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Post  jessy123 on Wed Mar 23, 2011 7:08 pm

tiffany pendants overcharge
ommercial theater, and prove that he was above the need to cater to the general public, and hence capable of writing with aristocratic taste in view. The fact that Bartholomew Fair was staged at court suggests that Jonson was using the opportunity to continue to mock tiffany rings the popular taste tiffany bracelets of the commercial theaters.See Sanders, Theatrical Republics, p. 103.But for once Jonson chooses to moderate and mitigate his critique of the commercial theater, as if he had come to appreciate how much it had contributed to his own success. In fact tiffany necklaces his greatest plays were written for the commercial theater, and if at times the general public forced him to compromise his aesthetic principles, it also spurred him on to his highest artistic achievements.Accordingly, for all tiffany cuff link Jonson's own criticism of the theater in Bartholomew Fair, the theater people come off better than do their vocal critics in the play. It is as if Jonson is closing ranks with his fellow dramatists, even the incompetents among them, against the rising opposition to the theater as such, led by the Puritans. As is the case in Jonson's treatment of the marketplace in general, those who try to regulate the theater turn out to be more vicious than the people they are trying to regulate. As Cokes says of the theater people, "they are a civil company."Bartholomew Fair, V.iii.84. They are just trying to entertain the public, and, even though they are artistically inadequate, they evidently succeed in pleasing their audience. They may in some sense tiffany pendants overcharge for their services, but in the end in tiffany outlet Jonson's view they harm no one. By contrast, Jonson portrays the antitheatrical forces in the play in a much more negative light. He presents them as meddlesome and selfimportant, concerned chiefly with their own ends and not the welfare of the public they claim to be defending. They represent a far greater threat to the integrity of art than the simple incompetence of the puppeteers.Indeed, Jonson offers the antitheater arguments in Bartholomew Fair as the culmination and the reductio ad absurdum of the antimarketplace arguments, and it is of course Busy's Puritanism that leads the way to absurdity. Distrust of money making and advertising, of sharp practices and commercial activity in general, eventually leads to condemnation of the theater. For Busy the theater is a "heathenish idol" and the theatrical "profession" is "damnable."Ibid., V.v.45,1819. He vents all the typical Puritan charges against the theater, but to

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