Though Beaumont's Knight of the Burning Pestle is often read as a critique of the middle classes of early modern England, there are many points in the play that point to the exact opposite.  Rather than critiquing the middling class, one could argue that Beaumont is celebrating the city of London and its citizens by examining his treatment of the Citizen and his Wife, as well as their apprentice, Rafe.

Beaumont places the Citizen and his Wife on the stage, and allows them to comment, interrupt and intercede with the action of the play being performed for them, The London Merchant.  By placing the Citizen and his Wife on the stage (a position customarily reserved for the aristocracy), Beaumont symbolically places them above everyone else, including the aristocracy.  Also, he gives them a voice.  The Wife in particular, is constantly interrupting the story of Jasper and Luce and even Rafe with her opinions, disagreements, and even some of her herblore.  And though the Wife's constant intervention may initially appear annoying, one cannot ignore how funny, and ultimately, endearing she and her husband are.  Often times, they are the funniest part of this whacky play, interrupting with comments such as "Faith, the child hath a sweet breath, George, but I think it be troubled with the worms.  Carduus benedictus and mare's milk were the only thing in the world for't" that often had me roaring with laughter (Act III, 308-310).  Furthermore, the Citizen and his Wife order the players around, almost serving as directors, suiting the play to their particular tastes.  When they do not wish to see a particular character, they order him off, such as when they send off Mistress Merrythought before she even begins to speak.  The fact that their directions are attended further upholds them in a position of power.

Another specific moment within the play where one could very well argue that Beaumont is upholding London and its middle class is Rafe's rejection of the princess Cracovia, in favor of his love at home.  When he arrives in Cracovia, he emphasizes his Englishness, as well as his "middlingness" proclaiming, "I am an Englishman, as true as steel, a hearty Englishman, and prentice to a grocer in the Strand," differentiating himself from the Cracovians (Act IV, 71-73).  When the Princess of Cracovia offers herself to him, he declares, "I am a knight of religious order, and will not wear a favour of a lady's that trusts in Antichrist and false traditions... Besides, I have a lady of my own in merry England... a cobbler's maid in Milk Street whom I vow never to forsake whilst life and pestle last," (Act IV 92-94, 96-100)  Rafe, and so it seems Beaumont, upholds England and resists foreignness.  Rafe is dutifully tied to his England, and to his middling class.  He cannot forsake England anymore than he can forsake his simple love, the daughter of a cobbler.  Indeed, even the Citizen and his Wife resist foreignness, giving Rafe money to give to the King of Cracovia, so he is not "beholden" to him, but rather, to stand alone, a proud representative of England and all that is English.