Of the misrule in Crete, and of the dangers AEliana runs from the incestuous passions of her uncle, and of her escape through the providential intervention of Prince AEmilius, we shall say nothing; nor of the "frolicke common-wealth" established in Thrace, feeling as we do some sympathy with Corydon, who interrupts the speaker, saying: "Reach hither thy bottle that we may drinke round; I am sure thou must needes be dry with talking when I am so a thirst with hearing." Piers passes from the court to the shop of a dealer in old clothes and an usurer. He leads a very miserable life, and we have sordid descriptions of scenes in low life with which Chettle was better acquainted than with the loves of AEmilius and AEliana. Princes and princesses come in again; there are revolutions, awful dangers and marvellous deliverances. All ends happily, and Piers and his hearers agree to meet "at theyr ploughman's holidaye. Where what happened, if Piers Plainnes please, shall per adventure be published." This "adventure" never took place. The incoherent mixture of the picaresque, romantic, and Arcadian tale resulted in such an unpalatable compound that even novel-readers of Shakespeare's time objected to a narration of this kind, and did not trouble Chettle with a demand for its continuation. His reputation therefore rests mainly on his dramas. One of his most frequent associates in writing them, and one of the most prolific and gifted, Thomas Dekker, was also something of a novelist. He has left, besides a great quantity of plays, a number of pamphlets written very much in Nash's vein,[292] in which there is some excellent realism, together with the most amusing and whimsical fancies.[293] His biography is a mere repetition of his friend's life, and the words: Henslowe, drama, penury, pamphlets, prison, quarrels, put together, will give a sufficient idea of the sort of existence led by him as well as by so many of his associates.[294] He wrote some of his plays alone, many others with numberless collaborators, such as Chettle, Drayton, Wilson, Ben Jonson (with whom he afterwards had a violent quarrel), Haughton, Day, Munday, Hathaway, Middleton, Webster, Heywood, Wentworth Smith, Massinger, Ford, Rowley, and even others, for the dramatic faculty was then so very common that any one, so to say, was good enough to act as a collaborator in writing plays.