Yet John C. Meagher, editor of the Malone Society reprints of the plays, argues that the case for Chettle's participation in the play's authorship is weak. In his judgement, "The Downfall" is the work of Munday alone, and "The Death" is also "either primarily or exclusively the work of Munday." For both of the 1601 quartos, the texts were set into type from the author's working drafts or "foul papers" rather than from "fair copies" of the finished texts or from theatrical promptbooks. Both plays contain major discontinuities that would have been corrected in their final versions. All of these difficulties would have to have been resolved in the plays' finished texts. This view of "The Downfall" and "The Death" as, to some significant degree, unfinished works in their existing texts, has a bearing on perceptions of the plays' artistic quality and their deficiencies. In Munday's Robin Hood plays, "Motivation is scanty, inner conflict is barely hinted at, and qualities are painted in with primary colors...not much attention is paid to cause and effect. Intrigues are begun and quickly forgotten, important episodes seem to be omitted completely, and diversions frequently have precedence over any logical sequence of events." Some of these problems could have been remedied or at least palliated in the final versions. Yet some of these traits are inherent in the dramatic form and genre in which Munday worked. The plays "have been strongly criticized as unsatisfactory mixtures of folk tale, melodrama, and farce," when they should be considered as "primarily romances" — "not chronicle plays nor pastoral comedy mixed with tragedy of blood..." As romances, comparable to the romances of Robert Greene and to Shakespeare's late plays, the Munday works show more sense and coherence. To a substantial degree, the two works form a single whole, a "two-part play." Like other works of this type, Munday's double play employs a dichotomy of dramatic forms: the first part moves "in a comic direction," or "at least toward reconciliation," while the second bends "in a tragic direction." The story of Robin Hood was integral to English folklore, and Munday was far from the first or only dramatist of his time to exploit it. The most prominent Robin Hood play of Munday's era was "George a Greene, the Pinner of Wakefield", registered in 1595 and printed in 1599.