While King John isn’t one of the more popular Shakespeare plays performed by companies today, taking a look back at monarchs of the past was a favorite pastime for Elizabethan England. To better understand the real history behind Shakespeare’s version of this famous monarch, we’ve invited our guest and author of the book King John for The Medieval World, Ralph Turner here today to share with us the context of King John’s life, impact on the legacy of England, and exactly what led to him being so villainized for centuries to come.

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An anonymous dairy was written in 1608 cataloging the keeping of bears for the sport of bear baiting in England. Our guest today calls this diary the “Bearward Diary of 1608” and the term “bearward” is used to describe individuals whose job it was to take care of or travel with a bear (or in the case of this diary, multiple bears), for the purpose of putting on bearbaiting shows around England.The diary is a fascinating glimpse into the history of bearbaiting and the logistics behind finding, showing, and traveling with, bears in the 17th century, To help us explore the diary in more detail and understand some of the history it reveals about bears in Shakespeare’s lifetime is our guest and contributor to the Box Office Bears project, Callan Davies. 

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The true example of a Renaissance Man, or a person who is great with many talents or areas of knowledge, Conrad Gessner joins the ranks of herbalists like William Turner and John Gerard as not only influences on Shakespeare, but examples of the influence of Renaissance thought on life in Elizabethan England. Gessner’s works were printed prolifically and consumed regularly in England, most likely by Shakespeare himself. Having completed over 70 publications in his lifetime, Conrad Gessner is a powerhouse of information and his surviving works provide vital links to the mindset and understanding of the world from the Renaissance. Here today to share with us what Conrad Gessner was like, the works he completed, and exactly how it is we are supposed to spell his name, is our guest Dan Hooley.

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Shakespeare mentions sleep in his plays over 380 times, and the word bed over 540 times! His works mentions Truckle beds, as well as the famous Great Bed of Ware, but when it comes to the bard himself, what did he sleep on? Here this week to help us explore beds in Tudor England as well as pajamas, bedtime rituals, and the materials used to make bed sheets is our guest and author of Sleep in Early Modern England, Sasha Handley. 

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One of the most accepted statements you’re liable to find about Elizabethan theater online today is that playing companies were all male companies. The idea of a woman on stage is considered forbidden, or not allowed. However, our guest today, Pamela Brown, has recently published a book called The Diva’s Gift to the Shakespearean Stage where she presents evidence that women did participate in performances on stage during Shakespeare’s lifetime. Her work challenges what I know I thought I knew about Shakespearean theater, and I’m delighted to have her here today to help clarify this part of Shakespeare’s history for you, too.

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Married to Henry Valois, Catherine de Medici held considerable power and influence over the Valois Dynasty of France and was beloved of the Medici Dynasty in Italy. The year William Shakepseare was born, in 1564, Catherine de Medici offered her son, Charles IX, as a husband for Elizabeth I, and would go on to offer her other two sons, Francis and Henry, to Elizabeth I as well in a decades long effort to secure a political alliance through marriage with England. Staunchly opposed to marriage on the whole, Elizabeth I never did accept Catherine’s sons as husbands, but the interactions and rivalry between these two powerful women was a mainstay over England for the formative years in Shakespeare’s lifetime. Here today to help us explore the life of Catherine de Medici is our guest, historian, and author of the her latest book about Catherine de Medici called Blood, Fire, and Gold: The Story of Elizabeth I of England and Catherine de Medici , Dr. Estelle Paranque. 

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Transoceanic travel was a staple of European endeavors for the 16-17th century, with both Elizabeth I and James I spending massive amounts of money and effort to work with trading companies and explorers who traveled to other continents for trade, commerce, and colonization during Shakespeare’s lifetime. In order to reach these new and exotic places, as well as to be able to return again after the new places had been found, the sailors and explorers relied mainly on navigation by the stars and the wind to get to their destination. However, this time in history is when printed maps and manuscript charts started to be used as a fall back for navigation, and in some cases for political propaganda. It was the maps of John Smith that the Pilgrims consulted to get to the New World, and when Sir Francis Drake circumnavigated the globe in the 16th century, a hand illustrated map of his journey was created in the 1570s. Shakespeare references a “map of the world” in Henry V, and a “map of ports, piers, and roads” in Merchant of Venice, along with 14 other references to maps and “mappery” in his plays. Here this week to help us understand how mapmaking worked for Shakespeare’s lifetime, exactly who it was that were employed as cartographers, and whether or not the maps sailors relied upon were accurate, is our guest and former Head of Map Collections at the British Library, Peter Barber.

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William Shakespeare uses the word “lottery” in his plays 8 times, often referring to a reward that comes after taking a gamble. While we may be familiar with lotteries like the Powerball or Publishing Clearinghouse here in the United States, a ticket based lottery where people could pay money for a chance to win big was brand new for England in Shakespeare’s lifetime. The first time England had seen a real lottery, was the first national lottery in 1567, instituted by Elizabeth I, when Shakespeare was just 3 years old. Here today to share with us how this lottery worked, who bought tickets, and who ultimately won it, is our guest, Elizabeth Norton.

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Five times in Shakespeare’s works he refers to a specific plant called a Medlar. In As You Like It, Rosalind talks about grafting a medlar, Lucio talks about a rotten medlar in Measure for Measure, Mercutio uses the medlar tree to describe Romeo’s state of mind in Romeo and Juliet and the last two references to medlars are found in Timon of Athens when Apemantus both presents a medlar for eating, and questions whether someone hates medlars. Whether or not we should hate or love the medlar fruit is the subject of our show today. Our guest this week and author at British Food History.com, Neil Buttery, is in the studio with us to share with us the history of this plant, what it looks and tastes like, as well as what it would have been used for in Shakespeare’s lifetime.

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In William Shakespeare’s play, Merry Wives of Windsor, Bardolph declares “You Banbury Cheese!” as an insult. The reason this line is an insult is because for the life of William Shakespeare, Banbury England was famous for making a particular kind of cheese that was thinner on the rind than other cheese typical of the period. Therefore, calling someone a Banbury cheese was akin to calling them a string-bean, or saying they were too thin. It works especially well as a joke for Shakespeare in the play because the character Bardolph is insulting is named, as you might expect, Slender.The joke is a highly contemporary reference by Shakespeare and in order to better understand the history of Banbury England and their famous cheese, we have invited the chair of the Banbury Historical Society, Helen Forde, to visit with us today and explain what made Banbury cheese so unique for Shakespeare’s lifetime.

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