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The literary landscape of Elizabethan drama is undergoing a significant re-evaluation with the forthcoming publication of the second volume of The Collected Works of Thomas Kyd. Scholars are now attributing a substantially larger body of work to the 16th-century playwright, more than doubling the number of plays previously accepted as his own. This revised assessment challenges long-held assumptions about authorship, particularly regarding plays once attributed to William Shakespeare and Christopher Marlowe.

For centuries, Kyd was primarily known for The Spanish Tragedy, a groundbreaking revenge tragedy that captivated audiences in its time. Now, a team of nine scholars argues that Kyd was a “tragically neglected major playwright,” whose influence extends far beyond this single work. The new edition promises to reshape our understanding of a pivotal period in English literary history, broadening our appreciation for the breadth of dramatic output during the Elizabethan era.

Traditionally, Kyd’s accepted plays included The Spanish Tragedy, the love tragedy Soliman and Perseda, and the classical tragedy Cornelia. However, the new edition expands his canon to include works such as Arden of Faversham, a domestic tragedy, which is now solely attributed to Kyd, dismissing previous assumptions of Shakespeare’s involvement. This is the first time the play has been presented in a critical edition as Kyd’s work, despite a long history of association with him.

Dr. Darren Freebury-Jones, associate editor of the publication and a former academic at the Shakespeare Birthplace Trust, explained the scope of the revision. “Kyd’s canon has now been expanded from three plays to eight,” he said. “In the cases of Arden of Faversham, Fair Em, The Miller’s Daughter of Manchester and parts of Henry VI Part 1 and Edward III, this is the first time they have been presented in a critical, collected play edition as Kyd’s, despite a long history of these plays being associated with him.”

The scholars supporting these new attributions have employed a variety of analytical methods, including computational analysis of linguistic patterns and close examination of plot and character development. Evidence suggests that Henry VI Part 1 was a collaborative effort involving Kyd, Thomas Nashe, and Shakespeare, but not Marlowe, as previously believed. Similarly, Edward III is presented for the first time as a work by Thomas Kyd.

Freebury-Jones highlighted Kyd’s distinctive stylistic traits, differentiating him from Shakespeare. “Kyd is quite different from Shakespeare in several respects, particularly in terms of rhyme. He has this curious habit of breaking up his rhyme schemes. So, you’re reading his text, you’re thinking, ‘no, this is not rhyming’. And then a couple of lines later, you have a rhyming word.” He further noted that Arden of Faversham aligns with Kyd’s established vocabulary and stage direction conventions, such as the frequent leverage of “Then they” to begin stage directions, a unique characteristic in commercial drama of the period. He also pointed to recurring imagery, like “heart’s grief” and “fine device,” found consistently in Kyd’s plays but less common in the works of other playwrights, including Shakespeare.

Professor Sir Brian Vickers of the University of London, the general editor of the Kyd edition, emphasized the importance of recognizing Kyd’s contributions. “Apart from Shakespeare, Marlowe has enjoyed the most publicity of all the Elizabethan dramatists, although the number of plays that he actually wrote is extremely small,” Vickers stated. “This is partly the accident of being notorious, because he died in a terrible fight in a tavern in Deptford with a dagger thrust in his eye, which gives you a certain kudos.” He contrasted Marlowe’s notoriety with Kyd’s more unassuming career, describing him as a “serious writer, who just went about his business as one of the hard-working, conscientious writers who never became notorious.” Vickers believes Kyd’s plays deserve renewed attention on contemporary stages.

The re-evaluation of Kyd’s work isn’t simply about expanding his catalog; it’s about enriching our understanding of the entire Elizabethan theatrical landscape. By recognizing Kyd’s significant contributions, scholars hope to foster a more nuanced appreciation of Shakespeare’s work as well, viewing it within the context of the vibrant dramatic scene of the time. As Freebury-Jones suggests, comparing Shakespeare’s plays to those being performed concurrently can broaden our understanding of both.

The publication of The Collected Works of Thomas Kyd promises to spark further debate and research into the authorship of Elizabethan plays. The expanded canon will undoubtedly encourage renewed interest in staging Kyd’s works, offering audiences a fresh perspective on a previously underappreciated playwright. The impact of this scholarly work will likely be felt in classrooms and theaters for years to come, as Kyd takes his rightful place among the leading dramatists of his era.

What will be particularly fascinating to observe is how directors and actors approach these newly attributed plays, and whether audiences will embrace a more complete picture of Kyd’s dramatic vision. Share your thoughts in the comments below.

Riga, Latvia – A captivating exhibition showcasing the evolution of French design and craftsmanship, from the elegance of Art Deco to contemporary creations, has opened at the Decorative Arts and Design Museum. “Gobelins Colors: Modern Tapestries from the Mobilier National Collection, France” presents a unique opportunity to view pieces rarely seen outside of France, alongside a private collection of Daum Art Deco vases.

The exhibition builds upon a successful collaboration initiated in 2018 with the French Mobilier national (MN), the National Furniture Repository, coinciding with the 6th Riga International Triennial of Textile and Fibre Art. This ongoing partnership has fostered a valuable exchange of professional expertise, culminating in this new project that offers Latvian audiences a glimpse into the rich collection, highlighting the collaborative work of designers and artisans.

Since January 1, 2025, all significant manufacturing workshops have been consolidated under the National Manufactures, Sèvres and National Furniture Repository (Manufactures nationales, Sèvres &amp. Mobilier national). This state-administered institution, under the purview of the French Ministry of Culture, encompasses the Gobelins Tapestry Manufactory and Museum in Paris, the Beauvais Manufactory, the Sèvres Porcelain Manufactory and Museum, and other specialized workshops. With a history of supporting art and craftsmanship dating back to the 17th century, the organization’s mission is to preserve unique collections, restore them, and pass on artisanal skills and knowledge to future generations. It serves as a vital cultural heritage site and a key player in the development of contemporary decorative arts and design in France.

The combined decorative arts and crafts center produces and restores tens of thousands of pieces of furniture and objects for the decoration of public buildings in France and abroad. More than 340 employees are dedicated to maintaining and practicing the institution’s high level of expertise. The Research and Creation Workshop (ARC – Atelier de Recherche et de Création) promotes innovation in contemporary French design. Seven restoration workshops are divided into various specialties – wood, metal, and textiles. Mobilier national is committed to preserving and promoting cultural heritage while remaining firmly focused on the future to foster artistic creation and the vitality of modern design.

The Rise of Art Deco and French Design Innovation

In 1925, the French government launched the International Exhibition of Modern Decorative and Industrial Arts in Paris, aiming to showcase and celebrate French contemporary design. This innovative exhibition spurred the emergence of the Art Deco style worldwide, significantly influencing 20th-century design. Characterized by bold, symmetrical patterns, clean lines, and streamlined aerodynamic designs, Art Deco profoundly impacted architecture, furniture, and fashion, and continues to inspire today. Visitors to the Riga exhibition will be able to experience this influence firsthand, appreciating the exquisite selection of Daum Art Deco vases from the Esterkin family’s private collection.

Daum, a crystal studio located in Nancy, France, was founded in 1878 by Jean Daum (1825–1885), with his sons Auguste Daum (1853–1909) and Antonin Daum (1864–1931) overseeing its growth. The studio quickly became one of France’s most prominent glassmakers, even during the Art Nouveau period. Daum glassworks received a Grand Prix medal at the 1900 Exposition Universelle in Paris. The company competed with Gallé glass, and after Émile Gallé’s death in 1904, Daum became the leader in decorative glass in France, developing an original style during the Art Deco period.

Leonīds Esterkins acquired his first Daum Art Deco vase with a geometric pattern with little initial knowledge of the company’s rich history. This sparked a deeper investigation and passion, culminating in a remarkable private collection of the finest and most valuable Daum Art Deco glass. Esterkins is pleased to share his enthusiasm, introducing the Latvian public to an exceptional selection of pieces from his collection.

A Diverse Collection of French Masters

The exhibition at the Decorative Arts and Design Museum presents historically significant examples of design and craftsmanship spanning from the Art Deco period to the present day. The collection features works by renowned artists such as Leonetto Cappiello (1875–1942), Raoul Dufy (1877–1953), Jean Lurçat (1892–1966), Sonia Delaunay (1885–1979), Victor Vasarely (1906–1997), Sylvain Dubuisson (1946), and Philippe Starck (1949), among other notable French designers, artists, and architects.

The visual concept for the exhibition was created by internationally acclaimed Latvian designer Artūrs Analts, who aimed to emphasize the unique artistic quality and artisanal mastery of each exhibit.

Alongside the exhibition, a comprehensive program of accompanying events – including lectures, discussions about the traditions and evolution of the private collection in the 21st century, creative workshops, and panel discussions – will be offered to foster greater public understanding of the design industry and craftsmanship, as well as their development prospects.

The exhibition is organized in collaboration with long-standing partners of the Latvian National Museum of Art – the French Institute in Latvia and the French Embassy in Latvia. The museum expresses its gratitude for the support and recognition of the project’s importance from the State Culture Capital Foundation, Rietumu Bank, and the Future Support Foundation.

As the exhibition highlights the enduring legacy of French design, it also points to the ongoing evolution of craftsmanship and innovation. The continued collaboration between the Mobilier national and Latvian institutions promises further opportunities to explore and celebrate the intersection of art, design, and cultural heritage.

Share your thoughts and impressions of the exhibition in the comments below!