In Shakespeare's Henry IV, Part 1, Hotspur delivers a chilling threat against King Richard:

"I'll have a starling shall be taught to speak Nothing but 'Mortimer,' and give it him To keep his anger still in motion."

It's a line rooted in the politics of kingship and rebellion—but it also hinges on something strikingly practical. The idea of teaching a starling to speak wasn't poetic fancy. It was entirely possible. In fact, it was happening in Shakespeare's lifetime.

This week, we're stepping beyond the metaphor to explore the real bird behind the threat. What was the behavior, temperament, and reputation of the starling in early modern England? Were they truly trained to mimic speech? Were they kept as pets—or even raised for the table alongside other fowl?

Here to guide us into the world of the early modern starling is Lee Raye, author of Creatures of Story and Song: Tracing Britain's Lost Species. Lee's work traces the historical presence of wild animals and plants, and today, they help us uncover how fact and drama intersect in the history of one of the world's most fascinating birds.

In Shakespeare's Othello, the Second Senator in Act One warns of a Turkish fleet bearing down on Cyprus. Later in that same scene, the Duke of Venice remarks, "The Turk with a most mighty preparation makes for Cyprus. Othello, the fortitude of the place is best known to you."

References to Cyprus appear again and again throughout the dialogue—calling attention to wars, naval battles, and the conflicts surrounding the island, including, as Iago puts it, the struggle between "grounds Christian and heathen."

Shakespeare places Othello in Cyprus at a moment of extreme tension. In the play, the island has just faced an imminent invasion by the Ottoman Turks. The Venetian fleet is mobilized, generals are dispatched, and Cyprus is on high alert. It makes for an exciting story—but what's even more compelling is that the setting Shakespeare chose mirrors real history almost exactly.

In 1570 and 1571, Cyprus—then a Venetian possession—was attacked by the Ottoman Empire. The final and most famous stronghold was a city called Famagusta, whose siege became infamous across Europe.

For Shakespeare's audience, Cyprus under Turkish threat was not fictional—it was recent news. When Othello opens with fears of invasion, Shakespeare is tapping into a collective memory of terror and loss that was still emotionally raw.

To help us explore how the play connects to the real history Shakespeare's audience would have recognized immediately, I'm delighted to welcome our guest today, Michael Walsh.

In Shakespeare's plays, we see 6 total references to tennis. Polonius mentions an argument over a tennis game in Hamlet. Henry V and Pericles talk about tennis courts and there's even a couple of references to "tennis balls" showing up in Shakespeare's other plays, talking about them being played with at the game of tennis, as well as being stuffed as part of the process of making a tennis ball. We can tell that Shakespeare and his contemporaries knew about the game of tennis, but where did it come from? How was it played? Do we know anything about these tennis courts they used? To find out more about the history of tennis from Shakespeare's lifetime, today we're talking with Laurence Grove. Laurence is a Professor of French and Text/Image Studies at the University of Glasgow, and was recently the guest expert for an article inside PBS's report into newly discovered images that reveal some interesting new findings about the 16th century history of tennis. Laurence joins us today to share these findings, as well as to explain what tennis would have been like for Shakespeare.

Shakespeare's only reference to Easter comes up in Romeo and Juliet Act III when Mercutio talks about buying a new doublet for Easter. Despite only a single reference to this holiday, for the people of 16-17th century England, Easter was a major event. Holidays in Shakespeare's lifetime largely followed the life of Jesus Christ, and the resurrection of Jesus that is celebrated on Easter Sunday was a high point of the year's festivities. Here today to share with us the customs, foods, and yes, the clothing like a new doublet, that would have been staples for the observance of the Easter Holidays in Shakespeare's lifetime, is our guest, and author of Reformation England 1480-1642, Peter Marshall.

In this episode of That Shakespeare Life, we explore the surprising presence of monkeys, apes, and baboons in early modern England and the role these animals played in the culture of Shakespeare's world. Shakespeare refers to primates dozens of times in his plays, and those references were not purely imaginative—exotic animals were arriving in England through global trade, kept as fashionable pets by elites, and even trained to perform tricks for public entertainment. By examining travel narratives, natural history books like Edward Topsell's The History of Four-Footed Beasts, and records of animal performances near the London theatres, we uncover how early modern audiences understood these creatures and why primates became such vivid symbols in Renaissance literature and stage culture.

What toys did children play with in Shakespeare's lifetime? In this episode, historian Dr. Julia Martins joins That Shakespeare Life to explore the games, dolls, rattles, hobby horses, and playground activities that shaped childhood in Tudor England—and how these playful details appear in Shakespeare's world.

Joined this week by historian Susan D. Amussen, we take a close look at the historical evidence that confirms William Shakespeare as a real working playwright and actor in early modern England. Drawing from Susan's book What's in a Name?, we explore the documentary records—from theater company memberships and tax records to property purchases—that trace Shakespeare's life from Stratford-upon-Avon to London's vibrant theatrical world.

We also compare the surviving evidence for Shakespeare with what we know about other playwrights like Christopher Marlowe, and discuss how historians interpret the gaps in the historical record. Along the way, Susan explains what the archives reveal about Shakespeare's work with the Lord Chamberlain's Men (later the King's Men) and how these records help historians answer the enduring question: how do we know Shakespeare is Shakespeare?

In this episode, we explore what the "Ides" actually meant in ancient Rome and how March 15th transformed from an ordinary—sometimes even festive—date on the Roman calendar into one of history's most infamous days. Jörg Rüpke explains how Romans understood their calendar, what rituals or superstitions may (or may not) have surrounded the Ides, and how news of Caesar's assassination would have spread through the city. We also examine the differences between ancient historical sources and Shakespeare's dramatic choices, from Calpurnia's ominous warnings to the political and religious tensions surrounding tyrannicide.

We then turn to Shakespeare's England, asking how Renaissance audiences would have interpreted Roman dates, costumes, and political symbolism on stage. Did Elizabethans already fear March 15th, or did Shakespeare himself help create that association? Along the way, we consider how the play reflects the delicate political climate of Elizabeth I's reign, the moral dangers of overthrowing authority, and why the assassination scene unfolds at "the Capitol" instead of the historically accurate Curia of Pompey.

In this episode, we explore how time was measured in Shakespeare's England — from weight-driven household clocks to elite pocket watches imported from Germany. With Dr. Jane Desborough, we uncover how early modern clocks tracked not only hours but lunar phases, zodiac signs, and seasons, and why "accuracy" meant something very different before minute and second hands became standard.

In Shakespeare's lifetime, travel wasn't reserved for grand tours or royal progresses — it was woven into daily life. Ordinary Elizabethans crossed rivers, walked muddy roads, boarded boats, hired horses, and rode in wagons for business, family visits, market days, court appearances, and worship. England was constantly in motion. But how did people without titles or servants actually get from place to place, and what did it cost them in time, money, and effort?

Today we're joined by Dr. Charmian Mansell, Lecturer in Early Modern History at the University of Sheffield and award-winning author of Female Servants in Early Modern England. Her research uncovers the practical realities of everyday travel in the 16th and 17th centuries — from routes and lodging to ferries, weather delays, and the surprising distances ordinary people were willing to go.

In Shakespeare's play, The Winter's Tale, Autolycus talks about "selling all my trumpery." The reference made me wonder if Autolycus was packing up all his attic junk and random periphery collected over the years to sell them in what might be considered a yard sale for Elizabethan England. Did Shakespeare's England have garage sales where people sold their gently used items to their peers and neighbors? And what about the potential for the Renaissance equivalent of a Goodwill wtore, a thrift store, or even a consignment or pawn shop? Was it possible that people in Shakespeare's lifetime were selling their used items for profit?

In order to explore the world of second hand clothing, thrift stores, and pawn shops of Elizabethan England I'm delighted to welcome Dr. Kate Kelsey Staples, author of "The Significance of the Secondhand Trade in Europe, 1200–1600" to join us to help us explore exactly where one would have deposited or dispatched of their superfluous household goods.