ABSTRACT
The most prolific writer of Elizabethan fiction began his career as the staunchest of the young Euphuists, but by the end of it he had rejected everything Lyly stood for. In Menaphon, his last romance, he subjected the Euphuistic style to mockery; he had progressed, by the time of his death, from courtly fiction to recording the very unromantic deeds of the London underworld. Having begun in the Lylyan mode of fiction as experience's comment on precepts, he ended by totally divorcing ideas and action, and rejecting the very grounds of fiction in the process. Since Robert Greene's output was so large and continuous, we can trace these various processes closely and with considerable exactness.
