That Shakespeare Life

In Shakespeare’s Twelfth Night, Act III, Sir Toby Belch uses the Great Bed of Ware in England as a measuring stick for something that is impossibly large. The Great Bed of Ware is a real bed, as it was in Shakespeare’s lifetime, that was made for travelers to use when staying at an inn. The bed itself is, as Sir Toby suggests, impossibly large, with sleeping capacity for up to 9 people! Here today to tell us about the history and importance of The Great Bed of Ware, is our guest and Curator, Furniture and Woodwork 1300-1700 at the Victoria and Albert Museum where the Great Bed of Ware is part of the collections, Nick Humphrey.  Hosted on Acast. See acast.com/privacy for more information.

When we look back at the study of Shakespeare’s plays, the question always come to mind about how much can we know about the actual William Shakespeare from the pieces of artwork, plays, and even legal documents that survive about his life. No one has done more study of the plays of William Shakespeare nor understands more about his life in turn of the 17th century England than our guest today, Stanley Wells, President of Shakespeare Birthplace Trust, who joins us to share about his latest book answering the question “What was Shakespeare Really Like”  Hosted on Acast. See acast.com/privacy for more information.

A short notice for you ahead of today’s episode, I apologize for the general gruff sounding voice today, I am recovering from a cold and struggling through a horrible cough that threatens to take my voice completely. But never fear! As a true performance professional, the show must go on! Therefore, I am armed with three cups of chamomile tea, a large bottle of water, and an excellent audio editor who will remove any coughs. Therefore, without more ado, let’s dive in to the history. Profanity is a term we use to describe naughty words, but as a definition, profanity is anything that happens when specific religious terms get stolen from their original intent and applied with manipulated meaning. Think of words like damn or hell. They are appropriate when used in context of their biblical meaning, but offensive when you hear them in an action movie, for example. When it comes to the origin of curse words, the Latin term “profanus” actually meant “outside the temple” to signify terms that desecrated what wa

In the play, Merry Wives of Windsor, Falstaff declares “Let the sky rain potatoes!” what’s unique about this quote, despite Falstaff calling for root vegetables to rain down from the sky which is of course, weird on its’ own, but potatoes on the whole were brand new to England at the exact time Shakespeare was including this quote in his play. Merry Wives of Windsor was written towards the end of the 16th century—between 1597 and 1601. Potatoes are thought to have arrived in the late 1580s or early 1590s. Once the potato arrived in Europe it was used for medicine, grown by some gardeners for their flowers, and in 1597, the same time frame we think Merry Wives of Windsor was writtne, John Gerard added the first printed picture of the potato to Herball (although he thought that the potato was native to Virginia). Here today to help us sort through what it was like to see a potatoe for the first time, as well as how potatoes were used in Shakespeare’s lifetime is our guest and expert in the history of plants, Sa

After we published our episode here on That Shakespeare Life about the Duncan portrait of William Shakespeare, I received an email from Steve Wadlow, telling me about the history of a portrait that had been hanging in his family home for years that a visiting Shakespeare scholar indicated might be William Shakespeare, and suggested Steve look into the provenance further. With no prior experience in Shakespeare history or indeed even the art world, Steve dove headlong into finding out where this painting had come from originally and exactly who the person in the picture was, since the image was strikingly similar to the Cobbe portrait of William Shakespeare. Here today to tell us what he found out and whether or not this painting is of William Shakespeare is our guest, and newly minted art historian, Steve Wadlow.   Hosted on Acast. See acast.com/privacy for more information.

In Shakespeare’s in Henry IV, Part 2, Falstaff has the line: “his wit's as thick as Tewkesbury Mustard” (Act 2, Scene 4). Falstaff is describing his friend Ned Poins, but it presents the question of what was Tewkesbury Mustard? Turns out this particular mustard developed in a small town of England called Tewkesbury, and it was not only popular in Shakespeare’s lifetime, but during the 17th century it was considered a staple condiment in kitchens of this time period. Amazingly, the mustard has not only survived the centuries but is still being made exactly the way it was for Shakespeare’s lifetime right in Tewkesbury at the Tewkesbury Mustard Company. We are delighted to have Robin Ritchie who is founder and Mustard Master Emeritus at the Tewkesbury Mustard Company to share with us the history of this mustard, how it is made, and how you can enjoy some for yourself. Hosted on Acast. See acast.com/privacy for more information.

In Shakespeare’s play, Measure for Measure, there’s a fictional court case against Claudio for extra-marital misconduct. The play separately asks the audience to pass judgement on Angelo regarding a marriage pre-contract that was known as a “Spousal” contract for Shakespeare’s lifetime. In 1604, when Measure for Measure was first performed, these cases of immoral behavior were being tried in real life in what were known as “ecclesiastical courts,” or colloquially, the “Bawdy Courts.” Many of the real people that had been brought up on charges in these bawdy court cases were members of the audience being addressed by the play’s fictional court portrayal. It was this same year that church courts started cracking down on engaged couples who were becoming secretly engaged or “bethrothed” to one another without witnesses or parental consent. Here today to tell us about the battle between civil and canon law that governed couples intending to get married and the specific changes to the canonical law that occured in

In his 1611 English to French dictionary, Randle Cotgrave defines the exclamation point as “the point of admiration and detestation” While credit for the original creation of the exclamation point is given to Alpoleio da Urbisaglia, the current version of the exclamation point that we know today developed between 1400-1600, during the time WIlliam Shakespeare was penning over 6000 uses of exclamation points we can find in his works. In the absence of emojis, punctuation was the way that writers communicated varying emotion and called attention to important sections of a play or story that needed to be given more oomph. Our guest this week, Florence Hazrat, has completed the book “An Admirable Point: a Brief History of the Exclamation Point” and joins us today to share some of the history of where this bit of English grammar originated and how it was being used in Shakespeare’s lifetime.   Hosted on Acast. See acast.com/privacy for more information.

When it comes to stepping back into the life of William Shakespeare and walking around the streets of London to see what the sights, sounds, smells, people and places were really like, no one does that better than a time traveler. In order to take just such a trip and take a short jaunt down a London street during the 16th century, we are delighted to welcome a man who is a listener favorite and longtime listener-requested guest, the history time traveler himself, and author of The Time Traveler’s Guide to Elizabethan England, Ian Mortimer, to the show today.   Hosted on Acast. See acast.com/privacy for more information.

One of Shakespeare’s strongest characters is Queen Margaret who, as a consequence of her husband’s bouts with insanity, finds it necessary to lead not only a country, but to stand at the helm of an entire army, leading England’s military into battle and winning. It is an important story in the history of the War of the Roses, and one that Jared Kirby and Hudson Classical Theater decided to take on this year. Jared is a celebrated fight director and took on the challenge of staging entire battle scenes on stage for this production, and he joins us today to talk with us about how Shakespeare would have staged these battle scenes in the 16th century and how it works to stay true to history when staging these plays today.   Hosted on Acast. See acast.com/privacy for more information.

In the 16th century, one man from Norwich, Thomas Sotherton, wanted to encourage these refugees to settle in Norfolk, specifically, because the immigrant’s skills in textile weaving made them valuable to the economy. To that end, he setup what became known as Stranger’s Hall, where the immigrants could live and work. The property was owned by people who would have used the property for business and living accommodation, which was common practice for mediaeval merchants’ dwellings. Therefore, Strangers’ wasn’t built or established for the Strangers arriving in 1565 but was used by them as an available property. Only one known family lived in the Hall from 1567. The letter written by the family lodging at Strangers refers to it as Master Sotherton’s property in the High Street. The hall is a museum today that and we are delighted to welcomemuseum's assistant curator of social history, Bethan Holdrige, to the show today to tell us about the history of Stranger’s Hall and the impact of the influx of refugees to t

In 1584, Spain dominated the coasts of Central and South America, the Carribean, and modern day Florida. England, under the rule of Elizabeth I, sought to disrupt and overthrow this control by establishing colonies in the New World. Not only would these colonies help provide a buffer against Spain’s control, but it also helped set up a home base for England’s privateering, which allowed English ships to attack Spanish ships, stealing treasure and gaining control of Spanish trade routes in the region. One of England’s most famous privateers, Sir Walter Raleigh, with the blessing of Queen Elizabeth, sent a reconnaissance expedition to the New World in April, 1584, they arrived in present day North Carolina in July of 1584, and would go on to establish the first English colony in the united States, Roanoke Colony, in 1587. At this site today, Fort Raleigh, named after Sir Walter Raleigh, preserved the history of Roanoke Colony and National Park Guide Josh Nelson joins us to today to tell us about the Elizabethan

During his lifetime, only about half of Shakespeare’s plays were available in printed versions.That meant that there were several of Shakespeare’s plays that weren’t available in printed form at all while the bard was alive. So how do we know about those plays today if there weren’t any written records? They survive through a book called the First Folio. There are at least 18 plays from Shakespeare’s works that we only have today because of the printing of the First Folio that happened in 1623. If you have heard about the printing of the first Folio then you’ll probably recognize the names Heminges and Condell, Shakespeare's friends and colleagues, who are often regarded as the authors of the First Folio. What the history shows us, however is that the making of First Folio was not done solely by two men, but instead was a collective work done by a large network of individuals that were friends, and fans of Shakespeare, as well as business men looking to capitalize on an opportunity. Our guest this week, Chris

Today we’re talking about undergarments! 16th –17th century fashion was rife with gorgeous and elaborate outerwear, but the underwear, hose, and supportive under clothing was just as intricate. Shakespeare’s plays from this period suggest that clothing styles were a way to identify a man’s nationality. In Much Ado About Nothing Don Pedro talks about being able to identify the Dutch, French, German, and Spanish by the cut of their clothes. While slops and short cloaks are called out in Much Ado About Nothing and the Henry plays, women’s clothing and specifically their scandalous undergarments, are mentioned, too, when Shakespeare writes about a pair of bodies, hose and sleeve, and a farthingale. 16th century English men and women had underclothing designed to deal with the practical realities of using the restroom, avoiding body odor, supportive garments like bras & menstrual pads, and there’s even record of 16-17th century lingerie. Here today to walk us through the history of undergarments for men and wo

In his plays, Richard III, in his Henry Plays, and even in macbeth, Shakespeare writes about medical disabilities and phsyical deformities like a hunchback, madness, blindness, and being lame. We can tell form these references that disability was present in Shakespare’s lietime but what exactly was the understanding of what a disability meant for a real person in Shakespeare’s lifetime? In order to understand the reaction of society, whether accomodations were made for disabilities, what those would have been, and how organizations like Bedlam Hopsital for the insane fit into this understanding, we are sitting down today with Jeffrey R. Wilson, author of Richard III's Bodies from Medieval England to Modernity: Shakespeare and Disability History to examine how uderstanding 16th century medical history helps characters like Richard III make more sense.   Hosted on Acast. See acast.com/privacy for more information.

Shakespeare mentions “covenants drawn between’s” in Cymbeline, and mentions covenants again in Henry VI when the King is negotiating a marriage to Lady Margaret, and then it concept comes up further in both Richard II and and in Taming of the Shrew. Covenants were a key player in the Protestant Reformation that was going on in Shakespeare’s lifetime, but it was also a word that could meant to promise or form a contract. The history of the time period tells us that Swiss Reformed theologian Johannes Oecolampadius (1482–1531) was teaching in the 1520s what would later become known as “the covenant of redemption” A few years later Heinrich Bullinger (1504–75) published the first Protestant book devoted to explaining the covenant of grace, and of course there’s John Calvin, who died the year Shakespeare was born, writing about the covenant of redemption, the covenant of works and the covenant of grace. All of these concepts heavily influenced not only the Church of England, but also The Kirk, the Church of Scotla

In this week’s episode you’ll hear me learn about how to pronounce this week’s topic correctly—it is the Huguenots (and not Huguenots as I had been saying and which you may have been tempted to say as well). This week we’re exploring the arrival of Huguenots to England in Shakespeare’s lifetime. During Catherine de Medici’s reign as Queen consort in France, the country was anything but hospitable to Protestants. The St. Bartholomew Day’s Massacre in the late 16th century saw thousands of Huguenots rounded up and slaughtered. That was only one event where Huguenots were proven unwelcome, and in danger, to remain in France. Throughout the reigns of Edward VI, Elizabeth I, and on into the 18th century reigns of James II, and beyond, England as a Protestant nation became a safe haven for refugee French Calvinists. During Shakespeare’s lifetime, the impact of the arrival of Huguenots seems to have been significant, with Shakespeare writing about “strangers” over 70 times across his works, often using the term to d

Ulisse Aldrovandi is considered by many scientists, including Carl Linnaeus, the man who formalized the modern system of naming animals, to be the father of natural history studies. During Shakespeare’s lifetime, until his death in 1605, Aldrovandi collected a vast amount of specimens for his cabinet of curiosities, gathering over 7000 artifacts, organizing multiple expeditions to collect plants, and illustrating thousands of bizarre natural history phenomenon into at least 12 publications, some of which were compiled posthumously. Today, Aldrovandi’s work is preserved at the University of Bologna. However, in 2020, one painting was discovered that claims to be a lost Aldrovandi painting of a young girl that suffered from hypertrichosis, a condition that covers the body in excess hair. We have talked about this girl, Antoinetta Gonzales, on our show previously. That episode, we mentioned that paintings of the Gonzales family were often copied and distributed around Europe for inclusions in cabinets of curiosi

The fruit today known as a tomato was first introduced to Europe during Shakespeare’s lifetime. As many new things were, this fruit was received at first with skepticism, considered a kind of curiosity. It was called a golden apple, as well as a “pomi d’oro” in Italy, where many considered the fruit dangerous, poisonous, and something that was pleasing to the eye, but secretly treacherous. Shakespeare echoes this sentiment in his play, Pericles, when he writes about "golden fruit but dangerous to be touched.” Today we are going to explore the arrival, reception, cultivation, and use of tomatoes for 16th century Italy, Germany, and Belgium, with our guest and author of the article “Sixteenth-century tomatoes in Europe: who saw them, what they looked like, and where they came from, Tinde van Andel.    Hosted on Acast. See acast.com/privacy for more information.

During the 16th century in Europe, the Portuguese dominated the African slave trade. European ships were first exposed to African slaves when privateering vessels would find enslaved  Africans packed alongside Atlantic trade goods in the hulls of the captured ships. The Spanish were the first to try and break up the Portuguese monopoly on slaves, establishing a system known as the asiento de negros in the 16th century which was an agreement between the Spanish crown and a private person or granting a monopoly in supplying African slaves for the Spanish colonies in the Americas. The Dutch would use similar contracts to compete in this market, and it wasn’t long before the British and French followed suit. We see glimpses of this history in Shakespeare’s plays when he mentions the word “slave” over 170 times, the word “negro” specifically in his play Merchant of Venice, and he refers to “an African” in the play The Tempest. Here today to help us understand the start of the Atlantic Slave Trade and the plac