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44-839: Pantoja may refer to: People with Pantoja as first or only surname [ edit ] Doña Ana de Pantoja, a fictional character in José Zorrilla's play Don Juan Tenorio Antonia Pantoja (1922–2002), Puerto Rican educator, social worker, feminist, civil rights leader and founder of the ASPIRA Association, a Hispanic non-profit organization Alexandre Pantoja , UFC Fighter Cristina Pantoja-Hidalgo (born 1944), award-winning Filipina author Diego de Pantoja (1571–1618), Spanish Jesuit and missionary to China who accompanied Matteo Ricci in Beijing Dr Dimas Pantoja,

88-566: A Horatian prodesse in comedy, which had already been put forth in the Preface to The Humorist (1671): "My design was it, to reprehend some of the Vices and Follies of the Age, which I take to be the most proper, and most useful way of writing Comedy" ( The Complete Works of Thomas Shadwell , ed. Montague Summers, Vol. I, p. 183). As a consequence, future emphasis was no longer on libertine adventures but on

132-404: A corner during this entire exchange, declares that Don Juan will never come near his daughter and the wedding is off. Don Juan laughs and tells the man that he will either give Doña Inés to him, or he will take her. He now has the second part of the bet concreted with Doña Inés set to take her vows. In following scenes, Don Juan manages, through charisma, luck and bribery, to fulfill both terms of

176-517: A duel for the latter's wife. In 1682 Thomas Wharton broke into a church at night and relieved himself against the communion table and in the pulpit. A later group of aristocratic rakes were associated with the Hellfire Club in the eighteenth century. These included Francis Dashwood and John Wilkes . Other rakes include Francis Charteris , Alessandro Cagliostro , Lord Byron , Jimi Arundell, John Mytton , Giacomo Casanova , Charles Mohun ,

220-507: A duel with don Juan for having seduced doña Ana while pretending to be her fiance. Before they can fight, don Gonzalo shows up with the town guardsmen and accuses don Juan of kidnapping and seducing his daughter. Don Juan kneels and begs don Gonzalo to let him marry doña Inés, saying he worships her and would do anything for her. Don Luis and don Gonzalo mock him for his perceived cowardice and continue to demand his life. Don Juan declares that, since they have rejected him in his attempts to become

264-485: A fictional character portrayed by Jorge Enrique Abello in the 1996 production of La Viuda de Blanco Dominga Pantoja Nique (1889–2007), Peruvian supercentenarian who was aged 117 years 279 days at her death Super Crazy , nickname of Francisco Pantoja Rueda (born 1973), Mexican professional wrestler Isabel Pantoja (born 1956), contemporary Spanish singer Juan Pantoja de la Cruz (1553–1608), Spanish court painter Victor Pantoja, percussionist in

308-403: A ghost at all. In order to prove his bravado, he heretically invites don Gonzalo's statue to dinner that evening. Don Juan goes on blaspheming against heaven and the dead throughout the following scenes, until don Gonzalo's statue really does show up at supper. Don Juan manages to remain largely nonchalant, although both of his other guests pass out, as don Gonzalo tells him once more that his time

352-486: A good person, he will go on being a devil, and he shoots don Gonzalo, stabs don Luis in a duel, and flees the country, abandoning the now fatherless doña Inés. The second part begins after 5 years have passed. Don Juan returns to Seville. Upon coming to the place where his father's mansion used to be which was turned into a pantheon, he discovers that the building was torn down and a cemetery built in its place. Lifelike statues of don Gonzalo, don Luis, and doña Inés stand over

396-828: A village in the Mexican state of Guanajuato Pantoja, Peru, a town and garrison in Torres Causana District of the Maynas Province in Peru Pantoja, Spain , a municipality in the province of Toledo in the autonomous community of Castile-La Mancha, Spain Pantoja Islands, part of the Bligh Island Marine Provincial Park in British Columbia, Canada Pantoja Park , a historic landmark located in

440-435: Is "tamed" by Harriet, his conversion at the end is rather doubtful. Similarly, Wycherley's Horner is not punished satirically. The libertine philosophy that the scintillating persistent rakes display seems to rebel against the narrow-mindedness and hypocrisy lurking behind the facade of Puritan honesty and bourgeois moral standards. It has been pointed out that the views of the philosophical libertine were strongly influenced by

484-478: Is also one of the most lucrative plays in Spanish history. Unfortunately, the author did not benefit from his play's success: not long after he finished writing it, Zorrilla sold the rights to the play, since he did not expect it to be much more successful than any of his other works. Aside from the price paid for the rights, Zorrilla never made any money from any of the productions. Later, he wrote biting criticisms of

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528-555: Is endowed", and who provides "carnival release". Thus, the extravagant rake is a comic figure because his actions are exaggerated. But he is never a comic fool. The vicious rake is invariably presented as a despicable, if wealthy person, who thrives on scheming and intrigue. He is frequently married and abuses his wife (examples are Pinchwife in The Country Wife or Sir John Brute in John Vanbrugh 's The Provok'd Wife ). Finally,

572-607: Is running out. When Avellaneda and Centellas wake up, don Juan accuses them of having contrived this show to make fun of him. Offended, they accuse him of having drugged their drinks to mock them, and they end up in a swordfight. The third act of Part Two is difficult to describe definitely, in that various critics have interpreted it differently (see below). Don Juan is back in the cemetery, led there by Don Gonzalo's ghost. Don Gonzalo's tomb opens and reveals an hourglass that represents Don Juan's life. It has almost run out, and Don Gonzalo says that Centellas already killed don Juan in

616-639: Is this kind of libertinism that has secured the notoriety of, say, William Wycherley 's The Country Wife , George Etherege 's The Man of Mode , and Sir Charles Sedley 's Bellamira: or, The Mistress . Not only characters like Horner and Dorimant spring to mind but also Rodophil and Palamede in Dryden's Marriage-a-la-Mode , Longvil and Bruce in Thomas Shadwell 's The Virtuoso and the eponymous heroine in Sedley's Bellamira . These plays are not representative of

660-469: The Marquis de Sade , Robert Fielding , and Beauchamp Bagenal . On the whole, rakes may be subdivided into the penitent and persistent ones, the first being reformed by the heroine, the latter pursuing their immoral conduct. Libertinistic attitudes, such as (sexual) licentiousness , alcoholism , vagrancy , cheating and gambling , can be discerned in characters belonging to the satiric norm as well as to

704-423: The 1670s when sex comedies were en vogue but also earlier, whenever the male partner of the gay couple was blamed for having indulged in immoral behaviour. One major counter-argument was the call for poetic justice . Shadwell and Dryden, for example, discussed the necessity of poetic justice to punish dissoluteness in their plays. To reintroduce moral standards, the rake, they demanded, had to be reformed towards

748-458: The 1690s, Sir Harry Wildair in George Farquhar 's The Constant Couple (1699) represents this kind of gentlemanly rake. The extravagant rake is as promiscuous and impulsive as he is wild and frivolous, and he finally finds his match in an equally extravagant and witty heroine. He is, above all, a self-aware character who "is what he wants to be", who delights in those qualities "with which he

792-600: The Latin jazz-rock-fusion group Azteca People with Pantoja as a Hispanic second surname [ edit ] According to Spanish naming customs , a person's given name is followed by two family names (surnames). Traditionally, the first surname is the father's first surname, and the second is the mother's first surname, but this traditional order is reversible per current gender equality law. Alfonso Fernández Pantoja (died 1761), Roman Catholic Bishop of León, Spain (1753–1761) Dagoberto Lagos Pantoja, President of

836-559: The Supreme Court of Chile (1929–1931) Marcos Rodríguez Pantoja , a feral child who lived with wolves for 10 years in the mountains of Northern Spain Oswaldo Alanis Pantoja (born 1989), Mexican football player Alexandre Pantoja, mixed martial artist and UFC flyweight champion. Places named Pantoja [ edit ] Cerro Pantoja , a stratovolcano on the border of Argentina and Chile Pantoja, Guanajuato ,

880-421: The average Restoration comedy, however. The reform of the ordinary rakish gentleman is the common pattern for the ending of the play. Similarly, extravagant rakes enter into marriage. However, as soon as the persistence of the rakes remains almost unquestioned, it is difficult to decide whether libertines, no matter of what "colour", play a major part in their authors' satiric strategies. Although Etherege's Dorimant

924-405: The bet in less than one night. However, he does not seduce the saintly Doña Inés; he just takes her from the convent where she had been cloistered and brings her to his mansion outside the city. There is a very tender love scene in which each professes to love the other, and it seems that, for once, Don Juan does feel something more than lust for Doña Inés. Unfortunately, don Luis arrives to demand

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968-441: The charms of the witty heroine and, at least, go through the motions of vowing constancy. Another typology distinguishes between the "polite rake" and the "debauch", using criteria of social class and style. In this case, the young, witty, and well-bred male character, who dominates the drawing rooms , is in sharp contrast to a contemptible debauch, who indulges in fornication, alcoholism, and hypocrisy. Still other assessments of

1012-524: The city of San Diego , California Pantoja district in Santo Domingo, Dominican Republic. The professional soccer team Atlético Pantoja is based here. See also [ edit ] Antonio Pantojas (born 1948), a Puerto Rican actor, comedian, and dancer Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Pantoja . If an internal link led you here, you may wish to change

1056-411: The duel. He then takes Don Juan's arm to lead him into Hell. Don Juan protests that he isn't dead and reaches out to heaven for mercy. Doña Inés appears and redeems him, and the two go to Heaven together. This don Juan shifts away from the moralistic theme of Tirso de Molina 's play. This carefree character is much more conflicted than Molina's original and highlights the manner in which the values of

1100-400: The end of the play. If a persistent rake was allowed to propagate his philosophical libertinism, "poetische Ungerechtigkeit" ("poetic injustice") was likely to threaten the norm. Shadwell's Epsom Wells may be regarded as a chief instigator of an excessive libertinism which is not questioned. The play, significantly, ends with a divorce rather than the standard device of a marriage. However,

1144-466: The first part of the drama, the protagonist is still the demonic rake described by de Molina (he is called a demon and even Satan himself on more than one occasion). The story begins with Don Juan meeting Don Luis in a crowded wine shop in Seville so that the two can find out which of them has won the bet that they made one year ago: each expected himself to be able to conquer more women and kill more men than

1188-478: The late seventeenth century. Dubbed the "Merry Gang" by poet Andrew Marvell , their members included King Charles himself, George Villiers, John Wilmot, Charles Sedley , Charles Sackville, and playwrights William Wycherley and George Etherege . Following the tone set by the monarch himself, these men distinguished themselves in drinking, womanizing, and witty conversation, with Wilmot, the Earl of Rochester, outdoing all

1232-642: The libertine concentrate on the kind and intensity of libertine demeanor. Here, the rake falls into any one of three categories: extravagant libertine, vicious libertine, and philosophical libertine. The extravagant rake is characterized by anti-normative conduct throughout, even though he finally settles down in matrimony. Between 1663 and 1668, examples are Wellbred in James Howard 's The English Mounsieur (1663/64), Philidor in James Howard's All Mistaken (1665/1672), and Celadon in Dryden's Secret Love (1667). In

1276-399: The libertines of this order may almost be compared to the genius of a somewhat later time: like the genius, the libertine rake is anti-authoritarian, anti-normative, and anti-traditional. It is, above all, the emotional distance from the objects of his desire as well as from the havoc he creates, which renders the persistent rake so frightening. Criticism of the libertine was heard not only in

1320-490: The link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Pantoja&oldid=1236862979 " Categories : Disambiguation pages Place name disambiguation pages Disambiguation pages with surname-holder lists Spanish-language surnames Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Don Juan Tenorio In

1364-498: The myth can be reinterpreted. Zorrilla's play (and don Juan's final repentance) is often understood as an assertion of the author's conservativism and Catholic faith. It has become a tradition of both Spanish and Mexican theater to perform el Tenorio on All Saints Day or its Mexican equivalent the Day of the Dead , so the play has been performed at least once every year for over a century. It

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1408-403: The number of persistent rakes continued to grow, together with an upsurge in cuckolding action, and, between 1672 and 1687, not all persistent rakes are punished satirically. Only towards the end of the century did the increasing criticism of dramatic immorality and obscenity make the authors return to more traditional moral standards. In 1688, Shadwell's Squire of Alsatia initiated the return to

1452-447: The other. Naturally, Don Juan wins on both counts. People in the crowd ask him if he is not afraid that someday there will be consequences for his actions, but Don Juan replies that he only thinks about the present. It is then revealed that both caballeros have gotten engaged since they last met, Don Luis to Doña Ana de Pantoja and Don Juan to Doña Inés de Ulloa. Don Luis, his pride hurt, admits that Don Juan has slept with every woman on

1496-406: The philosophical rake, the most attractive libertine figure, is characterized by self-control and refined behavior as well as by a capacity for manipulating others. His pronounced libertine leanings are not supposed to contribute anything to the comic development of the plot. Rather, his libertinism is serious, thus reflecting the philosophical principles of the pleasure-seeking, cynical Court Wits. It

1540-476: The philosophy of Thomas Hobbes . But then, Hobbes was not necessarily an unquestioned ideal among the court élite, and Hobbesian ideas certainly did not permeate many comedies. John Dryden , for one, drew on Hobbesian ideas in his tragedies but these ideas are internalised by villains only. In his pursuit of pleasure and sensual satisfaction, the philosophical libertine shows hedonistic, Epicurean , and anti-rationalist patterns of thought. In their ideal of life,

1584-521: The reign of Charles II, and especially after the Glorious Revolution of 1688, the cultural perception of the rake took a dive into squalor. The rake became the butt of moralistic tales, in which his typical fate was debtors' prison , venereal disease , or, in the case of William Hogarth 's A Rake's Progress , insanity in Bedlam . The defining period of the rake was at the court of Charles II in

1628-462: The rest. Many of them were inveterate gamblers and brawlers. Some were also duelists , but not with the approval of King Charles, who discouraged the practice of dueling. Highlights of their careers include Sedley and Sackville preaching naked to a crowd from an alehouse balcony in Covent Garden , as they simulated sex with each other, and the lowlight was Buckingham 's killing of Francis Talbot in

1672-498: The satiric scene. However, only the degree of wit brings the rakish gentleman, the Truewit , closer to the satiric norm, whereas Falsewits are always exploded in the satiric scene. The motivation of a rake to change his libertine ways is either hypocritical (falsewits) or honest (truewits). In other words, penitent rakes among the falsewits only abandon their way of life for financial reasons, while penitent truewits ever so often succumb to

1716-420: The social ladder from princess to pauper, but is lacking one conquest: a novice about to take her holy vows. Don Juan agrees to the new bet and doubles it by saying that he will seduce a novice and an engaged woman, boasting that he only needs six days to complete the task with Don Luis's fiancée as one of the intended conquests. At this point, Don Gonzalo, Don Juan's future father-in-law, who has been sitting in

1760-545: The statue of doña Inés comes to life and tells him that he only has one day to live, in which he must decide what his fate will be. Inés is speaking from Purgatory, having made a deal with God to offer her own blameless soul on behalf of don Juan's. God therefore agreed that their two souls would be bound together eternally, so don Juan must choose either salvation or damnation for both himself and doña Inés. Then, two of don Juan's old friends, Centellas and Avellaneda, show up, and don Juan convinces himself that he hadn't truly seen

1804-465: The tombs. The sculptor, who has just finished his work when don Juan arrives, tells him that don Diego Tenorio, don Juan's father, had disowned his son and used his inheritance to build this memorial to his victims. Don Juan also finds out that doña Inés died of sorrow not long after being abandoned. The protagonist is clearly at least a bit repentant of what he has done, expressing regret to the statues and praying to doña Inés for forgiveness. As he prays,

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1848-403: The work in an apparent attempt to get it discontinued long enough for him to revise it and market the second version himself. However, the ploy never succeeded. This is Ruiz's version of Don Juan, because he believed a story can never end sadly, and must always have a happy ending . Rake (character) In a historical context, a rake (short for rakehell , analogous to " hellraiser ")

1892-413: Was a man who was habituated to immoral conduct, particularly womanizing . Often, a rake was also prodigal , wasting his (usually inherited ) fortune on gambling, wine, women, and song , and incurring lavish debts in the process. Cad is a closely related term. Comparable terms are " libertine " and "debauché". The Restoration rake was a carefree, witty, sexually irresistible aristocrat whose heyday

1936-524: Was during the English Restoration period (1660–1688) at the court of King Charles II . They were typified by the " Merry Gang " of courtiers, who included as prominent members John Wilmot , George Villiers , and Charles Sackville , who combined riotous living with intellectual pursuits and patronage of the arts. At this time the rake featured as a stock character in Restoration comedy . After

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