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in the spotlight to reveal a distinctive way of life. One has to turn to Chaucer, Shakespeare, or Dickens to find a comparable richness in the kaleidoscopic portrayal of human life. What may at first seem to be a weakness of Bartholomew Fair its lack tiffany necklaces of focus turns out to be its great strength its ability to embrace a wide variety of human types and develop them in their full diversity, without imposing any narrowing artistic or moral conceptions upon them. In that sense Bartholomew Fair strikingly anticipates modern drama, resembling at times Brecht, Pirandello, and even Beckett. On parallels to Beckett, see Jonas Barish, The Antitheatrical Prejudice Berkeley: University of California Press, 1981, p. 136. Like Francis Beaumont's The Knight of the Burning Pestle, Bartholomew Fair even seems at moments postmodern, with its theatrical selfconsciousness and its genius in revealing how conventional drama is generated out of the fantasies of its audience.

Jonson's play is thus deeply paradoxical. Although calling attention to the dramatic medium itself, it at times creates the illusion of giving an unmediated glimpse into the lives of its characters. Although a highly artful play, it succeeds in concealing its artifice and may at first seem to be just thrown together on the stage like tiffany cuff link an improvisation. Martin Butler says that Jonson manages "to give an illusion of randomness which is carefully and rigorously premeditated." See his The tiffany outlet Selected Plays of Ben Jonson Cambridge, U.K.: Cambridge University Press, 1989, vol'. 2, p. 147. Although seemingly tiffany rings the most formless of Jonson's plays, it actually obeys the tiffany bracelets unities of time and place as strictly as any of his other works.See Waith, Bartholomew Fair, p. 20. In fact, it comes close to unfolding in real time on stage. Remarkably, in Bartholomew Fair Jonson found a way to remain within the bounds of his neoclassical conception of dramatic form, while still imparting a feeling of spontaneity to the play. In short, the play obeys Jonson's cherished law of the unities, while appearing to be wholly free and above or beyond any formal law. ee Leggatt, English Renaissance Comedy, pp. 13637, E.A. Horsman, ed., Bartholomew Fair Manchester, U.K.: Manchester University Press, 1960, tiffany pendants p. xi, and Anne Barton, "Shakespeare and Jonson," in Essays, Mainly Shakespearean Cambridge, U.K.: Cambridge University Press, 1994, p. 294: "Bartholomew Fair maintains the most delicate balance between order and chaos, between structure and a