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Literature in early modern Scotland
Literature in early modern Scotland is literature written in Scotland or by Scottish writers between the Renaissance in the early sixteenth century and the beginnings of the Enlightenment and Industrial Revolution in mid-eighteenth century. By the beginning of this era Gaelic had been in geographical decline for three centuries and had begun to be a second class language, confined to the Highlands and Islands. The tradition of Classic Gaelic Poetry survived longer in Scotland than in Ireland. Gaelic was gradually being overtaken by Middle Scots, which became the language of both the nobility and the majority population. The establishment of a printing press under royal patent in 1507 would begin to make it easier to disseminate Scottish literature and was probably aimed at bolstering Scottish national identity.
James IV's creation of a Renaissance court included the patronage of poets, or makars who were mainly clerics. These included Robert Henryson, William Dunbar and Gavin Douglas, whose ''Eneados'' (1513) was the first complete translation of a major classical text in an Anglian language. James V supported William Stewart and John Bellenden and David Lyndsay. George Buchanan had a major influence as a Latin poet, founding a tradition of neo-Latin poetry. In the reign of Mary, Queen of Scots and the minority of her son James VI, cultural pursuits were limited by the lack of a royal court and by political turmoil. The Kirk, heavily influenced by Calvinism, also discouraged poetry that was not devotional in nature. Nevertheless poets from this period included Richard Maitland of Lethington, John Rolland, Alexander Hume and Alexander Scott. In the 1580s and 1590s James VI promoted the literature of the country of his birth in Scots. He became patron and member of a loose circle of Scottish Jacobean court poets and musicians, later called the Castalian Band, which included William Fowler, John Stewart of Baldynneis and Alexander Montgomerie. Later poets that followed in this vein included William Alexander, Alexander Craig and Robert Ayton. David Lyndsay's ''The Thrie Estaitis'' (1540) is the only complete play to survive from before the Reformation. Buchanan was major influence on Continental theatre, but his impact in Scotland was limited by his choice of Latin as a medium. Isolated plays from this period include the anonymous ''The Maner of the Cyring of ane Play'' (before 1568) and ''Philotus'' (published in London in 1603). The same system of professional companies of players and theatres that developed in England in this period was absent in Scotland.
The loss of the court as a centre of patronage in 1603 was a major blow to Scottish literature. After his accession to the English throne, James VI increasingly favoured the language of southern England. A number of Scottish poets, including William Alexander, John Murray and Robert Aytoun, accompanied the king to London, where they continued to write, but they began to anglicise their written language. As the tradition of classical Gaelic poetry declined, a new tradition of vernacular Gaelic poetry began to emerge, often undertaken by women, such as Mary MacLeod of Harris. The tradition of neo-Latin poetry reached its fruition with the publication of the anthology of the ''Deliciae Poetarum Scotorum'' (1637). This period was marked by the work of the first named female Scottish poets, such as Elizabeth Melville, whose ''Ane Godlie Dream'' (1603) was the first book published by a woman in Scotland. This was the period when the ballad emerged as a significant written form in Scotland. From the seventeenth century they were used as a literary form by aristocratic authors including Robert Sempill, Lady Elizabeth Wardlaw and Lady Grizel Baillie.
After the Union in 1707 and the shift of political power to England, the use of Scots was discouraged by many in authority and education. Allan Ramsay was the most important literary figure of the era, often described as leading a "vernacular revival". He laid the foundations of a reawakening of interest in older Scottish literature, led the trend for pastoral poetry and his pastoral opera ''The Gentle Shepherd'' was one of the most influential works of the era. He would also play a leading role in supporting drama in Scotland and the attempt to found a permanent theatre in the capital. Ramsay was part of a community of poets working in Scots and English that included William Hamilton of Gilbertfield, Robert Crawford, Alexander Ross, William Hamilton of Bangour, Alison Rutherford Cockburn and James Thompson's. Tobias Smollett was a poet, essayist, satirist and playwright, but is best known for his picaresque novels, for which he is often seen as Scotland's first novelist. The early eighteenth century was also a period of innovation in Gaelic vernacular poetry. Major figures included Rob Donn Mackay, Duncan Ban MacIntyre and Alasdair MacDonald, who mixed traditional forms with influences from the Lowlands. Drama was pursued by Scottish playwrights in London such as Catherine Trotter, David Crawford's and Newburgh Hamilton who wrote the libretto for Handel’s ''Samson'' (1743). James Thompson and David Mallet also wrote individual plays and collaborated with composer Thomas Arne on the opera ''Masque of Alfred'' (1740), with Thompson supplying the lyrics for the patriotic song ''Rule, Britannia!''. In Scotland drama was supplied by visiting English players and actors, but there were clashes with the Kirk. Ramsay was instrumental in establishing a small theatre in Carruber's Close in Edinburgh, but it closed soon after the passing of the 1737 Licensing Act. A new theatre was opened at Cannongate in 1747 and operated without a licence into the 1760s.
==Sixteenth century==
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