Caliban at the Fair: Figuring Nonhumanity in The Tempest and Bartholomew Fair

he induction of Bartholomew Fair broadcasts its strangeness even before the scrivener presents the “articles of agreement” (ind. 49) that outline a t contract between Jonson and the play’s first public audience. The BookHolder’s announcement that the articles stand “not for want of a prologue, but by way of a new one” highlights that what is coming is different and encourages audiences to perceive that difference as an innovation rather than a shortcoming. The induction anticipates, negotiates, andmoves away from awider set of audience expectations; that work begins when the Stage-Keeper enters and, supposedly stalling for time while Master Littlewit’s costume is mended, offers some unsolicited criticism of what the play lacks. “He has ne’er a sword-and-bucklerman in his Fair, nor a Little Davy,” the Stage-Keeper complains, “nor a Kindheart . . . nor a juggler with a well-educated ape. . . .None o’ these fine sights!” (ind. 10–15). According to the Stage-Keeper, in these omissions Jonson has failed to capture the essence of the real fair in Smithfield: “He has not hit the humours—he does not know ‘em” (ind. 9).