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・ The King's Cup
・ The King's Cupboard
・ The King's Curse
・ The King's Damosel
・ The King's Daughter
・ The King's Daughter (1916 film)
・ The King's Daughter, Soo Baek-hyang
・ The King's Daughters
・ The King's Demons
・ The King's Disguise, and Friendship with Robin Hood
・ The King's Dochter Lady Jean
・ The King's Doctor
・ The King's Dragon
・ The King's Dream
・ The King's English
The King's Entertainment at Welbeck
・ The King's Face
・ The King's Fifth
・ The King's General
・ The King's Gift
・ The King's Grave
・ The King's Head and Eight Bells
・ The King's Head, Amlwch
・ The King's Head, Bristol
・ The King's Head, Fulham
・ The King's Henchman
・ The King's High School for Girls
・ The King's Highway
・ The King's Hospital
・ The King's Jester


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The King's Entertainment at Welbeck : ウィキペディア英語版
The King's Entertainment at Welbeck

''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.〕

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