Thomas Kyd A Dramatist Restored

Thomas Kyd A Dramatist Restored by Brian Vickers, published by Princeton University Press on November 19, 2024, is a comprehensive examination of the life and works of Thomas Kyd, a significant figure in Elizabethan drama. This edition spans 400 pages and presents a detailed analysis of Kyd’s accepted canon alongside three newly identified plays that Vickers attributes to him. The book aims to establish Kyd’s prominence as a major dramatist, particularly known for his influential work, The Spanish Tragedy.
In this groundbreaking study, Vickers explores Kyd’s contributions to the genre of revenge tragedy and his broader impact on British and Irish literature. The author delves into the historical context of Kyd’s career, discussing the challenges he faced during the plague years that led to the anonymous publication of many plays. By utilizing modern software to identify unique similarities in plot and language across Kyd’s works, Vickers provides a fresh perspective on the playwright’s oeuvre. This edition serves as a significant resource for those interested in literature and criticism, particularly within the movements and periods of Elizabethan drama.
Official synopsis Publisher
A groundbreaking new account of the author of The Spanish Tragedy that establishes him as a major Elizabethan dramatist
Thomas Kyd (1558–1594) was a highly regarded dramatist and the author of The Spanish Tragedy, the first revenge tragedy and the most influential Elizabethan play. In this first full study of his life and works, Brian Vickers discusses Kyd’s accepted canon as well as three additional plays Vickers has newly identified as having been written by Kyd—exciting discoveries that establish him as a major dramatist.
Thomas Dekker, a fellow Elizabethan dramatist, referred to “industrious Kyd,” which suggests a greater output than the three plays traditionally attributed to him—The Spanish Tragedy, Soliman and Perseda, and Cornelia. Kyd worked between 1585 and 1594, when the plague led to the anonymous publication of many plays because of the breakup of several London theatre companies. Researching this corpus, Vickers has identified Kyd’s authorship of three more plays: Arden of Faversham, the first domestic tragedy, King Leir and his three daughters, a tragicomedy that provided Shakespeare with his main source, and Fair Em, a love comedy. These attributions are based on two forms of evidence: unique similarities of plot between Kyd’s acknowledged and newly attributed plays and many unique phrases shared by all six plays as identified by modern software.
Discussing all the plays in detail and placing them in biographical and historical context, Thomas Kyd offers a major reassessment of an underappreciated Elizabethan playwright.
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