Thomas Middleton (1580 – July 1627) was an English Jacobean playwright and poet. Middleton stands with John Fletcher and Ben Jonson as among the most successful and prolific of playwrights who wrote their best plays during the Jacobean period. He was one of the few Renaissance dramatists to achieve equal success in comedy and tragedy. Also a prolific writer of masques and pageants, he remains one of the most noteworthy and distinctive of Jacobean dramatists.

Life
Middleton was born in London and baptised on 18 April 1580. He was the son of a bricklayer who had raised himself to the status of a gentleman and who, interestingly, owned property adjoining the Curtain theatre in Shoreditch.

Middleton attended Queen’s College, Oxford, matriculating in 1598, although he did not graduate. Before he left Oxford (sometime in 1600 or 1601), he wrote and published three long poems in popular Elizabethan styles; none appears to have been especially successful, and one, his book of satires, ran afoul of the Anglican Church's ban on verse satire and was burned. Nevertheless, his literary career was launched.
In the early 17th century, Middleton made a living writing topical pamphlets, including one—Penniless Parliament of Threadbare Poets—that enjoyed many reprintings as well as becoming the subject of a Parliamentary inquiry. At the same time, records in the diary of Philip Henslowe show that Middleton was writing for the Admiral's Men. Unlike Shakespeare, Middleton remained a free agent, able to write for whichever company hired him. His early dramatic career was marked by controversy. His friendship with Thomas Dekker brought him into conflict with Ben Jonson and George Chapman in the War of the Theatres. The grudge with Jonson continued as late as 1626, when Jonson's play The Staple of News indulges a slur on Middleton's great success, A Game at Chess.[1] It has been argued that Middleton's Inner Temple Masque (1619) sneers at Jonson (then absent in Scotland) as a "silenced bricklayer."[2]
In 1603, Middleton married. The same year, an outbreak of plague forced the closing of the theatres in London, and James I assumed the English throne. These events marked the beginning of Middleton's greatest period as a playwright. Having passed the time during the plague composing prose pamphlets (including a continuation of Thomas Nashe's Pierce Penniless), he returned to drama with great energy, producing close to a score of plays for several companies and in several genres, most notably city comedy and revenge tragedy. He continued his collaborations with Dekker, and the two produced The Roaring Girl, a biography of contemporary thief Mary Frith.
In the 1610s, Middleton began his fruitful collaboration with the actor William Rowley, producing Wit at Several Weapons and A Fair Quarrel; working alone he produced his comic masterpiece, A Chaste Maid in Cheapside, in 1613. His own plays from this decade reveal a somewhat mellowed temper; certainly there is no comedy among them with the satiric depth of Michaelmas Term and no tragedy as bloodthirsty as The Revenger's Tragedy. Middleton was also branching out into other dramatic endeavours; he was apparently called on to help revise Macbeth and Measure for Measure, and at the same time he was increasingly involved with civic pageants. This last connection was made official when, in 1620, he was appointed City Chronologer of the City of London. He held this post until his death in 1627, at which time it was passed to Jonson.
Middleton's official duties did not interrupt his dramatic writings; the 1620s saw the production of his and Rowley's tragedy The Changeling, and several tragicomedies. In 1624, he reached a pinnacle of notoriety when his dramatic allegory A Game at Chess was staged by the King's Men. The play used the conceit of a chess game to present and satirise the recent intrigues surrounding the Spanish Match. Though Middleton's approach was strongly patriotic, the Privy Council shut down the play after nine performances on the complaint of the Spanish ambassador. Middleton faced an unknown, but probably frightening, degree of punishment. Since no play later than A Game at Chess is recorded, it has been hypothesized that his punishment included a ban on writing for the stage.
Middleton died at his home in Newington Butts in 1627, and was buried on 4 July in St Mary's churchyard]
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لقطة من أحد عروض مسرحية "الأمور بخواتيمها" في لندنويمكن العثور على مزيد من الأمثلة على هذه المفردات "الحديثة" في النص وصياغته، والتي تبدو أقرب إلى أسلوب ميدلتون منها إلى أسلوب شكسبير. ويُعتقد على نطاق واسع أن إثبات تعاون شكسبير وميدلتون في كتابة "الأمور بخواتيمها" سوف يقدم إضاءة مثيرة على كيفية إنجاز شكسبير لمؤلفاته.