In an anecdote preserved by Fuller, who was seventeen years of age when Fletcher died, we may fancy that we catch a glimpse of our bachelors at work upon this very play. The dramatists "meeting once in a Tavern to contrive the rude draught of a Tragedy, Fletcher undertook to _Kill the King_ therein; whose words being overheard by a listener (though his Loyalty not to be blamed herein) he was accused of high Treason, till the mistake soon appearing, that the plot was only against a Drammatick and Scenical King, all wound off in merriment."[73] History and fable have fastened similar stories upon famous men; but if this one is authentic it undoubtedly refers to the writing of _The Maides Tragedy_, for, as we shall see, the killing of its King was one of the few scenes contributed by Fletcher. And the story adds colour to the ridicule which Beaumont in 1607 had heaped upon the intelligencer that lives in ale-houses and taverns; ... "and brings informations picked out of broken words in men's common talk." The connection thus formed with Shakespeare's company was continued by Beaumont, at any rate, until 1612, and by Fletcher as long as he lived. Before the end of 1611 the King's Players had presented to the public the last of this trio of dramatic masterpieces, _A King and No King_. In terrible fascination, this story of a man and woman struggling against love because they think they are brother and sister is as powerful as _The Maides Tragedy_. In poetry and in characterization, as well as in humour, it is grander than _Philaster_. But in beauty and pathos its subject did not permit it to equal either; and in denouement, tragicomic and perforce somewhat strained, it is surpassed by the _Tragedy_. Of its defects as well as merits, I have so much to say later, that I must refrain now. The plot is as striking an example of constructive invention as those that had preceded. Some of the names are to be found in Xenophon's _Cyropaedeia_ (Books III-VI) and in Herodotus (Book VII); and hints for situation and characterization may have been derived from these sources, and the passion of Arbaces for his supposed sister from Fauchet's account of Thierry of France,--but such indebtedness is naught.[74] Three-quarters of the play is Beaumont's; and that large portion includes the majestic passion and conflict, the tragic irony and suspense, of _A King and No King_; in fact,--the whole serious plot, and part of the humorous by-play. Fletcher's slight contribution is principally of complementary scenes and low comedy. In these the curb upon his fanciful rhetoric and hilarious wit has been somewhat relaxed. In the character of the roaring Bessus, Beaumont himself gives rein with the _elan_ of the comic artist; for the Bessus of Beaumont's scenes would have gone on a strike if he had not been suffered to "talk bawdy" between brags. Beaumont for all his sobriety and clean mirth was not a prude; and he wasn't writing the psalms of Robert Wisdom.