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Of all the history we know about William Shakespeare and what it was like to live in turn of the 17th century England, one of the hardest things to know for sure about the bard is what he looked like. There are only two verified portraits of William Shakespeare, one is the bust available at his funerary monument in Stratford Upon Avon, and the other is known as the Droeshout portrait, which is an engraving on the title page of the First Folio that was published in 1623. Aside from these two depictions, there have been at least 9 paintings that claimed to be life-like representations of William Shakespeare, all of which were hotly contested, and a few that were outright disproven. One painting, however, has risen to the top through rigorous investigation as a contender for another verified portrait of the bard and it’s known as the Danby Portrait. The Danby portrait was owned by the Danby family for years, until it was sold by Christie’s in a house contents sale in 1975. At that time the painting was misattributed and has since been shown to be a painting by Robert Peake, a professional artist from Shakespeare’s lifetime who not only knew about William Shakespeare, but actually worked with him directly in theater. Our guest this week, Duncan Phillips, is the art gallery owner who recently displayed the Danby Portrait, and he joins us to share about the history of the Danby Portrait, it’s connections to Shakespeare, and the recent evidence that’s been uncovered that suggests the portrait is not only of William Shakespeare, but that it was likely painted from life.   Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In 1594 and 1595, when William Shakespeare was 31 years old, fires tore through his hometown of Stratford Upon Avon, causing such destruction that this natural disaster is one of the few major events in Stratford Upon Avon that was recorded for posterity. The fires were known as The Great Fires and in the aftermath of the devastation the town gathered together to rebuild the timbers of their homes and businesses. Many of these rebuilt structures survive through to today, and with the help of a recently awarded research grant from Historic England, the Stratford Society lead by historian Robert Bearman, look to investigate how the timber frame buildings were rebuilt following the fires in 1594, 1595, and another one that occurred later in 1614. Dr. Bob Bearman joins us today to tell us about the history of the fires and to share a look inside the Stratfire Project.    Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In the late 16th century, William Shakespeare was in his 30s, and staging plays like As You Like It, where Rosalind mentions the “howling of Irish wolves against the moon.” (That’s from Act V scene ii). While scholars today debate whether or not that’s a reference to the legend of werewolves, we know from a painting completed in 1595 that there was at least one family whose hereditary disease made many in Europe believe in that werewolves might be real. The Gonzales family carried a rare genetic condition that is known today as hypertrichosis, but it's more common name is “werewolf syndrome”, so called because the people afflicted with it have hair growing over their entire faces, making them look exactly like pictures of werewolves that we have in pop culture and folklore. Here today to help us understand the history of the Gonzales family and what their lives were like living with this condition in  the 16th century is our guest, and author of the book “The marvelous hairy girls : the Gonzales sisters and their worlds”, Merry Wiesner-Hanks.   Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The Lord Chamberlain’s Men is known as “Shakespeare’s playing company” and was a group of actors for which Shakespeare wrote plays most of his career. By 1603, The Lord Chamberlain’s Men were so popular that James I himself chose to patronize the company making it The King’s Men. Today we are going to look at the man who made the company The Lord Chamberlain’s Men, and that’s Henry Carey, the First Lord Hudson, and the Lord Chamberlain who patronized The Lord Chamberlain’s Men when it was founded by Elizabeth I in 1594. This week we are delighted to welcome historian Stephanie Kline to the show to share with us the life and history of Henry Carey and his role in the career of William Shakespeare.   Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In her latest book, Mortal Monarchs: 1000 Years of Royal Deaths Suzie Edge writes about the deaths of several of England’s monarchs who died in grotesque, weird, or elaborate ways. A former medical doctor now turned history, Suzie takes an indepth look at the sciene behind the deaths of Kings and Queens of England across a thousand years of history. Today, Suzie joins us on the show today to share with us the stories of the deaths of some of the most famous monarchs whose lives and deaths touched on the life of William Shakespeare including Elizabeth I, Mary Queen of Scots, and James I of England.    This week’s episode contains frank medical discussions of gore and violence, including disease and specifics about human demise. While our discussion is both entertaining and academic in nature, the content may be inappropriate for younger listeners. If you are listening in a classroom or where there are child ears present, we recommend you listen to the episode first before sharing it.    Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In 1567, a young English sailor named David Ingram signed up to work on a ship captained by English privateer John Hawkins. They would travel up and down the coasts of Africa and Mexico raiding and trading goods. In November of 1567, Ingram found himself and close to a hundred of his fellow crewmates stranded off the coast of Mexico, in a city called Tampico, just south of the present day Texas/Mexico border. Seeking to avoid capture by the Spanish, Ingram and close to two dozen of his shipmates started walking North. By October of 1568, a French fishing vessel picked up Ingram and just two of his original party of travellers off the coast of Nova Scotia. 13 years later, Ingram’s account of what happened to himself and those travellers from Tampico to Nova Scotia was written down by Sir Francis Walsingham and published by Richard Hakluyt in his bookThe Principall Navigations Voiages and Discoveries of the English Nation of 1589. Since then, the veracity of Ingram’s story has been debated by scholars across the globe. Today, our guest, Dean Snow, is here to share his research into Ingram and the famous walk from Mexico to Nova Scotia that defends Ingram’s journey as accurate, all of which is cataloged in Dean’s latest book, The Extraordinary Journey of David Ingram.  Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In his latest book, Shakespeare’s Tutor, Darren Freebury Jones explores the unsung history of Thomas Kyd as a master playwright who belongs in the canon of Shakespeare, Marlowe, and Lyly as one of the greatest playwrights of the Elizabethan Era. Darren writes that along with Christopher Marlowe, Thomas Kyd, specifically, paved the way for Shakspeare to be a successful playwright. While it makes sense for a newcomer on the scene, as Shakespeare was in the 1580s, to reach for adaptations of the work of established playwrights to launch his career, Darren points out that William Shakespeare continued to use and be influenced by the work of Thomas Kyd not only after Kyd’s death in 1594, but even after Shakespeare was independently established as a successful playwright in London. To share with us the often overlooked history of Thomas Kyd, and his influence on Shakespeare, is our returning guest, and respected friend, Darren Freebury Jones Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The theaters of the Globe, the Curtain, and the Swan all resided in parts of London considered outside of the law and housing disreputable players. In a strange twist of irony for Shakespeare’s England, however, one of the most highbrow places in society also held dramatic performances in high esteem and that is the university. New establishments for England, colleges like Cambridge and Oxford produced so many professional playwrights for the 16th century that several of them banded together to become known as the university wits. Here this week to help us understand the role of players at major universities as well as who it was that performed there, and how these dramatic presentations interacted with those of Shakespeare is our guest and author of a new publication on University Dramas in Early Modern England, Daniel Blank.  Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Shakespeare mentions a “weather-cock” in his plays Merry Wives of Windsor, Two Gentlemen of Verona, and Love’s Labour’s Lost, which is a kind of weather vane used for measuring wind direction. During Shakespeare’s lifetime, astronomers Tycho Brahe and David Fabricus kept daily weather diaries noting details like the rain, snow, and temperature for their respective parts of Europe. But these two astronomers were far from the only people watching the weather in the late 16th and early 17th century. Other diarists including Haller Wolfagang, and Ralph Josselin, would keep similar diaries. From these notes we learn a description of the weather on specific days as well as exactly when and where major weather events like floods or even solar eclipses would have occurred. Since keeping data about the weather in the 16th century was happening before instruments like weather radar were in existence, it’s fascinating to look back and discover how the study of weather and even weather predictions were happening for Shakespeare’s lifetime. Here this week to share with us the details of meteorology for turn of the 17th century is our guest and expert historian on weather, Martin Rowley.   Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Shakespeare’s play, Romeo and Juliet, talks about the shrieking mandrake while Henry IV and Henry VI use the word mandrake as an insult. These very real plants took on legendary qualities due in part to the chemicals in their makeup which make them useful for anesthetics. Our guest this week is an expert in historical plants and historical methods of growing them and we are delighted this week to welcome Michael Brown to the show, the self-styled Historic Gardner, to share with us about the history of mandrakes.   Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

There are many examples of letter writing from Shakespeare’s plays, including letters getting lost in transit and even examples of letter forgery! While many of the examples from Shakespeare’s plays about letters are amplified to be more entertaining on stage, they represent real history about how letters were written and delivered for the life of William Shakespeare. Here today to help us explore the tools used to write a letter, and special tricks like letter locking and sealing a letter, is our guest and co-curator of the Letterwriting in Renaissance England exhibit at the Folger Shakespeare Library, Alan Stewart.   Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In April of 1601, four ships set out from England with hopes of establishing trade with Asia. Remembered by history as the first voyage of the East India Company that launched a momentous relationship between what would become Britain and Asia, the first, as well as the subsequent three, voyages by this group were wrought with danger, disease, and completed at great personal sacrifice. On all of these journeys, the captains and sailors battled illness, poor living conditions, and perilously low morale. While the East India Company launched the missions with a set of rules designed to help alleviate the most significant hurdles, our guest this week, Cheryl Fury, shares in her recent publication that the human cost of these voyages remained astronomically high.  Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This Thursday, January 5, is Twelfth Night, the official end of the 12 Days of Christmas. For Shakespeare’s lifetime, celebrating the Twelve Days of Christmas was a huge occasion, and one which included merriment right up until the very last day. In Shakespeare’s plays, we see many of the Twelfth Night customs come to play including the complete upheaval of established social order where we have boys dressed in mock religious processions, lots of alcoholic drinking alongside elaborate meals, as well as bouts of parody and general misrule against moral order.And of course, for Shakespeare, all of these moments of wild abandon are accompanied by song and dance. To help us understand what Twelfth Night was and why it was celebrated with such crazy antics is our guest and author of a new book on Twelfth Night customs, Rachel Aanstad Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

There were several pamphlets published during Shakespeare's lifetime featuring a menacing giant rabbit, sometimes even wielding a sword and looking very scary. It would be easy to think this character the pamphlet calls a “cony catcher” was invented for marketing purposes, except that we see the phrase “cony catcher” come up several times throughout Shakespeare’s plays including Merry Wives of Windsor, Taming of the Shrew, and even in Henry VI Part 3. We can see from the passing references Shakespeare’s writes that a cony is a word for a rabbit, and it follows then that a catcher of conies is one who catches rabbits, but then why is the rabbit being used in early modern England as a fierce sword wielding villain? There are so many cultural questions to unpack with this symbol and that’s why today our guest and author of a new book about the Cony Catcher and other Shakespearean criminals and malcontents, Ari Friedlander, is here to take us through what we should understand when we discover rabbits running rampant in Shakespeare’s plays.   Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

It’s Christmastime again this year and our thoughts are full of sugar plums, candy canes, and hopefully some beautiful winter snow. Growing up children of the 20-21st century are very familiar with the concept of Father Christmas or Santa Claus as he’s become known today who brought gifts to good children each Christmas Eve. For William Shakespeare, however, the characters and particularly the understanding of Father Christmas would have been quite different. You see, William Shakespeare did not have Santa Claus and Father Christmas. There was one Christmas carol from the mid-15th century that described “Sir Christmas” that travelled around announcing the birth of Christ and offering drinks to passersby. There’s another record from the mid-15th century that describes a traditional Christmas battle between Christmas and Lent during which a parade of the months of the year culminates in the presentation of the King of Christmas riding a horse decorated with tinfoil. These 15th century images of Christmas and the personification of the season come well before Shakespeare’s lifetime and the strict idea we know as “Father Christmas” would not show up until after the Restoration in the mid-17th century. So what did England, and by proxy, Shakespeare, do to celebrate the holiday? Did Shakespeare have a Father Christmas? Here today to help us understand the holiday spirit and the role of characters like Father Christmas during Shakespeare’s lifetime is our guest and historian Elizabeth Norton. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Shakespeare mentions the spice of nutmeg in his plays three times, once in Henry V to comment on the color of of this spice, once in Love’s Labour’s Lost to talk about a “gift nutmeg” which was a gift given at Christmas for the 16th century, and then again in The Winter’s Tale when the clown lists nutmeg as one of the spices he needs to make warden pies, along with mace, dates, prunes, and raisins. Nutmeg not being native to England, it was not only a valuable spice that made a great gift that was popular for major celebrations like Christmastime, but it was a huge part of international relations for England because during the 1600s was when the Dutch were committing all manner of atrocities against England (and indeed the world), to maintain a monopoly on this particular spice. Here today to share with us the history of this spice and some popular recipes that used it from Shakespeare’s lifetime is our friend, culinary historian, and returning guest to the show, Brigitte Webster.  Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In Shakespeare's play, King John, Eleanor of Aquitaine is portrayed as "Queen Elinor," who is decrepit and old, but strong willed and highly intelligent. For many Shakespeareans, the real history of this extraordinary woman is confined to this portrayal in Shakespeare's works. Our guest this week, Alison Weir, joins the show to introduce us to the real history of Eleanor of Aquitaine not only as we remember her today, but to share with us what Shakespeare would have known about her, as well as what it is important to know about her real life when encountering Shakespeare’s portrayal of her in his play.  Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

William Shakespeare mentions fish over 70 times in his plays including certain kinds of fish like dwarfish, a finless fish, and even a dogfish. Types of fish, being a fishmonger, and applying all manner fish metaphors were a consistent theme in many of Shakespeare’s works, which lead me to wonder about the role of fishing and fish in Shakespeare’s lifetime for not only the individual who might have gone fishing for their food, but the role of commercial fishing in the economy of England during the 16-17th century. Here today to help us explore what kinds of fish were most popular, the representations of angling/fishing in print, and exactly how and where people would have caught fish for Shakespeare’s lifetime, is our guest and author of The Poetics of Angling in Early Modern England, Myra Wright. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

One of the heroes of American history and the story of the survival of the English colonists at Plymouth in the mid 17th century is a man named Squanto. His given name was Tisquantum, but he came to be known as Squanto. He was a native American interpreter and guide for early English colonists. While little is known about his early life, some scholars believe that he was taken from home to England in 1605 by George Weymouth and returned to his native homeland with explorer John Smith in 1614–15. His almost decade long residence in London coincides with when Shakespeare was writing plays about shipwrecked colonists encountering native tribes on mysterious far away islands. Our friends, and previous guests to the show for Thanksgiving last year (see that episode here) are father and son history team, David and Aaron Bradford. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Thomas Gresham served as Royal Agent to the King t in England under Edward VI, Henry VIII, Mary, and Elizabeth I. A hugely influential man of his time, Thomas Gresham’s legacy continues today at Gresham College, the university he founded in 1597 when William Shakespeare was 33 years old. Competing with the likes of Oxford and Cambridge at the time, Gresham College was unique not only because universities themselves were a new concept in England, but because Gresham College chose to teach students in English, whereas Latin was the accepted language of universities at the time. Here to share with us how Gresham College was founded, and what the first classes were like there, is our guest and professor at Gresham College, Valerie Shrimplin. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.