In Our Time: Culture

Melvyn Bragg and guests discuss the author of 'I, Claudius' who was also one of the finest poets of the twentieth century. Robert Graves (1895 -1985) placed his poetry far above his prose. He once declared that from the age of 15 poetry had been his ruling passion and that he lived his life according to poetic principles, writing in prose only to pay the bills and that he bred the pedigree dogs of his prose to feed the cats of his poetry. Yet it’s for his prose that he’s most famous today, including 'I Claudius', his brilliant account of the debauchery of Imperial Rome, and 'Goodbye to All That', the unforgettable memoir of his early life including the time during the First World War when he was so badly wounded at the Somme that The Times listed him as dead.

With

Paul O’Prey Emeritus Professor of Modern Literature at the University of Roehampton, London

Fran Brearton Professor of Modern Poetry at Queen’s University, Belfast

And

Bob Davis Professor of Religious and Cultural Education at the University of Glasgow

Producer: Simon Tillotson

Robert Graves (ed. Paul O'Prey), In Broken Images: Selected Letters of Robert Graves 1914-1946 (Hutchinson, 1982)

Robert Graves (ed. Paul O'Prey), Between Moon and Moon: Selected letters of Robert Graves 1946-1972 (Hutchinson, 1984)

Robert Graves (ed. Beryl Graves and Dunstan Ward), The Complete Poems (Penguin Modern Classics, 2003)

Robert Graves, I, Claudius (republished by Penguin, 2006)

Robert Graves, King Jesus (republished by Penguin, 2011)

Robert Graves, The White Goddess (republished by Faber, 1999)

Robert Graves, The Greek Myths (republished by Penguin, 2017)

Robert Graves (ed. Michael Longley), Selected Poems (Faber, 2013)

Robert Graves (ed. Fran Brearton, intro. Andrew Motion), Goodbye to All That: An Autobiography: The Original Edition (first published 1929; Penguin Classics, 2014)

William Graves, Wild Olives: Life in Majorca with Robert Graves (Pimlico, 2001)

Richard Perceval Graves, Robert Graves: The Assault Heroic, 1895-1926 (Macmillan, 1986, vol. 1 of the biography)

Richard Perceval Graves, Robert Graves: The Years with Laura, 1926-1940 (Viking, 1990, vol. 2 of the biography)

Richard Perceval Graves, Robert Graves and the White Goddess, 1940-1985 (Orion, 1995, vol. 3 of the biography)

Miranda Seymour: Robert Graves: Life on the Edge (Henry Holt & Co, 1995)

In Our Time is a BBC Studios Audio Production

Melvyn Bragg and guests discuss the work of the great French Impressionist Claude Monet (1840-1926) in London, initially in 1870 and then from 1899. He spent his first visit in poverty, escaping from war in France, while by the second he had become so commercially successful that he stayed at the Savoy Hotel. There, from his balcony, he began a series of almost a hundred paintings that captured the essence of this dynamic city at that time, with fog and smoke almost obscuring the bridges, boats and Houses of Parliament. The pollution was terrible for health but the diffraction through the sooty droplets offered an ever-changing light that captivated Monet, and he was to paint the Thames more than he did his water lilies or haystacks or Rouen Cathedral. On his return to France, Monet appeared to have a new confidence to explore an art that was more abstract than impressionist.

With

Karen Serres Senior Curator of Paintings at the Courtauld Gallery, London Curator of the exhibition 'Monet and London. Views of the Thames'

Frances Fowle Professor of Nineteenth-Century Art at the University of Edinburgh and Senior Curator of French Art at the National Galleries of Scotland

And

Jackie Wullschläger Chief Art Critic for the Financial Times and author of ‘Monet, The Restless Vision’

In Our Time is a BBC Studios Audio Production

Producer: Simon Tillotson Studio production: John Goudie

Reading list:

Caroline Corbeau Parsons, Impressionists in London: French Artists in Exile 1870-1904 (Tate Publishing, 2017)

Frances Fowle, Monet and French Landscape: Vétheuil and Normandy (National Galleries of Scotland, 2007), especially the chapter ‘Making Money out of Monet: Marketing Monet in Britain 1870-1905’

Robert Gordon and Andrew Forge, Monet (Harry N. Abrams, 1983)

Paul Hayes Tucker, Monet in the ’90s: The Series Paintings (Yale University Press, 1990)

Paul Hayes Tucker, Monet in the 20th Century (Yale University Press, 1998)

Katharine A. Lochnan, Turner, Whistler, Monet (Tate Publishing, 2005)

Nicholas Reed, Monet and the Thames: Paintings and Modern Views of Monet’s London (Lilburne Press, 1998)

Grace Seiberling, Monet in London (High Museum of Art, 1988)

Karen Serres, Frances Fowle and Jennifer A. Thompson, Monet and London: Views of the Thames (Paul Holberton Publishing, 2024 – catalogue to accompany Courtauld Gallery exhibition)

Charles Stuckey, Monet: A Retrospective (Random House, 1985)

Daniel Wildenstein, Monet: The Triumph of Impressionism (first published 1996; Taschen, 2022)

Jackie Wullschläger, Monet: The Restless Vision (Allen Lane, 2023)

Melvyn Bragg and guests discuss "The History of Tom Jones, A Foundling" (1749) by Henry Fielding (1707-1754), one of the most influential of the early English novels and a favourite of Dickens. Coleridge wrote that it had one of the 'three most perfect plots ever planned'. Fielding had made his name in the theatre with satirical plays that were so painful for their targets in government that, from then until the 1960s, plays required approval before being staged; seeking other ways to make a living, Fielding turned to law and to fiction. 'Tom Jones' is one of the great comic novels, with the tightness of a farce and the ambition of a Greek epic as told by the finest raconteur. While other authors might present Tom as a rake and a libertine, Fielding makes him the hero for his fundamental good nature, so offering a caution not to judge anyone too soon, if ever.

With

Judith Hawley Professor of 18th Century Literature at Royal Holloway, University of London

Henry Power Professor of English Literature at the University of Exeter

And

Charlotte Roberts Associate Professor of English Literature at University College London

Producer: Simon Tillotson

In Our Time is a BBC Studios Audio Production

Reading list:

Martin C. Battestin with Ruthe R. Battestin, Henry Fielding: A Life (Routledge, 1989)

J. M. Beattie, The First English Detectives: The Bow Street Runners and the Policing of London, 1750–1840 (Oxford University Press, 2012) S. Dickie, Cruelty and Laughter: Forgotten Comic Literature and the Unsentimental Eighteenth Century (University of Chicago Press, 2011)

J.A. Downie (ed.), The Oxford Handbook of the Eighteenth-Century Novel (Oxford University Press, 2020)

Henry Fielding (ed. John Bender and Simon Stern), The History of Tom Jones (Oxford University Press, 2008)

Henry Fielding (ed. Tom Keymer), The Journal of a Voyage to Lisbon (Penguin Classics, 1996)

Ronald Paulson, The Life of Henry Fielding: A Critical Biography (Wiley Blackwell, 2000)

Henry Power, Epic into Novel: Henry Fielding, Scriblerian Satire, and the Consumption of Classical Literature (Oxford University Press, 2015)

Claude Rawson, Henry Fielding and the Augustan Ideal under Stress (first published 1972; Routledge, 2021)

Claude Rawson (ed.), The Cambridge Companion to Henry Fielding (Cambridge University Press, 2007)

Melvyn Bragg and guests discuss 'the greatest poet of his age', Thomas Wyatt (1503 -1542), who brought the poetry of the Italian Renaissance into the English Tudor world, especially the sonnet, so preparing the way for Shakespeare and Donne. As an ambassador to Henry VIII and, allegedly, too close to Anne Boleyn, he experienced great privilege under intense scrutiny. Some of Wyatt's poems, such as They Flee From Me That Sometime Did Me Seek, are astonishingly fresh and conversational and yet he wrote them under the tightest constraints, when a syllable out of place could have condemned him to the Tower.

With

Brian Cummings 50th Anniversary Professor of English at the University of York

Susan Brigden Retired Fellow at Lincoln College, University of Oxford

And

Laura Ashe Professor of English Literature at the University of Oxford

Producer: Simon Tillotson In Our Time is a BBC Studios Audio Production

Reading list:

Thomas Betteridge and Suzannah Lipscomb (eds.), Henry VIII and the Court: Art, Politics and Performance (Routledge, 2016)

Susan Brigden, Thomas Wyatt: The Heart’s Forest (Faber, 2012)

Nicola Shulman, Graven with Diamonds: The Many Lives of Thomas Wyatt: Courtier, Poet, Assassin, Spy (Short Books, 2011)

Chris Stamatakis, Sir Thomas Wyatt and the Rhetoric of Rewriting (Oxford University Press, 2012)

Patricia Thomson (ed.), Thomas Wyatt: The Critical Heritage (Routledge, 1995)

Greg Walker, Writing Under Tyranny: English Literature and the Henrician Reformation (Oxford University Press, 2005)

Thomas Wyatt (ed. R. A. Rebholz), The Complete Poems (Penguin, 1978)

Melvyn Bragg and guests discuss one of the greatest European playwrights of the twentieth century. The aim of Bertolt Brecht (1898-1956) was to make the familiar ‘strange’: with plays such as Mother Courage and The Caucasian Chalk Circle he wanted his audience not to sit back but to engage, observe and discover the contradictions in life, and act on what they learnt. He developed this approach in turbulent times, from Weimar Germany to the rise of the Nazis, to exile in Scandinavia and America and then post-war life in East Berlin, and he has since inspired dramatists around the world.

With

Laura Bradley Professor of German and Theatre at the University of Edinburgh

David Barnett Professor of Theatre at the University of York

And

Tom Kuhn Professor of Twentieth Century German Literature, Emeritus Fellow of St Hugh's College, University of Oxford

Producer: Simon Tillotson In Our Time is a BBC Studios Audio production

Reading list:

David Barnett, Brecht in Practice: Theatre, Theory and Performance (Bloomsbury, 2014)

David Barnett, A History of the Berliner Ensemble (Cambridge University Press, 2015)

Laura Bradley and Karen Leeder (eds.), Brecht and the GDR: Politics, Culture, Posterity (Camden House, 2015)

Laura Bradley, ‘Training the Audience: Brecht and the Art of Spectatorship’ (The Modern Language Review, 111, 2016)

Bertolt Brecht (ed. Marc Silberman, Tom Kuhn and Steve Giles), Brecht on Theatre (Bloomsbury, 2014)

Bertolt Brecht (ed. Tom Kuhn, Steve Giles and Marc Silberman), Brecht on Performance (Bloomsbury, 2014)

Bertolt Brecht (trans. Tom Kuhn and David Constantine), The Collected Poems of Bertolt Brecht (Norton Liveright, 2018) which includes the poem ‘Spring 1938’ read by Tom Kuhn in this programme

Stephen Brockmann (ed.), Bertolt Brecht in Context (Cambridge University Press, 2021)

Meg Mumford, Bertolt Brecht (Routledge, 2009)

Stephen Parker, Bertolt Brecht: A Literary Life (Bloomsbury, 2014)

Ronald Speirs, Brecht’s Poetry of Political Exile (Cambridge University Press, 2000)

David Zoob, Brecht: A Practical Handbook (Nick Hern Books, 2018)

Melvyn Bragg and guests discuss Aristophanes' comedy in which the women of Athens and Sparta, led by Lysistrata, secure peace in the long-running war between them by staging a sex strike. To the men in the audience in 411BC, the idea that peace in the Peloponnesian War could be won so easily was ridiculous and the thought that their wives could have so much power over them was even more so. However Aristophanes' comedy also has the women seizing the treasure in the Acropolis that was meant to fund more fighting in an emergency, a fund the Athenians had recently had to draw on. They were in a perilous position and, much as they might laugh at Aristophanes' jokes, they knew there were real concerns about the actual cost of the war in terms of wealth and manpower.

With

Paul Cartledge AG Leventis Senior Research Fellow of Clare College, University of Cambridge

Sarah Miles Associate Professor in the Department of Classics and Ancient History at Durham University

And

James Robson Professor of Classical Studies at the Open University

Producer: Simon Tillotson

Reading list:

Aristophanes (ed. Jeffrey Henderson), Lysistrata (Oxford University Press, 1987)

Aristophanes (ed. Jeffrey Henderson), Three Plays by Aristophanes: Staging Women (Routledge, 2010)

Aristophanes (ed. Jeffrey Henderson), Birds; Lysistrata; Women at the Thesmophoria (Loeb Classical Library series, Harvard University Press, 2014)

Aristophanes (ed. Alan H. Sommerstein), Lysistrata and Other Plays: The Acharnians; The Clouds; Lysistrata (Penguin, 2002)

Aristophanes (ed. Alan H. Sommerstein), Lysistrata (Aris & Phillips, 1998)

Paul Cartledge, Aristophanes and his Theatre of the Absurd (Bristol Classical Press, 1999)

Kenneth Dover, Aristophanic Comedy (University of California Press, 1972)

Germaine Greer, Lysistrata: The Sex Strike: After Aristophanes (Aurora Metro Press, 2000)

Tony Harrison, The Common Chorus: A Version of Aristophanes’ Lysistrata (Faber & Faber, 1992)

Douglas M. MacDowell, Aristophanes and Athens: An Introduction to the Plays (Oxford University Press, 1995)

S. Douglas Olson (ed.), Ancient Comedy and Reception: Essays in Honor of Jeffrey Henderson (De Gruyter, 2013), especially 'She (Don't) Gotta Have It: African-American reception of Lysistrata' by Kevin Wetmore

James Robson, Aristophanes: Lysistrata, Bloomsbury ancient comedy companions (Bloomsbury, 2023)

James Robson, Aristophanes: An Introduction (Duckworth, 2009)

Ralph M. Rosen and Helene P. Foley (eds.), Aristophanes and Politics. New Studies (Brill, 2020)

Donald Sells, Parody, Politics and the Populace in Greek Old Comedy (Bloomsbury, 2018)

David Stuttard (ed.), Looking at Lysistrata: Eight Essays and a New Version of Aristophanes' Provocative Comedy (Bristol Classical Press, 2010)

Melvyn Bragg and guests discuss the Finnish epic poem that first appeared in print in 1835 in what was then the Grand Duchy of Finland, part of the Russian Empire and until recently part of Sweden. The compiler of this epic was a doctor, Elias Lönnrot (1802-1884), who had travelled the land to hear traditional poems about mythical heroes being sung in Finnish, the language of the peasantry, and writing them down in his own order to create this landmark work. In creating The Kalevala, Lönnrot helped the Finns realise they were a distinct people apart from Sweden and Russia, who deserved their own nation state and who came to demand independence, which they won in 1917.

With

Riitta Valijärvi Associate Professor in Finnish and Minority Languages at University College London

Thomas Dubois The Halls-Bascom Professor of Scandinavian Folklore and Literature at the University of Wisconsin-Madison

And

Daniel Abondolo Formerly Reader in Hungarian at University College London

Producer: Simon Tillotson

Reading list:

Nigel Fabb, What is Poetry? Language and Memory in the Poems of the World (Cambridge University Press, 2015)

Frog, Satu Grünthal, Kati Kallio and Jarkko Niemi (eds), Versification: Metrics in Practice (Finnish Literature Society, 2021)

Riho Grünthal et al., ‘Drastic demographic events triggered the Uralic spread’ (Diachronica, Volume 39, Issue 4, Aug 2022)

Lauri Honko (ed.), The Kalevala and the World's Traditional Epics (Finnish Literature Society, 2002)

The Kalevala Heritage: Archive Recordings of Ancient Finnish Songs. Online Catalogue no. ODE8492.

Mauri Kunnas, The Canine Kalevala (Otava Publishing, 1992)

Kuusi, Matti, et al. (eds.), Finnish Folk Poetry: Epic (Finnish Literature Society, 1977)

Elias Lönnrot (trans. John Martin Crawford), Kalevala: The Epic Poem of Finland (first published 1887; CreateSpace Independent Publishing Platform, 2017)

Elias Lönnrot (trans. W. F. Kirby), Kalevala: The Land of the Heroes (first published by J.M. Dent & Sons, 1907, 2 vols.; ‎ Continuum International Publishing Group Ltd, 2000)

Elias Lönnrot (trans. Francis Peabody Magoun Jr.), The Kalevala, or Poems of the Kaleva District (Harvard University Press, 1963)

Elias Lönnrot (trans. Eino Friberg), The Kalevala: Epic of the Finnish People (Otava Publishing, 1988)

Elias Lönnrot (trans. Keith Bosley), The Kalevala: An Epic Poem after Oral Tradition (Oxford University Press, 1989)

Kirsti Mäkinen, Pirkko-Liisa Surojegin, Kaarina Brooks, An Illustrated Kalevala: Myths and Legends from Finland (Floris Books, 2020)

Sami Makkonen, Kalevala: The Graphic Novel (Ablaze, 2024)

Juha Y. Pentikäinen (trans. Ritva Poom), Kalevala Mythology, (Indiana University Press, 1999)

Tina K. Ramnarine, Ilmatar’s Inspirations: Nationalism, Globalization and the Changing Soundscapes of Finnish Folk Music (University of Chicago Press, 2003) Jonathan Roper (ed.), Alliteration in Culture (Palgrave Macmillan, 2011), especially chapter 12 ‘Alliteration in (Balto-) Finnic Languages’ by Frog and Eila Stepanova

Karl Spracklen, Metal Music and the Re-imagining of Masculinity, Place, Race and Nation (Emerald Publishing, 2020), especially the chapter ‘Finnish Folk Metal: Raising Drinking Horns in Mainstream Metal’

Leea Virtanen and Thomas A. DuBois, Finnish Folklore: Studia Fennica Folkloristica 9 (Finnish Literature Society, 2000)

Melvyn Bragg and guests discuss the dance which, from when it reached Britain in the early nineteenth century, revolutionised the relationship between music, literature and people here for the next hundred years. While it may seem formal now, it was the informality and daring that drove its popularity, with couples holding each other as they spun round a room to new lighter music popularised by Johann Strauss, father and son, such as The Blue Danube. Soon the Waltz expanded the creative world in poetry, ballet, novellas and music, from the Ballets Russes of Diaghilev to Moon River and Are You Lonesome Tonight.

With

Susan Jones Emeritus Professor of English Literature at the University of Oxford

Derek B. Scott Professor Emeritus of Music at the University of Leeds

And

Theresa Buckland Emeritus Professor of Dance History and Ethnography at the University of Roehampton

Producer: Simon Tillotson

Reading list:

Egil Bakka, Theresa Jill Buckland, Helena Saarikoski, and Anne von Bibra Wharton (eds.), Waltzing Through Europe: Attitudes towards Couple Dances in the Long Nineteenth Century, (Open Book Publishers, 2020)

Theresa Jill Buckland, ‘How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack’ (Dance Research, 36/1, 2018); ‘Part Two: The Waltz Regained’ (Dance Research, 36/2, 2018)

Theresa Jill Buckland, Society Dancing: Fashionable Bodies in England, 1870-1920 (Palgrave Macmillan, 2011)

Erica Buurman, The Viennese Ballroom in the Age of Beethoven (Cambridge University Press, 2022)

Paul Cooper, ‘The Waltz in England, c. 1790-1820’ (Paper presented at Early Dance Circle conference, 2018)

Sherril Dodds and Susan Cook (eds.), Bodies of Sound: Studies Across Popular Dance and Music (Ashgate, 2013), especially ‘Dancing Out of Time: The Forgotten Boston of Edwardian England’ by Theresa Jill Buckland

Zelda Fitzgerald, Save Me the Waltz (first published 1932; Vintage Classics, 2001)

Hilary French, Ballroom: A People's History of Dancing (Reaktion Books, 2022)

Susan Jones, Literature, Modernism, and Dance (Oxford University Press, 2013)

Mark Knowles, The Wicked Waltz and Other Scandalous Dances: Outrage at Couple Dancing in the 19th and Early 20th Centuries (McFarland, 2009)

Rosamond Lehmann, Invitation to the Waltz (first published 1932; Virago, 2006)

Eric McKee, Decorum of the Minuet, Delirium of the Waltz: A Study of Dance-Music Relations in 3/4 Time (Indiana University Press, 2012)

Eduard Reeser, The History of the Walz (Continental Book Co., 1949)

Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, Vol. 27 (Macmillan, 2nd ed., 2000), especially ‘Waltz’ by Andrew Lamb

Derek B. Scott, Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris and Vienna (Oxford University Press, 2008), especially the chapter ‘A Revolution on the Dance Floor, a Revolution in Musical Style: The Viennese Waltz’

Joseph Wechsberg, The Waltz Emperors: The Life and Times and Music of the Strauss Family (Putnam, 1973)

Cheryl A. Wilson, Literature and Dance in Nineteenth-century Britain (Cambridge University Press, 2009)

Virginia Woolf, The Voyage Out (first published 1915; William Collins, 2013)

Virginia Woolf, The Years (first published 1937; Vintage Classics, 2016)

David Wyn Jones, The Strauss Dynasty and Habsburg Vienna (Cambridge University Press, 2023)

Sevin H. Yaraman, Revolving Embrace: The Waltz as Sex, Steps, and Sound (Pendragon Press, 2002)

Rishona Zimring, Social Dance and the Modernist Imagination in Interwar Britain (Ashgate Press, 2013)

Melvyn Bragg and guests discuss the highly influential American poet Walt Whitman.

In 1855 Whitman was working as a printer, journalist and property developer when he published his first collection of poetry. It began:

I celebrate myself, And what I assume you shall assume For every atom belonging to me as good belongs to you.

The book was called Leaves of Grass. In it, Whitman set out to break away from European literary forms and traditions. Using long lines written in free verse, he developed a poetry meant to express a distinctively American outlook.

Leaves of Grass is full of verse that celebrates both the sovereign individual, and the deep fellowship between individuals. Its optimism about the American experience was challenged by the Civil War and its aftermath, but Whitman emerged as a celebrity and a key figure in the development of American culture.

With

Sarah Churchwell Professor of American Literature and the Public Understanding of the Humanities at the University of London

Peter Riley Lecturer in 19th Century American Literature at the University of Exeter and

Mark Ford Professor of English and American Literature at University College London

Producer Luke Mulhall

Melvyn Bragg and guests discuss the Ramayana, the ancient Hindu epic which is regarded as one of the greatest works of world literature. Its importance in Indian culture has been compared to that of the Iliad and Odyssey in the West, and it’s still seen as a sacred text by Hindus today.

Written in Sanskrit, it tells the story of the legendary prince and princess Rama and Sita, and the many challenges, misfortunes and choices that they face. About 24,000 verses long, the Ramayana is also one of the longest ancient epics. It’s a text that’s been hugely influential and it continues to be popular in India and elsewhere in Asia. With

Jessica Frazier Lecturer in the Study of Religion at the University of Oxford and a Fellow of the Oxford Centre for Hindu Studies

Chakravarthi Ram-Prasad Distinguished Professor of Comparative Religion and Philosophy at Lancaster University

and

Naomi Appleton Senior Lecturer in Asian Religions at the University of Edinburgh

The image above shows Rama, Sita, Hanuman, Lakshmana and devotees, from the Shree Jalaram Prarthana Mandal, Leicester.

Producer Luke Mulhall

Melvyn Bragg and guests discuss Lewis Carroll's book which first appeared in print in 1865 with illustrations by John Tenniel. It has since become one of the best known works in English, captivating readers who follow young Alice as she chases a white rabbit, pink eyed, in a waistcoat with pocket watch, down a rabbit hole that becomes a well and into wonderland. There she meets the Cheshire Cat, the Hatter, the March Hare, the Mock Turtle and more, all the while growing smaller and larger, finally outgrowing everyone at the trial of Who Stole the Tarts from the Queen of Hearts and exclaiming 'Who cares for you? You’re nothing but a pack of cards!'

With

Franziska Kohlt Leverhulme Research Fellow in the History of Science at the University of Leeds and the Inaugural Carrollian Fellow of the University of Southern California

Kiera Vaclavik Professor of Children’s Literature and Childhood Culture at Queen Mary, University of London

And

Robert Douglas-Fairhurst Professor of English Literature at Magdalen College, University of Oxford

Producer: Simon Tillotson

Reading list:

Kate Bailey and Simon Sladen (eds), Alice: Curiouser and Curiouser (V&A Publishing, 2021)

Gillian Beer, Alice in Space: The Sideways Victorian World of Lewis Carroll (University of Chicago Press, 2016)

Will Brooker, Alice's Adventures: Lewis Carroll and Alice in Popular Culture (Continuum, 2004)

Humphrey Carpenter, Secret Gardens: A Study of the Golden Age of Children’s Literature (first published 1985; Faber and Faber, 2009)

Lewis Carroll (introduced by Martin Gardner), The Annotated Alice: The Definitive Edition, (W. W. Norton & Company, 2000)

Gavin Delahunty and Christoph Benjamin Schulz (eds), Alice in Wonderland Through the Visual Arts (Tate Publishing, 2011)

Robert Douglas-Fairhurst, The Story of Alice: Lewis Carroll and the Secret History of Wonderland (Harvill Secker, 2015)

Colleen Hill, Fairy Tale Fashion (Yale University Press, 2016)

Franziska Kohlt, Alice through the Wonderglass: The Surprising Histories of a Children's Classic (Reaktion, forthcoming 2025) Franziska Kohlt and Justine Houyaux (eds.), Alice: Through the Looking-Glass: A Companion (Peter Lang, forthcoming 2024)

Charlie Lovett, Lewis Carroll: Formed by Faith (University of Virginia Press, 2022)

Elizabeth Sewell, The Field of Nonsense (first published 1952; Dalkey Archive Press, 2016)

Kiera Vaclavik, 'Listening to the Alice books' (Journal of Victorian Culture, Volume 26, Issue 1, January 2021)

Diane Waggoner, Lewis Carroll's Photography and Modern Childhood (Princeton University Press 2020)

Edward Wakeling, The Man and his Circle (IB Tauris, 2014)

Edward Wakeling, The Photographs of Lewis Carroll: A Catalogue Raisonné (University of Texas Press, 2015)

Melvyn Bragg and guests discuss one of Shakespeare’s great comedies, which plays in the space between marriage, love and desire. By convention a wedding means a happy ending and here there are three, but neither Orsino nor Viola, Olivia nor Sebastian know much of each other’s true character and even the identities of the twins Viola and Sebastian have only just been revealed to their spouses to be. These twins gain some financial security but it is unclear what precisely the older Orsino and Olivia find enduringly attractive in the adolescent objects of their love. Meanwhile their hopes and illusions are framed by the fury of Malvolio, tricked into trusting his mistress Olivia loved him and who swears an undefined revenge on all those who mocked him.

With

Pascale Aebischer Professor of Shakespeare and Early Modern Performance Studies at the University of Exeter

Michael Dobson Professor of Shakespeare Studies and Director of the Shakespeare Institute at the University of Birmingham

And

Emma Smith Professor of Shakespeare Studies at Hertford College, University of Oxford

Produced by Simon Tillotson, Victoria Brignell and Luke Mulhall

Reading list:

C.L. Barber, Shakespeare’s Festive Comedies: A Study of Dramatic Form and Its Relation to Social Custom (first published 1959; Princeton University Press, 2011)

Simone Chess, ‘Queer Residue: Boy Actors’ Adult Careers in Early Modern England’ (Journal for Early Modern Cultural Studies 19.4, 2020)

Callan Davies, What is a Playhouse? England at Play, 1520-1620 (Routledge, 2023)

Frances E. Dolan, Twelfth Night: Language and Writing (Bloomsbury, 2014)

John Drakakis (ed.), Alternative Shakespeares (Psychology Press, 2002), especially ‘Disrupting Sexual Difference: Meaning and Gender in the Comedies’ by Catherine Belsey

Bart van Es, Shakespeare’s Comedies: A Very Short Introduction (Oxford University Press, 2016)

Sonya Freeman Loftis, Mardy Philippian and Justin P. Shaw (eds.), Inclusive Shakespeares: Identity, Pedagogy, Performance (Palgrave Macmillan, 2023), especially ‘”I am all the daughters of my father’s house, and all the brothers too”: Genderfluid Potentiality in As You Like It and Twelfth Night’ by Eric Brinkman

Ezra Horbury, ‘Transgender Reassessments of the Cross-Dressed Page in Shakespeare, Philaster, and The Honest Man’s Fortune’ (Shakespeare Quarterly 73, 2022)

Jean Howard, ‘Crossdressing, the theatre, and gender struggle in early modern England’ (Shakespeare Quarterly 39, 1988)

Harry McCarthy, Boy Actors in Early Modern England: Skill and Stagecraft in the Theatre (Cambridge University Press, 2022)

Stephen Orgel, Impersonations: The Performance of Gender in Shakespeare's England (Cambridge University Press, 1996)

William Shakespeare (eds. Michael Dobson and Molly Mahood), Twelfth Night (Penguin, 2005)

William Shakespeare (ed. Keir Elam), Twelfth Night (Arden Shakespeare, 2008)

Emma Smith, This is Shakespeare: How to Read the World's Greatest Playwright (Pelican, 2019)

Victoria Sparey, Shakespeare’s Adolescents: Age, Gender and the Body in Shakespearean Performance and Early Modern Culture (Manchester University Press, 2024)

Melvyn Bragg and guests discuss the Dutch artist famous for starry nights and sunflowers, self portraits and simple chairs. These are images known the world over, and Vincent van Gogh (1853-1890) painted them and around 900 others in the last decade of his short, brilliant life and, famously, in that lifetime he made only one recorded sale. Yet within a few decades after his death these extraordinary works, with all their colour and life, became the most desirable of all modern art, propelled in part by the story of Vincent van Gogh's struggle with mental health.

With

Christopher Riopelle The Neil Westreich Curator of Post 1800 Paintings at the National Gallery

Martin Bailey A leading Van Gogh specialist and correspondent for The Art Newspaper

And

Frances Fowle Professor of Nineteenth Century Art at the University of Edinburgh and Senior Curator at National Galleries Scotland

Producer: Simon Tillotson

Reading list:

Martin Bailey, Living with Vincent Van Gogh: The Homes and Landscapes that shared the Artist (White Lion Publishing, 2019)

Martin Bailey, Studio of the South: Van Gogh in Provence (Frances Lincoln, 2021)

Martin Bailey, Van Gogh’s Finale: Auvers and the Artist’s Rise to Fame (Frances Lincoln, 2021)

Nienke Bakker and Ella Hendriks, Van Gogh and the Sunflowers: A Masterpiece Examined (Van Gogh Museum, 2019)

Nienke Bakker, Emmanuel Coquery, Teio Meedendorp and Louis van Tilborgh (eds), Van Gogh in Auvers-sur-Oise: His Final Months (Thames & Hudson, 2023)

Frances Fowle, Van Gogh's Twin: The Scottish Art Dealer Alexander Reid, 1854-1928 (National Galleries of Scotland, 2010)

Bregje Gerritse, The Potato Eaters: Van Gogh’s First Masterpiece (Van Gogh Museum, 2021)

Steven Naifeh and Gregory White Smith, Van Gogh: The Life (Random House, 2012)

Leo Jansen, Hans Luijten and Nienke Bakker (eds), Vincent van Gogh: The Letters: The Complete Illustrated and Annotated Edition (Thames and Hudson Ltd, 2009)

Leo Jansen, Hans Luijten and Nienke Bakker (eds), Vincent van Gogh, A Life in Letters (Thames and Hudson Ltd, 2020)

Hans Luitjen, Jo van Gogh Bonger: The Woman who Made Vincent Famous Bloomsbury, 2022

Louis van Tilborgh, Martin Bailey, Karen Serres (ed.), Van Gogh Self-Portraits (Courtauld Institute, 2022)

Ingo F. Walther and Rainer Metzger, Van Gogh. The Complete Paintings (Taschen, 2022)

Melvyn Bragg and guests discuss Poe (1809-1849), the American author who is famous for his Gothic tales of horror, madness and the dark interiors of the mind, such as The Fall of the House of Usher and The Tell-Tale Heart. As well as tapping at our deepest fears in poems such as The Raven, Poe pioneered detective fiction with his character C. Auguste Dupin in The Murders in the Rue Morgue. After his early death, a rival rushed out a biography to try to destroy Poe's reputation but he has only become more famous over the years as a cultural icon as well as an author.

With

Bridget Bennett Professor of American Literature and Culture at the University of Leeds

Erin Forbes Senior Lecturer in 19th-century African American and US Literature at the University of Bristol

And

Tom Wright Reader in Rhetoric at the University of Sussex

Producer: Simon Tillotson

Reading list:

Peter Ackroyd, Poe: A Life Cut Short (Vintage, 2009)

Amy Branam Armiento and Travis Montgomery (eds.), Poe and Women: Recognition and Revision (Lehigh University Press, 2023)

Joan Dayan, Fables of Mind: An Inquiry into Poe's Fiction (Oxford University Press, 1987)

Erin Forbes, ‘Edgar Allan Poe in the Great Dismal Swamp’ (Modern Philology, 2016)

Kevin J. Hayes (ed.), Edgar Allan Poe in Context (Cambridge University Press, 2012)

J. Gerald Kennedy and Scott Peeples (eds.), The Oxford Handbook of Edgar Allan Poe (Oxford University Press, 2018)

Jill Lepore, 'The Humbug: Poe and the Economy of Horror' (The New Yorker, April 20, 2009)

Toni Morrison, Playing in the Dark (Vintage, 1993)

Scott Peeples and Michelle Van Parys, The Man of the Crowd: Edgar Allan Poe and the City (Princeton University Press, 2020)

Edgar Allan Poe, The Portable Edgar Allan Poe (Penguin, 2006)

Shawn Rosenhelm and Stephen Rachman (eds.), The American Face of Edgar Allan Poe (Johns Hopkins University Press, 1995)

Melvyn Bragg and guests discuss Marguerite, Queen of Navarre (1492 – 1549), author of the Heptaméron, a major literary landmark in the French Renaissance. Published after her death, The Heptaméron features 72 short stories, many of which explore relations between the sexes. However, Marguerite’s life was more eventful than that of many writers. Born into the French nobility, she found herself the sister of the French king when her brother Francis I came to the throne in 1515. At a time of growing religious change, Marguerite was a leading exponent of reform in the Catholic Church and translated an early work of Martin Luther into French. As the Reformation progressed, she was not afraid to take risks to protect other reformers.

With

Sara Barker Associate Professor of Early Modern History and Director of the Centre for the Comparative History of Print at the University of Leeds

Emily Butterworth Professor of Early Modern French at King’s College London

And

Emma Herdman Lecturer in French at the University of St Andrews

Producer: Simon Tillotson

Reading list:

Giovanni Boccaccio (trans. Wayne A. Rebhorn), The Decameron (Norton, 2013)

Emily Butterworth, Marguerite de Navarre: A Critical Companion (Boydell &Brewer, 2022)

Patricia Cholakian and Rouben Cholakian, Marguerite de Navarre: Mother of the Renaissance (Columbia University Press, 2006)

Gary Ferguson, Mirroring Belief: Marguerite de Navarre’s Devotional Poetry (Edinburgh University Press, 1992)

Gary Ferguson and Mary B. McKinley (eds.), A Companion to Marguerite de Navarre (Brill, 2013)

Mark Greengrass, The French Reformation (John Wiley & Sons, 1987)

R.J. Knecht, The Rise and Fall of Renaissance France (Fontana Press, 2008)

R.J. Knecht, Renaissance Warrior and Patron: The Reign of Francis I (Cambridge University Press, 2008)

John D. Lyons and Mary B. McKinley (eds.), Critical Tales: New Studies of the ‘Heptaméron’ and Early Modern Culture (University of Pennsylvania Press, 1993)

Marguerite de Navarre (trans. Paul Chilton), The Heptameron (Penguin, 2004)

Marguerite de Navarre (trans. Rouben Cholakian and Mary Skemp), Selected Writings: A Bilingual Edition (University of Chicago Press, 2008)

Marguerite de Navarre (trans. Hilda Dale), The Coach and The Triumph of the Lamb (Elm Press, 1999)

Marguerite de Navarre (trans. Hilda Dale), The Prisons (Whiteknights, 1989)

Marguerite de Navarre (ed. Gisèle Mathieu-Castellani), L’Heptaméron (Libraririe générale française, 1999)

Jonathan A. Reid, King’s Sister – Queen of Dissent: Marguerite of Navarre (1492-1549) and her Evangelical Network (Brill, 2009)

Paula Sommers, ‘The Mirror and its Reflections: Marguerite de Navarre’s Biblical Feminism’ (Tulsa Studies in Women’s Literature, 5, 1986)

Kathleen Wellman, Queens and Mistresses of Renaissance France (Yale University Press, 2013)

Melvyn Bragg and guests discuss the most influential work of Thorstein Veblen (1857-1929). In 1899, during America’s Gilded Age, Veblen wrote The Theory of the Leisure Class as a reminder that all that glisters is not gold. He picked on traits of the waning landed class of Americans and showed how the new moneyed class was adopting these in ways that led to greater waste throughout society. He called these conspicuous leisure and conspicuous consumption and he developed a critique of a system that favoured profits for owners without regard to social good. The Theory of the Leisure Class was a best seller and funded Veblen for the rest of his life, and his ideas influenced the New Deal of the 1930s. Since then, an item that becomes more desirable as it becomes more expensive is known as a Veblen good.

With

Matthew Watson Professor of Political Economy at the University of Warwick

Bill Waller Professor of Economics at Hobart and William Smith Colleges, New York

And

Mary Wrenn Senior Lecturer in Economics at the University of the West of England

Producer: Simon Tillotson

Reading list:

Charles Camic, Veblen: The Making of an Economist who Unmade Economics (Harvard University Press, 2021)

John P. Diggins, Thorstein Veblen: Theorist of the Leisure Class (Princeton University Press, 1999)

John P. Diggins, The Bard of Savagery: Thorstein Veblen and Modern Social Theory (Seabury Press, 1978)

John Kenneth Galbraith, The Affluent Society (Penguin, 1999) Robert Heilbroner, The Worldly Philosophers: The Lives, Times and Ideas of the Great Economic Thinkers (Penguin, 2000), particularly the chapter ‘The Savage Society of Thorstein Veblen’

Ken McCormick, Veblen in Plain English: A Complete Introduction to Thorstein Veblen’s Economics (Cambria Press, 2006)

Sidney Plotkin and Rick Tilman, The Political Ideas of Thorstein Veblen (Yale University Press, 2012)

Juliet B. Schor, The Overspent American: Why We Want What We Don't Need (William Morrow & Company, 1999)

Juliet B. Schor, Born to Buy: The Commercialized Child and the New Consumer Culture (Simon & Schuster Ltd, 2005)

Thorstein Veblen, The Theory of the Leisure Class (first published 1899; Oxford University Press, 2009)

Thorstein Veblen, The Theory of Business Enterprise (first published 1904; Legare Street Press, 2022)

Thorstein Veblen, The Higher Learning in America (first published 2018; Johns Hopkins University Press, 2015)

Thorstein Veblen, Absentee Ownership and Business Enterprise in Recent Times: The Case of America (first published 1923; Routledge, 2017)

Thorstein Veblen, Conspicuous Consumption (Penguin, 2005)

Thorstein Veblen, The Complete Works (Musaicum Books, 2017)

Charles J. Whalen (ed.), Institutional Economics: Perspective and Methods in Pursuit of a Better World (Routledge, 2021)

Melvyn Bragg and guests discuss Emile Zola's greatest literary success, his thirteenth novel in a series exploring the extended Rougon-Macquart family. The relative here is Etienne Lantier, already known to Zola’s readers as one of the blighted branch of the family tree and his story is set in Northern France. It opens with Etienne trudging towards a coalmine at night seeking work, and soon he is caught up in a bleak world in which starving families struggle and then strike, as they try to hold on to the last scraps of their humanity and the hope of change.

With

Susan Harrow Ashley Watkins Chair of French at the University of Bristol

Kate Griffiths Professor in French and Translation at Cardiff University

And

Edmund Birch Lecturer in French Literature and Director of Studies at Churchill College & Selwyn College, University of Cambridge

Producer: Simon Tillotson

Reading list:

David Baguley, Naturalist Fiction: The Entropic Vision (Cambridge University Press, 1990)

William Burgwinkle, Nicholas Hammond and Emma Wilson (eds.), The Cambridge History of French Literature (Cambridge University Press, 2011), particularly ‘Naturalism’ by Nicholas White

Kate Griffiths, Emile Zola and the Artistry of Adaptation (Legenda, 2009)

Kate Griffiths and Andrew Watts, Adapting Nineteenth-Century France: Literature in Film, Theatre, Television, Radio, and Print (University of Wales Press, 2013)

Anna Gural-Migdal and Robert Singer (eds.), Zola and Film: Essays in the Art of Adaptation (McFarland & Co., 2005)

Susan Harrow, Zola, The Body Modern: Pressures and Prospects of Representation (Legenda, 2010)

F. W. J. Hemmings, The Life and Times of Emile Zola (first published 1977; Bloomsbury, 2013)

William Dean Howells, Emile Zola (The Floating Press, 2018)

Lida Maxwell, Public Trials: Burke, Zola, Arendt, and the Politics of Lost Causes (Oxford University Press, 2014)

Brian Nelson, Emile Zola: A Very Short Introduction (Oxford University Press, 2020)

Brian Nelson (ed.), The Cambridge Companion to Emile Zola (Cambridge University Press, 2007)

Sandy Petrey, Realism and Revolution: Balzac, Stendhal, Zola, and the Performances of History (Cornell University Press, 1988)

Arthur Rose, ‘Coal politics: receiving Emile Zola's Germinal’ (Modern & contemporary France, 2021, Vol.29, 2)

Philip D. Walker, Emile Zola (Routledge, 1969)

Emile Zola (trans. Peter Collier), Germinal (Oxford University Press, 1993)

Emile Zola (trans. Roger Pearson), Germinal (Penguin Classics, 2004)

In the 1000th edition of In Our Time, Melvyn Bragg and guests discuss arguably the most celebrated film of the Swedish director Ingmar Bergman (1918-2007). It begins with an image that, once seen, stays with you for the rest of your life: the figure of Death playing chess with a Crusader on the rocky Swedish shore. The release of this film in 1957 brought Bergman fame around the world. We see Antonius Block, the Crusader, realising he can’t beat Death but wanting to prolong this final game for one last act, without yet knowing what that act might be. As he goes on a journey through a plague ridden world, his meeting with a family of jesters and their baby offers him some kind of epiphany.

With

Jan Holmberg Director of the Ingmar Bergman Foundation, Stockholm

Claire Thomson Professor of Cinema History and Director of the School of European Languages, Culture and Society at University College London

And

Laura Hubner Professor of Film at the University of Winchester

Producer: Simon Tillotson

Reading list:

Alexander Ahndoril (trans. Sarah Death), The Director (Granta, 2008)

Ingmar Bergman (trans. Marianne Ruuth), Images: My Life in Film (Faber and Faber, 1995)

Ingmar Bergman (trans. Joan Tate), The Magic Lantern: An Autobiography (Viking, 1988)

Ingmar Bergman (trans. Joan Tate), The Best Intentions (Vintage, 2018)

Ingmar Bergman (trans. Joan Tate), Sunday’s Children (Vintage, 2018)

Ingmar Bergman (trans. Joan Tate), Private Confessions (Vintage, 2018)

Stig Björkman, Torsten Manns and Jonas Sima (trans. Paul Britten Austin), Bergman on Bergman: Interviews with Ingmar Bergman (Da Capo Press, 1993)

Melvyn Bragg, The Seventh Seal: BFI Film Classics (British Film Institute, 1993)

Paul Duncan and Bengt Wanselius (eds.), The Ingmar Bergman Archives (Taschen/Max Ström, 2018)

Erik Hedling (ed.), Ingmar Bergman: An Enduring Legacy (Lund University Press, 2021)

Laura Hubner, The Films of Ingmar Bergman: Illusions of Light and Darkness (Palgrave Macmillan, 2007)

Daniel Humphrey, Queer Bergman: Sexuality, Gender, and the European Art Cinema (University of Texas Press, 2013)

Maaret Koskinen (ed.), Bergman Revisited: Performance, Cinema, and the Arts (Wallflower Press, 2008)

Selma Lagerlöf (trans. Peter Graves), The Phantom Carriage (Norvik Press, 2011)

Mariah Larsson and Anders Marklund (eds.), Swedish Film: An Introduction and Reader (Nordic Academic Press, 2010)

Paisley Livingston, Ingmar Bergman and the Rituals of Art (Cornell University Press, 2019)

Birgitta Steene (ed.), Focus on The Seventh Seal (Prentice Hall, 1972)

Birgitta Steene, Ingmar Bergman: A Reference Guide (Amsterdam University Press, 2014)

Death in Venice is Thomas Mann’s most famous – and infamous - novella. Published in 1912, it’s about the fall of the repressed writer Gustav von Aschenbach, when his supposedly objective appreciation of a young boy’s beauty becomes sexual obsession. It explores the link between creativity and self-destruction, and by the end Aschenbach’s humiliation is complete, dying on a deckchair in the act of ogling. Aschenbach's stalking of the boy and dreaming of pederasty can appal modern readers, even more than Mann expected.

With

Karolina Watroba, Post-Doctoral Research Fellow in Modern Languages at All Souls College, University of Oxford

Erica Wickerson, a Former Research Fellow at St Johns College, University of Cambridge

Sean Williams, Senior Lecturer in German and European Cultural History at the University of Sheffield

Sean Williams' series of Radio 3's The Essay, Death in Trieste, can be found here: https://www.bbc.co.uk/programmes/m001lzd4

Sophocles’ play Oedipus Rex begins with a warning: the murderer of the old king of Thebes, Laius, has never been identified or caught, and he’s still at large in the city. Oedipus is the current king of Thebes, and he sets out to solve the crime.

His investigations lead to a devastating conclusion. Not only is Oedipus himself the killer, but Laius was his father, and Laius’ wife Jocasta, who Oedipus has married, is his mother.

Oedipus Rex was composed during the golden age of Athens, in the 5th century BC. Sophocles probably wrote it to explore the dynamics of power in an undemocratic society. It has unsettled audiences from the very start: it is the only one of Sophocles’ plays that didn’t win first prize at Athens’ annual drama festival. But it’s had exceptionally good write-ups from the critics: Aristotle called it the greatest example of the dramatic arts. Freud believed it laid bare the deepest structures of human desire.

With:

Nick Lowe, Reader in Classical Literature at Royal Holloway, University of London

Fiona Macintosh, Professor of Classical Reception and Fellow of St Hilda’s College at the University of Oxford

Edith Hall, Professor of Classics at Durham University

In the year 29 BC the great Roman poet Virgil published these lines: Blessed is he who has succeeded in learning the laws of nature’s working, has cast beneath his feet all fear and fate’s implacable decree, and the howl of insatiable Death. But happy too is he who knows the rural gods…

They’re from his poem the Georgics, a detailed account of farming life in the Italy of the time. ‘Georgics’ means ‘agricultural things’, and it’s often been read as a farming manual. But it was written at a moment when the Roman world was emerging from a period of civil war, and questions of land ownership and management were heavily contested. It’s also a philosophical reflection on humanity’s relationship with the natural world, the ravages of time, and the politics of Virgil’s day.

It’s exerted a profound influence on European writing about agriculture and rural life, and has much to offer environmental thinking today.

With

Katharine Earnshaw Senior Lecturer in Classics and Ancient History at the University of Exeter;

Neville Morley Professor of Classics and Ancient History at the University of Exeter

and

Diana Spencer Professor of Classics at the University of Birmingham

Producer: Luke Mulhall

Melvyn Bragg and guests discuss Virginia Woolf's highly influential essay on women and literature, which considers both literary history and future opportunity.

In 1928 Woolf gave two lectures at Cambridge University about women and fiction. In front of an audience at Newnham College, she delivered the following words: “All I could do was offer you an opinion upon one minor point - a woman must have money and a room of her own if she is to write fiction; and that, as you will see, leaves the great problem of the true nature of woman and the true nature of fiction unsolved”.

These lectures formed the basis of a book she published the following year, and Woolf chose A Room Of One’s Own for its title. It is a text that set the scene for the study of women’s writing for the rest of the 20th century. Arguably, it initiated the discipline of women’s history too.

With

Hermione Lee Emeritus Professor of English Literature at the University of Oxford

Michele Barrett Emeritus Professor of Modern Literary and Cultural Theory at Queen Mary, University of London

and

Alexandra Harris Professor of English at the University of Birmingham

Producer Luke Mulhall

In 1957 Stevie Smith published a poetry collection called Not Waving But Drowning – and its title poem gave us a phrase which has entered the language.

Its success has overshadowed her wider work as the author of more than half a dozen collections of poetry and three novels, mostly written while she worked as a secretary. Her poems, printed with her pen and ink sketches, can seem simple and comical, but often beneath the surface lurk themes of melancholy, loneliness, love and death.

With Jeremy Noel-Tod Associate Professor in the School of Literature, Drama and Creative Writing at the University of East Anglia

Noreen Masud Lecturer in Twentieth Century Literature at the University of Bristol

and

Will May Professor of Modern and Contemporary Literature at the University of Southampton

The photograph above shows Stevie Smith recording her story Sunday at Home, a finalist in the BBC Third Programme Short Story competition in 1949.

Melvyn Bragg and guests discuss Donne (1573-1631), known now as one of England’s finest poets of love and notable in his own time as an astonishing preacher. He was born a Catholic in a Protestant country and, when he married Anne More without her father's knowledge, Donne lost his job in the government circle and fell into a poverty that only ended once he became a priest in the Church of England. As Dean of St Paul’s Cathedral, his sermons were celebrated, perhaps none more than his final one in 1631 when he was plainly in his dying days, as if preaching at his own funeral.

The image above is from a miniature in the Royal Collection and was painted in 1616 by Isaac Oliver (1565-1617)

With

Mary Ann Lund Associate Professor in Renaissance English Literature at the University of Leicester

Sue Wiseman Professor of Seventeenth Century Literature at Birkbeck, University of London

And

Hugh Adlington Professor of English Literature at the University of Birmingham

Melvyn Bragg and guests discuss Jane Austen’s last complete novel, which was published just before Christmas in 1817, five months after her death. It is the story of Anne Elliot, now 27 and (so we are told), losing her bloom, and of her feelings for Captain Wentworth who she was engaged to, 8 years before – an engagement she broke off under pressure from her father and godmother. When Wentworth, by chance, comes back into Anne Elliot's life, he is still angry with her and neither she nor Austen's readers can know whether it is now too late for their thwarted love to have a second chance.

The image above is from a 1995 BBC adaptation of the novel, with Amanda Root and Ciarán Hinds

With

Karen O’Brien Vice-Chancellor of Durham University

Fiona Stafford Professor of English Language and Literature at the University of Oxford

And

Paddy Bullard Associate Professor of English Literature and Book History at the University of Reading

Producer: Simon Tillotson

Melvyn Bragg and guests discuss Orson Welles' film, released in 1941, which is widely acclaimed as one of the greatest, if not the greatest, films yet made. Welles plays the lead role of Charles Foster Kane, a newspaper magnate, and Welles directed, produced and co-wrote this story of loneliness at the heart of a megalomaniac. The plot was partly inspired by the life of William Randolph Hearst, who then used the power of his own newspapers to try to suppress the film’s release. It was to take some years before Citizen Kane reached a fuller audience and, from that point, become so celebrated.

The image above is of Kane addressing a public meeting while running for Governor.

With

Stella Bruzzi Professor of Film and Dean of Arts and Humanities at University College London

Ian Christie Professor of Film and Media History at Birkbeck, University of London

And

John David Rhodes Professor of Film Studies and Visual Culture at the University of Cambridge

Producer: Simon Tillotson

Melvyn Bragg and guests discuss The Song of the Nibelungs, a twelfth century German epic, full of blood, violence, fantasy and bleakness. It is a foundational work of medieval literature, drawing on the myths of Scandinavia and central Europe. The poem tells of two couples, Siegfried and Kriemhild and Gunther and Brunhilda, whose lives are destroyed by lies and revenge. It was extremely popular in its time, sometimes rewritten with happier endings, and was rediscovered by German Romantics and has since been drawn from selectively by Wagner, Fritz Lang and, infamously, the Nazis looking to support ideas on German heritage.

The image above is of Siegfried seeing Kriemhild for the first time, a miniature from the Hundeshagenschen Code manuscript dating from 15th Century.

With

Sarah Bowden Reader in German and Medieval Studies at King’s College London

Mark Chinca Professor of Medieval German and Comparative Literature at the University of Cambridge

And

Bettina Bildhauer Professor of Modern Languages at the University of St Andrews

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the Bauhaus which began in 1919 in Weimar, Germany, as a school for arts and crafts combined, and went on to be famous around the world. Under its first director, Walter Gropius, the Bauhaus moved to Dessau and extended its range to architecture and became associated with a series of white, angular, flat-roofed buildings reproduced from Shanghai to Chicago, aimed for modern living. The school closed after only 14 years while at a third location, Berlin, under pressure from the Nazis, yet its students and teachers continued to spread its ethos in exile, making it even more influential.

The image above is of the Bauhaus Building, Dessau, designed by Gropius and built in 1925-6

With

Robin Schuldenfrei Tangen Reader in 20th Century Modernism at The Courtauld Institute of Art

Alan Powers History Leader at the London School of Architecture

And

Michael White Professor of the History of Art at the University of York

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the celebrated British poet of World War One. Wilfred Owen (1893-1918) had published only a handful of poems when he was killed a week before the end of the war, but in later decades he became seen as the essential British war poet. His works such as Anthem for Doomed Youth, Strange Meeting and Dulce et Decorum Est went on to be inseparable from the memory of the war and its futility. However, while Owen is best known for his poetry of the trenches, his letters offer a more nuanced insight into him such as his pride in being an officer in charge of others and in being a soldier who fought alongside his comrades.

With

Jane Potter Reader in The School of Arts at Oxford Brookes University

Fran Brearton Professor of Modern Poetry at Queen’s University Belfast

And

Guy Cuthbertson Professor of British Literature and Culture at Liverpool Hope University

Producer: Simon Tillotson

Melvyn Bragg and guests discuss one of the influential painters at the heart of the French Impressionist movement: Berthe Morisot (1841-1895). The men in her circle could freely paint in busy bars and public spaces, while Morisot captured the domestic world and found new, daring ways to paint quickly in the open air. Her work shows women as they were, to her: informal, unguarded, and not transformed or distorted for the eyes of men. The image above is one of her few self-portraits, though several portraits of her survive by other artists, chiefly her sister Edma and her brother-in-law Edouard Manet.

With

Tamar Garb Professor of History of Art at University College London

Lois Oliver Curator at the Royal Academy and Adjunct Professor of Art History at the American University of Notre Dame London.

And

Claire Moran Reader in French at Queen's University Belfast

Producer: Simon Tillotson

Melvyn Bragg and guests discuss George Orwell's (1903-1950) final novel, published in 1949, set in a dystopian London which is now found in Airstrip One, part of the totalitarian superstate of Oceania which is always at war and where the protagonist, Winston Smith, works at the Ministry of Truth as a rewriter of history: 'Who controls the past,' ran the Party slogan, 'controls the future: who controls the present controls the past.' The influence of Orwell's novel is immeasurable, highlighting threats to personal freedom with concepts he named such as doublespeak, thoughtcrime, Room 101, Big Brother, memory hole and thought police.

With

David Dwan Professor of English Literature and Intellectual History at the University of Oxford

Lisa Mullen Teaching Associate in Modern Contemporary Literature at the University of Cambridge

And

John Bowen Professor of English Literature at the University of York

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the origin of this personification of the English everyman and his development as both British and Britain in the following centuries. He first appeared along with Lewis Baboon (French) and Nicholas Frog (Dutch) in 1712 in a pamphlet that satirised the funding of the War of the Spanish Succession. The author was John Arbuthnot (1667-1735), a Scottish doctor and satirist who was part of the circle of Swift and Pope, and his John Bull was the English voter, overwhelmed by taxes that went not so much into the war itself but into the pockets of its financiers. For the next two centuries, Arbuthnot’s John Bull was a gift for cartoonists and satirists, especially when they wanted to ridicule British governments for taking advantage of the people’s patriotism.

The image above is by William Charles, a Scottish engraver who emigrated to the United States, and dates from 1814 during the Anglo-American War of 1812.

With

Judith Hawley Professor of 18th Century Literature at Royal Holloway, University of London

Miles Taylor Professor of British History and Society at Humboldt, University of Berlin

And

Mark Knights Professor of History at the University of Warwick

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the celebrated Welsh poet, Dylan Thomas (1914 - 1953). He wrote some of his best poems before he was twenty in the first half of his short, remarkable life, and was prolific in the second half too with poems such as those set in London under the Blitz and reworkings of his childhood in Swansea, and his famous radio play Under Milk Wood (performed after his death). He was read widely and widely heard: with his reading tours in America and recordings of his works that sold in their hundreds of thousands after his death, he is credited with reviving the act of poetry as performance in the 20th century.

With

Nerys Williams Associate Professor of Poetry and Poetics at University College Dublin

John Goodby Professor of Arts and Culture at Sheffield Hallam University

And

Leo Mellor The Roma Gill Fellow in English at Murray Edwards College, University of Cambridge

Producer: Simon Tillotson

Melvyn Bragg and guests discuss two of China’s greatest poets, Li Bai and Du Fu, who wrote in the 8th century in the Tang Era. Li Bai (701-762AD) is known for personal poems, many of them about drinking wine, and for finding the enjoyment in life. Du Fu (712-770AD), a few years younger, is more of an everyman, writing in the upheaval of the An Lushan Rebellion (755-763AD). Together they have been a central part of Chinese culture for over a millennium, reflecting the balance between the individual and the public life, and one sign of their enduring appeal is that there is rarely agreement on which of them is the greater.

The image above is intended to depict Du Fu.

With

Tim Barrett Professor Emeritus of East Asian History at SOAS, University of London

Tian Yuan Tan Shaw Professor of Chinese at the University of Oxford and Professorial Fellow at University College

And

Frances Wood Former Curator of the Chinese Collections at the British Library

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the French playwright who, in 1791, wrote The Declaration of the Rights of Woman and of the Female Citizen. This was Olympe de Gouges (1748-93) and she was responding to The Declaration of the Rights of Man and of the Citizen from 1789, the start of the French Revolution which, by excluding women from these rights, had fallen far short of its apparent goals. Where the latter declared ‘men are born equal’, she asserted ‘women are born equal to men,’ adding, ‘since women are allowed to mount the scaffold, they should also be allowed to stand in parliament and defend their rights’. Two years later this playwright, novelist, activist and woman of letters did herself mount the scaffold, two weeks after Marie Antoinette, for the crime of being open to the idea of a constitutional monarchy and, for two hundred years, her reputation died with her, only to be revived with great vigour in the last 40 years.

With

Catriona Seth Marshal Foch Professor of French Literature at the University of Oxford

Katherine Astbury Professor of French Studies at the University of Warwick

And

Sanja Perovic Reader in 18th century French studies at King’s College London

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the influential novella of John Polidori (1795-1821) published in 1819 and attributed first to Lord Byron (1788-1824) who had started a version of it in 1816 at the Villa Diodati in the Year Without A Summer. There Byron, his personal physician Polidori, Mary and Percy Shelley and Claire Clairmont had whiled away the weeks of miserable weather by telling ghost stories, famously giving rise to Mary Shelley's 'Frankenstein'. Emerging soon after, 'The Vampyre' thrilled readers with its aristocratic Lord Ruthven who glutted his thirst with the blood of his victims, his status an abrupt change from the stories of peasant vampires of eastern and central Europe that had spread in the 18th Century with the expansion of the Austro-Hungarian empire. The connection with Lord Byron gave the novella a boost, and soon 'The Vampyre' spawned West End plays, penny dreadfuls such as 'Varney the Vampire', Bram Stoker’s 'Dracula', F.W Murnau's film 'Nosferatu A Symphony of Horror', and countless others.

The image above is of Bela Lugosi (1882-1956) as Count Mora in Metro-Goldwyn-Meyer's 'Vampires of Prague' (1935)

With

Nick Groom Professor of Literature in English at the University of Macau

Samantha George Associate Professor of Research in Literature at the University of Hertfordshire

And

Martyn Rady Professor Emeritus of Central European History at University College London

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the astonishing work of Michelangelo (1477-1564) in this great chapel in the Vatican, firstly the ceiling with images from Genesis (of which the image above is a detail) and later The Last Judgement on the altar wall. For the Papacy, Michelangelo's achievement was a bold affirmation of the spiritual and political status of the Vatican, of Rome and of the Catholic Church. For the artist himself, already famous as the sculptor of David in Florence, it was a test of his skill and stamina, and of the potential for art to amaze which he realised in his astonishing mastery of the human form.

With

Catherine Fletcher Professor of History at Manchester Metropolitan University

Sarah Vowles The Smirnov Family Curator of Italian and French Prints and Drawings at the British Museum

And

Matthias Wivel The Aud Jebsen Curator of Sixteenth-Century Italian Paintings at the National Gallery

Producer: Simon Tillotson

Melvyn Bragg and guests discuss what is reputedly the most performed of all Greek tragedies. Antigone, by Sophocles (c496-c406 BC), is powerfully ambiguous, inviting the audience to reassess its values constantly before the climax of the play resolves the plot if not the issues. Antigone is barely a teenager and is prepared to defy her uncle Creon, the new king of Thebes, who has decreed that nobody should bury the body of her brother, a traitor, on pain of death. This sets up a conflict between generations, between the state and the individual, uncle and niece, autocracy and pluralism, and it releases an enormous tragic energy that brings sudden death to Antigone, her fiance Haemon who is also Creon's son, and to Creon's wife Eurydice, while Creon himself is condemned to a living death of grief.

With

Edith Hall Professor of Classics at Durham University

Oliver Taplin Emeritus Professor of Classics, University of Oxford

And

Lyndsay Coo Senior Lecturer in Ancient Greek Language and Literature at the University of Bristol

Producer: Simon Tillotson

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Melvyn Bragg and guests discuss William Shakespeare's famous tragedy, written in the early 1590s after a series of histories and comedies. His audience already knew the story of the feuding Capulets and Montagues in Verona and the fate of the young lovers from their rival houses, but not how Shakespeare would tell it and, with his poetry and plotting, he created a work so powerful and timeless that his play has shaped the way we talk of love, especially young love, ever since.

The image above is of Mrs Patrick Campbell ('Mrs Pat') as Juliet and Johnson Forbes-Robinson as Romeo in a scene from the 1895 production at the Lyceum Theatre, London

With

Helen Hackett Professor of English Literature at University College London

Paul Prescott Professor of English and Theatre at the University of California Merced

And

Emma Smith Professor of Shakespeare Studies at Hertford College, University of Oxford

Producer: Simon Tillotson

Melvyn Bragg and guests discuss one of the outstanding French writers of the twentieth century. The novels of Sidonie-Gabrielle Colette (1873 - 1954) always had women at their centre, from youth to mid-life to old age, and they were phenomenally popular, at first for their freshness and frankness about women’s lives, as in the Claudine stories, and soon for their sheer quality as she developed as a writer. Throughout her career she intrigued readers by inserting herself, or a character with her name, into her works, fictionalising her life as a way to share her insight into the human experience.

With

Diana Holmes Professor of French at the University of Leeds

Michèle Roberts Writer, novelist, poet and Emeritus Professor of Creative Writing at the University of East Anglia

And

Belinda Jack Fellow and Tutor in French Literature and Language at Christ Church, University of Oxford

Producer: Simon Tillotson

Melvyn Bragg and guests discuss Thomas Hardy (1840 -1928) and his commitment to poetry, which he prized far above his novels. In the 1890s, once he had earned enough from his fiction, Hardy stopped writing novels altogether and returned to the poetry he had largely put aside since his twenties. He hoped that he might be ranked one day alongside Shelley and Byron, worthy of inclusion in a collection such as Palgrave's Golden Treasury which had inspired him. Hardy kept writing poems for the rest of his life, in different styles and metres, and he explored genres from nature, to war, to epic. Among his best known are what he called his Poems of 1912 to 13, responding to his grief at the death of his first wife, Emma (1840 -1912), who he credited as the one who had made it possible for him to leave his work as an architect's clerk and to write the novels that made him famous.

With

Mark Ford Poet, and Professor of English and American Literature, University College London.

Jane Thomas Emeritus Professor of English at the University of Hull and Senior Visiting Research Fellow at the University of Leeds

And

Tim Armstrong Professor of Modern English and American Literature at Royal Holloway, University of London

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the Austrian-born film director Fritz Lang (1890-1976), who was one of the most celebrated film-makers of the 20th century. He worked first in Weimar Germany, creating a range of films including the startling and subversive Mabuse the Gambler and the iconic but ruinously expensive Metropolis before arguably his masterpiece, M, with both the police and the underworld hunting for a child killer in Berlin, his first film with sound. The rise of the Nazis prompted Lang's move to Hollywood where he developed some of his Weimar themes in memorable and disturbing films such as Fury and The Big Heat.

With

Stella Bruzzi Professor of Film and Dean of Arts and Humanities at University College London

Joe McElhaney Professor of Film Studies at Hunter College, City University of New York

And

Iris Luppa Senior Lecturer in Film Studies in the Division of Film and Media at London South Bank University

Producer: Simon Tillotson

Melvyn Bragg and guests discuss Charles Dickens' novella, written in 1843 when he was 31, which has become intertwined with his reputation and with Christmas itself. Ebenezer Scrooge is the miserly everyman figure whose joyless obsession with money severs him from society and his own emotions, and he is only saved after recalling his lonely past, seeing what he is missing now and being warned of his future, all under the guidance of the ghosts of Christmases Past, Present and Yet To Come. Redeemed, Scrooge comes to care in particular about one of the many minor characters in the story who make a great impact, namely Tiny Tim, the disabled child of the poor and warm-hearted Cratchit family, with his cry, "God bless us, every one!"

With

Juliet John Professor of English Literature and Dean of Arts and Social Sciences at City, University of London

Jon Mee Professor of Eighteenth-Century Studies at the University of York

And

Dinah Birch Pro-Vice-Chancellor for Cultural Engagement and Professor of English Literature at the University of Liverpool

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the British phase of a movement that spread across Europe in the mid-19th and early 20th centuries. Influenced by Charles Baudelaire and by Walter Pater, these Decadents rejected the mainstream Victorian view that art needed a moral purpose, and valued instead the intense sensations art provoked, celebrating art for art’s sake. Oscar Wilde was at its heart, Aubrey Beardsley adorned it with his illustrations and they, with others, provoked moral panic with their supposed degeneracy. After burning brightly, the movement soon lost its energy in Britain yet it has proved influential.

The illustration above, by Beardsley, is from the cover of the first edition of The Yellow Book in April 1894.

With

Neil Sammells Professor of English and Irish Literature and Deputy Vice Chancellor at Bath Spa University

Kate Hext Senior Lecturer in English Literature at the University of Exeter

And

Alex Murray Senior Lecturer in English at Queen’s University, Belfast

Producer: Simon Tillotson

Melvyn Bragg and guests discuss an early masterpiece of French epic poetry, from the 12th Century. It is a reimagining of Charlemagne’s wars in Spain in the 8th Century in which Roland, his most valiant knight, chooses death before dishonour, guarding the army’s rear from a pagan ambush as it heads back through the Roncesvalles Pass in the Pyrenees. If he wanted to, Roland could blow on his oliphant, his elephant tusk horn, to summon help by calling back Charlemagne's army, but according to his values that would bring shame both on him and on France, and he would rather keep killing pagans until he is the last man standing and the last to die.

The image above is taken from an illustration of Charlemagne finding Roland after the Battle of Roncevaux/Roncesvalles, from 'Les Grandes Chroniques de France', c.1460 by Jean Fouquet, Bibliotheque Nationale, Paris, Ms Fr 6465 f.113

With

Laura Ashe Professor of English Literature and Fellow in English at Worcester College, University of Oxford

Miranda Griffin Assistant Professor of Medieval French at the University of Cambridge and Fellow of Murray Edwards College

And

Luke Sunderland Professor in the School of Modern Languages and Cultures at Durham University

Studio producer: John Goudie

Melvyn Bragg and guests discuss the author and philosopher Iris Murdoch (1919 - 1999). In her lifetime she was most celebrated for her novels such as The Bell and The Black Prince, but these are now sharing the spotlight with her philosophy. Responding to the horrors of the Second World War, she argued that morality was not subjective or a matter of taste, as many of her contemporaries held, but was objective, and good was a fact we could recognize. To tell good from bad, though, we would need to see the world as it really is, not as we want to see it, and her novels are full of characters who are not yet enlightened enough to do that.

With

Anil Gomes Fellow and Tutor in Philosophy at Trinity College, University of Oxford

Anne Rowe Visiting Professor at the University of Chichester and Emeritus Research Fellow with the Iris Murdoch Archive Project at Kingston University

And

Miles Leeson Director of the Iris Murdoch Research Centre and Reader in English Literature at the University of Chichester

Producer: Simon Tillotson

Melvyn Bragg and guests discuss Anne Bronte's second novel, published in 1848, which is now celebrated alongside those of her sisters but which Charlotte Bronte tried to suppress as a 'mistake'. It examines the life of Helen, who has escaped her abusive husband Arthur Huntingdon with their son to live at Wildfell Hall as a widow under the alias 'Mrs Graham', and it exposes the men in her husband's circle who gave her no choice but to flee. Early critics attacked the novel as coarse, as misrepresenting male behaviour, and as something no woman or girl should ever read; soon after Anne's death, Charlotte suggested the publisher should lose it for good. In recent decades, though, its reputation has climbed and it now sits with Jane Eyre and Wuthering Heights as one of the great novels by the Bronte sisters.

The image above shows Tara Fitzgerald as Helen Graham in a 1996 BBC adaptation.

With

Alexandra Lewis Lecturer in English and Creative Writing at the University of Newcastle (Australia)

Marianne Thormählen Professor Emerita in English Studies, Lund University

And

John Bowen Professor of Nineteenth Century Literature at the University of York

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the Greek writer known as the father of histories, dubbed by his detractors as the father of lies. Herodotus (c484 to 425 BC or later) was raised in Halicarnassus in modern Turkey when it was part of the Persian empire and, in the years after the Persian Wars, set about an inquiry into the deep background to those wars. He also aimed to preserve what he called the great and marvellous deeds of Greeks and non-Greeks, seeking out the best evidence for past events and presenting the range of evidence for readers to assess. Plutarch was to criticise Herodotus for using this to promote the least flattering accounts of his fellow Greeks, hence the 'father of lies', but the depth and breadth of his Histories have secured his reputation from his lifetime down to the present day.

With

Tom Harrison Professor of Ancient History at the University of St Andrews

Esther Eidinow Professor of Ancient History at the University of Bristol

And

Paul Cartledge A. G. Leventis Senior Research Fellow at Clare College, University of Cambridge

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the collection of poems published in 1609 by Thomas Thorpe: Shakespeare’s Sonnets, “never before imprinted”. Yet, while some of Shakespeare's other poems and many of his plays were often reprinted in his lifetime, the Sonnets were not a publishing success. They had to make their own way, outside the main canon of Shakespeare’s work: wonderful, troubling, patchy, inspiring and baffling, and they have appealed in different ways to different times. Most are addressed to a man, something often overlooked and occasionally concealed; one early and notorious edition even changed some of the pronouns.

With:

Hannah Crawforth Senior Lecturer in Early Modern Literature at King’s College London

Don Paterson Poet and Professor of Poetry at the University of St Andrews

And

Emma Smith Professor of Shakespeare Studies at Hertford College, Oxford

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the life and ideas of one of the great historians, best known for his History of the Decline and Fall of the Roman Empire (published 1776-89). According to Gibbon (1737-94) , the idea for this work came to him on 15th of October 1764 as he sat musing amidst the ruins of Rome, while barefooted friars were singing vespers in the Temple of Jupiter. Decline and Fall covers thirteen centuries and is an enormous intellectual undertaking and, on publication, it became a phenomenal success across Europe.

The image above is of Edward Gibbon by Henry Walton, oil on mahogany panel, 1773.

With

David Womersley The Thomas Wharton Professor of English Literature at St Catherine’s College, University of Oxford

Charlotte Roberts Lecturer in English at University College London

And

Karen O’Brien Professor of English Literature at the University of Oxford

Producer: Simon Tillotson

Melvyn Bragg and guests discuss one of the great novels of China’s Ming era, and perhaps the most loved. Written in 1592, it draws on the celebrated travels of a real monk from China to India a thousand years before, and on a thousand years of retellings of that story, especially the addition of a monkey as companion who, in the novel, becomes supersimian. For most readers the monk, Tripitaka, is upstaged by this irrepressible Monkey with his extraordinary powers, accompanied by the fallen but recovering deities, Pigsy and Sandy.

The image above, from the caricature series Yoshitoshi ryakuga or Sketches by Yoshitoshi, is of Monkey creating an army by plucking out his fur and blowing it into the air, and each hair becomes a monkey-warrior.

With

Julia Lovell Professor of Modern Chinese History and Literature at Birkbeck, University of London

Chiung-yun Evelyn Liu Associate Research Fellow at the Institute of Chinese Literature and Philosophy, Academia Sinica, Taiwan

And

Craig Clunas Professor Emeritus of the History of Art at Trinity College, University of Oxford

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the Roman poet Publius Ovidius Naso (43BC-17/18AD) who, as he described it, was destroyed by 'carmen et error', a poem and a mistake. His works have been preserved in greater number than any of the poets of his age, even Virgil, and have been among the most influential. The versions of many of the Greek and Roman myths we know today were his work, as told in his epic Metamorphoses and, together with his works on Love and the Art of Love, have inspired and disturbed readers from the time they were created. Despite being the most prominent poet in Augustan Rome at the time, he was exiled from Rome to Tomis on the Black Sea Coast where he remained until he died. It is thought that the 'carmen' that led to his exile was the Art of Love, Ars Amatoria, supposedly scandalising Augustus, but the 'error' was not disclosed.

With

Maria Wyke Professor of Latin at University College London

Gail Trimble Brown Fellow and Tutor in Classics at Trinity College at the University of Oxford

And

Dunstan Lowe Senior Lecturer in Latin Literature at the University of Kent

Producer: Simon Tillotson

Melvyn Bragg and guests discuss Euripides' great tragedy, which was first performed in Athens in 405 BC when the Athenians were on the point of defeat and humiliation in a long war with Sparta. The action seen or described on stage was brutal: Pentheus, king of Thebes, is torn into pieces by his mother in a Bacchic frenzy and his grandparents condemned to crawl away as snakes. All this happened because Pentheus had denied the divinity of his cousin Dionysus, known to the audience as god of wine, theatre, fertility and religious ecstasy.

The image above is a detail of a Red-Figure Cup showing the death of Pentheus (exterior) and a Maenad (interior), painted c. 480 BC by the Douris painter. This object can be found at the Kimbell Art Museum in Fort Worth, Texas.

With

Edith Hall Professor of Classics at King’s College London

Emily Wilson Professor of Classical Studies at the University of Pennsylvania

And

Rosie Wyles Lecturer in Classical History and Literature at the University of Kent

Producer: Simon Tillotson

In this 900th edition of the programme, Melvyn Bragg and guests discuss one of the best known and most influential of the poems of the Romantic movement. Samuel Taylor Coleridge (1772-1834) wrote The Rime of the Ancient Mariner in 1798 after discussions with his friend Wordsworth. He refined it for the rest of his life, and it came to define him, a foreshadowing of his opium-addicted, lonely wandering and deepening sense of guilt. The poem tells of a sailor compelled to tell and retell the story of a terrible voyage in his youth, this time as guests are heading to a wedding party, where he stoppeth one of three.

The image above is from Gustave Doré's illustration of the mariner's shooting of the albatross, for an 1877 German language edition of the poem

With

Sir Jonathan Bate Professor of Environmental Humanities at Arizona State University

Tom Mole Professor of English Literature and Book History at the University of Edinburgh

And

Rosemary Ashton Emeritus Quain Professor of English Language and Literature at University College London

Producer: Simon Tillotson

Melvyn Bragg and guests discuss one of the most famous museum objects in the world, shown in the image above in replica, and dating from around 196 BC. It is a damaged, dark granite block on which you can faintly see three scripts engraved: Greek at the bottom, Demotic in the middle and Hieroglyphs at the top. Napoleon’s soldiers found it in a Mamluk fort at Rosetta on the Egyptian coast, and soon realised the Greek words could be used to unlock the hieroglyphs. It was another 20 years before Champollion deciphered them, becoming the first to understand the hieroglyphs since they fell out of use 1500 years before and so opening up the written culture of ancient Egypt to the modern age.

With Penelope Wilson Associate Professor of Egyptian Archaeology at Durham University

Campbell Price Curator of Egypt and Sudan at the Manchester Museum

And

Richard Bruce Parkinson Professor of Egyptology and Fellow of The Queen’s College, University of Oxford

Producer: Simon Tillotson

Melvyn Bragg and guests discuss F Scott Fitzgerald’s finest novel, published in 1925, one of the great American novels of the twentieth century. It is told by Nick Carraway, neighbour and friend of the mysteriously wealthy Jay Gatsby. In the age of jazz and prohibition, Gatsby hosts lavish parties at his opulent home across the bay from Daisy Buchanan, in the hope she’ll attend one of them and they can be reunited. They were lovers as teenagers but she had given him up for a richer man who she soon married, and Gatsby is obsessed with winning her back.

The image above is of Robert Redford as Gatsby in a scene from the film 'The Great Gatsby', 1974.

With

Sarah Churchwell Professor of American Literature and Public Understanding of the Humanities at the University of London

Philip McGowan Professor of American Literature at Queen’s University, Belfast

And

William Blazek Associate Professor and Reader in American Literature at Liverpool Hope University

Produced by Simon Tillotson and Julia Johnson

Melvyn Bragg and guests discuss the Portuguese poet Pessoa (1888-1935) who was largely unknown in his lifetime but who, in 1994, Harold Bloom included in his list of the 26 most significant western writers since the Middle Ages. Pessoa wrote in his own name but mainly in the names of characters he created, each with a distinctive voice and biography, which he called heteronyms rather than pseudonyms, notably Ricardo Reis, Alberto Caeiro, Álvaro de Campos and one who was closer to Pessoa's own identity, Bernardo Soares. Most of Pessoa's works were unpublished at his death, discovered in a trunk; as more and more was printed and translated, his fame and status grew.

With

Cláudia Pazos-Alonso Professor of Portuguese and Gender Studies and Senior Research Fellow at Wadham College, University of Oxford

Juliet Perkins Visiting Senior Research Fellow in Portuguese Studies at King’s College London

And

Paulo de Medeiros Professor of English and Comparative Literary Studies at the University of Warwick

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the great German artist Albrecht Dürer (1471-1528) who achieved fame throughout Europe for the power of his images. These range from his woodcut of a rhinoceros, to his watercolour of a young hare, to his drawing of praying hands and his stunning self-portraits such as that above (albeit here in a later monochrome reproduction) with his distinctive A D monogram. He was expected to follow his father and become a goldsmith, but found his own way to be a great artist, taking public commissions that built his reputation but did not pay, while creating a market for his prints, and he captured the timeless and the new in a world of great change.

With

Susan Foister Deputy Director and Curator of German Paintings at the National Gallery

Giulia Bartrum Freelance art historian and Former Curator of German Prints and Drawings at the British Museum

And

Ulinka Rublack Professor of Early Modern European History and Fellow of St John’s College, University of Cambridge

Studio production: John Goudie

Melvyn Bragg and guests discuss William Langland's poem, written around 1370, about a man called Will who fell asleep on the Malvern Hills and dreamed of Piers the Plowman. This was a time between the Black Death and The Peasants’ Revolt, when Christians wanted to save their souls but doubted how best to do it - and had to live with that uncertainty. Some call this the greatest medieval poem in English, one offering questions not answers, and it can be as unsettling now as it was then.

With

Laura Ashe Professor of English Literature at Worcester College, University of Oxford

Lawrence Warner Professor of Medieval English at King’s College London

And

Alastair Bennett Lecturer in Medieval Literature at Royal Holloway, University of London

Producer: Simon Tillotson

Melvyn Bragg and guests discuss one of Shakespeare’s greatest tragedies. When three witches prophesy that Macbeth will be king one day, he is not prepared to wait and almost the next day he murders King Duncan as he sleeps, a guest at Macbeth’s castle. From there we explore their brutal world where few boundaries are distinct – between safe and unsafe, friend and foe, real and unreal, man and beast – until Macbeth too is slaughtered.

The image above shows Nicol Williamson as Macbeth in a 1983 BBC TV adaptation.

With:

Emma Smith Professor of Shakespeare Studies at Hertford College, University of Oxford

Kiernan Ryan Emeritus Professor of English Literature at Royal Holloway, University of London

And

David Schalkwyk, Professor of Shakespeare Studies and Director of Global Shakespeare at Queen Mary, University of London

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the works and life of one of the most popular writers in Europe in C19th, Amantine Lucile Aurore Dupin (1804-1876) who wrote under the name George Sand. When she wrote her first novel under that name, she referred to herself as a man. This was in Indiana (1832), which had the main character breaking away from her unhappy marriage. It made an immediate impact as it overturned the social conventions of the time and it drew on her own early marriage to an older man, Casimir Dudevant. Once Sand's identity was widely known, her works became extremely popular in French and in translation, particularly her rural novels, outselling Hugo and Balzac in Britain, perhaps buoyed by an interest in her personal life, as well as by her ideas on the rights and education of women and strength of her writing.

With

Belinda Jack Fellow and Tutor in French at Christ Church, University of Oxford

Angela Ryan Senior Lecturer in French at University College Cork

And

Nigel Harkness Pro-Vice-Chancellor for Humanities and Social Sciences and Professor of French at Newcastle University

Producer: Simon Tillotson

Melvyn Bragg and guests discuss Catullus (c84-c54 BC) who wrote some of the most sublime poetry in the late Roman Republic, and some of the most obscene. He found a new way to write about love, in poems to the mysterious Lesbia, married and elusive, and he influenced Virgil and Ovid and others, yet his explicit poems were to blight his reputation for a thousand years. Once the one surviving manuscript was discovered in the Middle Ages, though, anecdotally as a plug in a wine butt, he inspired Petrarch and the Elizabethan poets, as he continues to inspire many today.

The image above is of Lesbia and her Sparrow, 1860, artist unknown

With

Gail Trimble Brown Fellow and Tutor in Classics at Trinity College at the University of Oxford

Simon Smith Reader in Creative Writing at the University of Kent, poet and translator of Catullus

and

Maria Wyke Professor of Latin at University College London

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the life and poetry of WH Auden (1907-1973) up to his departure from Europe for the USA in 1939. As well as his personal life, he addressed suffering and confusion, and the moral issues that affected the wider public in the 1930s and tried to unpick what was going wrong in society and to understand those times. He witnessed the rise of totalitarianism in the austerity of that decade, travelling through Germany to Berlin, seeing Spain in the Civil War and China during its wars with Japan, often collaborating with Christopher Isherwood. In his lifetime his work attracted high praise and intense criticism, and has found new audiences in the fifty years since his death, sometimes taking literally what he meant ironically.

With

Mark Ford Poet and Professor of English at University College London

Janet Montefiore Professor Emerita of 20th Century English Literature at the University of Kent

And

Jeremy Noel-Tod Senior Lecturer in Literature and Creative Writing at the University of East Anglia

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the novel written by Dostoevsky and published in 1866, in which Raskolnikov, a struggling student, justifies his murder of two women, as his future is more valuable than their lives. He thinks himself superior, above the moral laws that apply to others. The police have little evidence against him but trust him to confess, once he cannot bear the mental torture of his crime - a fate he cannot avoid, any more than he can escape from life in St Petersburg and his personal failures.

The image above is from a portrait of Dostoevsky by Vasili Perov, 1872.

With

Sarah Hudspith Associate Professor in Russian at the University of Leeds

Oliver Ready Lecturer in Russian at the University of Oxford, Research Fellow at St Antony’s College and a translator of this novel

And

Sarah Young Associate Professor in Russian at the School of Slavonic and East European Studies, University College London

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the work of the man who, in his lifetime, was called The Caledonian Bard and whose fame and influence was to spread around the world. Burns (1759-1796) was born in Ayrshire and his work as a tenant farmer earned him the label The Ploughman Poet, yet it was the quality of his verse that helped his reputation endure and grow. His work inspired other Romantic poets and his personal story and ideas combined with that, giving his poems a broad strength and appeal - sung by revolutionaries and on Mao's Long March, as well as on New Year's Eve and at Burns Suppers.

With

Robert Crawford Professor of Modern Scottish Literature and Bishop Wardlaw Professor of Poetry at the University of St Andrews

Fiona Stafford Professor of English at the University of Oxford

and

Murray Pittock Bradley Professor of English Literature and Pro Vice Principal at the University of Glasgow

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the ideas explored in HG Wells' novella, published in 1895, in which the Time Traveller moves forward to 802,701 AD. There he finds humanity has evolved into the Eloi and Morlocks, where the Eloi are small but leisured fruitarians and the Morlocks live below ground, carry out the work and have a different diet. Escaping the Morlocks, he travels millions of years into the future, where the environment no longer supports humanity.

The image above is from a painting by Anton Brzezinski of a scene from The Time Machine, with the Time Traveller meeting the Eloi

With

Simon Schaffer Professor of History of Science at Cambridge University

Amanda Rees Historian of science at the University of York

And

Simon James Professor in the Department of English Studies at Durham University

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the Spanish poet and playwright Federico Garcia Lorca (1898-1936), author of Blood Wedding, Yerma and The House of Bernarda Alba, who mixed the traditions of Andalusia with the avant-garde. He found his first major success with his Gypsy Ballads, although Dali, once his close friend, mocked him for these, accusing Lorca of being too conservative. He preferred performing his poems to publishing them, and his plays marked a revival in Spanish theatre. He was captured and killed by Nationalist forces at the start of the Civil War, his body never recovered, and it's been suggested this was punishment for his politics and for being openly gay. He has since been seen as the most important Spanish playwright and poet of the last century.

With

Maria Delgado Professor of Creative Arts at the Royal Central School of Speech and Drama, University of London

Federico Bonaddio Reader in Modern Spanish at King’s College London

And

Sarah Wright Professor of Hispanic Studies and Screen Arts at Royal Holloway, University of London

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the range, depth and style of Browne (1605-82) , a medical doctor whose curious mind drew him to explore and confess his own religious views, challenge myths and errors in science and consider how humans respond to the transience of life. His Religio Medici became famous throughout Europe and his openness about his religion, in that work, was noted as rare when others either kept quiet or professed orthodox views. His Pseudodoxia Epidemica challenged popular ideas, whether about the existence of mermaids or if Adam had a navel, and his Hydriotaphia or Urn Burial was a meditation on what matters to humans when handling the dead. In 1923, Virginia Woolf wrote, "Few people love the writings of Sir Thomas Browne, but those that do are the salt of the earth." He also contributed more words to the English language than almost anyone, such as electricity, indigenous, medical, ferocious, carnivorous ambidextrous and migrant.

With

Claire Preston Professor of Renaissance Literature at Queen Mary University of London

Jessica Wolfe Professor of English and Comparative Literature at the University of North Carolina at Chapel Hill

And

Kevin Killeen Professor of English at the University of York

Producer: Simon Tillotson

In a programme first broadcast in May 2019, Melvyn Bragg and guests discuss Mary Shelley's (1797-1851) Gothic story of a Swiss natural philosopher, Victor Frankenstein, and the creature he makes from parts of cadavers and which he then abandons, horrified by his appearance, and never names. Rejected by all humans who see him, the monster takes his revenge on Frankenstein, killing those dear to him. Shelley started writing Frankenstein when she was 18, prompted by a competition she had with Byron and her husband Percy Shelley to tell a ghost story while they were rained in in the summer of 1816 at the Villa Diodati by Lake Geneva.

The image of Mary Shelley, above, was first exhibited in 1840.

With

Karen O'Brien Professor of English Literature at the University of Oxford

Michael Rossington Professor of Romantic Literature at Newcastle University

And

Jane Thomas Professor of Victorian and Early 20th Century Literature at the University of Hull

Producer: Simon Tillotson

This programme is a repeat

Melvyn Bragg and guests discuss one of Shakespeare's most popular works, written c1595 in the last years of Elizabeth I. It is a comedy of love and desire and their many complications as well as their simplicity, and a reflection on society's expectations and limits. It is also a quiet critique of Elizabeth and her vulnerability and on the politics of the time, and an exploration of the power of imagination.

With

Helen Hackett Professor of English Literature and Leverhulme Research Fellow at University College London

Tom Healy Professor of Renaissance Studies at the University of Sussex

and

Alison Findlay Professor of Renaissance Drama at Lancaster University and Chair of the British Shakespeare Association

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the life and works of Hopkins (1844-89), a Jesuit priest who at times burned his poems and at others insisted they should not be published. His main themes are how he, nature and God relate to each other. His friend Robert Bridges preserved Hopkins' poetry and, once printed in 1918, works such as The Windhover, Pied Beauty and As Kingfishers Catch Fire were celebrated for their inventiveness and he was seen as a major poet, perhaps the greatest of the Victorian age.

With

Catherine Phillips R J Owens Fellow in English at Downing College, University of Cambridge

Jane Wright Senior Lecturer in English Literature at the University of Bristol

and

Martin Dubois Assistant Professor in Nineteenth Century Literature at Durham University

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the life, works, context and legacy of Antarah (525-608AD), the great poet and warrior. According to legend, he was born a slave; his mother was an Ethiopian slave, his father an elite Arab cavalryman. Antarah won his freedom in battle and loved a woman called Abla who refused him, and they were later celebrated in the saga of Antar and Abla. One of Antarah's poems was so esteemed in pre-Islamic Arabia that it is believed it was hung up on the wall of the Kaaba in Mecca.

With

James Montgomery Sir Thomas Adams's Professor of Arabic at the University of Cambridge

Marlé Hammond Senior Lecturer in Arabic Popular Literature and Culture at SOAS, University of London

And

Harry Munt Lecturer in Medieval History at the University of York

Producer: Simon Tillotson

Melvyn Bragg and guests discuss how artists from the Middle Ages onwards have been inspired by the Bible story of the widow who killed an Assyrian general who was besieging her village, and so saved her people from his army and from his master Nebuchadnezzar. A symbol of a woman's power and the defiance of political tyranny, the image of Judith has been sculpted by Donatello, painted on the ceiling of the Sistine Chapel and, in the case of Caravaggio, Liss and Artemisia Gentileschi, been shown with vivid, disturbing detail. What do these interpretations reveal of the attitudes to power and women in their time, and of the artists' own experiences?

The image of Judith, above is from a tapestry in the Duomo, Milan, by Giovanni or Nicola Carcher, 1555

With

Susan Foister Curator of Early Netherlandish, German and British Painting at the National Gallery

John Gash Senior Lecturer in History of Art at the University of Aberdeen

And

Ela Nutu Hall Research Associate at the Sheffield Institute for Interdisciplinary Biblical Studies, at the University of Sheffield

Producer: Simon Tillotson

Melvyn Bragg and guests discuss Samuel Beckett (1906 - 1989), who lived in Paris and wrote his plays and novels in French, not because his French was better than his English, but because it was worse. In works such as Waiting for Godot, Endgame, Molloy and Malone Dies, he wanted to show the limitations of language, what words could not do, together with the absurdity and humour of the human condition. In part he was reacting to the verbal omnipotence of James Joyce, with whom he’d worked in Paris, and in part to his experience in the French Resistance during World War 2, when he used code, writing not to reveal meaning but to conceal it.

With

Steven Connor Professor of English at the University of Cambridge

Laura Salisbury Professor of Modern Literature at the University of Exeter

And

Mark Nixon Associate Professor in Modern Literature at the University of Reading and co-director of the Beckett International Foundation

Producer: Simon Tillotson

In a programme first broadcast in 2018, Melvyn Bragg and guests discuss one of the jewels of medieval English poetry. It was written c1400 by an unknown poet and then was left hidden in private collections until the C19th when it emerged. It tells the story of a giant green knight who disrupts Christmas at Camelot, daring Gawain to cut off his head with an axe if he can do the same to Gawain the following year. Much to the surprise of Arthur's court, who were kicking the green head around, the decapitated body reaches for his head and rides off, leaving Gawain to face his promise and his apparently inevitable death the following Christmas.

The illustration above is ©British Library Board Cotton MS Nero A.x, article 3, ff.94v95

With

Laura Ashe Professor of English Literature at Worcester College, University of Oxford

Ad Putter Professor of Medieval English Literature at the University of Bristol

And

Simon Armitage Poet and Professor of Poetry at the Universities of Leeds and Oxford

Producer: Simon Tillotson

Melvyn Bragg and guests discuss Horace (65-8BC), who flourished under the Emperor Augustus. He was one of the greatest poets of his age and is one of the most quoted of any age. Carpe diem, nil desperandum, nunc est bibendum – that’s Horace. He was the son of a freedman from southern Italy and, thanks to his talent, achieved high status in Rome despite fighting on the losing side in the civil wars. His Odes are widely thought his most enduring works, yet he also wrote his scurrilous Epodes, some philosophical Epistles and broad Satires. He’s influenced poets ever since, including those such as Wilfred Owen who rejected his line: ‘dulce et decorum est pro patria mori’.

With

Emily Gowers Professor of Latin Literature at the University of Cambridge and Fellow of St John’s College

William Fitzgerald Professor of Latin Language and Literature at King’s College London

and

Ellen O’Gorman Senior Lecturer in Classics at the University of Bristol

Producer: Simon Tillotson

In the second of two programmes marking In Our Time's 20th anniversary on 15th October, Melvyn Bragg and guests discuss Shakespeare's versions of history, continuing with the Roman plays. Rome was the setting for Titus Andronicus, Julius Caesar, Coriolanus and parts of Antony and Cleopatra and these plays gave Shakespeare the chance to explore ideas too controversial for English histories. How was Shakespeare reimagining Roman history, and what impact has that had on how we see Rome today?

The image above is of Marlon Brando playing Mark Antony in a scene from the film version of Shakespeare's Julius Caesar, 1953

With

Sir Jonathan Bate Provost of Worcester College, University of Oxford

Catherine Steel Professor of Classics and Dean of Research in the College of Arts at the University of Glasgow

And

Patrick Gray Associate Professor of English Studies at Durham University

Producer: Simon Tillotson

In the first of two programmes marking In Our Time's 20th anniversary on 15th October, Melvyn Bragg and guests discuss Shakespeare's versions of history, starting with the English Plantagenets. His eight plays from Richard II to Richard III were written out of order, in the Elizabethan era, and have had a significant impact on the way we see those histories today. In the second programme, Melvyn discusses the Roman plays.

The image above is of Richard Burton (1925 - 1984) as Henry V in the Shakespeare play of the same name, from 1951

With

Emma Smith Professor of Shakespeare Studies at Hertford College, University of Oxford

Gordon McMullan Professor of English at King’s College London and Director of the London Shakespeare Centre

And

Katherine Lewis Senior Lecturer in Medieval History at the University of Huddersfield

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the works of Wharton (1862-1937) such as The Age of Innocence for which she won the Pulitzer Prize and was the first woman to do so, The House of Mirth, and The Custom of the Country. Her novels explore the world of privileged New Yorkers in the Gilded Age of the late C19th, of which she was part, drawing on her own experiences and written from the perspective of the new century, either side of WW1 . Among her themes, she examined the choices available to women and the extent to which they could ever really be free, even if rich.

With

Dame Hermione Lee Biographer, former President of Wolfson College, Oxford

Bridget Bennett Professor of American Literature and Culture at the University of Leeds

And

Laura Rattray Reader in North American Literature at the University of Glasgow

Producer: Simon Tillotson

Melvyn Bragg and guests discuss the great epic poem attributed to Homer, telling the story of an intense episode in the Trojan War. It is framed by the wrath of the Greek hero Achilles, insulted by his leader Agamemnon and withdrawing from the battle that continued to rage, only returning when his close friend Patroclus is killed by the Trojan hero Hector. Achilles turns his anger from Agamemnon to Hector and the fated destruction of Troy comes ever closer.

With

Edith Hall Professor of Classics at King's College London

Barbara Graziosi Professor of Classics at Princeton University

And

Paul Cartledge A.G. Leventis Senior Research Fellow and Emeritus Professor of Greek Culture at Clare College, Cambridge

Producer: Simon Tillotson.

Melvyn Bragg and guests discuss the ideas of William Morris, known in his lifetime for his poetry and then his contribution to the Arts and Crafts movement, and increasingly for his political activism. He felt the world had given in to drudgery and ugliness and he found inspiration in the time before industrialisation, in the medieval life which was about fellowship and association and ways of working which resisted the division of labour and allowed the worker to exercise his or her imagination. Seeing a disconnection between art and society, his solution was revolution which in his view was the only way to reset their relationship.

The image above is from the Strawberry Thief wallpaper design by William Morris.

With

Ingrid Hanson Lecturer in 18th and 19th Century Literature at the University of Manchester

Marcus Waithe University Senior Lecturer in English Literature at the University of Cambridge and Fellow of Magdalene College

And

Jane Thomas Professor of Victorian and Early 20th Century Literature at the University of Hull

Producer: Simon Tillotson.

Melvyn Bragg and guests discuss the great Norwegian playwright and poet, best known for his middle class tragedies such as The Wild Duck, Hedda Gabler, A Doll's House and An Enemy of the People. These are set in a world where the middle class is dominant and explore the qualities of that life, its weaknesses and boundaries and the ways in which it takes away freedoms. It is the women who fare the worst in this society, something Ibsen explored in A Doll's House among others, a play that created a sensation with audiences shocked to watch a woman break free of her bourgeois family life to find her destiny. He explored dark secrets such as incest and, in Ghosts, hereditary syphilis, which attracted the censors. He gave actresses parts they had rarely had before, and audiences plays that, after Shakespeare, became the most performed in the world.

With

Tore Rem Professor of English Literature at the University of Oslo

Kirsten Shepherd-Barr Professor of English and Theatre Studies and Tutorial Fellow, St Catherine's College at the University of Oxford

And

Dinah Birch Professor of English Literature and Pro-Vice Chancellor for Cultural Engagement at the University of Liverpool

Producer: Simon Tillotson.

Melvyn Bragg and guests discuss the eleven stories of Celtic mythology and Arthurian romance known as The Mabinogion, most of which were told and retold for generations before being written down in C14th. Among them are stories of Pwyll and Rhiannon and their son Pryderi, of Culhwch and Olwen, of the dream of the Emperor Macsen, of Lludd and Llefelys, of magic and giants and imagined history. With common themes but no single author, they project an image of the Island of Britain before the Anglo-Saxons and Normans and before Edward I's conquest of Wales. They came to new prominence, worldwide, from C19th with the translation into English by Lady Charlotte Guest aided by William Owen Pughe.

The image above is of Cynon ap Clydno approaching the Castle of Maidens from the tale of Owain, or the Lady of the Fountain

With

Sioned Davies Professor in the School of Welsh at Cardiff University

Helen Fulton Professor of Medieval Literature at the University of Bristol

And

Juliette Wood Associate Lecturer in the School of Welsh at Cardiff University

Producer: Simon Tillotson.

Melvyn Bragg and guests discuss what Virginia Woolf called 'one of the few English novels written for grown-up people'. It was written by George Eliot, the pen name of Mary Anne Evans (1819-80), published in 8 parts in 1871-72, and was originally two separate stories which became woven together. One, 'Middlemarch', focused on a doctor, Tertius Lydgate and the other, 'Miss Brooke', on Dorothea Brooke who became the central figure in the finished work. The events are set in a small town in the Midlands, surrounded by farmland, leading up to the Reform Act 1832, and the novel explores the potential to change in matters of religion, social status, marriage and politics, and is particularly concerned with the opportunities available to women to lead fulfilling lives.

The image above shows Rufus Sewell and Juliet Aubrey in the BBC adaptation, from 1994

With

Rosemary Ashton Emeritus Quain Professor of English Language and Literature at University College London

Kathryn Hughes Professor of Life Writing at the University of East Anglia

And

John Bowen Professor of Nineteenth-Century Literature at the University of York

Producer: Simon Tillotson.

Melvyn Bragg and guests discuss the work, ideas and life of the Russian poet whose work was celebrated in C20th both for its quality and for what it represented, written under censorship in the Stalin years. Her best known poem, Requiem, was written after her son was imprisoned partly as a threat to her and, to avoid punishment for creating it, she passed it on to her supporters to be memorised, line by line, rather than written down. She was a problem for the authorities and became significant internationally, as her work came to symbolise resistance to political tyranny and the preservation of pre-Revolutionary liberal values in the Soviet era.

The image above is based on 'Portrait of Anna Akhmatova' by N.I. Altman, 1914, Moscow

With

Katharine Hodgson Professor in Russian at the University of Exeter

Alexandra Harrington Reader in Russian Studies at Durham University

And

Michael Basker Professor of Russian Literature and Dean of Arts at the University of Bristol

Producer: Simon Tillotson.

Melvyn Bragg and guests discuss Shakespeare's best known, most quoted and longest play, written c1599 - 1602 and rewritten throughout his lifetime. It is the story of Hamlet, Prince of Denmark, encouraged by his father's ghost to take revenge on his uncle who murdered him, and is set at the court of Elsinore. In soliloquies, the Prince reveals his inner self to the audience while concealing his thoughts from all at the Danish court, who presume him insane. Shakespeare gives him lines such as 'to be or not to be,' 'alas, poor Yorick,' and 'frailty thy name is woman', which are known even to those who have never seen or read the play. And Hamlet has become the defining role for actors, men and women, who want to show their mastery of Shakespeare's work.

The image above is from the 1964 film adaptation, directed by Grigori Kozintsev, with Innokenty Smoktunovsky as Hamlet.

With

Sir Jonathan Bate Provost of Worcester College, University of Oxford

Carol Rutter Professor of Shakespeare and Performance Studies at the University of Warwick

And

Sonia Massai Professor of Shakespeare Studies at King's College London

Producer: Simon Tillotson.

Melvyn Bragg and guests discuss one of the great composers, who was born into a family of musicians in Bonn. His grandfather was an eminent musician and also called Ludwig van Beethoven. His father, who was not as talented as Beethoven's grandfather, drank heavily and died when Beethoven was still young. It was his move to Vienna that allowed him to flourish, with the support at first of aristocratic patrons, when that city was the hub of European music. He is credited with developing the symphony further than any who preceded him, with elevating instrumental above choral music and with transforming music to the highest form of art. He composed his celebrated works while, from his late twenties onwards, becoming increasingly deaf.

(Before the live broadcast, BBC Radio 3's Breakfast programme played selections from Beethoven, with Essential Classics playing more, immediately after, on the same network.)

With

Laura Tunbridge Professor of Music and Henfrey Fellow, St Catherine's College, University of Oxford

John Deathridge Emeritus King Edward Professor of Music at King's College London

And

Erica Buurman Senior Lecturer in Music, Canterbury Christchurch University

Producer: Simon Tillotson.

Melvyn Bragg and guests discuss Herman Melville's (1819-1891) epic novel, published in London in 1851, the story of Captain Ahab's pursuit of a great white sperm whale that had bitten off his leg. He risks his own life and that of his crew on the Pequod, single-mindedly seeking his revenge, his story narrated by Ishmael who was taking part in a whaling expedition for the first time. This is one of the c1000 ideas which listeners sent in this autumn for our fourth Listener Week, following Kafka's The Trial in 2014, Captain Cook in 2015 and Garibaldi and the Risorgimento in 2016.

With

Bridget Bennett Professor of American Literature and Culture at the University of Leeds

Katie McGettigan Lecturer in American Literature at Royal Holloway, University of London

And

Graham Thompson Associate Professor of American Studies at the University of Nottingham

Producer: Simon Tillotson.

Melvyn Bragg and guests discuss the life and impact of Germaine de Staël (1766-1817) who Byron praised as Europe's greatest living writer, and was at the heart of intellectual and literary life in the France of revolution and of Napoleon. As well as attracting and inspiring others in her salon, she wrote novels, plays. literary criticism, political essays, and poems and developed the ideas behind Romanticism. She achieved this while regularly exiled from the Paris in which she was born, having fallen out with Napoleon who she opposed, becoming a towering figure in the history of European ideas.

With

Catriona Seth, Marshal Foch Professor of French Literature at the University of Oxford

Alison Finch, Professor Emerita of French Literature at the University of Cambridge

and

Katherine Astbury, Associate Professor and Reader in French Studies at the University of Warwick.

Producer: Simon Tillotson.

Melvyn Bragg and guests discuss the context and impact of Pablo Picasso's iconic work, created soon after the bombing on 26th April 1937 that obliterated much of the Basque town of Guernica, and its people. The attack was carried out by warplanes of the German Condor Legion, joined by the Italian air force, on behalf of Franco's Nationalists. At first the Nationalists denied responsibility, blaming their opponents for creating the destruction themselves for propaganda purposes, but the accounts of journalists such as George Steer, and the prominence of Picasso's work, kept the events of that day under close scrutiny. Picasso's painting has gone on to become a symbol warning against the devastation of war.

With

Mary Vincent Professor of Modern European History at the University of Sheffield

Gijs van Hensbergen Historian of Spanish Art and Fellow of the LSE Cañada Blanch Centre for Contemporary Spanish Studies

and

Dacia Viejo Rose Lecturer in Heritage in the Department of Archaeology at the University of Cambridge Fellow of Selwyn College

Producer: Simon Tillotson.

Melvyn Bragg and guests discuss Aphra Behn (1640-1689), who made her name and her living as a playwright, poet and writer of fiction under the Restoration. Virginia Woolf wrote of her: ' All women together, ought to let flowers fall upon the grave of Aphra Behn... for it was she who earned them the right to speak their minds'. Behn may well have spent some of her early life in Surinam, the setting for her novel Oroonoko, and there are records of her working in the Netherlands as a spy for Charles II. She was loyal to the Stuart kings, and refused to write a poem on the coronation of William of Orange. She was regarded as an important writer in her lifetime and inspired others to write, but fell out of favour for two centuries after her death when her work was seen as too bawdy, the product of a disreputable age.

The image above is from the Yale Center for British Art and is titled 'Aphra Behn, by Sir Peter Lely, 1618-1680'

With

Janet Todd Former President of Lucy Cavendish College, Cambridge University

Ros Ballaster Professor of 18th Century Literature at Mansfield College, University of Oxford

and

Claire Bowditch Post-doctoral Research Associate in English and Drama at Loughborough University

Producer: Simon Tillotson.

In a programme first broadcast in 2017, Melvyn Bragg and guests discuss Emily Bronte (1818-1848) and her only novel, published in 1847 under the name 'Ellis Bell' just a year before her death. It is the story of Heathcliff, a foundling from Liverpool brought up in the Earnshaw family at the remote Wuthering Heights, high on the moors, who becomes close to the young Cathy Earnshaw but hears her say she can never marry him. He disappears and she marries his rival, Edgar Linton, of Thrushcross Grange even though she feels inextricably linked with Heathcliff, exclaiming to her maid 'I am Heathcliff!' On his return, Heathcliff steadily works through his revenge on all who he believes wronged him, and their relations. When Cathy dies, Heathcliff longs to be united with her in the grave. The raw passions and cruelty of the story unsettled Emily's sister Charlotte Bronte, whose novel Jane Eyre had been published shortly before, and who took pains to explain its roughness, jealousy and violence when introducing it to early readers. Over time, with its energy, imagination and scope, Wuthering Heights became celebrated as one of the great novels in English.

The image above is of Laurence Olivier as Heathcliff and Merle Oberon as Cathy on the set of the Samuel Goldwyn Company movie 'Wuthering Heights', circa 1939.

With

Karen O'Brien Professor of English Literature at the University of Oxford

John Bowen Professor of Nineteenth Century Literature at the University of York

and

Alexandra Lewis Lecturer in English Literature at the University of Aberdeen

Producer: Simon Tillotson.

Melvyn Bragg and guests discuss Alexander Pushkin's verse novel, the story of Eugene Onegin, widely regarded as his masterpiece. Pushkin (pictured above) began this in 1823 and worked on it over the next ten years, while moving around Russia, developing the central character of a figure all too typical of his age, the so-called superfluous man. Onegin is cynical, disillusioned and detached, his best friend Lensky is a romantic poet and Tatyana, whose love for Onegin is not returned until too late, is described as a poetic ideal of a Russian woman, and they are shown in the context of the Russian landscape and society that has shaped them. Onegin draws all three into tragic situations which, if he had been willing and able to act, he could have prevented, and so becomes the one responsible for the misery of himself and others as well as the death of his friend.

With

Andrew Kahn Professor of Russian Literature at the University of Oxford and Fellow of St Edmund Hall

Emily Finer Lecturer in Russian and Comparative Literature at the University of St Andrews

and

Simon Dixon The Sir Bernard Pares Professor of Russian History at University College London

Producer: Simon Tillotson.

Melvyn Bragg and guests discuss the life and works of Christine de Pizan, who wrote at the French Court in the late Middle Ages and was celebrated by Simone de Beauvoir as the first woman to 'take up her pen in defence of her sex.' She wrote across a broad range, and was particularly noted for challenging the depiction of women by famous writers such as Jean de Meun, author of the Romance of the Rose. She has been characterised as an early feminist who argued that women could play a much more important role in society than the one they were allotted, reflected in arguably her most important work, The Book of the City of Ladies, a response to the seemingly endless denigration of women in popular texts of the time.

The image above, of Christine de Pizan lecturing, is (c)The British Library Board. Harley 4431, f.259v.

With

Helen Swift Associate Professor of Medieval French at the University of Oxford and Fellow of St Hilda's College

Miranda Griffin Lecturer in French and Fellow of St Catharine's College, Cambridge

and

Marilynn Desmond Distinguished Professor of English and Comparative Literature at Binghamton University

Producer: Simon Tillotson.

Melvyn Bragg and guests discuss the life and works of Emily Dickinson, arguably the most startling and original poet in America in the C19th. According to Thomas Wentworth Higginson, her correspondent and mentor, writing 15 years after her death, "Few events in American literary history have been more curious than the sudden rise of Emily Dickinson into a posthumous fame only more accentuated by the utterly recluse character of her life and by her aversion to even a literary publicity." That was in 1891 and, as more of Dickinson's poems were published, and more of her remaining letters, the more the interest in her and appreciation of her grew. With her distinctive voice, her abundance, and her exploration of her private world, she is now seen by many as one of the great lyric poets.

With

Fiona Green Senior Lecturer in English at the University of Cambridge and a Fellow of Jesus College

Linda Freedman Lecturer in English and American Literature at University College London

and

Paraic Finnerty Reader in English and American Literature at the University of Portsmouth

Producer: Simon Tillotson.

Melvyn Bragg and guests discuss Katsushika Hokusai (1760-1849), the Japanese artist whose views of Mt Fuji such as The Great Wave off Kanagawa (pictured) are some of the most iconic in world art. He worked as Japan was slowly moving towards greater contact with the outside world, trading with China and allowing two Dutch ships to dock each year. From these ships he picked up new synthetic colours and illustrations with Western compositions, which he incorporated in his traditional wood block prints. The quality of his images helped drive demand for prints among the highly literate Japanese public, particularly those required to travel to Edo under feudal obligations and who wanted to collect all his prints. As well as the quality of his work, Hokusai's success stems partly from his long life and career. He completed some of his most memorable works in his 70s and 80s and claimed he would not reach his best until he was 110.

With

Angus Lockyer Lecturer in Japanese History at SOAS University of London

Rosina Buckland Senior Curator of Japanese Collections at the National Museum of Scotland

And

Ellis Tinios Honorary Lecturer in the School of History, University of Leeds

Producer: Simon Tillotson.

Melvyn Bragg and guests discuss Elizabeth Gaskell's novel North and South, published in 1855 after serialisation in Dickens' Household Words magazine. It is the story of Margaret Hale, who was raised in the South in the New Forest and London's Harley Street, and then moves North to a smokey mill town, Milton, in Darkshire. As well as Margaret's emotional life and her growing sense of independence, the novel explores the new ways of living thrown up by industrialisation, and the relationships between 'masters and men'. Many of Margaret Hale's experiences echo Gaskell's own life, as she was born in Chelsea and later moved to Manchester, and the novel has become valued for its insights into social conflicts and the changing world in which Gaskell lived.

With

Sally Shuttleworth Professor of English Literature at the University of Oxford

Dinah Birch Pro-vice Chancellor for Research and Professor of English Literature at the University of Liverpool

And

Jenny Uglow Biographer of Elizabeth Gaskell

Producer: Simon Tillotson.

Melvyn Bragg and guests discuss Seneca the Younger, who was one of the first great writers to live his entire life in the world of the new Roman empire, after the fall of the Republic. He was a Stoic philosopher, he wrote blood-soaked tragedies, he was an orator, and he navigated his way through the reigns of Caligula, Claudius and Nero, sometimes exercising power at the highest level and at others spending years in exile. Agrippina the Younger was the one who called for him to tutor Nero, and it is thought Seneca helped curb some of Nero's excesses. He was later revered within the Christian church, partly for what he did and partly for what he was said to have done in forged letters to St Paul. His tragedies, with their ghosts and high body count, influenced Shakespeare's Titus Andronicus and Hamlet, and Kyd's Spanish Tragedy. The image above is the so-called bust of Seneca, a detail from Four Philosophers by Peter Paul Rubens.

With

Mary Beard Professor of Classics at the University of Cambridge

Catharine Edwards Professor of Classics and Ancient History at Birkbeck, University of London

and

Alessandro Schiesaro Professor of Classics at the University of Manchester

Producer: Simon Tillotson.