Bonfire Night

Bonfire Night always brings back happy memories over the decades, especially family ones from when I was younger in the 70’s and ’80s.

It is a great tradition that brings people together to watch a bonfire and/or watch fireworks and/or (for many) have a party with food and drink.

I don’t like being too near a fire as the flames have always been quite scary and made me nervous since I was younger but it fascinates me too, watching the shapes in the flames, the different colours and listening to the sounds of it are mesmerising.

When it is just me and I have a bonfire at home, it is a chance to sit by it (weather permitting), have some baked potatoes and reminisce about the Bonfire Night’s that has passed in time.

I think of the times I have made/helped make a Guy over the years. They have been filled with loads of leaves out of the gardens, newspaper and old clothes.

Once (in the 70’s) I glued a Guy Fawkes mask on an old cereal packet cut out from my favourite comic, Whoopee! You can see the design below.

I used to like going out with my Sister Julie and Brother Bill to do Penny For The Guy.

I remember having sparklers and writing my name in the dark night (although I wore gloves as they scared me and still this day I am not a great fan of them and can’t hold one).

I remember my Dad keeping fireworks in a biscuit tin, chestnuts cooked in the bonfire ashes, and my Mom bringing sweets out in another tin and piping hot baked potatoes wrapped in foil in another tin ready to add loads of butter/margarine, yummy!

I think of when my son Frank Jnr. and Daughter Debbie were younger and taking them to the bonfires at their Nan and Grandad’s and having bonfires with them at home (when it was possible). I remember when they were older and left home but came to visit and share the tradition with me. Jnr. as came with my Grandson Tyler and Deb came with my Grandaughter Kasey (when my grandkids were younger) and on those occasions, Mom was there all excited when the fireworks went off.

Speaking of fireworks I remember one time at a bonfire night at home, Dad picked up a jumping jack and thinking it was dead threw it in the bonfire and it shot out and hit the wall behind and above to the left of me and a friend, by a few feet. Luck was on our side that day, ha ha.

All these are wonderful memories now Mom and Dad are no longer with us.

Although it will never be as magical as it was back in the day, it is a tradition that I will celebrate at home by having a bonfire whatever the size of it (if there is anything to burn that is), have baked potatoes and finish Bonfire Night watching V For Vendetta as long as I can. Traditions mean a lot to me.

About Bonfire Night

Bonfire Night, also known as Guy Fawkes Night, Guy Fawkes Day, and Fireworks Night, is an annual commemoration observed on the 5th of November, primarily in Great Britain, involving bonfires and fireworks displays. Its history begins with the events of the 5th of November, 1605, when Guy Fawkes, a member of the Gunpowder Plot, was arrested while guarding explosives the plotters had placed beneath the House of Lords. The Catholic plotters had intended to assassinate Protestant king James I and his parliament. Celebrating that the king had survived, people lit bonfires around London. Months later, the Observance of 5th of November Act mandated an annual public day of thanksgiving for the plot’s failure.

Within a few decades Gunpowder Treason Day, as it was known, became the predominant English state commemoration. As it carried strong Protestant religious overtones it also became a focus for anti-Catholic sentiment. Puritans delivered sermons regarding the perceived dangers of popery, while during increasingly raucous celebrations common folk burnt effigies of popular hate figures, such as the Pope. Towards the end of the 18th century reports appeared of children begging for money with the effigies of Guy Fawkes and the 5th of November gradually became known as Guy Fawkes Day. Towns such as Lewes and Guildford were in the 19th-century scenes of increasingly violent class-based confrontations, fostering traditions those towns celebrate still, albeit peaceably. In the 1850’s changing attitudes resulted in the toning down of much of the day’s anti-Catholic rhetoric, and the Observance of the 5th November Act was repealed in 1859. Eventually, the violence was dealt with, and by the 20th century, Guy Fawkes Day had become an enjoyable social commemoration, although lacking much of its original focus. The present-day Bonfire Night is usually celebrated at large organised events.

Settlers exported Guy Fawkes Night to overseas colonies, including some in North America, where it was known as Pope Day. Those festivities died out with the onset of the American Revolution. Claims that Guy Fawkes Night was a Protestant replacement for older customs such as Samhain are disputed.

Festivities in Windsor Castle during Guy Fawkes night in 1776.

This is by artist Paul Sanby and is one of a group of four prints of Windsor Castle.

The Origins And History Of Bonfire Night

Guy Fawkes Night originates from the Gunpowder Plot of 1605, a failed attempt by a group of provincial English Catholics to assassinate the Protestant King James I of England and VI of Scotland and replace him with a Catholic head of state. In the immediate aftermath of the November 5th arrest of Guy Fawkes, caught guarding a cache of explosives placed beneath the House of Lords, James’s Council allowed the public to celebrate the king’s survival with bonfires, so long as they were without any danger or disorder. This made 1605 the first year the plot’s failure was celebrated.

The following January, days before the surviving conspirators were executed, Parliament, at the initiation of James I, passed the Observance of 5th November Act, commonly known as the Thanksgiving Act. It was proposed by a Puritan Member of Parliament, Edward Montagu, who suggested that the king’s apparent deliverance by divine intervention deserved some measure of official recognition, and kept the 5th of November free as a day of thanksgiving while in theory making attendance at Church mandatory. A new form of service was also added to the Church of England’s Book of Common Prayer, for use on that date. Little is known about the earliest celebrations. In settlements such as Carlisle, Norwich, and Nottingham, corporations (town governments) provided music and artillery salutes. Canterbury celebrated the 5th of November, 1607 with 106 pounds (48 kg) of gunpowder and 14 pounds (6.4 kg) of match, and three years later food and drink were provided for local dignitaries, as well as music, explosions, and a parade by the local militia. Even less is known of how the occasion was first commemorated by the general public, although records indicate that in the Protestant stronghold of Dorchester a sermon was read, the church bells rung, and bonfires and fireworks lit.

A Guy Fawkes wax model being burned on a bonfire.

This was at the Billericay Fireworks Spectacular in Lake Meadows Park, Billericay, Essex, England.

Guy Fawkes on Bonfire Night, 2016.

This is a Guy Fawkes I made for a bonfire I had when I was living in my house in Kitts, Green, Birmingham, England. It isn’t as spectacular as the one above and it could have been better but it was a last-minute project made in around two hours. He was held together by duct tape, sellotape and safety pins but he looked cool in his cardboard V for Vendetta mask and his Wii remote lightsaber (he was a modern-day Guy who loves Sci-Fi) ha ha.

A Guy Fawkes mask from Whoopee! dated 28/10/1978.

There have been a few masks printed of Guy Fawkes in the comic Whoopee!, my favourite in the 1970’s and 1980’s, but this one is the one that I used for a family-made Guy in the 70’s.

Read about Whoopee! and lots of great old comics from my childhood here.

Early Significance

According to historian and author Antonia Fraser, a study of the earliest sermons preached demonstrates an anti-Catholic concentration mystical in its fervour. Delivering one of five 5th of November sermons printed in A Mappe of Rome in 1612, Thomas Taylor said that Fawkes’s cruelty had been almost without bounds. Such messages were also spread in printed works such as Francis Herring’s Pietas Pontifica (republished in 1610 as Popish Piety), and John Rhode’s A Brief Summe of the Treason intended against the King & State. By the 1620’s the Fifth was honoured in market towns and villages across the country, though it was some years before it was commemorated throughout England. Gunpowder Treason Day, as it was then known, became the predominant English state commemoration. Some parishes made the day a festive occasion, with public drinking and solemn processions. Concerned though about James’s pro-Spanish foreign policy, the decline of international Protestantism, and Catholicism in general, Protestant clergymen who recognised the day’s significance called for more dignified and profound thanksgivings each November the 5th.

What unity English Protestants had shared in the plot’s immediate aftermath began to fade when in 1625 James’s son, the future Charles I, married the Catholic Henrietta Maria of France. Puritans reacted to the marriage by issuing a new prayer to warn against rebellion and Catholicism, and on the 5th of November that year, effigies of the pope and the devil were burnt, the earliest such report of this practice and the beginning of centuries of tradition. During Charles’s reign, Gunpowder Treason Day became increasingly partisan. Between 1629 and 1640 he ruled without Parliament, and he seemed to support Arminianism, regarded by Puritans such as Henry Burton as a step toward Catholicism. By 1636, under the leadership of the Arminian Archbishop of Canterbury William Laud, the English church was trying to use November the 5th to denounce all seditious practices, and not just popery. Puritans went on the defensive, some pressing for further reformation of the Church.

Bonfire Night assumed a new fervour during the events leading up to the English Interregnum. Although Royalists disputed their interpretations, Parliamentarians began to uncover or fear new Catholic plots. Preaching before the House of Commons on the 5th of November 1644, Charles Herle claimed that Papists were tunnelling “from Oxford, Rome, Hell, to Westminster, and there to blow up, if possible, the better foundations of your houses, their liberties and privileges”.

Following Charles I’s execution in 1649, the country’s new republican regime remained undecided on how to treat November the 5th. Unlike the old system of religious feasts and State anniversaries, it survived, but as a celebration of parliamentary government and Protestantism, and not of monarchy. Commonly the day was still marked by bonfires and miniature explosives, but formal celebrations resumed only with the Restoration, when Charles II became king. Courtiers, High Anglicans and Tories followed the official line. Generally, the celebrations became more diverse. By 1670 London apprentices had turned the 5th of November into a fire festival, attacking not only popery but also sobriety and good order, demanding money from coach occupants for alcohol and bonfires. The burning of effigies, largely unknown to the Jacobeans, continued in 1673 when Charles’s brother, the Duke of York, converted to Catholicism. In response, accompanied by a procession of about 1,000 people, the apprentices fired an effigy of the Whore of Babylon, bedecked with a range of papal symbols. Similar scenes occurred over the following few years. On the 17th of November 1677, anti-Catholic fervour saw the Accession Day marked by the burning of a large effigy of the pope (his belly was filled with live cats) and two effigies of devils whispering in his ear. Two years later, as the exclusion crisis reached its zenith, an observer noted that the 5th at night, being gunpowder treason, there were as many bonfires and burning of popes as had ever been seen. Violent scenes in 1682 forced London’s militia into action, and to prevent any repetition the following year a proclamation was issued, banning bonfires and fireworks.

Fireworks were also banned under James II (previously the Duke of York), who became king in 1685. Attempts by the government to tone down Gunpowder Treason Day celebrations were, however, largely unsuccessful, and some reacted to a ban on bonfires in London (born from a fear of more burnings of the pope’s effigy) by placing candles in their windows as a witness against Catholicism. When James was deposed in 1688 by William of Orange – who, importantly, landed in England on November the 5th and the day’s events turned also to the celebration of freedom and religion, with elements of anti-Jacobitism. While the earlier ban on bonfires was politically motivated, a ban on fireworks was maintained for safety reasons.

Guy Fawkes Day

William III’s birthday fell on the 4th of November, and for an orthodox Whig, the two days therefore became an important double anniversary. William ordered that the Thanksgiving service for the 5th of November be amended to include thanks for his “happy arrival” and “the Deliverance of our Church and Nation”. In the 1690’s he re-established Protestant rule in Ireland, and the Fifth, occasionally marked by the ringing of church bells and civic dinners was consequently eclipsed by his birthday commemorations. From the 19th century, November the 5th celebrations there became sectarian in nature. Its celebration in Northern Ireland remains controversial, unlike in Scotland where bonfires continue to be lit in various cities. In England though, as one of 49 official holidays, for the ruling class, the 5th of November became overshadowed by events such as the birthdays of Admiral Edward Vernon, or John Wilkes, and under George II and George III, with the exception of the Jacobite Rising of 1745, it was largely a polite entertainment rather than an occasion for vitriolic thanksgiving. For the lower classes, however, the anniversary was a chance to pit disorder against order, a pretext for violence and uncontrolled revelry. In 1790 newspaper The Times reported instances of children begging for money for Guy Fawkes.

Lower-class rioting continued, with reports in Lewes of annual rioting, intimidation of respectable householders and the rolling through the streets of lit tar barrels. In Guildford, gangs of revellers who called themselves guys terrorised the local population. Proceedings were concerned more with the settling of old arguments and general mayhem, than any historical reminiscences. Similar problems arose in Exeter, originally the scene of more traditional celebrations. In 1831 an effigy was burnt of the new Bishop of Exeter Henry Phillpotts, a High Church Anglican and High Tory who opposed Parliamentary reform, and who was also suspected of being involved in creeping popery. A local ban on fireworks in 1843 was largely ignored, and attempts by the authorities to suppress the celebrations resulted in violent protests and several injured constables.

On several occasions during the 19th century, The Times also reported that the tradition was in decline. Civil unrest brought about by the union of the Kingdoms of Great Britain and Ireland in 1800 resulted in Parliament passing the Roman Catholic Relief Act 1829, which afforded Catholics greater civil rights, continuing the process of Catholic Emancipation in the two kingdoms. The traditional denunciations of Catholicism had been in decline since the early 18th century and were thought by many, including Queen Victoria, to be outdated, but the pope’s restoration in 1850 of the English Catholic hierarchy gave renewed significance to November the 5th, as demonstrated by the burnings of effigies of the new Catholic Archbishop of Westminster Nicholas Wiseman, and the pope. At Farringdon Market 14 effigies were processed from the Strand and over Westminster Bridge to Southwark, while extensive demonstrations were held throughout the suburbs of London. Effigies of the 12 new English Catholic bishops were paraded through Exeter, already the scene of severe public disorder on each anniversary of the Fifth. Gradually, however, such scenes became less popular. With little resistance in Parliament, the thanksgiving prayer of November the 5th contained in the Anglican Book of Common Prayer was abolished, and in March 1859 the Anniversary Days Observance Act repealed the Observance of 5th November Act.

As the authorities dealt with the worst excesses, public decorum was gradually restored. The sale of fireworks was restricted, and the Guildford guys were neutralised in 1865, although this was too late for one constable, who died of his wounds. Violence continued in Exeter for some years, peaking in 1867 when incensed by rising food prices and banned from firing their customary bonfire, a mob was twice in one night driven from Cathedral Close by armed infantry. Further riots occurred in 1879, but there were no more bonfires in Cathedral Close after 1894. Elsewhere, sporadic instances of public disorder persisted late into the 20th century, accompanied by large numbers of firework-related accidents, but a national Firework Code and improved public safety have in most cases brought an end to such things.

Lewes Bonfire Night in 2010.

Revellers in East Sussex, England.

The Guy Fawkes of 1850.

This commentary on the restoration of the Catholic hierarchy in England, in 1850 is from Punch magazine, November of that year. The artist is unknown.

Songs, Guys And Later Developments

One notable aspect of the Victorians’ commemoration of Guy Fawkes Night was its move away from the centres of communities to their margins. Gathering wood for the bonfire increasingly became the province of working-class children, who solicited combustible materials, money, food and drink from wealthier neighbours, often with the aid of songs. Most opened with the familiar “Remember, remember, the fifth of November, Gunpowder Treason and Plot”. The earliest recorded rhyme, from 1742, is reproduced below alongside one bearing similarities to most Guy Fawkes Night ditties, recorded in 1903 at Charlton on Otmoor.

From 1742:

“Don’t you Remember,
The Fifth of November,
‘Twas Gunpowder Treason Day,
I let off my gun,
And made’em all run.
And Stole all their Bonfire away.”

From 1903:

“The fifth of November, since I can remember,
Was Guy Faux, Poke him in the eye,
Shove him up the chimney pot, and there let him die.
A stick and a stake, for King George’s sake,
If you don’t give me one, I’ll take two,
The better for me, and the worse for you,
Ricket-a-racket your hedges shall go.”

Organised entertainment also became popular in the late 19th century, and 20th-century pyrotechnic manufacturers renamed Guy Fawkes Day as Firework Night. Sales of fireworks dwindled somewhat during the First World War but resumed in the following peace. At the start of the Second World War, celebrations were again suspended, resuming in November 1945. For many families, Bonfire Night became a domestic celebration, and children often congregated on street corners, accompanied by their own effigy of Guy Fawkes. This was sometimes ornately dressed and sometimes a barely recognisable bundle of rags stuffed with whatever filling was suitable. A survey found that in 1981 about 23 per cent of Sheffield schoolchildren made Guys, sometimes weeks before the event. Collecting money was a popular reason for their creation, the children taking their effigy from door to door or displaying it on street corners. But mainly, they were built to go on the bonfire, itself sometimes comprising wood stolen from other pyres that helped bolster another November tradition, Mischief Night. Rival gangs competed to see who could build the largest, sometimes even burning the wood collected by their opponents In 1954 the Yorkshire Post reported on fires late in September, a situation that forced the authorities to remove latent piles of wood for safety reasons. Lately, however, the custom of a penny for the Guy has almost completely disappeared. In contrast, some older customs still survive. In Ottery St. Mary residents run through the streets carrying flaming tar barrels, and since 1679 Lewes has been the setting of some of England’s most extravagant November the 5th celebrations, the Lewes Bonfire.

Generally, modern November the 5th celebrations are run by local charities and other organisations, with paid admission and controlled access. In 1998 an editorial in the Catholic Herald called for the end of Bonfire Night, labelling it an offensive act. Author Martin Kettle, writing in The Guardian in 2003, bemoaned an occasionally nannyish attitude to fireworks that discourages people from holding firework displays in their back gardens, and an unduly sensitive attitude toward the anti-Catholic sentiment once so prominent on Bonfire Night. David Cressy summarised the modern celebration with these words, “The rockets go higher and burn with more colour, but they have less and less to do with memories of the Fifth of November … it might be observed that Guy Fawkes’ Day is finally declining, having lost its connection with politics and religion. But we have heard that many times before.”

In 2012 Tom de Castella said, “It’s probably not a case of Bonfire Night decline, but rather a shift in priorities… there are new trends in the bonfire ritual. Guy Fawkes masks have proved popular and some of the more quirky bonfire societies have replaced the Guy with effigies of celebrities in the news (including Lance Armstrong and Mario Balotelli) and even politicians. The emphasis has moved. The bonfire with a Guy on top (indeed the whole story of the Gunpowder Plot) has been marginalised. But the spectacle remains.

Children from Bontnewydd collecting for the Guy.

This photo by Geoff Charles of children in Caernarfon, Wales was taken in November 1962. The sign reads Penny for the Guy in Welsh.

Spectators around a Bonfire at Himley Hall.

This photo was taken by Sam Roberts in Dudley, England.

In Other Countries

Gunpowder Treason Day was exported by settlers to colonies around the world, including members of the Commonwealth of Nations such as Australia, New Zealand, Canada, and various Caribbean nations. In Australia, Sydney (founded as a British penal colony in 1788) saw at least one instance of the parading and burning of a Guy Fawkes effigy in 1805, while in 1833, four years after its founding, Perth listed Gunpowder Treason Day as a public holiday. By the 1970’s, Bonfire Night had become less common in Australia, with the event simply an occasion to set off fireworks with little connection to Guy Fawkes. Mostly they were set off annually on a night called cracker night which would include the lighting of bonfires. Some states had their fireworks night or cracker night at different times of the year, with some being let off on the 5th of November, but most often, they were let off on the Queen’s birthday. After a range of injuries to children involving fireworks, Fireworks nights and the sale of fireworks were banned in all states except the Australian Capital Territory by the early 1980’s, which saw the end of cracker night.

Some measure of celebration remains in New Zealand, Canada, and South Africa. On the Cape Flats in Cape Town, South Africa, Guy Fawkes Day has become associated with youth hooliganism. In Canada in the 21st century, celebrations of Bonfire Night on November the 5th are largely confined to the province of Newfoundland and Labrador. The day is still marked in Saint Vincent and the Grenadines, and in Saint Kitts and Nevis, but a fireworks ban by Antigua and Barbuda during the 1990’s reduced its popularity in that country.

In North America, the commemoration was at first paid scant attention, but the arrest of two boys caught lighting bonfires on the 5th of November 1662 in Boston suggests, in historian James Sharpe’s view, that an underground tradition of commemorating the Fifth existed. In parts of North America, it was known as Pope Night, celebrated mainly in colonial New England, but also as far south as Charleston. In Boston, founded in 1630 by Puritan settlers, an early celebration was held in 1685, the same year that James II assumed the throne. Fifty years later, again in Boston, a local minister wrote about a great number of people going to Dorchester where at night they made a Great Bonfire and plaid off many fireworks. The day ended in tragedy when four young men coming home in a Canoe were all Drowned. Ten years later the raucous celebrations were the cause of considerable annoyance to the upper classes and a special Riot Act was passed, to prevent riotous tumultuous and disorderly assemblies of more than three persons, all or any of them armed with Sticks, Clubs or any kind of weapons, or disguised with vizards, or painted or discoloured faces, or in any manner disguised, having any kind of imagery or pageantry, in any street, lane, or place in Boston. With inadequate resources, however, Boston’s authorities were powerless to enforce the Act. In the 1740’s gang violence became common, with groups of Boston residents battling for the honour of burning the pope’s effigy. But by the mid-1760’s these riots had subsided, and as colonial America moved towards revolution, the class rivalries featured during Pope Day gave way to anti-British sentiment. Author Alfred Young said Pope Day provided the scaffolding, symbolism, and leadership for resistance to the Stamp Act in 1764–65, forgoing previous gang rivalries in favour of a unified resistance to Britain.

The passage in 1774 of the Quebec Act, which guaranteed French Canadians free practice of Catholicism in the Province of Quebec, provoked complaints from some Americans that the British were introducing Popish principles and French law. Such fears were bolstered by opposition from the Church in Europe to American independence, threatening a revival of Pope Day.

The tradition continued in Salem as late as 1817, and was still observed in Portsmouth, New Hampshire, in 1892. In the late 18th century, effigies of prominent figures such as two Prime Ministers of Great Britain, the Earl of Bute and Lord North, and the American traitor General Benedict Arnold, were also burnt. In the 1880’s bonfires were still being lit in some New England coastal towns, although no longer to commemorate the failure of the Gunpowder Plot. In the area around New York City, stacks of barrels were burnt on Election Day eve, which after 1845 was a Tuesday early in November.

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The image above of Guy Fawkes on Bonfire Night, 2016 is copyright of Frank Parker.

The image above of the festivities in Windsor Castle during Guy Fawkes night in 1776 is copyright of Wikipedia user William Warby. It comes with a Creative Commons licence (CC BY 2.0 ).

A Guy Fawkes mask from Whoopee! dated 28/10/1978 is by artist Brian Walker. It comes from the website Great News For All Readers!

The image above of Lewes Bonfire Night in 2010 is copyright of Wikipedia user Heather Buckley. It comes with a Creative Commons licence (CC BY 2.0).

The image above of the Guy Fawkes of 1850 is by artist unknown. It is in the Public Domain.

The image above of Children from Bontnewydd collecting for the Guy is by Geoff Charles. It is in the Public Domain.

The image above of spectators around a Bonfire at Himley Hall is by Sam Roberts. It comes with a Creative Commons licence (CC BY 2.0).

Great News For All Readers! – Official website. This website is from a collector of comics published in Britain in the 1970’s and 1980’s. It shows his memories of being a reader of these comics as a child, his observations as a collector today and an attempt to catalogue the comics from a fan’s perspective.

Great News For All Readers! on Facebook.

Great News For All Readers! on Twitter.

Creative Commons – Official website. They offer better sharing, advancing universal access to knowledge and culture, and fostering creativity, innovation, and collaboration.

English Pride: The English Language

I am English, NOT British, Not European, ENGLISH, AND PROUD and I class myself as an English patriot.

You can read more blog articles about England and the English, like the one on here, via my English Pride Index below and click the link to get back to the English Pride page.

The English Language

English is a West Germanic language of the Indo-European language family, originally spoken by the inhabitants of early medieval England. It is named after the Angles, one of the ancient Germanic peoples that migrated to the area of Great Britain that later took their name, England. Both names derive from Anglia, a peninsula on the Baltic Sea (which is not to be confused with East Anglia, the eastern part of England that comprises the counties of Norfolk, Suffolk, and Essex). English is most closely related to Frisian and Low Saxon, while its vocabulary has been significantly influenced by other Germanic languages, particularly Old Norse (a North Germanic language), as well as by Old Norman, French and Latin.

English has developed over the course of more than 1,400 years. The earliest forms of English, a group of West Germanic (Ingvaeonic) dialects brought to Great Britain by Anglo-Saxon settlers in the 5th century, are collectively called Old English. Middle English began in the late 11th century with the Norman conquest of England; this was a period in which English was influenced by Old French, in particular through its Old Norman dialect. Early Modern English began in the late 15th century with the introduction of the printing press to London, the printing of the King James Bible and the start of the Great Vowel Shift.

Modern English has been spreading around the world since the 17th century by the worldwide influence of the British Empire and the United States. Through all types of printed and electronic media of these countries, English has become the leading language of international discourse and the lingua franca in many regions and professional contexts such as science, navigation and law. Modern English grammar is the result of a gradual change from a typical Indo-European dependent-marking pattern, with rich inflectional morphology and relatively free word order, to a mostly analytic pattern with little inflection, a fairly fixed subject–verb–object word order and a complex syntax. Modern English relies more on auxiliary verbs and word order for the expression of complex tenses, aspect and mood, as well as passive constructions, interrogatives and some negation.

English is the most spoken language in the world (if Chinese is divided into various variants) and the third-most spoken native language in the world, after Standard Chinese and Spanish. It is the most widely learned second language and is either the official language or one of the official languages in almost 60 sovereign states. There are more people who have learned English as a second language than there are native speakers. As of 2005, it was estimated that there were over 2 billion speakers of English. English is the majority native language in the United Kingdom, the United States, Canada, Australia, New Zealand (see Anglosphere) and Ireland, an official language and the main language of Singapore, and it is widely spoken in some areas of the Caribbean, Africa, South Asia, Southeast Asia and Oceania. It is a co-official language of the United Nations, the European Union and many other world and regional international organisations. It is the most widely spoken Germanic language, accounting for at least 70% of speakers of this Indo-European branch. English speakers are called “Anglophones”. There is much variability among the many accents and dialects of English used in different countries and regions in terms of phonetics and phonology, and sometimes also vocabulary, idioms, grammar, and spelling, but it does not typically prevent understanding by speakers of other dialects and accents, although mutual unintelligibility can occur at extreme ends of the dialect continuum.

Classification Of The English Language

English is an Indo-European language and belongs to the West Germanic group of the Germanic languages. Old English originated from a Germanic tribal and linguistic continuum along the Frisian North Sea coast, whose languages gradually evolved into the Anglic languages in the British Isles, and into the Frisian languages and Low German/Low Saxon on the continent. The Frisian languages, which together with the Anglic languages form the Anglo-Frisian languages, are the closest living relatives of English. Low German/Low Saxon is also closely related, and sometimes English, the Frisian languages, and Low German are grouped together as the Ingvaeonic (North Sea Germanic) languages, though this grouping remains debated. Old English evolved into Middle English, which in turn evolved into Modern English. Particular dialects of Old and Middle English also developed into a number of other Anglic languages, including Scots and the extinct Fingallian and Forth and Bargy (Yola) dialects of Ireland.

Like Icelandic and Faroese, the development of English in the British Isles isolated it from the continental Germanic languages and influences, and it has since diverged considerably. English is not mutually intelligible with any continental Germanic language, differing in vocabulary, syntax, and phonology, although some of these, such as Dutch or Frisian, do show strong affinities with English, especially with its earlier stages.

Unlike Icelandic and Faroese, which were isolated, the development of English was influenced by a long series of invasions of the British Isles by other peoples and languages, particularly Old Norse and Norman French. These left a profound mark of their own on the language so that English shows some similarities in vocabulary and grammar with many languages outside its linguistic clades—but it is not mutually intelligible with any of those languages either. Some scholars have argued that English can be considered a mixed language or a creole—a theory called the Middle English creole hypothesis. Although the great influence of these languages on the vocabulary and grammar of Modern English is widely acknowledged, most specialists in language contact do not consider English to be a true mixed language.

English is classified as a Germanic language because it shares innovations with other Germanic languages such as Dutch, German, and Swedish. These shared innovations show that the languages have descended from a single common ancestor called Proto-Germanic. Some shared features of Germanic languages include the division of verbs into strong and weak classes, the use of modal verbs, and the sound changes affecting Proto-Indo-European consonants, known as Grimm’s and Verner’s laws. English is classified as an Anglo-Frisian language because Frisian and English share other features, such as the palatalisation of consonants that were velar consonants in Proto-Germanic.

History Of The English Language

Proto-Germanic To Old English

The earliest form of English is called Old English or Anglo-Saxon (c. year 550–1066). Old English developed from a set of West Germanic dialects, often grouped as Anglo-Frisian or North Sea Germanic, and originally spoken along the coasts of Frisia, Lower Saxony and southern Jutland by Germanic peoples known to the historical record as the Angles, Saxons, and Jutes. From the 5th century, the Anglo-Saxons settled Britain as the Roman economy and administration collapsed. By the 7th century, the Germanic language of the Anglo-Saxons became dominant in Britain, replacing the languages of Roman Britain (43–409): Common Brittonic, a Celtic language, and Latin brought to Britain by the Roman occupation. England and English (originally Ænglaland and Ænglisc) are named after the Angles.

Old English was divided into four dialects: the Anglian dialects (Mercian and Northumbrian) and the Saxon dialects, Kentish and West Saxon. Through the educational reforms of King Alfred in the 9th century and the influence of the kingdom of Wessex, the West Saxon dialect became the standard written variety. The epic poem Beowulf is written in West Saxon, and the earliest English poem, Cædmon’s Hymn, is written in Northumbrian. Modern English developed mainly from Mercian, but the Scots language developed from Northumbrian. A few short inscriptions from the early period of Old English were written using a runic script. By the 6th century, a Latin alphabet was adopted, written with half-uncial letterforms. It included the runic letters wynn ⟨ƿ⟩ and thorn ⟨þ⟩, and the modified Latin letters eth ⟨ð⟩, and ash ⟨æ⟩.

Old English is essentially a distinct language from Modern English and is virtually impossible for 21st-century unstudied English-speakers to understand. Its grammar was similar to that of modern German, and its closest relative is Old Frisian. Nouns, adjectives, pronouns, and verbs had many more inflectional endings and forms, and word order was much freer than in Modern English. Modern English has case forms in pronouns (he, him, his) and has a few verb inflections (speak, speaks, speaking, spoke, spoken), but Old English had case endings in nouns as well, and verbs had more person and number endings.

The translation of Matthew 8:20 from 1000 shows examples of case endings (nominative plural, accusative plural, genitive singular) and a verb ending (present plural):

Foxas habbað holu and heofonan fuglas nest

Fox-as habb-að hol-u and heofon-an fugl-as nest-∅

fox-nom.pl have-prs.pl hole-acc.pl and heaven-gen.sg bird-nom.pl nest-acc.pl

“Foxes have holes and the birds of heaven nests”

Middle English

From the 8th to the 12th century, Old English gradually transformed through language contact into Middle English. Middle English is often arbitrarily defined as beginning with the conquest of England by William the Conqueror in 1066, but it developed further in the period from 1200 to 1450.

First, the waves of Norse colonisation of northern parts of the British Isles in the 8th and 9th centuries put Old English into intense contact with Old Norse, a North Germanic language. Norse influence was strongest in the north-eastern varieties of Old English spoken in the Danelaw area around York, which was the centre of Norse colonisation; today these features are still particularly present in Scots and Northern English. However the centre of norsified English seems to have been in the Midlands around Lindsey, and after 920 CE when Lindsey was reincorporated into the Anglo-Saxon polity, Norse features spread from there into English varieties that had not been in direct contact with Norse speakers. An element of Norse influence that persists in all English varieties today is the group of pronouns beginning with th- (they, them, their) which replaced the Anglo-Saxon pronouns with h– (hie, him, hera).

With the Norman conquest of England in 1066, the now norsified Old English language was subject to contact with Old French, in particular with the Old Norman dialect. The Norman language in England eventually developed into Anglo-Norman. Because Norman was spoken primarily by the elites and nobles, while the lower classes continued speaking Anglo-Saxon (English), the main influence of Norman was the introduction of a wide range of loanwords related to politics, legislation and prestigious social domains. Middle English also greatly simplified the inflectional system, probably in order to reconcile Old Norse and Old English, which were inflectionally different but morphologically similar. The distinction between nominative and accusative cases was lost except in personal pronouns, the instrumental case was dropped, and the use of the genitive case was limited to indicating possession. The inflectional system regularised many irregular inflectional forms, and gradually simplified the system of agreement, making word order less flexible. In the Wycliffe Bible of the 1380s, the verse Matthew 8:20 was written: Foxis han dennes, and briddis of heuene han nestis. Here the plural suffix –n on the verb have is still retained, but none of the case endings on the nouns are present. By the 12th century Middle English was fully developed, integrating both Norse and French features; it continued to be spoken until the transition to early Modern English around 1500. Middle English literature includes Geoffrey Chaucer’s The Canterbury Tales, and Malory’s Le Morte d’Arthur. In the Middle English period, the use of regional dialects in writing proliferated, and dialect traits were even used for effect by authors such as Chaucer.

Early Modern English

The next period in the history of English was Early Modern English (1500–1700). Early Modern English was characterised by the Great Vowel Shift (1350–1700), inflectional simplification, and linguistic standardisation.

The Great Vowel Shift affected the stressed long vowels of Middle English. It was a chain shift, meaning that each shift triggered a subsequent shift in the vowel system. Mid and open vowels were raised, and closed vowels were broken into diphthongs. For example, the word bite was originally pronounced as the word beet is today, and the second vowel in the word about was pronounced as the word boot is today. The Great Vowel Shift explains many irregularities in spelling since English retains many spellings from Middle English, and it also explains why English vowel letters have very different pronunciations from the same letters in other languages.

English began to rise in prestige, relative to Norman French, during the reign of Henry V. Around 1430, the Court of Chancery in Westminster began using English in its official documents, and a new standard form of Middle English, known as Chancery Standard, developed from the dialects of London and the East Midlands. In 1476, William Caxton introduced the printing press to England and began publishing the first printed books in London, expanding the influence of this form of English. Literature from the Early Modern period includes the works of William Shakespeare and the translation of the Bible commissioned by King James I. Even after the vowel shift the language still sounded different from Modern English: for example, the consonant clusters /kn ɡn sw/ in knight, gnat, and sword were still pronounced. Many of the grammatical features that a modern reader of Shakespeare might find quaint or archaic represent the distinct characteristics of Early Modern English.

In the 1611 King James Version of the Bible, written in Early Modern English, Matthew 8:20 says, “The Foxes haue holes and the birds of the ayre haue nests.” This exemplifies the loss of case and its effects on sentence structure (replacement with subject-verb–object word order, and the use of of instead of the non-possessive genitive), and the introduction of loanwords from French (ayre) and word replacements (bird originally meaning “nestling” had replaced OE fugol).

Spread Of Modern English

By the late 18th century, the British Empire had spread English through its colonies and geopolitical dominance. Commerce, science and technology, diplomacy, art, and formal education all contributed to English becoming the first truly global language. English also facilitated worldwide international communication. England continued to form new colonies, and these later developed their own norms for speech and writing. English was adopted in parts of North America, parts of Africa, Australasia, and many other regions. When they obtained political independence, some of the newly independent nations that had multiple indigenous languages opted to continue using English as the official language to avoid the political and other difficulties inherent in promoting any one indigenous language above the others. In the 20th century, the growing economic and cultural influence of the United States and its status as a superpower following the Second World War has, along with worldwide broadcasting in English by the BBC and other broadcasters, caused the language to spread across the planet much faster. In the 21st century, English is more widely spoken and written than any language has ever been.

As Modern English developed, explicit norms for standard usage were published and spread through official media such as public education and state-sponsored publications. In 1755 Samuel Johnson published his A Dictionary of the English Language, which introduced standard spellings of words and usage norms. In 1828, Noah Webster published the American Dictionary of the English language to try to establish a norm for speaking and writing American English that was independent of the British standard. Within Britain, non-standard or lower class dialect features were increasingly stigmatised, leading to the quick spread of the prestige varieties among the middle classes.

In modern English, the loss of grammatical case is almost complete (it is now only found in pronouns, such as he and him, she and her, who and whom), and SVO word order is mostly fixed. Some changes, such as the use of do-support, have become universalised. (Earlier English did not use the word “do” as a general auxiliary as Modern English does; at first, it was only used in question constructions, and even then was not obligatory. Now, do-support with the verb have is becoming increasingly standardised.) The use of progressive forms in –ing, appears to be spreading to new constructions, and forms such as had been being built are becoming more common. Regularisation of irregular forms also slowly continues (e.g. dreamed instead of dreamt), and analytical alternatives to inflectional forms are becoming more common (e.g. more polite instead of polite). British English is also undergoing change under the influence of American English, fuelled by the strong presence of American English in the media and the prestige associated with the US as a world power.

Read more about The English Language here.

The above articles were taken from Wikipedia and are subject to change.

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The Culture Of England

The culture of England is defined by the cultural norms of England and the English people. Owing to England’s influential position within the United Kingdom it can sometimes be difficult to differentiate English culture from the culture of the United Kingdom as a whole. However, since Anglo-Saxon times, England has had its own unique culture, apart from Welsh, Scottish or Northern Irish culture.

As the birthplace of the Industrial Revolution, many of the world’s acclaimed scientists and technological advancements originated from England. England has also played an important role in cinema, literature, technology, engineering, democracy, philosophy, music, science and mathematics. England has long been known for the accomplishments of a wide variety of literature and poetry.

Humour, tradition, and good manners are characteristics commonly associated with being English. The secretary of state for digital, culture, media and sport is the government minister responsible for the cultural life of England.

The Architecture Of England

Many ancient standing stone monuments were erected during the prehistoric period; amongst the best known are Stonehenge, Avebury, Devil’s Arrows, Rudston Monolith and Castlerigg. With the introduction of Ancient Roman architecture, there was a development of basilicas, baths, amphitheatres, triumphal arches, villas, Roman temples, Roman roads, Roman forts, stockades and aqueducts. It was the Romans who founded the first cities and towns such as London, Bath, York, Chester and St Albans. Perhaps the best-known example is Hadrian’s Wall stretching right across northern England. Another well-preserved example is the Roman Baths at Bath, Somerset.

English architecture begins with the architecture of the Anglo-Saxons. At least fifty surviving English churches are of Anglo-Saxon origin, although in some cases the Anglo-Saxon part is small and much-altered. All except one timber church are built of stone or brick, and in some cases show evidence of reused Roman work. The architectural character of Anglo-Saxon ecclesiastical buildings ranges from Coptic-influenced architecture in the early period, through Early Christian basilica influenced architecture, to (in the later Anglo-Saxon period) an architecture characterised by pilaster-strips, blank arcading, baluster shafts and triangular-headed openings.

Many cathedrals of England are ancient, dating from as far back as around 700. They are a major aspect of the country’s artistic heritage. Medieval Christianity included the veneration of saints, with pilgrimages to places where particular saints’ relics were interred. The possession of the relics of a popular saint was a source of funds for an individual church, as the faithful made donations and benefices in the hope that they might receive spiritual aid, a blessing or a healing from the presence of the physical remains of the holy person. Among those churches to benefit in particular were St Albans Abbey, which contained the relics of England’s first Christian martyr; Ripon with the shrine of its founder St. Wilfrid; Durham, which was built to house the body of Saints Cuthbert of Lindisfarne and Aidan; Ely with the shrine of St. Ethelreda; Westminster Abbey with the magnificent shrine of its founder St. Edward the Confessor; at Chichester, the remains of St. Richard; and at Winchester, those of St. Swithun.

All these saints brought pilgrims to their churches, but among them, the most renowned was Thomas Becket, the late Archbishop of Canterbury, assassinated by henchmen of King Henry II in 1170. As a place of pilgrimage, Canterbury was, in the 13th century, second only to Santiago de Compostela. In the 1170s Gothic architecture was introduced at Canterbury and Westminster Abbey. Over the next 400 years, it developed in England, sometimes in parallel with and influenced by Continental forms, but generally with great local diversity and originality.

Following the Norman Conquest, Romanesque architecture (known here as Norman architecture) superseded Anglo-Saxon architecture; later there was a period of transition into English Gothic architecture (of which there are three periods, Early English, Decorated, and Perpendicular). Norman architecture was built on a vast scale from the 11th century onwards in the form of castles and churches to help impose Norman authority upon their dominion. Many castles remain from the medieval period, such as Windsor Castle (longest-occupied castle in Europe), Bodiam Castle (a moated castle), Tower of London, and Warwick Castle. Expanding on the Norman base there was also castles, palaces, great houses, universities and parish churches.

English Gothic architecture flourished from the 12th to the early 16th century, and famous examples include Westminster Abbey, the traditional place of coronation for the British monarch, which also has a long tradition as a venue for royal weddings, Canterbury Cathedral, one of the oldest and most famous Christian structures in England; Salisbury Cathedral, which has the tallest church spire in the UK; and York Minster, which is the largest Gothic cathedral in Northern Europe.

The secular medieval architecture throughout England has left a legacy of large stone castles. The invention of gunpowder and canons made castles redundant, and the English Renaissance which followed facilitated the development of new artistic styles for domestic architecture, notably Tudor, Elizabethan, Jacobean, English Baroque, Queen Anne and Palladian. Architecture during the Tudor dynasty flourished with magnificent royal palaces, such as Nonsuch Palace, Palace of Placentia, Hampton Court Palace, Hatfield House, Richmond Palace and Palace of Beaulieu.

One of the most acclaimed English architects was Sir Christopher Wren. He was employed by King Charles II to design and rebuild London and many of its ruined ancient churches following the Great Fire of London in 1666. Georgian and Neoclassical architecture advanced after the Age of Enlightenment, evoking achievements in elegant architecture and city planning; the Royal Crescent at Bath is one of the best examples of this. The Regency of George IV is noted for its elegance and achievements in architecture and urban planning. Regency style is also applied to interior design and decorative arts of the period, typified by elegant furniture and vertically striped wallpaper, and to styles of clothing; for men, as typified by the dandy Beau Brummell and for women the Empire silhouette. In early modern times, there was an influence from Renaissance architecture until by the 18th century. Gothic forms of architecture had been abandoned and various classical styles were adopted. During the Victorian era, Gothic Revival architecture developed in England and was preferred for many types of buildings and city planning. Victorian was widespread with vast innovations and engineering achievements (bridges, canals, railway stations, etc.).

In addition to this, around the same time, the Industrial Revolution paved the way for buildings such as The Crystal Palace. The introduction of the sheet glass method into England by the Chance Brothers in 1832 made possible the production of large sheets of cheap but strong glass, and its use in the Crystal Palace created a structure with the greatest area of glass ever seen in a building. It astonished visitors with its clear walls and ceilings that did not require interior lights. Edwardian followed in the early 20th century. Other buildings such as cathedrals and parish churches are associated with a sense of traditional Englishness, as is often the palatial ‘stately home’. Many people are interested in the English country house and the rural lifestyle, evidenced by the number of visitors to properties managed by English Heritage and the National Trust.

Landscape gardening as developed by Capability Brown set an international trend for the English garden. Gardening, and visiting gardens, are regarded as typically English pursuits. By the end of the 18th century the English garden was being imitated by the French landscape garden, and as far away as St. Petersburg, Russia, in Pavlovsk, the gardens of the future Emperor Paul. It also had a major influence on the form of the public parks and gardens which appeared around the world in the 19th century.

Inspired by the great landscape artists of the seventeenth century, the English garden presented an idealized view of nature. At large country houses, the English garden usually included lakes, sweeps of gently rolling lawns set against groves of trees, and recreations of classical temples, Gothic ruins, bridges, and other picturesque architecture, designed to recreate an idyllic pastoral landscape. The English garden was centred on the English country house, stately homes and parks. English Heritage and the National Trust preserve large gardens and landscape parks throughout the country. The RHS Chelsea Flower Show is held every year by the Royal Horticultural Society and is said to be the largest gardening show in the world.

Following the building of the world’s first seaside pier at Ryde, the pier became fashionable at seaside resorts in England during the Victorian era, peaking in the 1860s with 22 being built in that decade. A symbol of the typical English seaside holiday, by 1914 more than 100 pleasure piers were located around the UK coast. Regarded as being among the finest Victorian architecture, there are still a significant number of seaside piers of architectural merit still standing, although some have been lost, including two at Brighton in East Sussex and one at New Brighton in the Wirral. Two piers, Brighton’s now derelict West Pier and Clevedon Pier, were Grade 1 listed. The Birnbeck Pier in Weston-super-Mare is the only pier in the world linked to an island. The National Piers Society gives a figure of 55 surviving seaside piers in England.

Art And Design Of England

England has Europe’s earliest and northernmost ice-age cave art. Prehistoric art in England largely corresponds with art made elsewhere in contemporary Britain, but early medieval Anglo-Saxon art saw the development of a distinctly English style, and English art continued thereafter to have a distinct character. English art made after the formation in 1707 of the Kingdom of Great Britain may be regarded in most respects simultaneously as art of the United Kingdom. The two periods of outstanding achievement were the 7th and 8th centuries, with the metalwork and jewellery from Sutton Hoo and a series of magnificent illuminated manuscripts, and the final period after about 950, when there was a revival of English culture after the end of the Viking invasions.

As in most of Europe at the time, metalwork was the most highly regarded form of art by the Anglo-Saxons, but hardly any survives – there was enormous plundering of Anglo-Saxon churches, monasteries and the possessions of the dispossessed nobility by the new Norman rulers in their first decades, as well as the Norsemen before them, and the English Reformation after them, and most survivals were once on the continent. Anglo-Saxon taste favoured brightness and colour. Opus Anglicanum (“English work”) was recognised as the finest embroidery in Europe. Perhaps the best known piece of Anglo-Saxon art is the Bayeux Tapestry which was commissioned by a Norman patron from English artists working in the traditional Anglo-Saxon style. Anglo-Saxon artists also worked in fresco, stone, ivory and whalebone (notably the Franks Casket), metalwork (for example the Fuller brooch), glass and enamel. Medieval English painting, mainly religious, had a strong national tradition and was influential in Europe.

The English Reformation, which was antipathetic to art, not only brought this tradition to an abrupt stop but resulted in the destruction of almost all wall paintings. Only illuminated manuscripts now survive in large numbers.

There is in the art of the English Renaissance a strong interest in portraiture, and the portrait miniature was more popular in England than anywhere else. English Renaissance sculpture was mainly architectural and for monumental tombs. Interest in English landscape painting had begun to develop by the time of the 1707 Act of Union. English art was dominated by imported artists throughout much of the Renaissance, but in the 18th century, a native tradition became much admired. It is considered to be typified by landscape painting, such as the work of J.M.W. Turner and John Constable. Portraitists like Thomas Gainsborough and Joshua Reynolds are also significant.

The first famous native English portrait miniaturist is Nicholas Hilliard (c. 1537–1619), whose work was conservative in style but very sensitive to the character of the sitter; his best works are beautifully executed. The colours are opaque, and gold is used to heighten the effect, while the paintings are on card. They are often signed and have frequently also a Latin motto upon them. Hilliard worked for a while in France, and he is probably identical with the painter alluded to in 1577 as Nicholas Belliart. Hilliard was succeeded by his son Lawrence Hilliard (died 1640); his technique was similar to that of his father but bolder, and his miniatures richer in colour.

Isaac Oliver and his son Peter Oliver succeeded Hilliard. Isaac (c. 1560–1617) was the pupil of Hilliard. Peter (1594–1647) was the pupil of Isaac. The two men were the earliest to give roundness and form to the faces they painted. They signed their best works in monogram and painted not only very small miniatures, but larger ones measuring as much as 10 in × 9 in (250 mm × 230 mm). They copied for Charles I of England (1600–1649) on a small scale many of his famous pictures by the old masters. Samuel Cooper (1609–1672) was a nephew and student of the elder Hoskins and is considered the greatest English portrait miniaturist. He spent much of his time in Paris and Holland, and very little is known of his career. His work has a superb breadth and dignity and has been well called life-size work in little. His portraits of the men of the Puritan epoch are remarkable for their truth to life and strength of handling. His work is frequently signed with his initials, generally in gold, and very often with the addition of the date.

Pictorial satirist William Hogarth pioneered Western sequential art, and political illustrations in this style are often referred to as “Hogarthian”. Following Hogarth, political cartoons developed in England in the late 18th century under the direction of James Gillray. Regarded as one of the two most influential cartoonists (the other is Hogarth), Gillray has been referred to as the father of the political cartoon, with his satirical work calling the King (George III), prime ministers and generals to account. The early 19th century saw the emergence of the Norwich school of painters, the first provincial art movement outside of London. Its prominent members were “founding father” John Crome (1768–1821), John Sell Cotman (1782–1842), James Stark (1794–1859), and Joseph Stannard (1797–1830).

In England, landscapes had initially been mostly backgrounds to portraits. The English tradition was founded by Anthony van Dyck and other mostly Flemish artists working in England, but in the 18th century, the works of Claude Lorrain were keenly collected and influenced not only paintings of landscapes, but the English landscape gardens of Capability Brown and others. In the 18th century, watercolour painting, mostly of landscapes, became an English speciality, with both a buoyant market for professional works and a large number of amateur painters, many following the popular systems found in the books of Alexander Cozens and others. By the beginning of the 19th century, the English artists with the highest modern reputations were mostly dedicated landscape painters, showing the wide range of Romantic interpretations of the English landscape found in the works of John Constable and J.M.W. Turner.

During the Baroque and Rococo periods, the first major native portrait painters of the British school were English painters Thomas Gainsborough and Sir Joshua Reynolds, who also specialised in clothing their subjects in an eye-catching manner. Gainsborough’s Blue Boy is one of the most famous and recognized portraits of all time, painted with very long brushes and thin oil colour to achieve the shimmering effect of the blue costume. Gainsborough was also noted for his elaborate background settings for his subjects.

The Pre-Raphaelite Brotherhood achieved considerable influence after its foundation in 1848 with paintings that concentrated on religious, literary, and genre subjects executed in a colourful and minutely detailed style. Its artists included John Everett Millais, Dante Gabriel Rossetti and subsequently Edward Burne-Jones. Also associated with it was the designer William Morris, whose efforts to make beautiful objects affordable for everyone led to his wallpaper and tile designs to some extent defining the Victorian aesthetic and instigating the Arts and Crafts movement. The Royal Society of Arts is an organisation committed to the arts and culture.

The Royal Academy in London is a key organisation for the promotion of the visual arts in England. Major schools of art in England include the six-school University of the Arts London, which includes the Central Saint Martins College of Art and Design and Chelsea College of Art and Design; Goldsmiths, University of London; the Slade School of Fine Art (part of University College London); the Royal College of Art; and The Ruskin School of Drawing and Fine Art (part of the University of Oxford). The Courtauld Institute of Art is a leading centre for the teaching of the history of art. Important art galleries in the United Kingdom include the National Gallery, National Portrait Gallery, Tate Britain and Tate Modern (the most-visited modern art gallery in the world, with around 4.7 million visitors per year).

Heritage And Tourism Of England

A number of umbrella organisations are devoted to the preservation and public access of both natural and cultural heritage, including English Heritage and the National Trust. Membership with them, even on a temporary basis, gives priority free access to their properties thereafter.

English Heritage is a governmental body with a broad remit of managing the historic sites, artefacts and environments of England. It is currently sponsored by the Department for Digital, Culture, Media and Sport. English Heritage manages more than 400 significant buildings and monuments in England. They also maintain a register of thousands of listed buildings, those which are considered of most importance to the historic and cultural heritage of the country.

The National Trust for Places of Historic Interest or Natural Beauty is a charity that also maintains multiple sites. One of the largest landowners in the United Kingdom, the Trust owns almost 250,000 hectares of land and 780 miles of the coast. Its properties include over 500 historic houses, castles, archaeological and industrial monuments, gardens, parks and nature reserves.

17 of the 25 United Kingdom UNESCO World Heritage Sites fall within England. Some of the best known of these include Hadrian’s Wall, Stonehenge, Avebury and Associated Sites, Tower of London, Jurassic Coast, Westminster, Roman Baths in Bath, Saltaire, Ironbridge Gorge, and Studley Royal Park. The northernmost point of the Roman Empire, Hadrian’s Wall, is the largest Roman artefact anywhere: it runs a total of 73 miles in northern England.

London’s British Museum hosts a collection of more than seven million objects is one of the largest and most comprehensive in the world, sourced from every continent, illustrating and documenting the story of human culture from its beginning to the present. The library has two of the four remaining copies of the original Magna Carta (the other two copies are held in Lincoln Castle and Salisbury Cathedral) and has a room devoted solely to them. The British Library Sound Archive has over six million recordings, many from the BBC Sound Archive, including Winston Churchill’s wartime speeches.

The British Library in London is the national library and is one of the world’s largest research libraries, holding over 150 million items in all known languages and formats; including around 25 million books. The most senior art gallery is the National Gallery in Trafalgar Square, which houses a collection of over 2,300 paintings dating from the mid-13th century to 1900. The Tate galleries house the national collections of British and international modern art; they also host the famously controversial Turner Prize. The Ashmolean Museum was founded in 1677 from the personal collection of Elias Ashmole, was set up in the University of Oxford to be open to the public and is considered by some to be the first modern public museum. In 2011 there were more than 1,600 museums in England. Most museums and art galleries are free of charge.

A blue plaque, the oldest historical marker scheme in the world, is a permanent sign installed in a public place in the UK to commemorate a link between that location and a famous person or event. The scheme was the brainchild of politician William Ewart in 1863 and was initiated in 1866.

It was formally established by the Royal Society of Arts in 1867, and since 1986 has been run by English Heritage. The first plaque was unveiled in 1867 to commemorate Lord Byron at his birthplace, 24 Holles Street, Cavendish Square, London. Examples that commemorate events include John Logie Baird’s first demonstration of the television at 22 Frith Street, Westminster, W1, London, and the first sub-4-minute mile run by Roger Bannister on 6 May 1954 at Oxford University’s Iffley Road Track.

Tourism plays a significant part in the economic life of England. In 2018, the United Kingdom as a whole was the world’s 10th most visited country for tourists, and 17 of the United Kingdom’s 25 UNESCO World Heritage Sites fall within England. VisitEngland is the official tourist board for England. VisitEngland’s stated mission is to build England’s tourism product, raise Britain’s profile worldwide, increase the volume and value of tourism exports and develop England and Britain’s visitor economy. In 2020, the Lonely Planet travel guide rated England as the second-best country to visit that year, after Bhutan.

The Parliamentary Under-Secretary of State for Arts, Heritage and Tourism is the minister with responsibility for over-tourism in England, including museums, art galleries, public libraries and the National Archives.

Literature Of England

Early authors such as Bede and Alcuin wrote in Latin. The period of Old English literature provided the epic poem Beowulf and the fragmentary The Battle of Maldon, the sombre and introspective The Seafarer, The Wanderer, the pious Dream of the Rood, The Order of the World, and the secular prose of the Anglo-Saxon Chronicle, along with Christian writings such as Judith, Cædmon’s Hymn and hagiographies. Following the Norman conquest, Latin continued amongst the educated classes, as well as Anglo-Norman literature.

Middle English literature emerged with Geoffrey Chaucer, author of The Canterbury Tales, along with Gower, the Pearl Poet and Langland. William of Ockham and Roger Bacon, who were Franciscans, were major philosophers of the Middle Ages. Julian of Norwich, who wrote Revelations of Divine Love, was a prominent Christian mystic. With the English Renaissance literature in the Early Modern English style appeared. William Shakespeare, whose works include Hamlet, Romeo and Juliet, Macbeth, and A Midsummer Night’s Dream, remains one of the most championed authors in English literature.

Christopher Marlowe, Edmund Spenser, Philip Sydney, Thomas Kyd, John Donne, and Ben Jonson are other established authors of the Elizabethan age. Francis Bacon and Thomas Hobbes wrote on empiricism and materialism, including the scientific method and social contract. Filmer wrote on the Divine Right of Kings. Marvell was the best-known poet of the Commonwealth, while John Milton authored Paradise Lost during the Restoration.

Some of the most prominent philosophers of the Enlightenment were John Locke, Thomas Paine, Samuel Johnson and Jeremy Bentham. More radical elements were later countered by Edmund Burke who is regarded as the founder of conservatism. The poet Alexander Pope with his satirical verse became well regarded. The English played a significant role in romanticism: Samuel Taylor Coleridge, Lord Byron, John Keats, Mary Shelley, Percy Bysshe Shelley, William Blake and William Wordsworth were major figures.

In response to the Industrial Revolution, agrarian writers sought a way between liberty and tradition; William Cobbett, G. K. Chesterton and Hilaire Belloc were the main exponents, while the founder of guild socialism, Arthur Penty, and cooperative movement advocate G. D. H. Cole are somewhat related. Empiricism continued through John Stuart Mill and Bertrand Russell, while Bernard Williams was involved in analytics. Authors from around the Victorian era include Charles Dickens, the Brontë sisters, Jane Austen, George Eliot, Rudyard Kipling, Thomas Hardy, H. G. Wells and Lewis Carroll. Since then England has continued to produce novelists such as George Orwell, D. H. Lawrence, Virginia Woolf, C. S. Lewis, Enid Blyton, Aldous Huxley, Agatha Christie, Terry Pratchett, J. R. R. Tolkien, and J. K. Rowling.

Due to the expansion of English into a world language during the British Empire, literature is now written in English across the world. Writers often associated with England or for expressing Englishness include Shakespeare (who produced two tetralogies of history plays about the English kings), Jane Austen, Arnold Bennett, and Rupert Brooke (whose poem “Grantchester” is often considered quintessentially English). Other writers are associated with specific regions of England; these include Charles Dickens (London), Thomas Hardy (Wessex), A. E. Housman (Shropshire), and the Lake Poets (the Lake District). The English playwright and poet William Shakespeare is widely regarded as the greatest dramatist of all time.

The 20th-century English crime writer Agatha Christie is the best-selling novelist of all time. Agatha Christie’s mystery novels are outsold only by Shakespeare and The Bible. Described as “perhaps the 20th century’s best chronicler of English culture”, the non-fiction works of George Orwell include The Road to Wigan Pier (1937), documenting his experience of working-class life in the north of England. Orwell’s eleven rules for making tea appear in his essay “A Nice Cup of Tea”, which was published in the London Evening Standard on 12 January 1946.

In 2003 the BBC carried out a UK survey entitled The Big Read to find the “nation’s best-loved novel” of all time, with works by English novelists J. R. R. Tolkien, Jane Austen, Philip Pullman, Douglas Adams and J. K. Rowling making up the top five on the list. In 2005, some 206,000 books were published in the United Kingdom and in 2006 it was the largest publisher of books in the world. The Royal Society of Literature was founded in 1820, by King George IV, to “reward literary merit and excite literary talent”. The society is a cultural tenant at London’s Somerset House.

The Music Of England

England has a long and rich musical history. In the United Kingdom, more people attend live music performances than football matches. The traditional folk music of England is centuries old and has contributed to several genres prominently; mostly sea shanties, jigs, hornpipes and dance music. It has its own distinct variations and regional peculiarities. Ballads featuring Robin Hood, printed by Wynkyn de Worde in the 16th century, are an important artefact, as are John Playford’s The Dancing Master and Robert Harley’s Roxburghe Ballads collections.

Some of the best-known songs are Greensleeves, Pastime with Good Company, Maggie May and Spanish Ladies amongst others. Many nursery rhymes are of English origin such as Mary, Mary, Quite Contrary, Roses Are Red, Jack and Jill, London Bridge Is Falling Down, The Grand Old Duke of York, Hey Diddle Diddle and Humpty Dumpty. Traditional English Christmas carols include We Wish You a Merry Christmas, The First Noel, I Saw Three Ships and God Rest You Merry, Gentlemen.

The United Kingdom has, like most European countries, undergone a roots revival in the last half of the 20th century. English music has been an instrumental and leading part of this phenomenon, which peaked at the end of the 1960s and into the 1970s. The English Musical Renaissance was a hypothetical development in the late 19th and early 20th century, when English composers, often those lecturing or trained at the Royal College of Music, were said to have freed themselves from foreign musical influences, to have begun writing in a distinctively national idiom, and to have equalled the achievement of composers in mainland Europe.

The achievements of the Anglican choral tradition following on from 16th-century composers such as Thomas Tallis, John Taverner and William Byrd have tended to overshadow instrumental composition. The semi-operatic innovations of Henry Purcell were significant. Classical music attracted much attention from 1784 with the formation of the Birmingham Triennial Music Festival, which was the longest running classical music festival of its kind until the final concerts in 1912. George Frideric Handel found important royal patrons and enthusiastic public support in England. He spent most of his composing life in London and became a national icon, creating some of the most well-known works of classical music, especially his English oratorios, The Messiah, Solomon, Water Music, and Music for the Royal Fireworks. One of Handel’s four Coronation Anthems, Zadok the Priest (1727), composed for the coronation of George II, has been performed at every subsequent British coronation, traditionally during the sovereign’s anointing. The Royal Academy of Music is the oldest conservatoire in the UK, founded in 1822 by John Fane and Nicolas-Charles Bochsa. It received its royal charter in 1830 from King George IV with the support of the first Duke of Wellington. Famous academy alumni include Sir Simon Rattle, Sir Harrison Birtwistle, Sir Elton John and Annie Lennox.

The emergence of figures such as Edward Elgar and Arthur Sullivan in the 19th century showed a new vitality in English music. In the 20th century, Benjamin Britten and Michael Tippett emerged as internationally recognised opera composers, and Ralph Vaughan Williams and others collected English folk tunes and adapted them to the concert hall. Cecil Sharp was a leading figure in the English folk revival. The Proms, an annual summer season of daily classical music concerts, is a significant event in British musical life. The Last Night of the Proms features patriotic music.

A new trend emerged from Liverpool in 1962. The Beatles became the most popular musicians of their time, and in the composing duo of John Lennon and Paul McCartney, popularized the concept of the self-contained music act. Before the Beatles, very few popular singers composed the tunes they performed. The “Fab Four” opened the doors for other acts from England such as The Rolling Stones, Led Zeppelin, Pink Floyd, Cream, The Kinks, The Who, Eric Clapton, David Bowie, Queen, Elton John, The Hollies, Black Sabbath, Deep Purple, Genesis, Dire Straits, Iron Maiden, The Police to the globe. Many musical genres have origins in (or strong associations with) England, such as British invasion, progressive rock, hard rock, Mod, glam rock, heavy metal, Britpop, indie rock, gothic rock, shoegazing, acid house, garage, trip hop, drum and bass and dubstep. The Sex Pistols and The Clash were pioneers of punk rock. Some of England’s leading contemporary artists include George Michael, Sting, Seal, Rod Stewart, The Smiths, The Stone Roses, Oasis, Blur, Radiohead, The Cure, Depeche Mode, Coldplay, Def Leppard, Muse, Arctic Monkeys, Amy Winehouse, Adele and Ed Sheeran.

The Cinema Of England

England (and the UK as a whole) has had a considerable influence on the history of the cinema, producing some of the greatest actors, directors and motion pictures of all time, including Alfred Hitchcock, Charlie Chaplin, David Lean, Laurence Olivier, Vivien Leigh, John Gielgud, Peter Sellers, Julie Andrews, Michael Caine, Gary Oldman, Helen Mirren, Kate Winslet and Daniel Day-Lewis. Hitchcock and Lean are among the most critically acclaimed of all time. Hitchcock’s first thriller, The Lodger: A Story of the London Fog (1926), helped shape the thriller genre in film, while his 1929 film, Blackmail, is often regarded as the first British sound feature film.

Major film studios in England include Pinewood, Elstree and Shepperton. Some of the most commercially successful films of all time have been produced in England, including two of the highest-grossing film franchises (Harry Potter and James Bond). Ealing Studios in London has a claim to being the oldest continuously working film studio in the world. Famous for recording many motion picture film scores, the London Symphony Orchestra first performed film music in 1935.

The BFI Top 100 British films include Monty Python’s Life of Brian (1979), a film regularly voted the funniest of all time by the UK public. English producers are also active in international co-productions and English actors, directors and crew feature regularly in Hollywood films. Ridley Scott was among a group of English filmmakers, including Tony Scott, Alan Parker, Hugh Hudson and Adrian Lyne, who emerged from making 1970s UK television commercials. The UK film council ranked David Yates, Christopher Nolan, Mike Newell, Ridley Scott and Paul Greengrass the five most commercially successful English directors since 2001. Other contemporary directors from England include Sam Mendes, Guy Ritchie and Steve McQueen. Current actors include Tom Hardy, Daniel Craig, Benedict Cumberbatch and Emma Watson. Acclaimed for his motion-capture work, Andy Serkis opened The Imaginarium Studios in London in 2011. The visual effects company Framestore in London has produced some of the most critically acclaimed special effects in modern film. Many successful Hollywood films have been based on English people, stories or events. The ‘English Cycle’ of Disney animated films include Alice in Wonderland, The Jungle Book, Robin Hood and Winnie the Pooh.

The Theatre Of England

The peak of English drama and theatre is said to be the Elizabethan Age; a golden age in English history where the arts, drama and creative work flourished. Morality plays emerged as a distinct dramatic form around 1400 and flourished in the early Elizabethan era in England. Characters were often used to represent different ethical ideals. Everyman, for example, includes such figures as Good Deeds, Knowledge and Strength, and this characterisation reinforces the conflict between good and evil for the audience. The Castle of Perseverance (c. 1400–1425) depicts an archetypal figure’s progress from birth through to death. Horestes (c. 1567), a late “hybrid morality” and one of the earliest examples of an English revenge play, brings together the classical story of Orestes with a Vice from the medieval allegorical tradition, alternating comic, slapstick scenes with serious, tragic ones. Also important in this period were the folk dramas of the Mummers Play, performed during the Christmas season. Court masques were particularly popular during the reign of Henry VIII. The first permanent English theatre, the Red Lion, opened in 1567. The first successful theatres, such as The Theatre, opened in 1576. The establishment of large and profitable public theatres was an essential enabling factor in the success of English Renaissance drama.

Archaeological excavations on the foundations of the Rose and the Globe in the late 20th century showed that all the London theatres had individual differences, but their common function necessitated a similar general plan. The public theatres were three stories high and built around an open space at the centre. Usually polygonal in plan to give an overall rounded effect, although the Red Bull and the first Fortune were square. The three levels of inward-facing galleries overlooked the open centre, into which jutted the stage: essentially a platform surrounded on three sides by the audience. The rear side was restricted for the entrances and exits of the actors and seating for the musicians. The upper level behind the stage could be used as a balcony, as in Romeo and Juliet and Antony and Cleopatra, or as a position from which an actor could harangue a crowd, as in Julius Caesar.

The playhouses were generally built with timber and plaster. Individual theatre descriptions give additional information about their construction, such as flint stones being used to build the Swan. Theatres were also constructed to be able to hold a large number of people. One of the main uses of costume during the Elizabethan era was to make up for the lack of scenery, set, and props on stage. It created a visual effect for the audience, and it was an integral part of the overall performance. Since the main visual appeal on stage were the costumes, they were often bright in colour and visually entrancing. Colours symbolised social hierarchy, and costumes were made to reflect that. For example, if a character was royalty, their costume would include purple. The colours, as well as the different fabrics of the costumes, allowed the audience to know the status of each character when they first appeared on stage.

The growing population of London, the growing wealth of its people, and their fondness for spectacle produced a dramatic literature of remarkable variety, quality, and extent. Genres of the period included the history play, which depicted English or European history. Shakespeare’s plays about the lives of kings, such as Richard III and Henry V, belong to this category, as do Christopher Marlowe’s Edward II and George Peele’s Famous Chronicle of King Edward the First. History plays dealt with more recent events, like A Larum for London which dramatizes the sack of Antwerp in 1576. Tragedy was a very popular genre. Marlowe’s tragedies were exceptionally successful, such as Dr. Faustus and The Jew of Malta. The audiences particularly liked revenge dramas, such as Thomas Kyd’s The Spanish Tragedy. The four tragedies considered to be Shakespeare’s greatest (Hamlet, Othello, King Lear, and Macbeth) were composed during this period.

Costumes were collected in inventory. More often than not, costumes wouldn’t be made individually to fit the actor. Instead, they would be selected out of the stock that theatre companies would keep. A theatre company reused costumes when possible and would rarely get new costumes made. Costumes themselves were expensive, so usually, players wore contemporary clothing regardless of the time period of the play. The most expensive pieces were given to higher class characters because costuming was used to identify social status on stage. The fabrics within a playhouse would indicate the wealth of the company itself. The fabrics used the most were: velvet, satin, silk, cloth-of-gold, lace, and ermine.

Comedies were common. A subgenre developed in this period was the city comedy, which deals satirically with life in London after the fashion of Roman New Comedy. Examples are Thomas Dekker’s The Shoemaker’s Holiday and Thomas Middleton’s A Chaste Maid in Cheapside. Though marginalised, the older genres like pastoral (The Faithful Shepherdess, 1608), and even the morality play (Four Plays in One, ca. 1608–13) could exert influences. After about 1610, the new hybrid subgenre of the tragicomedy enjoyed an efflorescence, as did the masque throughout the reigns of the first two Stuart kings, James I and Charles I.

The re-opening of the theatres in 1660 after the Restoration of Charles II signalled a renaissance of English drama. With the restoration of the monarch in 1660 came the restoration of and the reopening of the theatre. English comedies written and performed in the Restoration period from 1660 to 1710 are collectively called Restoration comedy. Restoration comedy is notorious for its sexual explicitness, a quality encouraged by Charles II (1660–1685) personally and by the rakish aristocratic ethos of his Royal court. For the first time, women were allowed to act, putting an end to the practice of the boy-player taking the parts of women. Socially diverse audiences included both aristocrats, their servants and hangers-on, and a substantial middle-class segment. Its dramatists stole freely from English Jacobean and Caroline plays, and even from Greek and Roman classical comedies, combining the various plotlines in adventurous ways.

Restoration audiences liked to see good triumph in their tragedies and rightful government restored. In comedy, they liked to see the love-lives of the young and fashionable, with a central couple bringing their courtship to a successful conclusion (often overcoming the opposition of the elders to do so). Heroines had to be chaste, but were independent-minded and outspoken; now that they were played by women, there was more mileage for the playwright in disguising them in men’s clothes or giving them narrow escape from rape. These playgoers were attracted to the comedies by up-to-the-minute topical writing, by crowded and bustling plots, by the introduction of the first professional actresses, and by the rise of the first celebrity actors. This period saw the first professional woman playwright, Aphra Behn. In the mid-1690s, a brief second Restoration comedy renaissance arose, aimed at a wider audience.

The unsentimental or “hard” comedies of John Dryden, William Wycherley, and George Etherege reflected the atmosphere at Court and celebrated with frankness an aristocratic macho lifestyle of unremitting sexual intrigue and conquest. The Earl of Rochester, real-life Restoration rake, courtier and poet, is flatteringly portrayed in Etherege’s The Man of Mode (1676) as a riotous, witty, intellectual, and sexually irresistible aristocrat, a template for posterity’s idea of the glamorous Restoration rake (actually never a very common character in Restoration comedy). The single play that does most to support the charge of obscenity levelled then and now at Restoration comedy is probably Wycherley’s masterpiece The Country Wife (1675), whose title contains a lewd pun and whose notorious “china scene” is a series of sustained double entendres.

During the second wave of Restoration comedy in the 1690s, the “softer” comedies of William Congreve and John Vanbrugh set out to appeal to a more socially diverse audience with a strong middle-class element, as well as to female spectators. The comic focus shifts from young lovers outwitting the older generation to the vicissitudes of marital relations. In Congreve’s Love for Love (1695) and The Way of the World (1700), the give-and-take set pieces of couples testing their attraction for one another have mutated into witty prenuptial debates on the eve of marriage, as in the latter’s famous “Proviso” scene. Vanbrugh’s The Provoked Wife (1697) has a light touch and more humanly recognisable characters, while The Relapse (1696) has been admired for its throwaway wit and the characterisation of Lord Foppington, an extravagant and affected burlesque fop with a dark side.

As a reaction to the decadence of Charles II era productions, sentimental comedy grew in popularity. This genre focused on encouraging virtuous behaviour by showing middle-class characters overcoming a series of moral trials. Playwrights like Colley Cibber and Richard Steele believed that humans were inherently good but capable of being led astray. Through plays such as The Conscious Lovers and Love’s Last Shift they strove to appeal to an audience’s noble sentiments so that viewers could be reformed. The Restoration spectacular hit the London public stage in the late 17th-century Restoration period, enthralling audiences with action, music, dance, moveable scenery, baroque illusionistic painting, gorgeous costumes, and special effects such as trapdoor tricks, “flying” actors, and fireworks.

Today there are a variety of theatres in London’s West End. Andrew Lloyd Webber dominated the West End for many years; his musicals also conquered Broadway and were made into films. The prestigious Royal Shakespeare Company operates out of Shakespeare’s hometown of Stratford-upon-Avon and performs primarily, but not exclusively, his works. Important modern playwrights are Alan Ayckbourn, John Osborne, Harold Pinter, Tom Stoppard and Arnold Wesker.

Read more about The Culture Of England here.

The above articles were taken from Wikipedia and are subject to change.

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