The Sport of Bear Baiting

A woodcutting by William Lily (1468–1522) depicting a bear being bitten by six dogs.
A woodcutting by William Lily (1468–1522) depicting a bear being bitten by six dogs. Courtesy of Folger Shakespeare Library. CC-BY.4.0.

History of Bear Baiting in London

Para1Bear baiting was a gruesome yet popular blood sport during the early modern period. The sport consisted of chaining a bear to a stake then unleashing dogs into the arena who would taunt and attack the bear. The sport of bear baiting was typically held in an arena known as a Bear Garden. Some London playhouses, such as The Hope, were used mainly as theatres, with bear baiting taking place on specific days when plays were not staged. Once the sport reached its peak between 1615–1635, the baitings left the theatres altogether and were held only in specialized arenas. Some scholars like Erica Fudge argue that bear baiting was symbolic of the various power struggles that were occurring during the Elizabethan era. Due to the disapproval of Puritan ministers, the sport began a decline in the late 1630s and it never regained in popularity in England again.

Royal Opinion

Para2This violent sport was initially accepted by the rulers of the era, so much that it was also known as The King’s Game. The Master of The King’s Game received a small salary from the king in addition to status in the court. Many men who wanted to get close to the king, thus gaining influence in the royal court, pursued this position. The Master was also held accountable for the animals within the arena. People who did not enjoy the sport due to its cruel nature were obligated to respect it because of royal interest and the approval of the royal court. But that attitude changed about a decade into the rule of King James I of England. Starting in 1618, as declared in The Book of Sports, all the ministers for the Church of England were required, by royal order, to inform their parishioners of sports permitted by the king that could occur on Sundays after church services, in part due to Puritan opposition to some folk customs in England. But The Book of Sports banned Sunday bear baiting, initiating the decline of the once popular entertainement. While it seldom occured after the 1630s, animal baiting was not formally banned in England until Parliament did so in 1835.

Shakespeare’s View

Para3Shakespeare occasionally compared the situation of his characters to that of the bear in the arena: tied to a stake surrounded by those who wish harm upon them.
In The Second Part of Henvy VI, Richard of Gloucester asks that Call hither to the stake my two brave bears,/That with the very shaking of their chains/They may astonish these fell-lurking curs and in reply, Lord Clifford cries, Are these thy bears? we'll bait thy bears to death./ And manacle the bear-ward in their chains,/If thou darest bring them to the baiting place, (5.1.142–144 and 146–147), using the sport as a metaphor for tormenting enemies.
In King Lear, the captured Earl of Gloucester discovers the cruelty he faces at the hands of Lear’s daughters and cries out I am tied to th' stake, and I must stand the course (3.7.56).
In Macbeth, the title character uses the metaphor of being baited when he discovers in the final battle that he is surrounded and without hope of survival.
Para4Shakespeare’s characters sometimes appear to have a more sensitive approach to bear baiting, associating themselves with the fate and unfortunate circumstances of the bear, although in Twelfth Night, Sir Toby says, to anger him Malvolio we’ll have the bear again, and we’ll fool him black and blue, shall we not, Sir Andrew?, showing that the entertainment value of bear baiting was not absent from the plays.

Key Print Sources

Fudge, Erica. Perceiving Animals: Humans and Beasts in Early Modern English Culture. University of Illinois Press, 2002.
Scott-Warren, Jason. When Theaters Were Bear-Gardens; Or, What’s at Stake in the Comedy of Humors. Shakespeare Quarterly, vol. 54, no. 1, 2003, pp. 63–82.

Key Online Sources

Andrews, Evan. The Gruesome Blood Sports of Shakespearean England. History. A&E Television Networks. 30 Jan. 2017; updated 28 May 2025. https://www.history.com/articles/the-gruesome-blood-sports-of-shakespearean-england. Accessed 11 Feb. 2026.
Best, Michael. City Sports: Bear baiting. Shakespeare’s Life and Times. Internet Shakespeare Editions. https://internetshakespeare.uvic.ca/Library/SLT/society/city%20life/sports.html. Accessed 12 Dec. 2020.
Elizabethan Playhouses and Bear Baiting Arenas Given Protection. Historic England. 26 Sep. 2016. https://historicengland.org.uk/whats-new/news/elizabethan-playhouses-and-bear-baiting-arenas-given-protection. Accessed 12 Dec. 2020.
Lauenstein, Eva. Exit, Pursued by a Bear. Shakespeare’s Globe. 29 Jan. 2016. https://www.shakespearesglobe.com/discover/blogs-and-features/2016/01/29/exit-pursued-by-a-bear/. Accessed 11 Feb. 2026.

Image Source

Lily, William. Bearbaiting Woodcut. Antibossicon. London, 1521. Folger Shakespeare Library, Digital Image Collection. https://digitalcollections.folger.edu/img1202. Access 11 Feb. 2026.

Prosopography

Janelle Jenstad

Janelle Jenstad is a Professor of English at the University of Victoria, Director of The Map of Early Modern London, and Director of Linked Early Modern Drama Online. With Jennifer Roberts-Smith and Mark Beatrice Kaethler, she co-edited Shakespeare’s Language in Digital Media: Old Words, New Tools (Routledge). She has edited John Stow’s A Survey of London (1598 text) for MoEML and is currently editing The Merchant of Venice (with Stephen Wittek) and Heywood’s 2 If You Know Not Me You Know Nobody for DRE. Her articles have appeared in Digital Humanities Quarterly, Elizabethan Theatre, Early Modern Literary Studies, Shakespeare Bulletin, Renaissance and Reformation, and The Journal of Medieval and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives (MLA); Institutional Culture in Early Modern England (Brill); Shakespeare, Language, and the Stage (Arden); Performing Maternity in Early Modern England (Ashgate); New Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter); Placing Names: Enriching and Integrating Gazetteers (Indiana); Making Things and Drawing Boundaries (Minnesota); Rethinking Shakespeare Source Study: Audiences, Authors, and Digital Technologies (Routledge); and Civic Performance: Pageantry and Entertainments in Early Modern London (Routledge). For more details, see janellejenstad.com.

Julianne Hiscock

Julianne Hiscock was a student at the University of Fraser Valley.

Kate McPherson

Kate McPherson is Professor of English and Honors Program Director at Utah Valley University (Orem, UT, USA). In 2015, she began working to redevelop Shakespeare’s Life and Times, created by Michael Best, into the Early Modern England Encyclopedia. Her other publications include commentary on Pericles and The Comedy of Errors for the New Oxford Shakespeare (2016); the co-edited volumes Stages of Engagement: Drama and Religion in Post-Reformation England with James Mardock (Duquesne University Press, 2014) and Shakespeare Expressed: Page, Stage, and Classroom in Shakespeare and His Contemporaries, with Kathryn M. Moncrief and Sarah Enloe (Fairleigh Dickinson University Press, 2013). With Kathryn M. Moncrief, Kate has also two edited collections, Performing Pedagogy in Early Modern England: Gender, Instruction, and Performance (Ashgate, 2011) and Performing Maternity in Early Modern England (Ashgate 2008). She has also published numerous articles on early modern maternity in scholarly journals. Kate participated in the 2008 National Endowment for the Humanities Institute, Shakespeare’s Blackfriars: The Study, the Stage, the Classroom, at the American Shakespeare Center. She also served as Play Seminar Director, a public humanities position, for the Utah Shakespeare Festival in 2017 and 2018.

Leah Hamby

Leah Hamby is the primary encoder for the Early Modern England Encyclopedia. Aside from encoding, she also works as an editor for the project and contributed several articles of her own. She has been working on the EMEE since February 2023. As of February 2026, she is soon to graduate with honours from Utah Valley University with a major in history and a minor in creative writing. Her other work with the LEMDO program includes remediating William Kemp’s Kemp’s Nine Day’s Wonder for the Digital Renaissance Editions.

Melissa Walter

Melissa Walter is Associate Professor of English at the University of the Fraser Valley. Her research focuses on early modern English drama and English and European prose fiction. She is the author of The Italian Novella and Shakespeare’s Comic Heroines (U of Toronto, 2019), and co-editor, with Dennis Britton, of Rethinking Shakespeare Source Study: Authors, Audiences, Digital Technologies (Routledge, 2018). Her work on English theatre and the European novella has appeared in several edited collections, including Transnational Exchange in Early Modern Theater (Ashgate, 2008), and Transnational Mobility in Early Modern Theater (Ashgate, 2012). She has also written about Translation and Identity in the Dialogues in English and Malaiane Languages (Indographies, ed. Jonathan Gil Harris. Palgrave 2012). At the University of the Fraser Valley, she is a lead coordinator of UFV’s Shakespeare and Reconciliation Garden.

Michael Best

Michael Best is Professor Emeritus at the University of Victoria, BC. He founded the Internet Shakespeare Editions in 1996, and was Coordinating Editor until 2017, contributing two editions to the ISE: King John and King Lear (the latter also available in print from Broadview Press). In print, he has published editions of works of Elizabethan magic and huswifery, a collection of letters from the Australian goldfields, and Shakespeare on the Art of Love (2008). He contributed regular columns for the Shakespeare Newsletter on Electronic Shakespeares, and has written many articles and chapters for both print and online books and journals, principally on questions raised by the new medium in the editing and publication of texts. He has delivered papers and plenary lectures on electronic media and the Internet Shakespeare Editions at conferences in Canada, the USA, the UK, Spain, Australia, and Japan.

Orgography

LEMDO Team (LEMD1)

The LEMDO Team is based at the University of Victoria and normally comprises the project director, the lead developer, project manager, junior developers(s), remediators, encoders, and remediating editors.

University of Victoria (UVIC1)

https://www.uvic.ca/

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