Gabriel Harvey must have felt, on reading "Have with you to Saffron Walden," that his antagonist was right in saying that his pen carried "the hot shot of a musket." Unfortunately, while Harvey was smarting under these insulting gibes and jests, the jester himself got into public trouble. Little is known of the circumstance which led the Queen's Privy Council, in the summer of 1597, to throw Nash into the Fleet Prison, but it was connected with the performance of a comedy called "The Isle of Dogs," which gave offence to the authorities. This play was not printed, and is no longer in existence. The Lord Admiral's Company of actors, which produced it, had its licence withdrawn until the 27th of August, when Nash was probably liberated. Gabriel Harvey was not the man to allow this event to go unnoticed. He hurried into print with his "Trimming of Thomas Nash," 1597, a pamphlet of the most outrageous abuse addressed "to the polypragmatical, parasitupocritical and pantophainoudendecontical puppy Thomas Nash," and adorned with a portrait of that gentleman in irons, with heavy gyves upon his ankles. According to Nash, however, the part of "The Isle of Dogs" which was his composition was so trifling in extent that his imprisonment was a gratuitous act of oppression. How the play with this pleasing title offended has not been handed down to us. Nash was now a literary celebrity, and yet it is at this precise moment that his figure begins to fade out of sight For the next two years he is not known to have made any public appearance. In 1599 he published the best of all his books; it was unfortunately the latest "Nash's Lenten Stuff; or, the Praise of the Red Herring" is an encomium on the hospitable town of Yarmouth, to which, in the autumn of 1597, he had fled for consolation, and in which, through six happy weeks, he had found what he sought The "kind entertainment and benign hospitality" of the compassionate clime of Yarmouth deserve from the poor exile a cordial return, and, accordingly, he sings the praise of the Red Herring as richly as if his mouth were still tingling with the delicate bloater. In this book, Nash is kind enough to explain to us the cause of some of the peculiarities of his style. His endeavour has been to be Italianate, and "of all styles I most affect and strive to imitate Aretine's." Whether he was deeply read in the works of _il divino Aretino_, we may doubt; but it is easy to see that this Scourge of Princes, the very type of the emancipated Italian of the sixteenth century, might have a vague and dazzling attraction for his little eager English imitator.