As a dramatist, Dekker was most active between the years 1598 and 1602. In one of those years alone he was engaged on twelve plays. Many of these have been lost; of the few that remain, two of the most characteristic belong to this period. 'The Shoemaker's Holiday,' published in 1599, shows Dekker on his genial, realistic side, with his sense of fun and his hearty sympathy with the life of the people. It bubbles over with the delight in mere living, and is full of kindly feeling toward all the world. It was sure to appeal to its audience, especially to the pit, where the tradesmen and artisans with their wives applauded, and noisiest of all, the 'prentices shouted their satisfaction: here they saw themselves and their masters brought on the stage, somewhat idealized, but still full of frolic and good-nature. It is one of the brightest and pleasantest of Elizabethan comedies. Close on its heels followed 'The Pleasant Comedy of Old Fortunatus.' Here Dekker the idealist, the poet of luxurious fancy and rich yet delicate imagination, is seen at his best. Fortunatus with his wishing-hat and wonderful purse appealed to the romantic spirit of the time, when men still sailed in search of the Hesperides, compounded the elixir of youth, and sought for the philosopher's stone. Dekker worked over an old play of the same name; the subject of both was taken from the old German _volksbuch_ 'Fortunatus' of 1519. Among the collaborators of Dekker at this time was Ben Jonson. Both these men were realists, but Jonson slashed into life with bitter satire, whereas Dekker cloaked over its frailties with a tender humor. Again, Jonson was a conscientious artist, aiming at perfection; Dekker, while capable of much higher poetry, was often careless and slipshod. No wonder that the dictator scorned his somewhat irresponsible co-worker. The precise nature of their quarrel, one of the most famous among authors, is not known; it culminated in 1601, when Jonson produced 'The Poetaster,' a play in which Dekker and Marston were mercilessly ridiculed. Dekker replied shortly in 'Satiromastix, or the Untrussing of the Humorous Poet,' a burlesque full of good-natured mockery of his antagonist. Dekker wrote, in conjunction with Webster, 'Westward Ho,' Northward Ho,' and 'Sir Thomas Wyatt'; with Middleton, 'The Roaring Girl'; with Massinger, 'The Virgin Martyr'; and with Ford, 'The Sun's Darling' and 'The Witch of Edmonton.' Among the products of Dekker's old age, 'Match Me in London' is ranked among his half-dozen best plays, and 'The Wonder of a Kingdom' is fair journeyman's work.