That Shakespeare Life

Shakespeare has all kinds of references to doors in his works, at least 195 instances of the actual word “door” in fact, and for many of us, we probably gloss over the word ‘Door” thinking we understand what he’s talking about. However, architectural history tells us that doors were actually quite different for Shakespeare’s lifetime than what we have today from how they were made, to how they were constructed, and even how they were locked. Our guest this week, James Campbell is an expert in architectural history and joins us today to help us understand more about what doors were like in the 16-17th century including what kind Shakespeare might have had on his house. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

All 4 of Shakespeare’s references to the word “gamut” show up in his play Taming of the Shrew where the characters talk about learning, and teaching, the “gamut.” If you’ve ever heard the expression “run the gamut” or “cover the gamut” these expressions are based on an 11th century understanding of the word “gamut” developed by the musician and monk named Guido d'Arezzo, who used the term to described a whole range of notes. While there was no national standard of education in England for Shakespeare’s lifetime, knowing about music, how to play, and scales like that of D’Arezzo, were considered a sign of nobility, which is the cultural perspective Shakespeare utilizes when he puts a gamut in his play. Here today to share with us the history of the gamut, the 16th century musicians contemporary with Shakespeare that might have influenced the musical scenes of this play, as well as what exactly is meant by the phrase “run the gamut” is our guest and professor at the O’Neill Hall of Music at the University of Notre Dame, Alexander Blachly. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

Tomorrow night, November 5, is when many in England will celebrate an occasion known as Bonfire Night. They celebrate this day to mark the moment King James I was saved from the Gunpowder Plot (along with many in his government) when Guy Fawkes was thwarted in his attempt to blow up England’s Parliament using gunpowder hidden beneath the building during an official government meeting. The event was a terrorist attack of the 17th century, to put the plot in contemporary terms, and the aftermath in England impacted William Shakespeare personally. Newly minted as the King’s Men in 1603, the gunpowder plot is taking place just two years later, in 1605. Just one month after the Gunpowder Plot in December of 1605, Shakespeare writes King Lear, which contains many nods to the state of James’ government, but the real play most connected to The Gunpowder Plot has to be Macbeth, which I argue was the play whose performance would silence all doubt about William Shakespeare’s involvement, or suspected treasonous connections, in the aftermath of The Gunpowder Plot of 1605. Here today to walk us through the history of this event, and help us understand how the Gunpowder Plot connected to Shakespeare, is our guest, James Travers. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

Shakespeare made the three witch sisters famous in his play, Macbeth, by showcasing their manupulative power, encantations, and their famous pot of double double toil and trouble. While this version of witches makes for a fun spoof at Halloween parties today, when Shakespeare was originally bringing these sisters to life on stage, witches were not only considered real beings, but were thought to be clandestine actors, hiding their real identity behind normal appearances so as to be better position themselves to inflict harm on others. Everything from natural disasters to household accidents could be blamed on this kind of magic, and seemingly innocuous actions like speaking sharp words, having the wrong birthmark, or sometimes just owning the wrong kind of house pet, could all land people, and women in particular, in a fight for their lives at a witch trial where they were often hopelessly charged with proving their innocence against charges of witchcraft. Many of these individuals stories have been lost to history, or relegated to a list of names on an accusation list, but our guest this week seeks to bring the real life stories of actual women who were tried as witches to the fore with her latest book titled Witchcraft: A History in Thirteen Trials that takes a look at 13 specific witch trials from the 16-18th centuries. Here today to help us understand the history of how someone would find themselves accused of witchcraft, what was involved in the process of an official witch trial, and the real events blamed on witchcraft that had a powerful influence on King James I of England, who wrote his publication titled “Daemonology” just a couple of years before Shakespeare wrote Macbeth, is expert in the history of witches, and return guest to our show, Dr. Marion Gibson. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

Revenge Tragedy is a genre of plays, applied posthumously to Shakespeare's works. Just like modern day film and tv has genres like romance, western, or comedy, plays of Shakespeare’s lifetime had these categories, too, and today we're going to explore a particular subcategory of tragedy known as Revenge Tragedies. While the genre itself didn't exist in Shakespeare's lifetime, the plays and what they are known for, were a very popular form of entertainment in both Elizabethan and Jacobean England. In fact, many consider Shakespeare’s Hamlet to the best example of Revenge Plays from this period. We are delighted to welcome back to the show Rhona Silverbush and Sami Plotkin to talk with us the ghosts, madness, and other spooky elements that constituted a good revenge play, what made them so popular for Shakespeare’s lifetime, and which playwrights in addition to Shakespeare, were penning this category into history for the 16th and 17th century. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

In 1552, a lexicographer gave us the word “noctivagation” which means walking around at night. The word itself was a legal term for Shakespeare’s lifetime, used to describe someone that wandered around at night without any particular purpose. Vagrancy, on the whole, was frowned upon for Shakespeare’s lifetime, but vagrancy at night was viewed with extreme suspicion. In fact, walking around at night illegitimately was so bad that in his play King Lear, Shakespeare implies that the poster boy for night walkers is Satan himself. This negative understanding of nightwalkers gets confusing though, when we consider Falstaff in Henry IV talks about walking from tavern to tavern at night with Bardolph, and mentions it as fun, certainly not anything they were worried about, and other period references from the 16th century talk about Link Boys, who were young boys paid to escort travelers as night while carrying a torch to light the way. What does this mean about travelling at night in a city like London? Were there legitimate reasons to be out after dark, and what options were available for creating artificial light prior to the advent of the light bulb? Here today to answer these questions and introduce us to the concept of night walkers, and night lights, for Shakespeare’s lifetime is our guest, Matthew Beaumont. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

When Shakespeare was writing plays in the 16th to early 17th century, he was participating in an industry that was both established, as well as rapidly evolving. Shakespeare himself ushered in innovation for the theater industry, while the bard, along with his contemporaries, equally embraced long held traditions that included shamelessly copying one another’s work. Acknowledging that copying someone’s work was industry standard for Renaissance England raises some questions about plagiarism, as well as who should get the credit for writing a particular story. Our guest this week, Darren Freebury Jones, has visited with us before to look at the influences of Thomas Kyd and even Robert Greene on the works of William Shakespeare, and Darren is back again this week to share with us the theater industry he has uncovered for his latest book, Borrowed Feathers, where he uses you’ll remember we called “textual sleuthing” in an earlier episode, to examine production, influence, authorship, and collaboration amongst playwrights such as Lyly, Kyd, Fletcher, and of course, Shakespeare. We are delighted to welcome Darren back to That Shakespeare Life again this week to talk with us about what it looked like to be a colleague in the theater industry for the 16th century, what constituted industry standard when you were writing plays, and how much influence a modern lens looking backwards at history has had on what we think we know about how Shakespeare produced his works. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

In Henry IV Part 1, Vernon refers to the clothing of young Harry saying “I saw young Harry, with his beaver on…” There are at least 6 other references to the large, semi-aquatic rodent known as the beaver to be found in Shakespeare’s plays, and while many of Shakespeare’s references are talking about the helmet feature that opens and closes on the front of soldier’s face, the references are a reflection of the animal beaver that had been plentiful in the UK right up until Shakespeare’s lifetime, when they had been hunted for their fur, meat, and castoreum, a substance produced by their anal scent glands that was used in products like perfume. While beavers were once native to Britain, they were hunted to extinction during the 16th century, and have only recently started to be reintroduced to the UK. Our guest this week, Lee Raye, joins us to talk about the journey from native species to extinction for the beaver, how that impacted commerce and the landscape of England during Shakespeare’s lifetime, and to update us on the efforts to reintroduce the beaver to the UK that have been taking place recently. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

During Shakespeare's lifetime England, along with other European nations, began intentional exploration to the New World, where they not only established colonies but established commerce relationships with the native tribes they found there. Exchanges in what the Dutch West India Company called ‘New Netherland’ included trades of beaver pelts and shell beads with tribes like the Algonquian Indians, who you may remember from our episodes on Squanto, Samoset, and The establishment of Fort Raleigh. Our guest this week has done an indepth project into the trade, commerce, and diplomatic relationships between Europeans and the native tribes of the New World, specifically looking at how beaver pelts (which were hugely popular in England for the 16-17th century) were traded and used for everything from hats to medicine. We are delighted to welcome Molly Leech to the show today to help us understand the role of wampum in Shakespeare’s history. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

After the image of William Shakespeare himself, perhaps the most famous objects associated with William Shakespeare has to be the quill pen, but was this pen actually made of goose feathers, and if so, how was it made? Of course the quill pen is far from the only use for geese in the 16-17th century, as reflected in Shakespeare’s plays where the bard mentions geese well over a dozen times, talking about them being taken to market, people getting in trouble for stealing them, and as you might expect, there’s even references to plucking feathers. We have seen portraits of 16th century geese being used for elaborate meals, but you may not be as familiar with the process of getting from goose to table, or what kinds of products were made in the 16-17th century from geese, and what kind of people were in charge of overseeing this creation. Our guest this week is an expert in the history of early modern geese, having performed archaeological research that investigates how geese were kept, what they ate, and their uses in society for Shakespeare’s lifetime. We are delighted this week to welcome Dale Serjeanston to the show to share with us the history of the goose for Shakespeare’s England. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

The Clown in Alls Well That Ends Well talks about picking his teeth, and Coriolanus gives an admonishment about hygiene when he says “Bid them wash their faces And keep their teeth clean.” John Holland in Henry VI Part 2 talks about having teeth pulled, and in the Winter’s Tale the clown talks about being able to identify a nobleman by how he picks his teeth. Of the more than 50 references to teeth in Shakespeare’s plays, most of them are using idiomatic expressions for strength or determination, like to set your teeth against a problem, for example, but a few of the toothy references we can find from the bard demonstrate that when it comes to oral hygiene, Renaissance society had established methods for cleaning your teeth, and even for prescribing oral surgery. Here today to talk to us about 16th century toothbrushes, mouthwash, oral surgery, and exactly why it was considered noble to pick food out of your teeth is our guest and author of “‘Carry Not a Picke-Tooth In Your Mouth’: An Exploration of Oral Health in Early-Modern Writings” Dr. Laura Kennedy. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

You may be surprised to learn that marriage in the 16th century was not required, nor a foregone conclusion, for all women of this time period. In addition to spinsters, who were older women that had never been married, there were widows that lost their husband, women who were divorced or separated from their husbands, and still some women who our guest this week calls “never married” women. A “never-married” woman chose never to get married at all, and provided for themselves financially. While Shakespeare doesn’t use the phrase “never married” he does talk about spinsters, widows, prostitutes, and even divorce, reflecting the society of his time period. While all versions of single women in Shakespeare’s lifetime operated outside of what we generally expect for the 16th century, the reality is that being single, and even women who were independently made, occupied a much larger section of society than you may have assumed. Here today to tell us about all the single ladies of the 16th century, and what life was like for a women who never married, is our guest, Amy Froide. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

To live in England during Shakespeare’s lifetime was to be Protestant, or at least as far as the Queen was concerned. The lack of religious freedom in early modern England doesn’t mean alternate belief systems did not exist, only that they were hidden. One powerful belief system that riled up conservative members of society and incited objection pamphlets to be written is atheism. Here today to discuss the real people from Shakespeare’s lifetime who were atheists, the punishment if your belief system were found out, and the role of playing companies in spreading atheism is our guest, Peter Herman. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

Deaths were a common occurrence on stage for Shakespeare’s characters, but the wild and often macabre deaths we see in his plays were not actually far off from the deaths that occurred in real life for the 16-17th century. From poisonings to beheadings, one person who knew a lot about how people died in Shakespeare’s lifetime was the coroner who job it was to catalog deaths and keep track of any that seemed suspicious. Our guest this week has done a great deal of research into accidental deaths for Shakespeare’s lifetime and joins us today to introduce us to the job of 16th century coroner in Shakesepare’s England, tell us about some of the more bizarre ways people died, and how all of these incidents connect to William Shakespeare. To learn all these things, and more this week, we are delighted to welcome Steven Gunn to the show today. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

It is a frequent misconception that people from Shakespeare's lifetime believed the world was flat. In fact, the publication of the world on a spherical globe was not only well established across Europe by Shakespeare’s lifetime, but there are numerous portraits from the 16-17th century showing individuals owning and displaying spherical globes. The first English person to create a spherical globe published it in 1592, just 7 years before William Shakespeare chose “The Globe” as the name for his newly relocated circular theater in Southwark. Here today to walk us through the history of displaying the Earth as a globe, the artisans who undertook this task, the materials they used, and where they got their data to map out the world on a giant physical ball, is our guest, Sylvia Sumira. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

Even William Shakespeare had to take out the garbage. In his hometown of Stratford Upon Avon, public waste was managed through a system of piles known as muck hills. In 1552, William Shakespeare’s father, John Shakespeare, was charged a fine for one of these muck hills that was kept across the street from his home on Henley Street. For a long time, scholars have thought this fine meant that John Shakespeare was keeping the dung heap illegally, or perhaps using it inappropriately, but recent research into how muck hills operate and the history of public sanitation in Stratford Upon Avon have caused us to see this record of John Shakespeare in a new light. Here today to share with us how taking out the garbage worked for Shakespeare’s lifetime is our guest, Elizabethan Tavares. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

In the late 16th to early 17th century, a medical movement saw a meteoric rise in popularity known as Paracelsianism. Based on the writings of a physician who had died in 1541, the movement developed quite a cult following, with many claiming Paracelsus was able to work miracles of healing. Debate over the legitimacy of Paracelsus’ work became so heated that some Europeans were executed just for owning on of his books. Shakespeare takes aim at this cultural divide in his play, Alls Well That Ends Well, when in Act II Scene 3, Lafeu and Parolles have a conversation about miracles, and arguments, with Lafeu saying “They say miracles are past; and we have our philosophical persons, to make modern and familiar, things supernatural and causeless.” Parolles calls this perspective the “the rarest argument of wonder that hath shot out in our latter times.” with Lafeu responding it is of “Both Galen and Paracelsus.” This scene is Shakespeare’s only use of the word Paracelsus, while Galen gets used elsewhere repeatedly, even alongside Hippocrates in Merry Wives of Windsor. As a reflection of the culture of his day, Shakespeare’s plays suggest that while Galen was the established foundation of medicine for this period, Paracelsus made a significant mark on the medical landscape. Here today to introduce us to Paracelsus, the medical movement launched by his followers, and what we should know about why Parolles would call this “The rarest argument of wonder” is our guest and author of “Renaissance Medicine“, Vivian Nutton. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

William Shakespeare’s mother, Mary, was Mary Arden before she married her husband, John Shakespeare. Mary’s possible connection to the gentry Arden family has fascinated scholars and Shakespeare fans for many years. The Arden family was an established English gentry family in Warwickshire, and 1 of a handful of Tudor families in England who could trace their lineage back to the Anglo-Saxons. The family took their name from the Forest of Arden, used as a setting in Shakespeare’s play, As You Like It. In 1583, when William Shakespeare was 19, the head of the family, Edward Arden was executed, having been convicted of treason. Here today to share with us more history about the Arden family and Edward in particular is our guest, Cathryn Enis. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

In 1616, the year that William Shakespeare died, anatomist Helikiah Crooke published a book of medical diagrams that included a surprisingly high level of detail about human anatomy for a society that didn’t yet have powerful instruments like a microscope. However, noticeably absent from his medical drawings are any anatomically correct terms for the female body. For example, Crooke’s drawings correctly name many parts of the male anatomy, like the epididymis, peritoneum, penis, and the testicles, but when it comes to the female anatomy diagram, even though he has the fallopian tubes correctly drawn in the picture, he labels them as “Spermatical veins.” In another diagram, the uterus is definitely drawn in the shape of a man’s primary sexual organ, only it is labeled as a “womb,” with no mention of the cervix or the vagina. Shakespeare’s plays give us some examples of how this level of medical knowledge was known by general society because in his works Shakespeare uses anatomical terms like ‘urine” as well as “sperm” and even “Nerves and veins”, so we can see that some knowledge of human anatomy was broadly available in Shakespeare’s lifetime, but Helikiah Crooke’s diagrams raises some major questions about not only the medical understanding of women’s bodies, but exactly what kind of medical care was available for women in Shakespeare’s lifetime. In order to explore the 16-17th century understanding of human reproduction, and what the hyper-masculinization of women’s bodies meant for women’s medicine and gynecological care in Shakespeare’s lifetime, we are talking today with Roz Sklar. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

It wasn’t only people who served as performers in Shakespeare’s lifetime, animals, too were often trained to perform in street demonstrations, and one very unique animal captured the hearts of the popular entertainment word as a famous dancing horse named Morocco. Morocco was famous during Shakespeare’s lifetime, with over 70 woodcuts published showcasing his talents at entertaining crowds of all sizes. He and his owner traveled across England and even internationally displaying circus feats, tricks, and even magic. Here today to share with us the history of Morocco the horse, including where his story overlaps with that of William Shakespeare, is our guest, Natalia Pikli. Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.