In the previous chapter I argued that no literary work is 'a grotesque', but that its visual elements - the imagery it uses - may be. I want now to discuss the kinds of structure and style which accommodate the grotesque and how these are conducive to the proliferation of grotesque imagery. In the second part of the chapter I shall consider in detail the possibility of Nashe's debt to Aretino, and in doing so I hope to isolate the salient stylistic features of Elizabethan grotesque in its more satirical forms.