his gown to play the
part in, the more to flout him. Let him deny this (and not damn
himself) for his life if he can. Let him deny that there was a
Shew made at Clare Hall of him and his two brothers, called,

"_Tarra, rantantara turba tumultuosa Trigonum
Tri-Harveyorum Tri-harmonia_

Let him deny that there was another Shew made of the little
Minnow his brother, _Dodrans Dick_, at Peter-house called,

"_Duns furens._ Dick Harvey in a frensy.

Whereupon Dick came and broke the College glass windows; and
Doctor Perne (being then either for himself or deputy
Vice-Chancellor) caused him to be fetched in, and set in the
Stocks till the Shew was ended, and a great part of the night
after."

_The Terrors of the Night_, a discourse of apparitions, for once, among
these oddly-named pieces, tells a plain story. Its successor, _Christ's
Tears over Jerusalem_, Nash's longest book, is one of those rather
enigmatical expressions of repentance for loose life which were so common
at the time, and which, according to the charity of the reader, may be
attributed to real feeling, to a temporary access of _Katzen-jammer_, or to
downright hypocrisy, bent only on manufacturing profitable "copy," and
varying its style to catch different tastes. The most unfavourable
hypothesis is probably unjust, and a certain tone of sincerity also runs
through the next book, _The Unfortunate Traveller_, in which Nash, like
many others, inveighs against the practice of sending young Englishmen to
be corrupted abroad. It is noteworthy that this (the place of which in the
history of the novel has been rather exaggerated) is the oldest authority
for the romance of Surrey and Geraldine; but it is uncertain whether this
was pure invention on Nash's part or not. Nash's _Lenten Stuff_ is very
interesting, being a panegyric on Great Yarmouth and its famous staple
commodity (though Nash was actually born at Lowestoft).

In Nash's work we find a style both of treatment and language entirely
different from anything of Greene's or Lodge's. He has no euphuism, his
forte being either extravagant burlesque (in which the influence of
Rabelais is pretty directly perceptible, while he himself acknowledges
indebtedness to some other sources, such as Bullen or Bullein, a dialogue
writer of the preceding generation), or else personal attack, boisterous
and unscrupulous, but often most vigorous and