Podcast Summary: The History of Literature Episode 689: Thomas Kyd (with Brian Vickers) | My Last Book with Jonathan D.S. Schroeder Host: Jacke Wilson | Released: March 24, 2025

Introduction to Thomas Kyd and Brian Vickers

In Episode 689 of The History of Literature, host Jacke Wilson delves into the life and works of the Elizabethan playwright Thomas Kyd with esteemed scholar Brian Vickers. The episode not only explores Kyd's renowned play, The Spanish Tragedy, but also unveils Vickers' groundbreaking research attributing additional works to Kyd, potentially reshaping his place in literary history.

Thomas Kyd: Biography and Educational Background

Brian Vickers begins by painting a comprehensive picture of Thomas Kyd, born in 1558 to Francis Kyd, a scrivener in London. Kyd's upbringing in a literary household provided him with a robust education, primarily focused on Latin grammar and rhetoric—a common curriculum of Elizabethan grammar schools influenced by Erasmus.

Quote:
"Kidd's father was a scrivener. So that's a rather restricted background, but nonetheless something that gave him fluency in the English and the Latin language."
— Brian Vickers [04:22]

Despite his solid educational foundation, much of Kyd's personal life remains obscure, a typical scenario for many playwrights of the era who operated outside the spotlight enjoyed by contemporaries like Shakespeare and Ben Jonson.

The Spanish Tragedy: A Revolutionary Play

The Spanish Tragedy stands as Kyd's most significant contribution to Elizabethan theatre. Vickers highlights its success and groundbreaking elements, particularly its focus on revenge—a theme that would later be prominent in Shakespeare's works.

Quote:
"The Spanish tragedy was an absolute money spinner, an absolute box office success because of the dramatic end."
— Brian Vickers [12:10]

The play's protagonist, Hieronymo, embodies the archetype of a revenge hero, setting a precedent for complex characters in subsequent tragedies.

Influence on Shakespeare's Hamlet

Vickers draws a direct line of influence from The Spanish Tragedy to Shakespeare's Hamlet. He points out structural and thematic similarities, such as the revenge-driven narrative and the use of a play within a play to reveal truth and instigate action.

Quote:
"Hieronymo as the solo hero is very much the model for Hamlet."
— Brian Vickers [15:05]

This connection underscores Kyd's pivotal role in shaping the trajectory of English drama.

Expanding Kyd's Literary Corpus: New Attributions

Challenging traditional literary boundaries, Vickers presents his research attributing three additional plays to Thomas Kyd: Arden of Faversham, Fair M, and a distinct version of King Lear spelled as L.E.I.R. These works, previously attributed to other playwrights or left anonymous, showcase Kyd's versatility beyond tragedy into genres like comedy and romance.

Quote:
"If you're a careful reader, you will notice these phrases cropping up. But you can now find them much more accurately by running a computer,—running a playtext through a computer."
— Brian Vickers [19:07]

Methodology: Unveiling Authorship Through Linguistic Analysis

Vickers elaborates on his methodological approach, combining traditional literary analysis with modern computational techniques to identify distinctive phraseology consistent across the attributed works. This rigorous analysis strengthens the case for Kyd's authorship, moving beyond mere stylistic similarities to substantive linguistic evidence.

Elizabethan Play Attribution Practices

The episode sheds light on the norms of play attribution in Elizabethan England, where plays were often published without authors’ names, favoring the theatre company's ownership over individual recognition. This historical context explains the anonymity surrounding many playwrights, including Kyd.

Quote:
"In the Elizabethan theater... the plays only ever advertised the play, not the author."
— Brian Vickers [21:46]

Reception and Academic Pushback

Vickers anticipates and addresses potential criticism of his assertions, recounting instances of pushback from established academics. Notably, he references a contentious review by Emma Smith in the Times Literary Supplement, which he disputes by highlighting prior negative interactions unrelated to his scholarly work.

Quote:
"I had criticized some years ago... I hate to say this, but by an English academic whose work I had criticized some years ago."
— Brian Vickers [30:47]

This segment underscores the contentious nature of literary attribution and the challenges faced when proposing revisions to established historical narratives.

Implications for Literary History

By attributing additional plays to Kyd, Vickers not only enriches our understanding of his oeuvre but also emphasizes the collaborative and often anonymous nature of Elizabethan theatre. This reassessment invites scholars to reconsider Kyd's influence and legacy within the broader tapestry of English literature.

Quote:
"It changes it in the sense that we can now see him not as a one-off playwright, as if he'd simply written this great tragedy, but as a playwright who wrote for Theatre Company and wrote them a play in the genre that they wanted."
— Brian Vickers [27:12]

Conclusion: Future Directions and Final Thoughts

The episode concludes with an optimistic outlook on potential future discoveries in Elizabethan drama, though Vickers remains cautious about the likelihood of unearthing additional significant works by Kyd. The conversation invites listeners to engage with the ongoing scholarship and consider the dynamic nature of literary history.

Quote:
"I mean, I've stuck my neck out, obviously, attributing Arden of Faversham and Fair M to him. And no doubt I shall get some very critical book reviews."
— Brian Vickers [30:20]

Final Remarks

Jacke Wilson wraps up the episode by acknowledging the contributions of both Brian Vickers and Jonathan D.S. Schroeder, hinting at future episodes exploring diverse literary figures and themes. Listeners are encouraged to stay tuned for upcoming discussions on iconic authors and intriguing literary phenomena.

Notable Quotes Summary:

1. Brian Vickers [04:22]:
   "Kidd's father was a scrivener. So that's a rather restricted background, but nonetheless something that gave him fluency in the English and the Latin language."

2. Brian Vickers [12:10]:
   "The Spanish tragedy was an absolute money spinner, an absolute box office success because of the dramatic end."

3. Brian Vickers [15:05]:
   "Hieronymo as the solo hero is very much the model for Hamlet."

4. Brian Vickers [19:07]:
   "If you're a careful reader, you will notice these phrases cropping up. But you can now find them much more accurately by running a computer,—running a playtext through a computer."

5. Brian Vickers [21:46]:
   "In the Elizabethan theater... the plays only ever advertised the play, not the author."

6. Brian Vickers [30:47]:
   "I had criticized some years ago... I hate to say this, but by an English academic whose work I had criticized some years ago."

7. Brian Vickers [27:12]:
   "It changes it in the sense that we can now see him not as a one-off playwright, as if he'd simply written this great tragedy, but as a playwright who wrote for Theatre Company and wrote them a play in the genre that they wanted."

8. Brian Vickers [30:20]:
   "I mean, I've stuck my neck out, obviously, attributing Arden of Faversham and Fair M to him. And no doubt I shall get some very critical book reviews."

This episode offers a compelling exploration of Thomas Kyd's contributions to Elizabethan literature and highlights the evolving nature of literary scholarship. Brian Vickers' research not only honors Kyd's legacy but also invites listeners to reconsider the intricate web of influences that shape literary history.