[1159] Prologue to Alph., l. 28.
[1160] Ward, E. D. L. l. 324 n.
[1161] To the Famous and Fortunate Generals: "Mahomet's pow and mighty Tamberlaine" (see Fleay, Life of Shakesp., pp. 96-97).
[1162] See Perymedes, Menaphon, Anatomie of Absurditie, and the opening of Greene's Vision (written before 1590).
[1163] "The mad preest of the sonne."
[1164] Venus's lines, 40-45, which would place this play after a series of love pamphlets, and before the treatment of graver themes. See Simpson, 2: 352. Mr. Fleay unhesitatingly assigns its production to 1587 (Life of Shakesp., pp. 96, 97).
[1165] See for this, Grosart, Introd. xxv. xli.; Simpson, 2: 382; and Ward.
[1166] Cf. The Knack, etc., which as a "new" play was acted thrice in the fortnight (Henslowe).
[1167] Fleay assigns "most and best" of the play to Lodge. Grosart disagrees, but does not specify. A comparative investigation satisfies me that only the following passages can be assigned to Lodge: Sc. iii. (Dy., pp. 120-122; Gros., ll. 319-480) Usurer, Thrasyb., Alcon, as far as Enter Remilia; Sc. v. (Dy., pp. 124-126; Gros., ll. 654-868) Alcon, Thr., Lawy., Judge, Usur., as far as Enter Adam; Sc. vii. (Dy., pp. 129, 130; Gros., ll. 1070-1169) Jonas, Angel, Merchants, etc.; Sc. x. (Dy., pp. 134, 135; Gros., ll. 1512-1604), Merchants, etc.; Sc. xiii. (Dy., pp. 138-139; Gros., ll. 1900-2020) Thr., Alcon, etc.—Sc. viii. (Dy., p. 130; Gros., ll. 1180-1363) Alcon, etc., to Exit Samia, shows signs of Lodge principally, but some of the lines are Greene's. In general, each of the prophetic interludes is by the author of the scene preceding. E.g. ll. 1591-1653, Jonas, Angel, Oseas, by Lodge. From l. 2020 all is by Greene; therefore most of Jonas.
[1168] He vows:—