What did you make me come here for? Devil take all of you, dance!" At once the Marquis of Buckingham, his majesty's favorite minion, sprang forward, and danced a number of high and very tiny capers with such grace and lightness that he made everyone love him, and also managed to calm the rage of his angry lord. The Marquis of Buckingham mentioned by Busino was George Villiers, who was the successor of John Ramsay and Robert Carr as the King's "favorite minion." In one interpretation, the masque may have failed with James because it was too obviously critical of the King's personal vices — "his excessive fondness for Buckingham, upon whom he lavished titles, wealth and sexual favours; his frequent inebriation; and his squandering of court revenues on over-lavish banqueting and drink." Revision The difficulties of the masque's creators were compounded by the fact that James's queen and Charles's mother, Anne of Denmark, who had missed the first performance due to illness, commanded a second, which occurred on Shrove Tuesday, 17 February. Jonson did a major rewrite on his text, adding a new anti-masque as its start called For the Honor of Wales, full of broad dialect humour. This revision was apparently not enough to please the naysayers among the courtly audience. Busino, for his part, disapproved of the bare-breasted costumes of some of the female masquers. But the anti-masque, which Jonson had invented in The Masque of Queens in 1609, became more prominent in Jonson's subsequent works in the genre, often opening the masque as in For the Honor of Wales. Other writers of masques were influenced in the same direction, as in The Triumph of Beauty by James Shirley (published 1646). Aftermath The career of neither Jonson nor Jones was severely impacted by the failure of Pleasure Reconciled. Jonson continued as the Court's primary author of masques for more than a decade, and Jones designed the masques for an even longer period. When the Whitehall Banqueting House burned down in January 1619, Jones replaced it with a building that is widely considered his masterpiece in architecture (see: Banqueting House, Whitehall). Jonson's text for the masque was first published in the second folio of his collected works in 1641. That text ends with the claim that the masque "pleased the King so well, as he would see it again" — one of the more outrageous fabrications in English