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 while with his wife and had a child by her. During this period he began his series of euphuistic love-romances. About 1586, however, he deserted his wife, and lived a dissolute life in London with the sister of Cutting Ball, a thief who ended his days at Tyburn, as his mistress. By her he had a base-born son, Fortunatus. He does not seem to have been long in London before he 'had wholly betaken me to the penning of plays which was my continual exercise'. His adoption of his profession seems to be described in The Groatsworth of Wit. Roberto meets a player, goes with him, and soon becomes 'famozed for an arch-plaimaking poet'. Similarly, in Never Too Late, Francesco 'fell in amongst a company of players, who persuaded him to try his wit in writing of comedies, tragedies, or pastorals, and if he could perform anything worthy of the stage, then they would largely reward him for his pains'. Hereupon Francesco 'writ a comedy, which so generally pleased the audience that happy were those actors in short time, that could get any of his works, he grew so exquisite in that faculty'. Greene's early dramatic efforts seem to have brought him into rivalry with Marlowe (q.v.). In the preface to Perimedes the Blacksmith (S. R. 29 March 1588) he writes: 'I keep my old course to palter up something in prose, using mine old poesie still, Omne tulit punctum, although lately two Gentlemen Poets made two mad men of Rome beat it out of their paper bucklers: and had it in derision for that I could not make my verses jet upon the stage in tragical buskins, every word filling the mouth like the faburden of Bo-Bell, daring God out of heaven with that Atheist Tamburlan, or blaspheming with the mad priest of the Sun Such mad and scoffing poets that have poetical spirits, as bred of Merlin's race, if there be any in England that set the end of scholarism in an English blank-verse, I think either it is the humour of a novice that tickles them with self-love, or too much frequenting the hot-house (to use the German proverb) hath sweat out all the greatest part of their wits I but answer in print what they have offered on the stage.' The references here to Marlowe are unmistakable. His fellow 'gentleman poet' is unknown; but the 'mad priest of the Sun' suggests the play of 'the lyfe and deathe of Heliogabilus', entered on S. R. to John Danter on 19 June 1594, but now lost. In 1589 Greene published his Menaphon (S. R. 23 Aug.), in which he further alluded to Marlowe as the teller of 'a Canterbury tale; some prophetical full-mouth that as he were a Cobler's eldest son, would by the last tell where anothers shoe wrings'. Doron, in the same story, appears to parody a passage in the anonymous play of The Taming of A Shrew, which is further alluded to in a prefatory epistle To the Gentlemen Students of Both Universities contributed to Greene's book by Thomas Nashe. Herein Nashe, while praising Peele and his Arraignment of Paris, satirizes Marlowe, Kyd, and particularly the players (cf. App. C, No. xlii). To Menaphon are also