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at work in the content as well. In recreating Bartholomew Fair on the stage, the play offers a remarkable portrait of one of the great marketplaces of Renaissance London. For information on the actual Bartholomew Fair and Renaissance fairs in general, see Peter Stallybrass and Allon White, The Politics tiffany pendants and Poetics of Transgression Ithaca, N.Y.: Cornell University Press, 1986, especially chapter 1. Stallybrass and White correctly emphasize the modernity of the fair and its role as a harbinger of developing market principles, and they criticize tiffany bracelets a nostalgic view of the fair as a backwardlooking medieval institution. For the role of fairs in the developing market economy of the Renaissance, see JeanChristophe Agnew, Worlds Apart: The Market and the Theater in AngloAmerican Thought, 15501750 Cambridge, U.K.: Cambridge University Press, 1986, pp. 1756, and especially for Bartholomew Fair, p. 47. For more general discussions of the new commercial developments in tiffany cuff link the Renaissance, see Fernand Braudel, Capitalism and Material Life, tiffany necklaces 140018X, Miriam Kochan, trans. New York: Harper Row, 1973 and tiffany outlet Lisa Jardine, Worldly Goods: A New History of the Renaissance New York: W.W. Norton, 1996. Throughout his career, Jonson was fascinated by the emerging market economy in Renaissance Europe. He was intrigued by the new categories of human identity the market was creating the roles of merchants, bankers, financiers, and entrepreneurs and he was evidently troubled by the new forms of corruption and vice endemic to protocapitalist life. Bartholomeiv Fair gave Jonson a chance to anatomize the lawlessness of the marketplace. Through the comments of his Puritan characters, Jonson shows how the fair violates religious law, and he uses Adam Overdo, a Justice of the Peace, to rail against the ways the merchants continually violate the criminal law as well. As Jonson presents it, Bartholomew Fair is the original home and headquarters of all the charlatans, cheaters, and thieves in London.

And yet, for all his criticism of the marketplace in Bartholomew Fair, Jonson ends up being more critical of its critics. See Waith, Bartholomew Fair, p. 3 and William W.E. Slights, Ben Jonson and the Art of Secrecy Toronto: University of Toronto Press, 1994, pp. 149, 152, 211, n. 34. From the standpoint of traditional religion and politics, the market may look lawless, but Jonson explores tiffany rings the possibility that it may obey laws of its own. In a remarkable anticipation of later economic theory, he appe