All Lyly's imitators, Greene, Lodge, Melbancke, Riche, Munday, Warner, Dickenson, and others, did not faithfully copy his style in all its peculiarities, at any rate in all their works; some of them borrowed only his ideas, others his plot; others his similes; most of them, however, when they first began to write, went the fullest length in imitation, and tricked themselves out in euphuistic tinsel. They were careful by choosing appropriate titles for their novels to publicly connect themselves with the euphuistic cycle. "Euphues" was a magic pass-word, and they well knew that the name once pronounced, the doors of the "boudoirs," or closets as they were then called, and the hands of the fair ladies, were sure to open; the book was certain to be welcome. Hence the number of writers who declared themselves Euphues' legatees and executors. Year after year, for a while, readers saw issuing from the press such books as "Zelauto, the fountaine of Fame ... containing a delicate disputation ... given for a friendly entertainment to Euphues at his late arrival into England," by Munday, 1580; or as "Euphues his censure to Philautus, wherein is presented a philosophicall combat betweene Hector and Achylles," by Robert Greene, 1587: "Gentlemen," says the author to the readers, "by chance, some of Euphues loose papers came to my hand, wherein hee writ to his friend Philautus from Silexedra, certaine principles necessary to bee observed by every souldier." Or there was "Menaphon, Camillas alarum to slumbering Euphues," by the same, 1589; "Rosalynde, Euphues golden legacie, found after his death in his cell at Silexedra," by Thomas Lodge, 1590; "Arisbas, Euphues amidst his slumbers," by John Dickenson, 1594, &c.[103] All these authors continued their model's work in contributing to the development of literature written chiefly for ladies; in that way especially was Lyly's initiative fruitful.