Prepare to have your understanding of Elizabethan theater shaken! The number of plays credited to Thomas Kyd, a 16th-century playwright often overshadowed by Shakespeare and Marlowe, has more than doubled in a groundbreaking new edition of his collected works. But here's where it gets controversial: some of these plays were previously attributed to the Bard himself or the notorious Christopher Marlowe. Could this rewrite the history of English drama as we know it?
The second volume of The Collected Works of Thomas Kyd boldly argues that Kyd either solely or partially authored several plays long associated with his more famous contemporaries. Traditionally, Kyd’s canon included just three plays: The Spanish Tragedy, a gripping revenge drama; Soliman and Perseda, a heart-wrenching love tragedy; and Cornelia, a classical tragedy. Now, his repertoire expands to include works like Arden of Faversham, a domestic tragedy once mistakenly linked to Shakespeare. And this is the part most people miss: this is the first critical edition of Kyd’s works since 1901, positioning him as a “tragically neglected major playwright” who deserves a place alongside the greats of the Elizabethan era.
Dr. Darren Freebury-Jones, associate editor of the publication and former academic at the Shakespeare Birthplace Trust, explains, “Kyd’s canon has grown from three plays to eight. Plays like Arden of Faversham, Fair Em, The Miller’s Daughter of Manchester, and parts of Henry VI Part 1 and Edward III are now firmly attributed to him, despite their long-standing association with other playwrights.” The evidence? A meticulous blend of computational linguistic analysis, plot similarities, and character development. For instance, Henry VI Part 1 is now credited to Kyd, Thomas Nashe, and Shakespeare, but not Marlowe, as previously thought.
Here’s where it gets even more intriguing: Kyd’s writing style is distinct from Shakespeare’s, particularly in his use of rhyme. Freebury-Jones notes, “Kyd has this curious habit of breaking up his rhyme schemes. You’re reading along, thinking it’s not rhyming, and then—bam—a rhyming word appears a few lines later.” This uniqueness extends to Arden of Faversham, which aligns closely with Kyd’s vocabulary and stage directions, such as the phrase ‘Then they,’ a hallmark of his work. Even specific repetitions, like ‘heart’s grief’ and ‘fine device,’ appear in Kyd’s plays but are absent in Shakespeare’s larger body of work.
But why does this matter? Freebury-Jones argues, “By comparing Shakespeare’s plays to those of his contemporaries like Kyd, we can deepen our appreciation and understanding of his genius.” Is Kyd’s newfound recognition a threat to Shakespeare’s legacy, or does it enrich our view of the era?
Prof Sir Brian Vickers, general editor of the Kyd edition, adds a provocative twist: “Marlowe’s fame is partly due to his dramatic death—a dagger in the eye during a tavern brawl. Kyd, on the other hand, was a serious, hard-working writer who never sought notoriety. Yet, his plays deserve to be staged today.”
This rediscovery of Kyd’s work not only broadens our understanding of Elizabethan theater but also challenges us to rethink the narratives we’ve long accepted. Does Kyd’s expanded canon deserve a place in the spotlight, or is this just academic overreach? Let us know your thoughts in the comments—this debate is far from over. The Collected Works of Thomas Kyd: Volume 2 will be published in April, and it’s sure to spark conversations for years to come.
