In the foregoing chapters I have made a survey of 'the
style of Peele in some of its aspects. . Chapter II examines
he different rhetorical devices fount' in the speeches and
in the verse in his plays. Chapter III is a study of his
favourite themes and situations and of the principles according
to which he constructs his plays. Chapter IV lists some
of his borrowings and possible "borrowings and Slows hi
as it w ]:e, at work in paraphrasing passages from the Bible.
the results arrived at along these lines have been set forth
in the different chapters. I shall not repeat them here.
I have tried to bring out what is distinctive of him in each
of these aspects, but the results are meagre, a s they Must
often be meagre for the work of a minor writer. But that
Peele is original in many points I have tried to bring out
and these results can prove. The results also show certain
fine or even minute distinctions between the work of
and the work of Marlowe or Greene, but do not justify the claim of an individualized style for Peele.
For the ultimate purpose of such a study even these minute distinctions found between Marlowe of Greene and
Peele should be useful. The ultimate purpose of discovering
and defining the characteristics of Peele's style is to
furnish a test for the identification of plays attributed
wholly or in part to Peele, to see how closely they
correspond to the characteristics in Peele's known work
But in this study my concern has only been to supply some
carefully assembled data which may be used as objective
evidence for such identification. I have noted here and
there the occurrence in anonymous plays of characteristics
found in Peele, sometimes for the sake of comparison and
illustration, sometimes to show their similarity to Peele's
work. I have not tried to identify the anonymous plays.