight,
Nor baron that is so bold;
For George-a-Greene, the merry Pinner,
He hath my heart in hold.
We select our main extract from the scene in which George, the loyal yeoman, defies Sir Nicholas Mannering, the traitorous noble, and flouts his commission. Those present include the local Justice and an assembly of the citizens. George has just pushed his way to the front.
Mannering (to Justice). See you these seals? before you pass the town
I will have all things my lord doth want,
In spite of you.
George. Proud dapper Jack, vail bonnet to the bench
That represents the person of the king,
Or, sirrah, I'll lay thy head before thy feet.