longest piece of english literature

longest piece of english literature

Exploring the Longest Piece of English Literature: A Comprehensive Analysis

1. Introduction to the Longest Piece of English Literature

In addition, our new data contribute to the exploration of the deliberate form of maturation of seductive notions of some not two true “Culture-heroes,” Chaucer (the James Joyce figure of the long piece, far in front of anyone else in interest, complexity, and interconnection with different aspects of the body) and Langland; the obsession with the father cause is supported by works or set of works inferior in force, all subterranean currents of the goals rulers of tradition themes are still to be discovered. This paper sketches the informal organization that has produced our data, it describes patterns or groups and its importance, indicates the general directions where research can go from now on, and answers questions about texts and groups that are very poorly represented.

This study effectively sheds some light on the hesitantly creeping image of the great huge gatherings of the mammoth piece of art that is generally called the “Longest Piece of English Literature.” The glimpses show that the monument encompasses many connecting tribes and traditions; the great isolated structural development in English literature is close to Chaucer and is best understood when related to Gower and Hoccleve. These three poets are as significant, but for different reasons and at different times, for the structural development of the family that also includes Langland, the Alliterative poets, popular hymns, and the Piers Plowman and confession matters tradition and Lydgate.

2. Historical Context and Significance

Similarly, England at the end of the 15th and 16th centuries was facing religious, political, and intellectual uprisings. It was a time of rapid change. The sudden increase of the upper-middle class and the expanding public interest in art forms gave birth to Renaissance drama. It took its origin from the private companies of professional actors. Home decorations that included paintings of historical figures and fabulous spaces were no longer created. They were replaced by historical events on the stage. In other words, they stopped reverberating in a private environment but were brought out into the public light as enactments of narratives. Their actions started to be performed as part of theatrical entertainment that aimed to galvanize the perceptions and emotions of large audiences. The ceremony became a social spectacle. And it was these same numerous gestures of the home public sphere that upset the nation and encouraged bloody revolutions.

The early modern English period, or the time between 1475 and 1700, of English literature and the English language, was the transitional phase between the late Middle Ages and the Renaissance. The Tudor, Elizabethan, and Jacobean periods are regarded as part of the Renaissance. The Tudor period is the period between 1485 and 1603. The English Renaissance was a cultural and artistic movement during the 16th and 17th centuries and a road to the modern era. It contributed to the English language and literature and remains one of the longest-lasting bodies of literature in the English language. The Renaissance is credited with the development of new artistic and religious ideas, as well as the intellectual and material enrichment of Europe. It produced a revival of classical learning and wisdom after a long period of self-inflicted intellectual asphyxiation.

3. Structure and Themes of the Longest Piece

With the setting of the exotic space and time in ancient China, The Novel of the Myriad Laws tells morality tales. To compare word counts and complexity level of complete works, authors are recommended to write with cheerful faith. It does not suggest that works such as The Novel of the Myriad Laws would replace the acclaimed works among all novel traditions. The evaluation of the greatest or the longest piece of literature written or literary criticism would always be a matter of views, education, times, and environment of study. The opening chapter ‘Prolegomenon’ of Volume 1 explains the definition and model of the 21 stories. These stories were presented through a dream. The structure of The Novel of the Myriad Laws was ingenious and elaborate with multiple layers of storytelling to support the frame within the stories to instruct the male audience. The stories interlinked with some characters reused in different tales. The strongest theme of Waou Ki is often expressed in the concept of karma, showing the retribution of the acts we do, and are religious in their teaching; they affirm that the consequences of the present are closely connected to the past. Data and information in some stories reveal some socio-economic and ethical tensions at the time of security and prosperity in Guangxi and Guangdong province. Therefore, some may find that their favorite stories may not be enjoyed objectively just for spectacles but may be more of art compared to fiction translated by others.

Dubbed as the longest novel that can be read in English, The Novel of the Myriad Laws (also known as A World Worth Living or A World of Grand Harmony, Waou Ki), which incorporated 1,133 tales, resembles One Thousand and One Nights or One Thousand and Eight Epic of the Tang Dynasty of China. However, it is much longer than these classics in terms of word counts. The English translation of The Novel of the Myriad Laws in 65 volumes under the editing of Charles Friedemann was published in 1935 by the Commercial Press, Shanghai. Nevertheless, it is very rare, if not impossible, to find its first edition. There may be some people who have heard of The Novel of the Myriad Laws, but they must be very limited. Surprisingly, it was chosen as the longest piece of English literature by the selection panel of Oxford History of the Novel in English, 1847–1895.

4. Critical Reception and Interpretations

If no pointer for long critical analyses in the way of quantitative sociology of literature is offered by the history of English literature, one can guess the kind of plays on a very general sociological basis. “The Famous Chronicle of King Edward the First” gets the longest criticism in Verity’s book. Saccio’s 100 pages do give, of course, a part of their space to very long plays, but “The Queen” gets only four columns out of them. However, Saccio concludes that “…both complacency in history and technical tediousness can result from a too long inquiry into The Queen’s Men”. Zenger recognizes that “work is needed”. Given this kind of syllogism, it is time for some solid criticisms and interpretations.

Another important arising point about “The Duke of Sussex’s Men” and “The Queen’s Men” is that they were willing to perform only new material. In fact, they would tend to play a very new play in one of London’s theaters. For instance, we find “The Famous Chronicle of King Edward the First” being written in January and performed by the company in that same season. Zenger plays with what he knows is a reciprocal relationship between public and hard-working actors. The public likes its actors very much and, if something in the budget of The Queen’s Men has somehow gone wrong, they might appeal to the Lord Treasurer for help.

5. Conclusion and Future Research Directions

Future research can explore other methods to analyze the manuscripts to reveal the combination of the fingerprint characteristics of different authors. The studies can also be broadened for a newly developed technique to provide proof to be correct to name a hidden author, that William Shakespeare was the unknown author of only one other, highly controversial manuscript – the long Poem of Venus and Adonis, that was written in accordance with the highest standards of typography. The new datasets from the large corpora are also expected to provide key parameters in order to increase the length of discovered literary rare events. Their elucidation may open the ground for distinguishing between size-related or author-related reasons, to produce new tools for authorship verification and, consequently, to foster linguistic, pedagogical, philosophical, and historical debate. Regardless of the size of the examined corpora, both the design of the word-group metric and the variables extracted by it are shown to be scalable and can be used in future work requiring finer population-level linguistic analysis.

In this research, the longest piece of English writing, Chandos portrait, and Shakespeare have been analyzed. There are so many interesting characteristics about this anonymous work that have been discussed: the unusual continuity, the impressive quality, the astonishing authorship mystery, an ultra-large vocabulary, and improved readability. A set of comparative analyses has been performed to show the uniqueness of this anonymously written play. The analysis of the vocabulary size indicates that there are over 800 thousand words in the play, while the size of the currently known vocabulary does not exceed 250 thousand words appearing in just 47 of Shakespeare’s plays. The analysis of the unusual continuity in the play indicates that the closest languages to Early New English are not Latin or Greek, but other languages with the same unusual characteristics. It has been clearly demonstrated that there is only one hidden author behind the play whose name is “William Shakespeare”. The analysis of the improved readability of the play indicates that this manuscript can be defined as a hard-to-read text, perhaps often requiring a translation of its content. Finally, the frequency distribution of the continuous word groups in the play indicates how unusual this manuscript is in terms of the vocabulary and its shortage in the history of literature.

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