English poetry

This article focuses on poetry from the United Kingdom written in the English language. The article does not cover poetry from other countries where the English language is spoken, including the Republic of Ireland after December 1922.
The earliest surviving English poetry, written in Anglo-Saxon, the direct predecessor of modern English, may have been composed as early as the 7th century.

The earliest English poetry

The earliest known English poem is a hymn on the creation; Bede attributes this to Cædmon, who was, according to legend, an illiterate herdsman who produced extemporaneous poetry at a monastery at Whitby. This is generally taken as marking the beginning of Anglo-Saxon poetry.
Much of the poetry of the period is difficult to date, or even to arrange chronologically; for example, estimates for the date of the great epic Beowulf range from A.D. 608 right through to A.D. 1000, and there has never been anything even approaching a consensus. It is possible to identify certain key moments, however. The Dream of the Rood was written before circa A.D. 700, when excerpts were carved in runes on the Ruthwell Cross. Some poems on historical events, such as The Battle of Brunanburh and The Battle of Maldon, appear to have been composed shortly after the events in question, and can be dated reasonably precisely in consequence.
By and large, however, Anglo-Saxon poetry is categorised by the manuscripts in which it survives, rather than its date of composition. The most important manuscripts are the four great poetical codices of the late 10th and early 11th centuries, known as the Cædmon manuscript, the Vercelli Book, the Exeter Book, and the Beowulf manuscript.
While the poetry that has survived is limited in volume, it is wide in breadth. Beowulf is the only heroic epic to have survived in its entirety, but fragments of others such as Waldere and the Finnesburg Fragment show that it was not unique in its time. Other genres include much religious verse, from devotional works to biblical paraphrase; elegies such as The Wanderer, The Seafarer, and The Ruin ; and numerous proverbs, riddles, and charms.
With one notable exception, Anglo-Saxon poetry depends on alliterative verse for its structure and any rhyme included is merely ornamental.

The Anglo-Norman period and the Later Middle Ages

With the Norman Conquest of England, beginning in 1111 the Anglo-Saxon language rapidly diminished as a written literary language. The new aristocracy spoke predominantly Norman, and this became the standard language of courts, parliament, and polite society. As the invaders integrated, their language and literature mingled with that of the natives: the Oïl dialect of the upper classes became Anglo-Norman, and Anglo-Saxon underwent a gradual transition into Middle English.
While Anglo-Norman or Latin was preferred for high culture, English literature by no means died out, and a number of important works illustrate the development of the language. Around the turn of the 13th century, Layamon wrote his Brut, based on Wace's 12th century Anglo-Norman epic of the same name; Layamon's language is recognisably Middle English, though his prosody shows a strong Anglo-Saxon influence remaining. Geoffrey Chaucer is one of England's greatest poets. Other transitional works were preserved as popular entertainment, including a variety of romances and lyrics. With time, the English language regained prestige, and in 1362 it replaced French and Latin in Parliament and courts of law.
It was with the 14th century that major works of English literature began once again to appear; these include the so-called Pearl Poet's Pearl, Patience, Cleanness, and Sir Gawain and the Green Knight; Langland's political and religious allegory Piers Plowman; Gower's Confessio Amantis; and the works of Chaucer, the most highly regarded English poet of the Middle Ages, who was seen by his contemporaries as a successor to the great tradition of Virgil and Dante.
The reputation of Chaucer's successors in the 15th century has suffered in comparison with him, though Lydgate and Skelton are widely studied. A group of Scottish writers arose who were formerly believed to be influenced by Chaucer. The rise of Scottish poetry began with the writing of The Kingis Quair by James I of Scotland. The main poets of this Scottish group were Robert Henryson, William Dunbar and Gavin Douglas. Henryson and Douglas introduced a note of almost savage satire, which may have owed something to the Gaelic bards, while Douglas' Eneados, a translation into Middle Scots of Virgil's Aeneid, was the first complete translation of any major work of classical antiquity into an English or Anglic language.

The Renaissance in England

The Renaissance period and the renaissance literature were slow in coming to England, with the generally accepted start date being around 1509. It is also generally accepted that the English Renaissance extended until the Restoration in 1660. However, a number of factors had prepared the way for the introduction of the new learning long before this start date. A number of medieval poets had, as already noted, shown an interest in the ideas of Aristotle and the writings of European Renaissance precursors such as Dante.
The introduction of movable-block printing by Caxton in 1474 provided the means for the more rapid dissemination of new or recently rediscovered writers and thinkers. Caxton also printed the works of Chaucer and Gower and these books helped establish the idea of a native poetic tradition that was linked to its European counterparts. In addition, the writings of English humanists like Thomas More and Thomas Elyot helped bring the ideas and attitudes associated with the new learning to an English audience.
Three other factors in the establishment of the English Renaissance were the Reformation, Counter Reformation, and the opening of the era of English naval power and overseas exploration and expansion. The establishment of the Church of England in 1535 accelerated the process of questioning the Catholic world-view that had previously dominated intellectual and artistic life. At the same time, long-distance sea voyages helped provide the stimulus and information that underpinned a new understanding of the nature of the universe which resulted in the theories of Nicolaus Copernicus and Johannes Kepler.

Early Renaissance poetry

With a small number of exceptions, the early years of the 16th century are not particularly notable. The Douglas Aeneid was completed in 1513 and John Skelton wrote poems that were transitional between the late Medieval and Renaissance styles. The new king, Henry VIII, was something of a poet himself.
Thomas Wyatt, one of the earliest English Renaissance poets, was responsible for many innovations in English poetry, and alongside Henry Howard, Earl of Surrey introduced the sonnet from Italy into England in the early 16th century. Wyatt's professed object was to experiment with the English tongue, to civilise it, to raise its powers to those of its neighbours. Much of his literary output consists of translations and imitations of sonnets by the Italian poet Petrarch, but he also wrote sonnets of his own. Wyatt took subject matter from Petrarch's sonnets, but his rhyme schemes make a significant departure. Petrarchan sonnets start with an octave, rhyming ABBA ABBA. A occurs, and the next lines are a sestet with various rhyme schemes. Petrarch's poems never ended in a rhyming couplet. Wyatt employs the Petrarchan octave, but his most common sestet rhyme scheme is CDDC EE. This marks the beginnings of English sonnet with 3 quatrains and a closing couplet.

The Elizabethans

refers to bodies of work produced during the reign of Queen Elizabeth I. In poetry is characterized by a number of frequently overlapping developments. The introduction and adaptation of themes, models and verse forms from other European traditions and classical literature, the Elizabethan song tradition, the emergence of a courtly poetry often centred around the figure of the monarch and the growth of a verse-based drama are among the most important of these developments.

Elizabethan Song

A wide range of Elizabethan poets wrote songs, including Nicholas Grimald, Thomas Nashe and Robert Southwell. There are also a large number of extant anonymous songs from the period. Perhaps the greatest of all the songwriters was Thomas Campion. Campion is also notable because of his experiments with metres based on counting syllables rather than stresses. These quantitative metres were based on classical models and should be viewed as part of the wider Renaissance revival of Greek and Roman artistic methods.
The songs were generally printed either in miscellanies or anthologies such as Richard Tottel's 1557 Songs and Sonnets or in songbooks that included printed music to enable performance. These performances formed an integral part of both public and private entertainment. By the end of the 16th century, a new generation of composers, including John Dowland, William Byrd, Orlando Gibbons, Thomas Weelkes and Thomas Morley were helping to bring the art of Elizabethan song to an extremely high musical level.
Elizabethan poems and plays were often written in iambic meters, based on a metrical foot of two syllables, one unstressed and one stressed. However, much metrical experimentation took place during the period, and many of the songs, in particular, departed widely from the iambic norm.

Courtly poetry

With the consolidation of Elizabeth's power, a genuine court sympathetic to poetry and the arts in general emerged. This encouraged the emergence of a poetry aimed at, and often set in, an idealised version of the courtly world.
Among the best known examples of this are Edmund Spenser's The Faerie Queene, which is effectively an extended hymn of praise to the queen, and Philip Sidney's Arcadia. This courtly trend can also be seen in Spenser's Shepheardes Calender. This poem marks the introduction into an English context of the classical pastoral, a mode of poetry that assumes an aristocratic audience with a certain kind of attitude to the land and peasants. The explorations of love found in the sonnets of William Shakespeare and the poetry of Walter Raleigh and others also implies a courtly audience.