the guards. The climax of the play occurs at the puppet show. Madame Overdo and Win are brought in, masked, as prostitutes; Madame Overdo is drunk. Overdo is still in disguise, and Quarlous has disguised himself as Trouble-All; in this guise, he stole the marriage license from Winwife and made it into a license for himself and Purecraft. The puppet show, a burlesque of Hero and Leander and Damon and Pythias, proceeds until Busy interrupts, claiming that the play is an abomination because the actors are cross-dressed. The puppets refute him decisively by raising their clothes, revealing that they have no sex. Busy announces himself converted into a "beholder" of plays. At this point, Justice Overdo reveals himself, intent on uncovering the "enormities" he has witnessed at the fair. He is in the process of punishing all of the various schemers and malefactors when his wife (still veiled) throws up and begins to call for him. Abashed, Overdo takes the advice of Quarlous and forgives all parties; Winwife marries Grace, Quarlous marries Purecraft, and all the characters are invited to Overdo's house for supper. Puritans Zeal-of-the-land Busy is Jonson's second foray, after The Alchemists Tribulation and Ananais, into a field of satire common in Jacobean drama: satire against Puritans. Various factors combined to make the godly or "precisians" obvious targets of ridicule. Though religious violence was comparatively uncommon in Jacobean England, the memory of such violence was fresh enough to make marginal believers or outsiders potential sources of anxiety or threat. This element of threat was especially notable in the second decade of James's reign, when the tenuous Calvinist consensus in the English Church began to disintegrate. In this context, stage attacks on the godly may have served to channel and release broader anxieties about social trends. Playwrights also had a more immediate reason for this animosity; Puritans had opposed the public theatre almost from its inception. Hostility to drama was not, of course, limited to separatists or Puritans; preachers of all shades of belief denounced the plays as profane and the theatres as sites of theft, drunkenness, and licentiousness. Correctly or not, playwrights treated Puritans as the main source of these attacks. On stage, the Puritan is a hypocritical, judgmental, and long-winded figure, masking his lusts behind a vocal obsession with trivialities; Busy, for example, announces his intention to eat pork at the fair merely to refute the charges