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Middle English lasts up until the xxxxs, when the Chancery Standard, a form of London-based English, became widespread and the printing press regularized the language. The prolific Geoffrey Chaucer (c. xxxx ? xxxx), whose works were written in Chancery Standard, was the first poet to have been buried in Poet's Corner of Westminster Abbey.[32] Among his many works, which include The Book of the Duchess, the House of Fame, the Legend of Good Women and Troilus and Criseyde, Chaucer is best known today for The Canterbury Tales. This is a collection of stories written in Middle English (mostly written in verse although some are in prose), that are presented as part of a story-telling contest by a group of pilgrims as they travel together on a journey from Southwark to the shrine of Saint Thomas Becket at Canterbury Cathedral. The prize for this contest is a free meal at the Tabard Inn at Southwark on their return. Chaucer is a significant figure in developing the legitimacy of the vernacular, Middle English, at a time when the dominant literary languages in England were still French and Latin. The first recorded association of Valentine's Day with romantic love is in Chaucer's Parlement of Foules of xxxx.[33]At this time literature was being written in various languages in England, including Latin, Norman-French, English, and the multilingual nature of the audience for literature in the 14th century can be illustrated by the example of John Gower (c. xxxx ? October xxxx). A contemporary of William Langland and a personal friend of Geoffrey Chaucer, Gower is remembered primarily for three major works, the Mirroir de l'Omme, Vox Clamantis, and Confessio Amantis, three long poems written in Anglo-Norman, Latin and, Middle English respectively, which are united by common moral and political themes.[34]In the Middle Ages, drama in the vernacular languages of Europe may have emerged from religious enactments of the liturgy. Mystery plays were presented on the porch of the cathedrals or by strolling players on feast days. Miracle and mystery plays, along with moralities and interludes, later evolved into more elaborate forms of drama, such as was seen on the Elizabethan stages. Another form of medieval theatre was the mummers' plays, a form of early street theatre associated with the Morris dance, concentrating on themes such as Saint George and the Dragon and Robin Hood. These were folk tales re-telling old stories, and the actors travelled from town to town performing these for their audiences in return for money and hospitality.[38]Mystery plays and miracle plays (sometimes distinguished as two different forms,[39] although the terms are often used interchangeably) are among the earliest formally developed plays in medieval Europe. Medieval mystery plays focused on the representation of Bible stories in churches as tableaux with accompanying antiphonal song. They developed from the 10th to the 16th century, reaching the height of their popularity in the 15th century before being rendered obsolete by the rise of professional theatre. The name derives from mystery used in its sense of miracle,[40] but an occasionally quoted derivation is from misterium, meaning craft, a play performed by the craft guilds.[41]There are four complete or nearly complete extant English biblical collections of plays from the late medieval period; although these collections are sometimes referred to as "cycles," it is now believed that this term may attribute to these collections more coherence than they in fact possess. The most complete is the York cycle of forty-eight pageants. They were performed in the city of York, from the middle of the fourteenth century until xxxx. There are also the Towneley plays of thirty-two pageants, once thought to have been a true 'cycle' of plays and most likely performed around the Feast of Corpus Christi probably in the town of Wakefield, England during the late Middle Ages until xxxx.[42] Besides the Middle English drama, there are three surviving plays in Cornish known as the Ordinalia.[43]Following the introduction of a printing press into England by William Caxton in xxxx, vernacular literature flourished.[36] The Reformation inspired the production of vernacular liturgy which led to the Book of Common Prayer, a lasting influence on literary language. The English Renaissance was a cultural and artistic movement in England dating from the late 15th and early 16th centuries to the 17th century. It is associated with the pan-European Renaissance that is usually regarded as beginning in Italy in the late 14th century. Like most of northern Europe, England saw little of these developments until more than a century later. Renaissance style and ideas, however, were slow in penetrating England, and the Elizabethan era in the second half of the 16th century is usually regarded as the height of the English Renaissance.[49]During the reign of Elizabeth I (xxxx?xxxx) and then James I (xxxx?25), in the late 16th and early 17th century, a London-centred culture, that was both courtly and popular, produced great poetry and drama. English playwrights combined the influence of the Medieval theatre with the Renaissance's rediscovery of the Roman dramatists, Seneca, for tragedy, and Plautus and Terence, for comedy. Italy was an important source for Renaissance ideas in England and the linguist and lexicographer John Florio (xxxx?xxxx), whose father was Italian, was a royal language tutor at the Court of James I, had furthermore brought much of the Italian language and culture to England. He was also the translator of Frenchman Montaigne into English.[50] This Italian influence can also be found in the poetry of Thomas Wyatt (xxxx?xxxx), one of the earliest English Renaissance poets. He was responsible for many innovations in English poetry and, alongside Henry Howard, Earl of Surrey (xxxx/xxxx?xxxx), introduced the sonnet from Italy into England in the early 16th century.[51][52][53] Wyatt's professed object was to experiment with the English tongue, to civilise it, to raise its powers to those of its neighbours.[51] While a significant amount of his literary output consists of translations and imitations of sonnets by the Italian poet Petrarch, he also wrote sonnets of his own. Wyatt took subject matter from Petrarch's sonnets, but his rhyme schemes make a significant departure. Petrarch's sonnets consist of an "octave", rhyming abba abba, followed, after a turn (volta) in the sense, by a sestet with various rhyme schemes, however his poems never ended in a rhyming couplet. Wyatt employs the Petrarchan octave, but his most common sestet scheme is cddc ee. This marks the beginnings of English sonnet with 3 quatrains and a closing couplet.[54]The earliest Elizabethan plays includes Gorboduc (xxxx) by Sackville and Norton and Thomas Kyd's (xxxx?94) The Spanish Tragedy (xxxx). Gorboduc is notable especially as the first verse drama in English to employ blank verse, and for the way it developed elements, from the earlier morality plays and Senecan tragedy, in the direction which would be followed by later playwrights.[55] The Spanish Tragedy, or Hieronimo is Mad Again[56] is an Elizabethan tragedy written by Thomas Kyd between xxxx and xxxx. Highly popular and influential in its time, The Spanish Tragedy established a new genre in English literature theatre, the revenge play or revenge tragedy. Its plot contains several violent murders and includes as one of its characters a personification of Revenge. The Spanish Tragedy was often referred to, or parodied, in works written by other Elizabethan playwrights, including William Shakespeare, Ben Jonson, and Christopher Marlowe. Many elements of The Spanish Tragedy, such as the play-within-a-play used to trap a murderer and a ghost intent on vengeance, appear in Shakespeare's Hamlet. Thomas Kyd is frequently proposed as the author of the hypothetical Ur-Hamlet that may have been one of Shakespeare's primary sources for Hamlet.[57]William Shakespeare (xxxx?xxxx) stands out in this period as a poet and playwright as yet unsurpassed. Shakespeare was not a man of letters by profession, and probably had only some grammar school education. He was neither a lawyer, nor an aristocrat, like the "university wits" who monopolised the English stage when he started writing. But he was very gifted and versatile, and he surpassed the "professionals", like Robert Greene, who mocked this "Shake-scene" of low origins.[58] Shakespeare wrote plays in a variety of genres, including histories, tragedies, comedies and the late romances, or tragicomedies. His early classical and Italianate comedies, like A Comedy of Errors, containing tight double plots and precise comic sequences, give way in the mid-xxxxs to the romantic atmosphere of his greatest comedies.[59] A Midsummer Night's Dream is a witty mixture of romance, fairy magic, and rustic comic scenes.[60] Shakespeare's next comedy, the equally romantic Merchant of Venice, can be problematic because of how it portrays Shylock, a vengeful Jewish moneylender.[61] The wit and wordplay of Much Ado About Nothing,[62] the charming rural setting of As You Like It, and the lively merrymaking of Twelfth Night complete Shakespeare's sequence of great comedies.[63] After the lyrical Richard II, written almost entirely in verse, Shakespeare introduced prose comedy into the histories of the late xxxxs, Henry IV, parts 1 and 2, and Henry V. His characters become more complex and tender as he switches deftly between comic and serious scenes, prose and poetry, and achieves the narrative variety of his mature work.[64] This period begins and ends with two tragedies: Romeo and Juliet, the famous romantic tragedy of sexually charged adolescence, love, and death;[65] and Julius Caesar, based on Sir Thomas North's xxxx translation of Plutarch's Parallel Lives, which introduced a new kind of drama.[66] In the early 17th century, Shakespeare wrote the so-called "problem plays", Measure for Measure, Troilus and Cressida, and All's Well That Ends Well, as well as a number of his best known tragedies, including Hamlet, Othello, Macbeth, King Lear and Anthony and Cleopatra.[67] The plots of Shakespeare's tragedies often hinge on such fatal errors or flaws, which overturn order and destroy the hero and those he loves.[68] In his final period, Shakespeare turned to romance or tragicomedy and completed three more major plays: Cymbeline, The Winter's Tale and The Tempest, as well as the collaboration, Pericles, Prince of Tyre. Less bleak than the tragedies, these four plays are graver in tone than the comedies of the xxxxs, but they end with reconciliation and the forgiveness of potentially tragic errors.[69] Some commentators have seen this change in mood as evidence of a more serene view of life on Shakespeare's part, but it may merely reflect the theatrical fashion of the day.[70] Shakespeare collaborated on two further surviving plays, Henry VIII and The Two Noble Kinsmen, probably with John Fletcher.[71]
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