Mini: Anne Hathaway, Shakespeare's Wife

This year, 2023, is the 400th anniversary of the death of Shakespeare's wife, Anne Hathaway. Have you ever stopped to ask how much you actually know about Anne?

In today's episode, we will travel back through time to explore how Anne has been depicted in Shakespeare biographies and works of imaginative fiction since her death. We explore how her inclusion (or exclusion) from Shakespeare's narrative has changed and investigate what these depictions can tell us about society's perceptions of Shakespeare.

Finally, we will also dive into the historical record and share the facts of Anne Hathaway's life. And yes, we will talk about that second best bed line in William Shakespeare's will. 

Kourtney Smith (KS): Welcome to another Shakespeare Anyone mini-episode! In these mini-episodes, we’ll be exploring topics that are related to Shakespeare but aren’t necessarily connected to whatever play we’ve been discussing. 

Elyse Sharp (ES): And they’re mini, because, well, they’re shorter than our other episodes. They’re like quartos if the regular episodes are folio editions.  

KS: In today’s episode, we’ll be talking about Anne Hathaway, Shakespeare’s wife. 

ES: This year, 2023, is the 400th anniversary of the death of Anne Hathaway. Consider for a moment, how much do you actually know about Anne?

KS: Maybe you’ve heard that Shakespeare married an older woman from a nearby village when he was eighteen–and maybe she was pregnant at the time? Maybe you’ve heard that he left her their second-best bed in his will and that is evidence that they didn’t have a loving relationship. Or was it that the second-best bed was the marriage bed in Shakespeare’s time, and this detail in the will is actually an affectionate nod to their loving long-term partnership?

ES: We’ll get back to Will’s will later in this episode, but let’s first focus on Anne. Throughout the 400 years since her death, Anne has gone through multiple cycles of being excluded from Shakespeare’s life to being the center, from being a shrew to being loving and supportive. And her representations in popular narratives are closely tied to how society at any time wants to perceive her husband. 

KS: Immediately following her death and throughout the rest of the seventeenth century, Anne’s existence went largely unnoticed as popular characterizations of Shakespeare preferred to depict him as a libertine and ladies’ man. The origins of this Libertine Shakespeare myth are unclear, however it was written down long before historians ever decided to write about Anne Hathaway’s existence. 

ES: The first depiction of Shakespeare as a libertine dates from 1602, during Shakespeare’s lifetime, and includes no mention of the fact that he is married. Law student John Manningham recorded in his diary a widely circulated anecdote about an evening when a woman in the audience of a performance of Richard III requested lead actor Richard Burbage to call on her at night. According to Manningham, “Shakespeare, overhearing their conclusion, went before, was entertained, and at his game ere Burbage came. The message being brought that Richard III was at the door, Shakespeare caused return to be made that William the Conqueror was before Richard III.” Shakespearean scholar Katherine West Scheil notes that “while it is impossible to know if there is any truth to Manningham’s anecdote, it is significant that it originated during Shakespeare’s lifetime, and that similar stories have endured over 400 years.”

KS: Throughout the rest of the seventeenth century, after Shakespeare and Anne’s deaths and the publication of the First Folio, many travelers visited Shakespeare’s grave in Stratford-upon-Avon. However, it wasn’t until William Dugdale published his Antiquities of Warwickshire in 1656 that any surviving printed record made note of Anne’s epitaph, even though her grave was (and remains) next to her husband’s. 

ES: In 1709, Nicholas Rowe published a biography on Shakespeare that included the first two sentences about Anne Hathaway as Shakespeare’s wife in print. They read: “in order to settle in the World after a Family manner, Shakespeare thought fit to marry while he was yet very Young. His Wife was the Daughter of one Hathaway, said to have been a substantial Yeoman in the Neighbourhood of Stratford.” In 1733, Shakespeare biographer Lewis Theobald added details derived from Anne’s epitaph to her biography. 

KS: Despite this small, growing interest in Anne Hathaway, the myth of Libertine Shakespeare remained popular throughout the eighteenth century, and in 1769, Anne was intentionally, carefully, and calculatedly excluded from the most well-known Shakespeare event of the century: David Garrick’s Stratford Jubilee. According to Shakespeare scholar Nicola J. Watson, the Jubilee “established Stratford, together with the surrounding countryside of Warwickshire as [the]...location of a Shakespeare cult.” 

ES: Scheil notes that Garrick did not include any mention of Anne Hathaway or incorporate her nearby family home in any of his festivities. This omission, according to Scheil, is striking considering that Garrick had previously visited the Hathaway family home years earlier with his brother in search of relics related to Shakespeare. At that time, the home, now known as Anne Hathaway’s Cottage, was still occupied by the Hathaway family. 

KS: Garrick’s aim for the Jubilee was to put Shakespeare on a pedestal and present him as more of a “sacred being, appropriate as the national poet, through a series of pageants and songs that were deemed objects for consumption by fashionable metropolitan visitors,” according to Scheil and Shakespeare scholar Kate Rumbold. Omitting Anne allowed Garrick to create a Shakespeare who was “a poet bred from nature and unfettered by the mundane realities of domestic life symbolized by his wife. Garrick’s Shakespeare needed to be set free from a local Stratford girl…to make him available as the darling boy of nature and the sweet swan of the Avon.” 

ES: Despite Garrick’s obvious lack of interest in Anne, some Jubilee attendees paid attention to the grave next to Shakespeare’s when they visited Holy Trinity Church, and they started to take more of an interest in Anne Hathaway as a window in the personal life of Shakespeare The Man instead of Garrick’s ideal for Shakespeare the National Poet. And as tourists began to visit the Warwickshire countryside for the Jubilee and after, the Hathaway family saw the potential in linking their home to Garrick’s festivities as they proceeded to promote stories of his visit.

KS: Throughout the rest of the century, the Hathaway family shifted the focus of the mementos they highlighted to ones that centered Anne in the narrative. When Garrick and his brother visited, his brother purchased an inkstand and gloves which evoke the idea of Shakespeare the writer and his father’s glove-making business. By 1817, the Hathaway family’s objects of interest were associated with the romantic courtship between William and Anne. 

ES: By that time, visitors had become far more interested in Shakespeare’s romantic relationship with Anne and hoped to be able to purchase relics and ephemera related to the relationship. One even lamented, “It is to be regretted, and it is indeed somewhat extraordinary, that not a fragment of the bard’s poetry, addressed to his Warwickshire beauty, has been rescued from oblivion.” Indeed, the lack of documents from Will and Anne’s relationship left a void–which imaginary accounts were happy to fill. 

KS: After accompanying his father on a disappointing relic-seeking trip to Stratford-upon Avon that included the Anne Hathaway Cottage, a teenager named William Ireland saw a market for fake relics that fabricated a romantic relationship between William Shakespeare and Anne. Upon their return home, William Ireland announced to his father that a “Mr. H” had given him a trunk full of “Shakespeare-related documents, including a profession of Shakespeare's Protestant faith, a letter from Queen Elizabeth to Shakespeare, playhouse documents, and a love letter and love poem from Shakespeare to Anne Hathaway, complete with a lock of Shakespeare’s hair.

ES: William Ireland would go on to claim he found a version of Shakespeare’s will that included a substantial bequest to Anne Hathaway. These forgeries generated so much excitement that when the Irelands had a public viewing of their “collection,” they had to charge admission and create a timed entrance system to handle the demand. People were clearly obsessed with learning about the inner, personal life of Shakespeare the Man, especially in relation to his wife. 

KS: Ireland’s forgeries were debunked by Edmond Malone, a Shakespeare biographer who sought to supplant ideas of a happily married Shakespeare with his own ideas about Shakespeare’s marriage. Malone developed the “first extended fantasy of Anne as a disastrous mistake, a woman who made Shakespeare miserable in his married life, and who had no connection to his literary output” by focusing on the couple’s age difference, the second best bed bequest, and a highly curated selection of Shakespeare’s works while suppressing details from historical record. While later biographers would craft alternative narratives for the Shakespeare marriage that were (mostly) kinder to Anne, Malone’s extreme and misogynistic take has had a long lasting influence that has been repeated in print as recently as 2004. 

ES: However, for others in the late 1700s and early 1800s, the obsession with Shakespeare the Man and his personal life, combined with the excitement and interest in Shakespeare as the National Poet coalesced to inspire another narrative for Shakespeare and Anne Hathaway. The composer Charles Dibdin, who helped Garrick with organizing the jubilee and wrote music for some of the festivities, also wrote a song about Anne which depicts Anne as a “charming, angelic, and godly woman.” This song was such an excellent tribute that it was frequently attributed to Shakespeare, and it remained popular throughout the 1800s. 

KS: Dibdin’s chaste, domestic Anne made Shakespeare into a man who adored that kind of woman, thus crafting the idea of a Moral Shakespeare. This Moral Shakespeare coincided with the nascent tradition of Shakespeare criticism by and for women. Compared to the Libertine Shakespeare of the early eighteenth century, this newly redeemed Shakespeare was set up as a moral authority–perfect for implementing in the newly identified and lucrative markets for Shakespeare and Shakespeare-related works, such as in school and at home with new readers like women and youths. 

ES: In order for Shakespeare to be wise on moral affairs, popular culture in the early nineteenth century dictated that Shakespeare needed to be moral himself, and that required a chaste, romantic courtship. By the end of the nineteenth century, Moral Shakespeare had become Shakespeare the Family Man. 

KS: Works of fiction featuring Anne began to emerge, often depicting her as similar to Portia, Rosalind, or Juliet. Interest in Anne also evolved as part of a movement by women to create a Radical Shakespeare who spoke explicitly to the experience of women in the late 1800s. Shakespeare’s female heroines were described as models of behavior for young women, and this led to a further interest in Anne. However, this interest was “not in order to discover more about her as an early modern woman in her own right, but rather for the role she could play in creating a Shakespeare with a romantic courtship in the pastoral setting of her family home.”

ES: Emma Severn’s 1845 novel, Anne Hathaway, or Shakespeare in Love, published in three volumes and designed for women readers, turns Shakespeare into a romantic hero and soul mates with Anne. Severn depicts Anne as a “saintly and moral influence of Shakespeare, who in turn worships her and has to compete with several rivals for her hand, including Sir Thomas Lucy and the poet Edmund Spenser.”

KS: In the late 1800s, many fictional Anne Hathaways were devoted and supportive wives, focused on domestic duties and ever patient, serving as the source of inspiration for Shakespeare’s poetry. Others were given a more Malone-esque style, depicted as an illiterate and uneducated country peasant who Shakespeare was forced to marry and who could never fulfill or inspire Shakespeare. Like Malone, these depictions featuring a “Nightmare Anne” put an emphasis on the couple’s age gap as a central reason for their imagined marital misery, portraying Anne as a shrewish nag, and suggest that Shakespeare would have easily been led astray by the more cosmopolitan women of London. These portrayals continued to pop up, especially in the biography genre, throughout the early 20th century and, as we have mentioned earlier, have continued into the 21st century. 

ES: Now, let’s take a moment to call this what it is. Thinking that someone’s intelligence or abilities are defined by their social class, amount of formal education, place of birth, or where they reside is the exact same kind of elitist classism that leads some people to believe that there is no way a young man from Stratford-upon-Avon wrote the plays that Shakespeare did. 

KS: In the early 20th century, Annes in imaginative works were translocated to London in order to visit Shakespeare or be present for his theatrical career, and many of these works also tie Anne, in one way or another, to Queen Elizabeth I. These Annes are feisty, strong-willed, and independent. They are also both supporters of Shakespeare and sources of his inspiration. 

ES: This era also sees the romantic courtship and marriage narratives continuing to be popular among women readers. One 1905 novel aimed at this group of readers, Shakespeare’s Sweetheart by Sara Hawks Sterling, was “one of the first extended attempts to offer a woman’s perspective on Shakespare’s romantic life, letting readers imagine what it would feel like to be on the receiving end of Shakespeare’s passion.” This novel is also notable for showing scenes of same-sex desire between Anne and the Dark Lady of Shakespeare’s sonnets. 

KS: Another novel of this era, Anna Benneson McMahan’s Shakespeare’s Love Story, links Anne to the sonnets and suggests that while Shakespeare may have had extramarital affairs while in London, that doesn’t mean that he did love and return to his wife. As Sterling’s story continues the Shakespeare the Romantic Hero narrative, McMahan’s follows in the tradition of Shakespeare the Family Man. 

ES: In contrast, the early 20th century also saw the creation of another “nightmare Anne” in James Joyce’s Ulysses, which was clearly inspired by Malone and similar writers. Joyce’s fictional Anne is “a further distorted, sexualized, and decrepit creature, a haunting portrait of an elderly, haggard Anne…spent, aggressive, and corrupt.” Despite a chorus of virtuous fictional Annes that were created in novels and plays in response to the Joycean Anne, this portrayal by a male writer in one of the most influential works in modernist literature has had a pervasive and long-lasting effect on the conception of Anne Hathaway in the modern imagination. 

KS: In the post-World War II era and the later 20th century, Anne is often depicted in opposition to Dark Ladies and other anti-Annes as the Nightmare Anne continued to be a prevailing narrative. In novelist and biographer Anthony Burgess’s 1964 novel, Nothing Like the Sun, Anne is a “sexual monster” who pursues her own pleasure at the “expense of satiating [Shakespeare’s] libido” and his writing, and who insults his manhood. This leads Burgess’s Shakespeare to find sexual satisfaction and inspiration in the Dark Lady. Burgess also repeated his negative portrayal of Anne in his 1970 Shakespeare biography. 

ES: The Nightmare Anne camp continued to be influential in the 1960s-1980s as more Annes in both biography and imaginative works were “lower-class, backward, lascivious, and out of touch with Shakespeare’s artistic life.” It is interesting to note that Burgess’s Anne and other similar Annes proliferated in parallel to the second wave feminist movement, the early years of feminist Shakespeare criticism, and a trend towards centering women’s voices in the field of biography. 

KS: The 1990s saw the return of an independent and inspiring Anne who can also satisfy Shakespeare sexually in Robert Nye’s popular novel, Mrs. Shakespeare: The Complete Works. However, the decade “also yielded one of the most successful anti-Anne texts,” the 1999 film Shakespeare in Love, which we have discussed over on our Patreon. The film does not feature Anne on screen but centers an imagined affair with Shakespeare and a noblewoman, Viola de Lesseps. In both the film and the 2014 stage play adaptation, Shakespeare refers to his marital relations as non-existent and his wife as cold. 

ES: The years surrounding the new millennium saw a drastic increase in Shakespeare biographies. Many put a new “emphasis on Shakespeare’s Warwickshire life, and by extension, assign greater importance to Anne.” These include (guest of the pod) Jonathan Bate’s Soul of the Age and Germain Greer’s Shakespeare’s Wife, which seeks to use archival research to “fill in the wife-shaped void in the biography of Shakespeare” and suggests Anne may have been involved in putting together the First Folio. However, the most popular biography to come out of this time period continues the Nightmare Anne trope. 

KS: Stephen Greenblatt’s Will in the World  “tells a story of Shakespeare as an artist trapped in a loveless marriage, miserably yoked to a woman who cannot share his art, from whom he must eventually escape to find love, success, and sexual satisfaction.” Just as the nightmare Anne narrative continues to feature the same elements over and over, Greenblatt’s work does not add any new documentary evidence or fresh discoveries from the historical record. Instead, he (admittedly) places an emphasis on telling a good story about Shakespeare.

ES: Scheil notes, and perhaps our listeners have noticed, that “there is an alarming correlation between constructing a Shakespeare for a popular audience and offering a pejorative portrayal of Anne Hathaway.” We also note that throughout history, when the audience for works has been largely white, wealthy, and cismen, that is most often when the nightmare Anne appears. However, in works geared to women audiences, Annes are given more agency and an expanded variety of personas. 

KS: As we’ve seen from the 1800s onward, Annes in fictional works from the early 200s-2010s continue to feature independent Annes who have a love interest in Shakespeare and whose personal views on the world reflect the issues faced by modern women. We continue to see illiterate Annes as well as Annes who are educated enough to critique Shakespeare’s poetry, or even be the true author of his works. And we also continue to see Annes who are sexually empowered and fulfilled. 

ES: In the late 2010s and into present day, we continue to see popular works featuring smart and empathetic Annes who are engaged in Shakespeare’s work. At the end of Lauren Gunderson’s 2017 play, The Book of Will, a literate Anne is presented with the first copy of the First Folio as a gift from her deceased husband’s friends, intended as a thank you for her permission or role in letting Shakespeare be a writer. The 2019 musical & Juliet depicts Anne and Shakespeare working together on a rewrite of Romeo and Juliet (Anne’s idea!). As of this recording, the musical is in performances on Broadway, and will be on tour in the United States and the United Kingdom in 2024. And Maggie O'Farrell's 2020 novel, Hamnet, focuses on Anne and William as parents and their grief after the loss of their son. 

KS: So that’s how Anne has been imagined in (or excluded from) Shakespeare narratives over the past four hundred years. But, if you’re like us, you might be wondering, ok Kourtney and Elyse, that’s a whole episode on what people thought of Anne…what do we actually know about her? And when are we actually getting to Shakespeare’s will? You promised to talk about Shakespeare’s will! And that time is now. Here are the facts of Anne Hathaway’s life, as we can tell from surviving written records. 

ES: Anne Hathaway was most likely born in 1555 or 1556–if the inscription on her grave is correct, which says she died at the age of 67 in August 1623. She was one of ten children born to Richard Hathaway, a yeoman farmer who was a tenant at a farm then known as Hewlands, which would become the Anne Hathaway Cottage. No evidence survives about Anne’s interpersonal relationships with her parents or siblings. 

KS: The Hathaways were a well connected and respected family in the village of Shottery, just outside Stratford-upon-Avon. Richard Hathaway held a number of leadership roles in the community and was an influential member of the Shottery community. It is likely that William Shakespeare’s father, John, and Richard Hathaway were close friends–in fact, as early as 1566, John paid some of Richard’s debts. The families were and would remain closely knit for several generations–well into the 1700s. 

ES: Anne’s marriage to William Shakespeare may have been arranged by their fathers before her father’s death. The marriage was typical for the early modern era as the families were close and of similar status. Speculation surrounding the marriage has been inspired by inconsistencies in name and place details included in the marriage license compared to the marriage bond. It is most likely that the clerk who wrote the marriage license was fairly incompetent. Shakespeare biographer Samuel Schoenbaum notes that the clerk was “careless at least–for he got a number of names wrong in the Register.” The bond, however, was backed by family friends who most likely got those details correct.

KS: Anne gave birth to Susanna Shakespeare in May 1583, six months after the marriage (and therefore clearly conceived prior to the marriage), and then to twins Hamnet and Judith two years later. While it is unknown why the Shakespeares did not have additional children, according to Shakespearean scholar Jeanne Jones’ study of the family lives of early modern Stratford residents, families were most commonly three, four, or six people in size. Therefore, the Shakespeares were a normal sized family household for their area. 

ES: Shakespeare purchased New Place, the second largest house in Stratford, in 1597 as his gentleman’s family home. It is possible that many extended Shakespeare family members lived at New Place during William and Anne’s lives, as New Place has ten chimneys and twenty to thirty rooms. There is also evidence that influential members of the Stratford community lived there or were entertained there. Archaeological evidence shows that the Shakespeares lived an affluent lifestyle at New Place. As an early modern lady of the house, Anne would have fulfilled the role of hostess for any events (check out our episode on Hospitality and Cannibalism for more on the role of hostess!). 

KS: New Place was also the site of cottage industries most likely managed by Anne. Archaeological evidence points to these industries being most likely crafts such as bone-working (for buttons or offcuts) and textiles, specifically textile production and maintenance. Archaeologists also discovered an oval pit in the back plots that may have been an oven/kiln, brick storage, or possibly a quarry. It is also feasible that New Place had some sort of brewing business. Stratford was well known for its brewing industry and a 1598 Note on Corn and Malt shows that Shakespeare hoarded malt at New Place.  Since Shakespeare was likely in London in 1598 when that malt was hoarded and when he ordered stone for repairs or renovations, it very likely may have been Anne who oversaw both the construction at New Place and the brewing business. She at least had a major role. 

ES: Additionally, the 1602 will of Thomas Whittington, the Hathaway family shepherd, confirms that Anne was a prominent and respected member of her family and community. In the will, Whittington leaves money to the poor and entrusts it “in the hand of Anne Shakespeare, wife unto Mr William Shakespeare.” The fact that Whittington chose to single out Anne above other members of her family as the trusted recipient of his funds shows that she was respected and could be trusted to manage financial bequests of others. 

KS: However, Anne is now remembered most for twelve words written in an interlineated line in William Shakespeare’s will. On the third and final page, this line most likely reads “Unto my wife, I give my second best bed with the furniture,” and these words have caused much conjecture regarding the relationship between Anne and Will, especially from the Nightmare Anne camp. Edmond Malone first advanced the argument that the addition of this line pointed to Shakespare forgetting his wife and adding her in at the last minute, and as we have discussed, others have expanded on this idea. 

ES: It is important to note that the will exists in different stages of finality, as other changes were made to each page in addition to this line to the third page. Scheil argues that “in Shakespeare’s playtexts, scholars allow for a variety of accidental omissions in the printing process and in the transmission of texts that have nothing to do with Shakespeare, but are the result of secondary circumstances; the same possibilities may obtain for the composition of a will.” 

KS: Indeed, Scheil notes that Shakespeare’s lawyer “was known for producing imperfect and uncorrected wills.” Additionally, the meaning behind the second best bed is still uncertain. Jeanne Jones noted in her study of early modern family life that the bed was the most important item of furniture, so bequeathing a bed isn’t definitively insulting or complimentary. 

ES: Additionally, in another early modern will from 1608, Thomas Combe also bequeathed his second-best bed to his wife. Presumably, this means that Shakespeare’s bequest is without acrimony–this was just a thing early modern husbands made sure their wives got in their wills! But since we can’t ask Shakespeare, we can’t know for sure what he meant by it. 

KS: It is interesting to note that Anne may have been the one who encouraged Shakespeare to make a will at all, as the Hathaways had a long tradition of making wills and the Shakespeares did not. Will’s parents and siblings did not leave wills that survive today while many Hathaway wills do. Whatever hand she had in the genesis of the document that she would be most remembered by, we want to take a moment to highlight how those who knew Anne chose to remember her. 

ES: After Anne’s death in August of 1623, she was buried to the left of her husband between his grave and his monument. Burial in Holy Trinity Church was prestigious but not exclusive and depended on the ability to pay for the burial space. Five Shakespeare family members are buried near the altar of the church. Of these five, Anne is one of three with epitaphs in Latin. The other two, Shakespeare and daughter Susanna, have epitaphs in English.

KS: Shakespeare’s grave does not include his name or date of death, but it has a famous curse that reads: “Good friend for Jesus sake forebare, / To dig the dust enclosed here. Bleste be the man that spares thes stones, / And curst be he that moves my bones.” 

ES: Anne’s grave is the only grave out of five whose epitaph is engraved on a brass marker which suggests she was pious and devout and “remembered with intense affection [for] her important role in her family.” Her epitaph was likely composed by her daughter Susanna Hall or those close to Susanna.

KS: It reads “Here lyeth interred the body of Anne wife of William Shakepseare, who departed this life the 6 day of August 1623 being of the age of 67 yeares.” The epitaph continues in Latin, here translated: “Mother, you gave me the breast, you gave me milk and life; / Woe is me, that for so great a gift my return will be but a tomb / Would that the good angel would roll away the stone from its mouth! / And that your form, like the body of Christ, would come forth! / Yet my prayers are of no avail; come quickly, Christ!/ That my mother, though shut in the tomb, may rise again and seek the stars.”

ES: Ultimately, like Shakespeare, we can never know the real Anne Hathaway, so when encountering depictions of her that go beyond the facts of the historical record, Scheil notes, “it is worth maintaining some degree of skepticism about the ways she is constructed, whether couched as fact or fiction” and to consider the version of Shakespeare that is being constructed through her depictions. 

KS: And that’s Anne Hathaway, Shakespeare’s Wife!

ES: Thank you for listening to this episode. 

Quote of the Episode:

KS: From Richard III, act three, scene four, spoken by Richard III, “Off with his head!”

Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp.

Music is "Neverending Minute" by Sounds Like Sander.

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Works referenced:

AKA Group Limited, LLC, and Juliet Broadway LLC. “& Juliet: Official Broadway Website.” & Juliet | Official Broadway Website – Official Tickets for the New Broadway Musical & Juliet., Juliet Broadway LLC, 2022, andjulietbroadway.com/.

Gunderson, Lauren. The Book of Will. Dramatists Play Service Inc., 2018.

O’Farrell, Maggie. Hamnet. Alfred A. Knopf, 2020.

Scheil, Katherine West. Imagining Shakespeare’s Wife: The Afterlife of Anne Hathaway. Cambridge University Press, 2018.