circle of Scottish Jacobean court poets and musicians, later called the Castalian Band, which included William Fowler (c. 1560 – 1612), John Stewart of Baldynneis (c. 1545 – c. 1605), and Alexander Montgomerie (c. 1550 – 1598). They translated key Renaissance texts and produced poems using French forms, including sonnets and short sonnets, for narrative, nature description, satire and meditations on love. Later poets that followed in this vein included William Alexander (c. 1567 – 1640), Alexander Craig (c. 1567 – 1627) and Robert Ayton (1570–1627). By the late 1590s the king's championing of his native Scottish tradition was to some extent diffused by the prospect of inheriting of the English throne. In drama Lyndsay produced an interlude at Linlithgow Palace for the king and queen thought to be a version of his play The Thrie Estaitis in 1540, which satirised the corruption of church and state, and which is the only complete play to survive from before the Reformation. The anonymous The Maner of the Cyring of ane Play (before 1568) and Philotus (published in London in 1603), are isolated examples of surviving plays. The latter is a vernacular Scots comedy of errors, probably designed for court performance for Mary, Queen of Scots or James VI. Decline Having extolled the virtues of Scots "poesie", after his accession to the English throne, James VI increasingly favoured the language of southern England. In 1611 the Kirk adopted the English Authorised King James Version of the Bible. In 1617 interpreters were declared no longer necessary in the port of London because Scots and Englishmen were now "not so far different bot ane understandeth ane uther". Jenny Wormald, describes James as creating a "three-tier system, with Gaelic at the bottom and English at the top". The loss of the court as a centre of patronage in 1603 was a major blow to Scottish literature. 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 soon began to anglicise their written language. James's characteristic role as active literary participant and patron in the English court made him a defining figure for English Renaissance poetry and drama, which would reach a pinnacle of achievement in his reign, but his patronage for the high style in his own Scottish tradition largely became sidelined. The only significant court poet to continue to