The epilogue to Daborne's A Christian Turned Turk highlights a number of the issues with which this study has engaged. Like most epilogues, it suggests the power of the audience over both playwright and company, in its attempt to control the behaviour of the play's spectators through flattery and cajoling them into joining their applause with the discerning and gentle (in both senses) element. In its analogy between dramatist and painter, it embodies the early modern theatre industry's insistent intermingling of aesthetics and commerce, also evident in the ways in which companies commonly marketed and commissioned their plays in terms of literary conventions such as genre. It also, however, suggests something of the persistently experimental quality of the company's plays, its tendency to risk works such as The Knight of the Burning Pestle, Cupid's Revenge or Epicoene which are, in their various ways, more extreme plays than any other performed in the period. Above all, it insists on collaboration within the company.