We have, a little arbitrarily perhaps, grouped the four indubitable plays of Greene's unassisted composition in order to formulate the developing characteristics of his dramatic genius. Yet there are other plays that raise problems no less interesting than those we have considered, and that might, were we able unquestioningly to assign them to Greene, go far to clarify the obscure places in his biography and his art. That Greene had a part in _A Looking-Glass for London and England_ there is, of course, no doubt, but we are not yet able to say how much of the play is his composition, and the question of its date provides some difficulties. We incline to the view that it was an early play. Lodge was absent from England in 1588 on a voyage with Captain Clark to the Islands of Terceras and the Canaries. In August 1591 he sailed from Plymouth with Cavendish and did not return until 1593, after Greene's death. _A Looking-Glass_ was then either written before 1588 or between 1589 and 1591. Collins, arguing from passages in the play remotely paralleled by biblical allusions in _Greene's Vision_ and the _Mourning Garment_, decides that it was produced in 1590. This conclusion cannot be accepted because, as Collins himself admits, references to Nineveh and Jonas are frequent in the literature of the time. Of the three reasons given by Collins for supposing that the play was not written before 1588 one is based on the slender hypothesis that as it is not proved that Greene wrote plays before 1590 this one could not have been earlier; and another is based on a gratuitous assumption that this play is that comedy "lastly writ" with "Young Juvenal" and mentioned in _A Groatsworth of Wit._[18] The argument that the realistic passage beginning "The fair Triones with their glimmering light" could only have been written after Lodge's first maritime experience carries more weight, but cannot stand long as against counter evidence of any force whatever. Nor do we see any strength in the theory that this play is a product of Greene's era of repentance. As has been shown, Greene uses repentance as a didactic motive from the first. Considering this as a moralising play one may with better force place it in the earlier years of less complex dramatic inspiration. It is difficult to conceive that in 1589, when Greene was almost certainly engaged in writing _Friar Bacon and Friar Bungay_, he should have been willing to go back to the motive of the interludes. As the spirit of the play is earlier than Greene's mature work, so its associations are with the earlier rather than with the later work of Lodge. _An Alarum against Usurers_, the influence of which is often apparent, was published in 1584. In the years from 1589 to 1591 inclusive Lodge was engaged on another type of work, represented by _Scillæ's Metamorphosis, Rosalynde, The History of Robert, second Duke of Normandy_, and _Catharos_, certainly as far removed as possible from the moralising vein of _A Looking-Glass_. Two published expressions by Lodge lean rather to the earlier than the later date. In _Scillæ's Metamorphosis_ (1589) Lodge vows,