That Shakespeare Life

When we think of Shakespeare collaborating with another writer, the name John Fletcher quickly comes to mind. Together they penned Two Noble Kinsmen, All is True (also known as Henry VIII), and the now-lost play Cardenio. But what do we actually know about the working relationship between these two men? Did they sit down side-by-side at a table to write, or pass drafts back and forth in letters? Thanks to new research into the living arrangements of early modern Londoners, we have fresh insight into the possibility that Fletcher and Shakespeare were not just professional collaborators—but next-door neighbors. This week, we’re exploring the archival evidence that places them both on Bishopsgate Street in the late 16th century. Our guest is Domenico Lovascio, whose article “Giles, John, and Will: The Fletchers and Shakespeare in Bishopsgate Street, London, 1596” offers a compelling look at the real-life proximity of these famous playwrights. Hosted on Acast. See acast.com/privacy for more information.

In the year 1603, just as Shakespeare was writing Othello and the reign of Elizabeth I was transitioning to James I, Galileo Galilei—famous for exploring the heavens—was also measuring the invisible. Among his lesser-known inventions was a device called the thermoscope, an elegant glass instrument that could detect changes in temperature—centuries before the modern thermometer. Today, we call it the Galilean thermometer, named after Galileo because he discovered the principle that the density of a liquid changes in proportion to its temperature—a concept that set the foundations for modern meteorology. To help us explore how Galileo made his discoveries, exactly how a Galilean thermometer works, and how these scientific advancements were received in Shakespeare’s England, we’re joined by Dr. Dario Camuffo, author of extensive research on Galileo’s contributions to the measurement of temperature and the early development of thermometers. Hosted on Acast. See acast.com/privacy for more information.

“Bait the hook well; this fish will bite.” So says Benedick in Much Ado About Nothing, and he’s not alone—Shakespeare drops over 70 references to fish and fishing across his plays, from slippery metaphors to full-on fishing scenes, including actual Fishermen characters in Pericles. But behind those lines lies a very real part of daily life in Elizabethan England. In a world where Protestant reform gave rise to fish days on the calendar and entire industries formed around what came out of the water, one has to wonder: Where did all this fish actually come from? Who was catching it? What tools did they use? And could Shakespeare himself have cast a line into the Thames for a bit of dinner? Today, we’re casting our net into the past to find out. Joining us is historian Mark Ferguson, here to help us explore the methods, markets, and meaning behind commercial and sport fishing in Shakespeare’s England. Let’s dive in. Hosted on Acast. See acast.com/privacy for more information.

While Shakespeare’s plays are filled with references to ale and sack, wine played a central role in both the economy and social customs of Renaissance England. In this episode, we uncork the history of winemaking in Shakespeare’s lifetime—what kinds of grapes were grown, how wine was stored and served, and why a cold snap in the 1500s forever changed England’s vineyards. Our guest, winemaker and historian Stephen Franzoi, joins us to explore the world of Elizabethan viticulture and what Shakespeare himself might have been sipping. Hosted on Acast. See acast.com/privacy for more information.

“Romeo and Juliet” may be Shakespeare’s most famous love story—but it wasn’t entirely his own. Long before the Bard set quill to page, a tale of star-crossed lovers was already circulating in Europe. In this episode, we’re joined by filmmaker Timothy Scott Bogart, director of the new musical film Juliet & Romeo, which reimagines the lovers’ story in its earlier, 13th-century context. Together, we explore the poems, legends, and historical figures that shaped the world Shakespeare would later dramatize, and discuss how the shifting timeline—from medieval Italy to Renaissance England—changes the story we think we know. Hosted on Acast. See acast.com/privacy for more information.

Shakespeare wrote his play Hamlet in the early 1600s and by the late 1600s, well after the death of William Shakespeare in 1616, playing troupes are taking plays including Shakespeare’s Hamlet and other works by early modern playwrights, and turning them into performance adaptations using a new medium---specifically, they’re using puppets. Puppetry, marionettes, and glove puppets perform miniature versions of their human like counterparts as a popular form of theater entertainment for the 17th century. Our guest this week, Tiffany Stern, recently gave a lecture at the University of Birmingham, outlining how the examination of these puppet performances and how exploring the puppets themselves, like one that survives from the 17th century puppet named Amleto, suspiciously similar to the name Hamlet, can not only shed light on stereotypes that carry over from Shakespeare’s lifetime, but these puppets also influence how we understand what it means to be a storyteller. Hosted on Acast. See acast.com/privacy for more information.

Shakespeare uses the word “castle” over 40 times in his works. He talks about sieging a castle, the power of castle walls, and even mentions specific real life castles by name including Berkley Castle and “Pomfret” castle which is another name for Pontefract Castle, along with at least a dozen more. These castles were prominent features in the landscape of Shakespeare’s lifetime, playing roles both in their commanding presence on the visual horizon on the physical landscape, but also their place in society, monarchy, and the broader political landscape as well. In this week’s episode we’ll explore the castles of Shakespeare’s lifetime, looking at which castles were actively in use around England, as well as what they were used for, major events that occurred there, and which of these architectural giants survive to the present day, allowing us to visit them centuries later. Here this week to take us on a tour of the real castles mentioned in Shakespeare’s plays is our guest, Audrey Thorstad. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

In Merry Wives of Windsor, Falstaff says “the appetite of her eye did seem to scorch me up like a burning-glass!” Burning glasses were a specific kind of lens, that allowed you to harness the sun’s rays to create fire. They were a predesessor on the road to later lens construction that allowed for the convex shape which allows someone to create prescription glasses. In Shakespeare’s lifetime, a specific kind of spectacles known as aphakic spectacles were prescriped as a matter of routine in post operative care for someone that underwent a cataract surgery .Paintings from this tim period show a variety of spectacles and eyewear that were used in this time period, and Shakespeare’s plays themselves reveal the cultural impression of glasses and how they were perceived. Here today to explain the development of lenses form Shakespeare’s lifetime, the post operative care for cataract surgery in particular, and to tell us more about special lenses like “burning glasses” and “reading stones” are our guests and ophthalmological historians, Chris Leffler and Charles Letocha. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

Orlando, from the play As You Like It, talks about church bells knolling, and later in that same play, the Duke talks about how we “have with holy bell been knoll'd to church.” There’s a conversation in Act II of Pericles where two fishermen discuss a parish getting swallowed by a whale, and they refer to the parish as “The whole parish, church, steeple, bells, and all.” These references demonstrate the important cultural place of bells in England for Shakespeare’s lifetime. While Moses is credited with introducing bells to Jewish religion, Italian monks are given credit for introducing bells to Europe, with Saint Bede bringing them specifically to England when he introduced their use in funerals around 700 AD. By the time of William Shakespeare, metallurgy and construction had experienced a metamorphosis, with churches in Europe adopting not only intricate design, but seeking to increase both the size and the sound of their church bells. Here this week to tell us about the history, size, shape, sound, and technical process of building a church bell in Shakespeare’s lifetime, is our guest Guthrie Stewart Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

Elizabeth I is perhaps the most famous Queen of England, reigning from November 1558 until her death in 1603. When you study her life, you quickly learn that she was known as “the Virgin Queen” for her staunch stance against marriage. Despite directives from her court and intense peer pressure from those around her, Elizabeth faced down scandal, rumors, and suspicion throughout her reign, only to remain stalwart in her commitment to not only never marry, but to never be known as someone whose virginity was taken from her. Given that the royal lineage is so important not only in England, but in all monarchal governments, and that literal wars have been fought over the rightful heir to the throne, it is definitely a challenge to the status quo that Elizabeth not only did not produce an heir, but intentionally chose not to do so. Here this week to help us explore what this stance was like for people of England, why it was so important to Elizabeth that she risked so greatly to maintain her choice, as well what happened at her death that prevented a war from rising up with the lack of an heir, is our guest, British historian, and professional history podcaster, Carol Ann LLoyd. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

Since 1939, when Francios E. Matthas wrote it into scientific literature, the Little Ice Age has been known as a period in history between the 15th and 19th centuries, when the climate was significantly colder than what is typical. The history generally divides the Little Ice Age into sections, which alternate with periods of warming to create wild weather phenomena, including long frozen winters and cold, wet summers. According to the latest research from our guest this week, this Little Ice Age was delayed in England, specifically, not taking hold there until much later, in the first part of the 17th century. While continental Europeans encountered Little Ice Age conditions during the sixteenth century, the English population faced volatile seasonal variations with extremes of drought and severe storm weather and violent tidal surges. Our guest this week, Laurie Johnson, joins us to share some of the weather data he is compiling for his latest publication that looks at the impact of climate and weather on how we should understand the plays that were written as these climate phenomena were occurring, as well as the playing companies staging them. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

“Get me the ink and paper.” Cleopatra demands in Antony and Cleopatra (I.5) In Henry IV Part I, Peto says “Nothing but papers, my lord.” (II.4) These are just two of over 100 references to paper in Shakespeare's plays, with characters reading papers, carrying papers, delivering them, and of course, writing on papers. Naturally, the technology of paper itself isn’t that remarkable, being centuries older than Shakespeare, but what is surprising is that in addition to over 100 references to paper, Shakespeare’s plays also contain references to parchment, with Hamlet himself asking if parchment was made from sheepskins. There’s even a reference in Cymbeline to tablets. These words suggest that paper and parchment were common for Shakespeare’s lifetime, but as far as paper like material goes, there’s also canvas that some of the most famous 16th-17th century paintings were prepared upon, along with vellum, linen, and even wax tablets. With all of these options for what to write on, I wanted to learn more about how paper was made, what it was made from, whether Hamlet was right about parchment and sheep, and to know which of these options was most popular, and why. That’s why we are delighted to welcome Cathy Baker to the show today to help us explore the history of paper, vellum, and canvas, from Shakespeare’s lifetime. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

In Shakespeare’s play, Antony and Cleopatra, Cleopatra declares “It is my birth-day: I had thought to have held it poor: but, since my lord Is Antony again, I will be Cleopatra.” Indicating that she was relieved to be marking the occasion in a better way. Julius Ceasar, similarly declares in Act V, “This is my birth-day; as this very day was Cassius born.” In Pericles, the First Fisherman says “he hath a fair daughter, and to-morrow is her birth-day;” (Act II). In Shakespeare’s Hamlet, Marcellus talks about celebrating our Savior’s birth with singing. Other references to the day of one’s birth show up in Henry VI Part II the Earl of Suffolk talks about having a cunning old man calculate the day of his birth (Act IV), and later in that same act, Jack Cade talks about how his father was ignorant of both his birth and parentage. All of these mentions of birth days, their calculations, and their celebrations, has me wondering what exactly birthdays were like for Shakespeare’s England. We always celebrate Shakespeare’s birthday in style in around here, but would the bard have celebrated his own day of birth? To find out, we’ve invited one of the authors of the article “Debating the Birthday: Innovation and Resistance in Celebrating Children” Peter Stearns, to the show to day, to help us explore the history of marking a birthday with cakes, gifts, and a gathering of friends. Would this have occurred for Shakespeare’s lifetime? Let’s find out right now, on That Shakespeare Life. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

This week, we have a special opportunity here on the show to explore the Historic home of Shakespeare’s eldest daughter, Susanna Shakespeare Hall, that has been brought to life in a beautiful digital 3Dformat thanks to a pioneering new digital archive that has created an augmented reality exhibition that lets visitors like you and me, visit and virtually walk through Susanna’s home known as Hall’s Croft, from anywhere in the world. The 3D component allows users to bring 17th-century early modern objects into their own spaces using the AR feature, while the digital archive allows users to explore 3 rooms from Hall’s Croft from the comfort of their own homes. This week we are delighted to welcome Ailsa Grant Ferguson, the lead on this digital project, back to That Shakespeare Life, to tell us about the research that went into this program, what they learned about Hall’s Croft, and about Susanna Shakespeare through their research, and to share the details on how you can explore this 3D model for yourself. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

In Shakespeare’s plays, he talks about “Travel” or “Traveller” just under 80 times, including references that suggest people travelled by foot and by horse, the Queen Mab speech by Mercutio in Romeo and Juliet talks about a wagon used for transportation, and there are references that indicate there were items which would add comfort to someone’s travel, and one reference from Comedy of Errors talks about being “stiff and weary” from long travel. We also know that in a personal connection to William Shakespeare the man, playing companies often travelled around England visiting various inns and establishments of their patrons who hired out a production, this applied to the Lord Chamberlain’s Men as well. With all of this travel, it begs the question of exactly what getting around England, particularly in a large group, might have entailed. What kind of vehicles would have been traversing the cities and countryside for Shakespeare's England? Were there paved roads, dirt paths, or maybe cobblestone streets? What about rules of travelling such as stop signs, round abouts, or other kinds of travel infrastructure? Whose job was it to decide where a road would be put, and then who carried the responsibility of maintenance of the paths? Could you get a traffic ticket in Elizabethan England? Here today to help us answer these questions, including sharing with us what kind of vehicles travelled along England’s roadways in Shakespeare’s lifetime, details about what the roads were like, and the rules for travelling them, is our guest, Robert Bucholz. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

On previous episodes of That Shakespeare Life, we have talked about the numerous early modern card games that show up in Shakespeare’s plays, and even that Ferdinand and Miranda are playing the game of Chess in the Tempest. What you may be surprised to learn is that another form of early modern game playing—the game of dice—comes up over half a dozen times across Shakespeare’s works, with references to playing the game, using them to predict the future, and of course, losing at the game of dice. Dice was a huge sport for Elizabethan, and later Jacobean, England and here today to share with us about this history, what games were played, and some specifics on the history of the playing pieces themselves is Historic Games expert, Charles Knutson. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

In Shakespeare’s play, Macbeth, there’s a famous banquet scene, with a huge food spread and of course, a few ghosts because what’s a party without a few spectres, right? This scene is fictional, but it is based on a real historical person, the real King Macbeth of Scotland, and holding banquets in a castle absolutely happened. Here today to share with us what foods would have been eaten at the real banquet of the actual Macbeth is historical chef, and host of Tasting History on YouTube, Max Miller. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

The last time we talked about Judith Quiney was to discuss her youth as the younger sister of Susanna Shakespeare, the twin of Hamnet, and the overall blacksheep of her famous family due to her husband’s excommunication and the marriage scandal causing her father, William Shakespeare, to re-write his will to exclude Judith. The details of Judith Quiney’s life are as sparse, as they are tantalizing, and historical fiction has jumped on the opportunity to try and piece together the fragments. We welcome one such writer this week, Grace Tiffany, having just completed her second book on Judith Quiney, that offers a fictionalized rendering of what was possible for Judith in the second half of hr life, where she not only far outlived her scandalous youth, but she lived far beyond the life of her famous father, dying at the old age of 77 in 1662, close to 50 years after the death of Shakespeare himself. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

In As You Like It, Orlando says “Which I take to be either a fool or a cipher.” that’s one of a dozen references to ciphers in Shakespeare’s plays, which reflects the place of ciphers as a common way to keep secrets, particularly among the elite, for Shakespeare’s lifetime. One of the most famous ciphers for Shakespeare’s lifetime was written between 1578 and 1584, while Shakespeare was just getting his career started in London as a playwright, when they were written by none other than Mary, Queen of Scots. For 19 years prior to her execution, Mary Queen of Scots was imprisoned in England, and during that time, she wrote extensively, including letters in code. It was known that between 1578 and 1584, just 3 years before her death, Mary wrote a series of letters in code to the French ambassador, but those letters were considered to have been lost. Surprisingly, the letters survived, but because they consist of unreadable encoded text, no one knew what they were about, and they were stored away in unrelated collections in the National Library of France, where they went unexplored, until 400 years later. In 2023, an international team of codebreakers happened to stumble upon the documents when they were looking for historical ciphers in order to crack them. They not only found Mary’s lost letters, but managed to decode them, and present the contents to the world for the first time in almost half a millennia. Lead author and Israeli computer scientist, George Lasry, is here today to tell us about the team’s efforts, the decoding process, what Mary wrote, and why it was so important for the letters to be in cipher in the first place. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

A “Last Will and Testament” is a document listing out the instructions for how to handle your remaining worldly goods after your death. It is an opportunity for the living to share their wishes from beyond the grave. In As You Like It, Orlando mentions this practice by saying “...give me the poor allottery my father left me by testament; with that I will go buy my fortunes.” In Julius Caesar the group cries out “The will! the testament!” Again in In Timon of Athens, the Painter says “performance is a kind of will or testament which argues a great sickness in his judgment that makes it.” Obviously, Shakespeare’s making a metaphorical statement in that last use of will or testament, but the references declare a history here to documenting one’s final wishes and the process of carrying out your bequests. Here today to help us explore what wills and testaments were like for the 16-17th century, who wrote them, what they included, and taking a look at the details of Shakespeare’s own will and testament, is our guest and expert in the history of wills and testaments from the 16th all the way to the 19th centuries, Laura Sangha. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.