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of contemporary legal developments, see Wilson, Theaters of tiffany rings Intention, pp. 10613, Craig Mul drew, The Economy of Obligation: The Culture of Credit and Social Relations in Early Modern England New York: St. Martin's, 1998, pp. 31518, and Bruster, Drama and the Market, pp. 78. For different and more negative interpretations of this contract, see Riggs, jonson, pp. 20910, Marcus, Politics tiffany bracelets of Mirth, p. 61, Wayne, "Drama and Society," pp. 11516, McLuskie, "Making and Buying," pp. 13738, and especially Stallybrass and White, Transgression, pp. 6970. The problem with the Stallybrass and White interpretation is revealed on p. 70, where they confuse the realm of private contracts, freely entered into, with the realm of government warrants, imposed on people from above. For a positive interpretation of the "contract" between Renaissance playwrights and their audience, with regard to Bartholomew Fair in particular and Renaissance theater in general, see Agnew, Worlds Apart, pp. 11011,11921, and especially The theater not only mimed new social relations within the visible framework of the old: it improvised as a matter of its own constitutive conventionsa new social contract between itself and its audience, a new set of conditions for the suspension of disbelief that became over time the preconditions of most modern drama. A contract always involves a quid pro quo; the audience will give something and Jonson will give something in return:It is covenanted and agreed, by and between the parties abovesaid, that the said spectators and hearers, as well the curious and envious as the favouring and judicious, as tiffany pendants also the grounded judgments and understandings, do for themselves severally covenant and tiffany cuff link agree, to remain in the places tiffany necklaces their money or friends have put them in, with patience, for the space of two hours and a half, and somewhat more. In which time the author promiseth to present them, by us, with a new sufficient play called Bartholomew Fair, merry, and as full of noise tiffany outlet as sport; made to delight all, and to offend none, provided they have either the wit or the honesty to think well of themselves. Bartholomew Fair, In short, if the audience behaves and pays for their tickets, Jonson contracts to entertain them. But Jonson being Jonson, he is not quite prepared to meet his audience halfway. As the terms of the contract unfold, he is much more detailed about the audience's obligations than his own as author. See Haynes, Social Relations, pp