As you will know from listening to THat Shakespeare Life, there's a ruch history behind every small object from the life of William Shakespeare Whether it's clocks, clothes, pencils, or tablets, we love using the objects of Shakespeare' world to get closer to the real lives of the people who lived tehre.

WHich is why I was delighted to learn abotu Catherine Richardson's latest book titled Shakespeare's Objects where she sets out to explore 33 of these objects, all of which are mentioned in Shakespeare's plays. From beds and perfumes to handkerchiefs, clocks, lutes, torches, and spurs, the book follows these things through the world Shakespeare knew—asking who made them, who owned them, how they were used, where they came from, and what they can reveal about the people who encountered them.

Today, we are delighted to have her here on the show to share some of what she uncovered while researching the material world behind Shakespeare's plays.

Immortalised as Elsinore in William Shakespeare's play Hamlet, Kronborg Castle is one of the most important Renaissance castles in Northern Europe. A real castle, and historical stronghold that sits in the town of Helsingør, Denmark. Kronborg is as fascinating as it is beautiful.

Our guest this week is Laura Kiel, the Operations Coordinator at Kronborg Castle, where she plays a key role in caring for the castle's remarkable collection — from grand paintings and heavy antique cabinets to exquisite historical costumes. During her 12 years at Kronborg, Laura has also become the castle's in-house Hamlet expert, having taken part in coordinating many productions of Hamlet staged within the iconic setting of Kronborg itself.

Laura joins us today to take us inside Kronborg Castle to understand more about the history of the castle, why it was used in Shakespeare's play, and what was going on at Kronborg when Shakespeare staged his famous tragedy within it's gates.

Shakespeare's plays and poems are filled with birds—from familiar crows, swans, and sparrows to species that would have seemed rare, exotic, or unusual in Renaissance England. But these birds are more than decorative details. They carry symbolism, reflect the natural world Shakespeare knew, and reveal how people in the sixteenth and seventeenth centuries understood the animals around them.

In this episode, artist and researcher Missy Dunaway joins us to explore her Birds of Shakespeare project, which documents all sixty-five bird species referenced across Shakespeare's works. We'll discover how she identified each bird, the historical sources behind her paintings, the plants and symbolism included in her compositions, and some of the most surprising birds to appear in Shakespeare's writing.

Shakespeare mentions cats over 30 times in his plays, including to talk about a gib cat, a musk-cat, cats chasing mice and even making perfume. It's obvious that cats were present for Shakespeare's lifetime, but what do these references in the plays show us about their place in society and perhaps in people's homes for Shakespeare's England? Did Shakespeare keep a pet cat, would they have been useful for fighting against plague, and what exactly did a 16th century cat look like? Here today to help answer these questions and take us through the artifacts, primary documents, and paintings that reveal the feline world of Shakespeare's England is our guest, Helen Parish.

Helen Parish is a Professor of History at the University of Reading and author of, "Paltrie Vermin, Cats, Mise, Toads, and Weasils": Witches, Familiars, and Human-Animal Interactions in the English Witch Trials"

Helen's work focuses on cats as a witch's familiar, but her research looks further into the details about how cats lived in the 16th cenutry and today she's here to help us explore cats for Shakespear's England.

Shakespeare mentions "housewife" in his works 14 times, including to identify both a "good housewife" as well as a "false housewife." These descriptions appear alongside one accusation that a woman was being someone's "franklin's housewife."

As an essential part of daily living in Shakespeare's England, I wanted to track down exactly what was involved in being a 16-17th century housewife, and there was no one better suited to give us the details than Jane Whittle, author of Women's Work in Rural England, 1500-1700.

Jane joins us today to help us explore the 16th century definition of an English housewife, including the nature, jobs, and reptuation were for this position, as well as to help us understand the history behind Shakespeare's use of that term in his plays.

With it estimated that travel from Stratford Upon Avon to London might take days or even weeks depending on the weather and mode of transportation, it's only logical to think that Shakespeare must have had a place to stay when he was in London for work.

There is a court case in which Shakespeare is mentioned by name that places him as a lodger with the Mountjoy family on Silver Street in 1604. There's also documentary evidence to suggest Shakespeare was neighbors with a young John Fletcher in Bishopsgate. And it only makes sense to expect that Shakespeare might have had a place to stay near The Globe theater in Southwark, but that remains largely a guess. More recently, Matthew Steggle has done new research into the letter written to Mrs. Shakespeare, which places Mr. And Mrs. Shakespeare once again, residing in London.

When it comes to his Blackfriars property, however, scholars have been stumped because documentary evidence suggests Shakespeare did own property in the Blackfriars, but no one knew exactly where until now. Our guest this week, Lucy Munro, has uncovered three new documents including a set of floorplans for the Blackfriars building, that reveal not only where Shakespeare's property was located, but precisely how large it was, and exactly how it was positioned in relation to neighboring structures in the Blackfriars.

In Shakespeare's Henry IV, Part 1, there's a lively scene set in Eastcheap, inside the bustling Boar's Head Tavern, where the roguish Sir John Falstaff trades wit and wine with the young Prince Hal—England's future Henry V. To Shakespeare's audience, this wasn't some distant or imagined world. Eastcheap was real. The taverns were real. And the cups of ale and small beer passed across those tables were the very same drinks many theatergoers would have enjoyed before walking into the Globe.

This week, we're joined by Mark Hailwood, author of Alehouses and Good Fellowship in Early Modern England, to step through the tavern door and into the noisy, smoky world of 16th- and 17th-century alehouses.

Together, we'll explore the people who ran these establishments, the customs and rules that governed them, the drinks poured across the bar, and the colorful realities behind Shakespeare's tavern scenes. Was Mistress Quickly inspired by real alehouse keepers? How accurate were Shakespeare's depictions of tavern life? And what details from the plays ring true—or delightfully false—when held up against the history of early modern England?

So pull up a chair by the hearth, mind your purse, and let us pour you a mug of small beer as Mark Hailwood guides us through the history, humor, and lore of Shakespeare's tavern world.

"Close your eyes and imagine yourself in the sixteenth-century English countryside. Sounds of ploughs rattle in distant fields, and the delightful squeals of children at play fill the air. It is quiet, you think, quieter than you are used to, but loud and lively all the same. The air is pure, and it smells sweet with the natural floral fragrances of honeysuckle and apple blossom and lavender. There are no motors here, no planes in the sky, no pylons or wind turbines or television aerials. There is no suffocating smog, air or light pollution. There is little to obscure your view of wild, undulating fields, which, to your surprise, are sparsely inhabited by houses and instead occupied by droves of grazing cattle and sheep. In the distance you hear a horse neigh, and a washerwoman hum as she pegs out her laundry. The smell of woodfire fills the air, delicious aromas of crisping meats and yeasty dough, fresh, juicy fruits and the comforting, creamy smell of curds and whey. Soon will be the call for dinner, and hordes of tired labourers will return home to settle for the evening. Then will come nightfall, and the sounding of curfew bells. It is darker than you expected; much darker. There is no electricity here, and you are unaccustomed to the thin glow of candles as your only form of light. Soon these candles will stop burning, for the night has arrived, and the day has ended. Welcome to the sixteenth century. Welcome to the Tudor home."

These are the opening lines of Bethan Watt's latest book titled Inside the Tudor Home, and we are delighted to have Bethan visit with us today to give us a tour of what it was like to live in an average home for Shakespeare's lifetime.

Hamlet wagers 6 Barbary horses against 6 French swords. Falstaff talks about fighting with a Barbary hen. Bassanio in Merchant of Venice talks about travelling merchants going to foreign lands including "Tripolis, Mexico and England, Lisbon, Barbary, and India" There are also an additional 5 references to Barbary horses.

The Barbary States were Algeria, Tunisia, Tripolis, and Morroco. These were powerful coastal societies tied in various ways to the Ottoman world, and in Shakespeare's day they were central to English fears about piracy and captivity. Ships were seized. Sailors were enslaved. Families, merchants, churches, and governments negotiated over the price of a human life.

English first hand accounts of the Muslim world and the Barbary States in particular were sparse, even non-existent prior to Richard Knolles publication in 1603 where he writes the History of the Turks, the same year Shakespeare publishes his Ottoman-heavy play with a Moor in the title role, Othello.

Today we are joined by Daniel Vitkus, editor of Piracy, Slavery, and Redemption: Barbary Captivity Narratives from Early Modern England, and Abdulhamit Arvas, Associate Professor of English at the University of Pennsylvania and expert on early modern Muslims, Barbary pirates, and Shakespeare. They are here to help us explore the place of the Barbary Coast in Shakespeare's England, to understand the culture of hostages and holding someone ransom, what was happening to Britons that were taken captive and sold into slavery by the Barbary pirates, as well as to explain the surprising dichotomy of being afraid of the Barbary nation while admiring their products, like horses.

In Stratford Upon Avon, where William Shakespeare was born, there is a house that was built in 1530, while King Henry VIII was ruling England. This house was there when Shakespeare was living in the town, and the owners have direct connections to Shakespeare himself. Today, the house is known as Wisson House and the thoughtfully preserved historical property has been updated with modern amenities and is offered as a holiday property for anyone visiting the area, or that loves Shakespeare. Of course, when I heard about the property, I wanted to share the history with you. Which is why, today, we are delighted to welcome Amanda Billingsley, the owner of Wisson House, to the show to share the backstory of this property and what it was doing when Shakespeare was alive.