Greene, that is to say, was giving birth to a baby in one room; Tom Fletcher was drinking gin in another. Books were tumbled all about the floor; dinner—such as it was—was set on a dressing-table where the children had been making mud pies. But this, Greene felt, was the atmosphere for writing; here he could write, and write he did. The subject was made for him. A noble Lord at home. A visit to a Nobleman in the country—his new poem was to have some such title as that. Seizing the pen with which his little boy was tickling the cat’s ears, and dipping it in the eggcup which served for inkpot, Greene dashed off a very spirited satire there and then. It was so done to a turn that no one could doubt that the young Lord who was roasted was Orlando; his most private sayings and doings, his enthusiasms and follies, down to the very colour of his hair and the foreign way he had of rolling his r ’s, were there to the life. And if there had been any doubt about it, Greene clinched the matter by introducing, with scarcely any disguise, passages from that aristocratic tragedy, the Death of Hercules, which he found as he expected, wordy and bombastic in the extreme.
The pamphlet,