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"The King and the Beggar-maid" is a 16th-century broadside ballad [1] that tells of an African king, Cophetua, and his love for the beggar Penelophon (Shakespearean Zenelophon). Artists and writers have referenced the story, and King Cophetua has become a byword for "a man who falls in love with a woman instantly and proposes marriage immediately".
William Shakespeare's play Romeo and Juliet, set in Verona, Italy, features the eponymous protagonists Romeo Montague and Juliet Capulet.The cast of characters also includes members of their respective families and households; Prince Escalus, the city's ruler, and his kinsman, Count Paris; and various unaffiliated characters such as Friar Laurence and the Chorus.
The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".This photographic reproduction is therefore also considered to be in the public domain in the United States.
Romeo and Juliet is a dramatization of Brooke's translation, and Shakespeare follows the poem closely but adds detail to several major and minor characters (the Nurse and Mercutio in particular). [23] [24] [25]
The Death of Romeo and Juliet (c.1848), Manchester Art Gallery; Isabella (1848–49), Walker Art Gallery, Liverpool [3] Ferdinand Lured by Ariel (1850), Sudley House, Liverpool [4] Christ In The House Of His Parents (1850), Tate Britain, London [5] The Return of the Dove to the Ark (1851), Ashmolean Museum, Oxford [6]
The phrase is spoken in Act 3, Scene 1 of the tragedy. Tybalt, a kinsman of the Capulets and cousin to Juliet, is dueling with Mercutio, a friend of Romeo from the Montague family. Romeo and Benvolio attempt to break up the fight. Mercutio, distracted, does not see his opponent and is fatally wounded by Tybalt under Romeo's arm.
The play known as King Henry VI, Part 2 was entered into the Stationers Register 12 March 1594 and printed that same year by Thomas Creede for Thomas Millington. [1] As it appears in the First Folio, the play is about a third longer than the first quarto version. [2]
[1] [2] Burne-Jones first attempted the story in an oil painting of 1861–62 (now in the Tate Gallery, London). [1] He was working out a new composition around 1874 [2] or 1875, [1] and began the painting in earnest in 1881. [2] He worked on it through the winter of 1883–84, declaring it finished in April 1884.
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