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"Padre Las Casas may refer to: * Padre Las Casas, Chile * Padre Las Casas, Dominican Republic "
"The King's Entertainment at Welbeck in Nottinghamshire, alternatively titled Love's Welcome at Welbeck, was a masque or entertainment written by Ben Jonson, and performed on 21 May 1633 at the Welbeck estate of William Cavendish, 1st Duke of Newcastle. It has been argued that the philosopher Thomas Hobbes may have participated in the entertainment as a performer. Background When King Charles I conducted a royal progress through northern England to Scotland in the spring and summer of 1633, he stayed and was entertained at the country houses of important aristocrats. The most lavish, and in retrospect the most famous of those 1633 shows, was Jonson's at Welbeck. Charles was so pleased with it that he requested another from the same source on his 1634 progress, which resulted in the "more spectacular" show, Love's Welcome at Bolsover.Henry Ten Eyck Perry, The First Duchess of Newcastle and her Husband as Figures in Literary History, Boston, Ginn and Co., 1918; pp. 92-3. Newcastle spent between £4000 and £5000 on the masque, which was considered a phenomenal sum for such an occasion -- until the following year, when the bill for the Bolsover show exceeded that by £10,000.Julie Sanders, "Jonson's Caroline Coteries," In: Shakespeare, Marlowe, Jonson: New Directions in Biography, Takashi Kozuka and J. R. Mulryne, eds., London, Ashgate, 2006; p. 285. The commission for the masque came at a welcome time in Jonson's career. After Chloridia in February 1631, Jonson no longer received commissions for masques from the Stuart Court; in his long battle of egos with Inigo Jones, Jones had finally won and Jonson had lost. In September of the same year, Jonson had also lost his post as the chronologer of the city of London. The Duke of Newcastle, who had an established relationship with Jonson, stepped in to support the poet laureate in his time of need.Perry, pp. 86-8, 90-1. The show The show opened with a scene portraying the Passions, Love and Doubt, and the Affections, "Joy, Delight, &c.;," who sing with a chorus in support. After dinner, the show resumed with a dialogue between Accidence, a schoolmaster, and Fitz-Ale, a herald. The dialogue was followed by six hooded figures who give a display at the quintain, comparable to a display of jousting or "barriers." (Regarding the latter, see: The Speeches at Prince Henry's Barriers.) The quintain display was brought to a conclusion by a "Gentleman" who reproved the rustics and their sport, and hailed the King for his love, goodness, and other virtues. This ambivalent text has been read as reflecting a larger ambivalence in the Court's position on relevant issues. Charles had re-published the Book of Sports and Jacobean proclamations urging noblemen to maintain and uphold traditional country life. Yet the Stuart Court was itself oriented far more to an urban and palatial style that tended to draw the aristocracy away from the country and toward the attractions of London.Leah Sinanoglou Marcus, The Politics of Mirth: Jonson, Herrick, Milton, Marvell, and the Defense of Old Holiday Pastimes, Chicago, University of Chicago Press, 1986; pp. 128-9. Texts The text of the masque was published in the second folio collection of Jonson's works in 1641, and was thereafter included in his canon. A manuscript of the masque is extant among the Newcastle papers, as is the letter from Jonson that probably accompanied the delivery of the text. Hobbes In 1998, A. P. MartinichA. P. Martinich, "Thomas Hobbes in Ben Jonson's The King's Entertainment at Welbeck," Notes and Queries Vol. 45 No. 3 (Sept. 1998), p. 370. argued that the figure of Fitz-Ale in the entertainment may have been filled by Thomas Hobbes. Martinich based his argument on details from Hobbes's published works and his known relationship with Newcastle, who patronized Hobbes as he did a range of other writers.Perry, pp. 122-6, 128-32, and ff. (The idea of a philosopher turning actor may be strange to a modern sensibility. But training in rhetoric was a fundamental aspect of the trivium, the basic educational system of the day; participation in a rhetorical exercise like the Accidence/Fitz-Ale debate is comprehensible in light of that tradition.) ReferencesExternal links * Martinich's essay online. Category:Masques by Ben Jonson Category:English Renaissance plays Category:1633 plays "
"Maurice Tillieux (7 August 1921 - 2 February 1978) was a Belgian writer and comic artist. He is regarded by many as a major figure of post-war Belgian comics. Early life Maurice Tillieux was born in Huy in 1921. At first he studied for the merchant navy, but his career prospects were sunk following the German invasion of Belgium in 1940. He claims that while waiting at Bordeaux for a ship that was to take him and his fellow students to South America, a Stuka dive-bomber attacked another ship, forcing Tillieux's to turn round and Tillieux to go home.Comment on devient dessinateur (How to Become a Cartoonist), article written by Maurice Tillieux, published in Spirou magazine issue 1615 (March 1969) and in an omnibus edition of Gil Jourdan He turned to writing and his first novel Le navire qui tue ses capitaines (The Ship that Kills its Captains) was published in 1943. Many of his stories would be set at sea or in the docks where his early ambitions may have developed. Two other novels are supposed to have been written at this time, but there seems to be some confusion as to whether or not they were actually published.Dictionnaire mondial de la Bd (World Dictionary of Comics) by Patrick Gaumer and Claude Moliterni, , Tillieux had already done some work as an artist. He contributed to various weekly and monthly comics as artist and writer, often signing his work with a variety of English pseudonyms. Career It was in the weekly comic Heroïc-Albums, which started in 1947, that he developed his style and proved himself a master of detective stories loaded with humour and atmosphere. Heroïc-Albums's main appeal was that each issue contained complete stories rather than a number of episodes spread over weekly or monthly instalments. Tillieux's most notable contribution was Félix, the adventures of a glasses-wearing reporter who travelled the world accompanied by two sidekicks called Allume-Gaz (French for gas lighter) and Inspector Cabarez of the Chilean police. Like most comic strip reporters, Félix spent most of his time fighting crooks and spies rather than simply reporting about them. Street scene from Gil Jourdan's first adventure Heroïc-Albums ceased publication in 1956, and Tillieux introduced his most famous character, Gil Jourdan, in Spirou magazine, where he had already worked as an illustrator since 1940. Jourdan was very similar to Félix, though he had clear vision and was an actual PI. Like Félix, he was also flanked by two sidekicks, including a police contact, both of whom provided most of the comic relief which contrasted to the earnest nature of the title character. Some of Félix's stories were the basis for some of Jourdan's own adventures. One major innovation of the Jourdan series was the atmosphere of the places where he would go to. Whereas previous series like The Adventures of Tintin were based in spotlessly clean homes and locations, Jordan's world was made up of dusty offices, littered streets, wet docks and mud-splattered farms. In later years Tillieux, like many leading figures in the field, stuck to writing while leaving most of the artwork to others. Gos took over the drawing of Gil Jourdan and Tillieux also contributed to other series such as Tif et Tondu and Yoko Tsuno. Another major detective series was Jess Long, the adventures of an FBI agent which were drawn by Arthur Piroton. Tillieux enjoyed action as well as humour and mystery, and many of his strips feature elaborate fights and car chases. He died from the results of a car crash near Tours on 31 January 1978, while returning from the annual Angoulême International Comics Festival. Humour Humour was an important element of Tillieux's work even in his detective stories. At their best Félix and Gil Jourdan could provide good laughs as well as good adventures and mysteries. Tillieux therefore also wrote non-detective series with the emphasis on humour. One example was César, a domestic comic strip in which the titled protagonist lives next door to a policeman. Many of the strips involve César babysitting his neighbour's little daughter. Mayhem ensues and, as a reward for his trouble, César ends up being fined by the little girl's father. Marc Lebut, drawn by Francis, are the adventures of the young owner of a Ford T car who is the bane of his long- suffering neighbour. Lebut is always dragging the poor Mister Goular into all sorts of crazy adventures and dismissing all pleas not to get involved in Mister Goular's own problems. Lebut has a way of making Mister Goular responsible when things go wrong and getting the glory for himself when they go right. He could be described as a pesky anti-hero along the lines of Jolyon Wagg from the adventures of Tintin. There was also Hultrasson (a pun on the French for ultrasound), which was drawn by Leonardo Vittorio and based in an Hägar the Horrible-like world of Vikings. Tillieux also contributed a couple of storylines to La Ribambelle, the stories of a multi-racial gang of kids, drawn by Jean Roba and the classic series Tif et Tondu. Legacy Maurice Tillieux has been described as a "master of surprise, sarcasm and nonsense".The World Encyclopedia of Comics edited by Maurice Horn, , Along with Goscinny and Franquin, he was perhaps one of the most important contributors to post-war Belgian comics. ReferencesExternal links * Maurice Tillieux at Lambiek's Comiclopedia * Tillieux rarity books - Elan publisher - Editions de l'Elan (french) Category:1921 births Category:1978 deaths Category:People from Huy Category:Belgian humorists Category:Belgian comics artists Category:Belgian comics writers Category:Road incident deaths in France Category:Winners of the Stripschapsprijs "