In Our Time: Culture

Melvyn Bragg and his guests discuss the Icelandic Sagas. First written down in the 13th century, the sagas tell the stories of the Norse settlers of Iceland, who began to arrive on the island in the late 9th century. They contain some of the richest and most extraordinary writing of the Middle Ages, and often depict events known to have happened in the early years of Icelandic history, although there is much debate as to how much of their content is factual and how much imaginative. Full of heroes, feuds and outlaws, with a smattering of ghosts and trolls, the sagas inspired later writers including Sir Walter Scott, William Morris and WH Auden.With:Carolyne Larrington Fellow and Tutor in Medieval English Literature at St John's College, OxfordElizabeth Ashman Rowe University Lecturer in Scandinavian History at the University of CambridgeEmily Lethbridge Post-Doctoral Researcher at the Árni Magnússon Manuscripts Institute in ReykjavíkProducer: Thomas Morris.

Melvyn Bragg and his guests discuss the Essays of Michel de Montaigne. Born near Bordeaux in 1533, Montaigne retired from a life of public service aged 38 and began to write. He called these short works 'essais', or 'attempts'; they deal with an eclectic range of subjects, from the dauntingly weighty to the apparently trivial. Although he never considered himself a philosopher, he is often now seen as one of the most outstanding Sceptical thinkers of early modern Europe. His approachable style, intelligence and subtle thought have made him one of the most widely admired writers of the Renaissance.With:David Wootton Anniversary Professor of History at York UniversityTerence Cave Emeritus Professor of French Literature at the University of OxfordFelicity Green Chancellor's Fellow in History at the University of Edinburgh.Producer: Thomas Morris.

Melvyn Bragg and his guests discuss the Amazons, a tribe of formidable female warriors first described in Greek literature. They appear in the Homeric epics and were described by Herodotus, and featured prominently in the decoration of Greek vases and public buildings. In later centuries, particularly in the Renaissance, the Amazons became a popular theme of literature and art. After the discovery of the New World, the largest river in South America was named the Amazon, since the warlike tribes inhabiting the river's margins reminded Spanish pioneers of the warriors of classical myth.With:Paul Cartledge A.G. Leventis Professor of Greek Culture at Cambridge UniversityChiara Franceschini Teaching Fellow at University College London and an Academic Assistant at the Warburg InstituteCaroline Vout University Senior Lecturer in Classics and Fellow and Director of Studies at Christ's College, Cambridge.Producer: Thomas Morris.

Melvyn Bragg and his guests discuss the life and work of Anton Chekhov. Born in 1860, Chekhov trained as a doctor and for most of his adult life divided his time between medicine and writing. Best known for plays including The Cherry Orchard and Three Sisters, he is also celebrated today as one of the greatest of short story writers. His works are often powerful character studies and chronicle the changing nature of Russian society in the late nineteenth century.With:Catriona Kelly Professor of Russian at the University of OxfordCynthia Marsh Emeritus Professor of Russian Drama and Literature at the University of NottinghamRosamund Bartlett Founding Director of the Anton Chekhov Foundation and former Reader in Russian at the University of Durham.Producer: Thomas Morris.

David Bradshaw, John Bowen and Ann Pasternak Slater join Melvyn Bragg to discuss Evelyn Waugh's comic novel Decline and Fall. Set partly in a substandard boys' public school, the novel is a vivid, often riotous portrait of 1920s Britain. Its themes, including modernity, religion and fashionable society, came to dominate Waugh's later fiction, but its savage wit and economy of style were entirely new. Published when Waugh was 24, the book was immediately celebrated for its vicious satire and biting humour.With:David Bradshaw Professor of English Literature at Worcester College, OxfordJohn Bowen Professor of Nineteenth-Century Literature at the University of YorkAnn Pasternak Slater Senior Research Fellow at St Anne's College, Oxford.Producer: Thomas Morris.

Melvyn Bragg and his guests discuss Thomas Malory's "Le Morte Darthur", the epic tale of King Arthur and his knights of the Round Table. Sir Thomas Malory was a knight from Warwickshire, a respectable country gentleman and MP in the 1440s who later turned to a life of crime and spent various spells in prison. It was during Malory's final incarceration that he wrote "Le Morte Darthur", an epic work which was based primarily on French, but also some English, sources. Malory died shortly after his release in 1470 and it was to be another fifteen years before "Le Morte Darthur" was published by William Caxton, to immediate popular acclaim. Although the book fell from favour in the seventeenth century, it was revived again in Victorian times and became an inspiration for the Pre-Raphaelite movement who were entranced by the chivalric and romantic world that Malory portrayed. The Arthurian legend is one of the most enduring and popular in western literature and its characters - Sir Lancelot, Guinevere, Merlin and King Arthur himself, are as well-known today as they were then; and the book's themes - chivalry, betrayal, love and honour - remain as compelling.With: Helen Cooper Professor of Medieval and Renaissance English at the University of CambridgeHelen Fulton Professor of Medieval Literature and Head of Department of English and Related Literature at the University of YorkLaura Ashe CUF Lecturer and Tutorial Fellow at Worcester College at the University of OxfordProducer: Natalia Fernandez.

Melvyn Bragg and his guests discuss the epic poem the Shahnameh of Ferdowsi, the 'Book of Kings', which has been at the heart of Persian culture for the past thousand years. The poem recounts a legendary history of Iran from the dawn of time to the fall of the Persian Empire in the 7th century and serves, in a sense, as a creation myth for the Persian nation. The Shahnameh took Ferdowsi thirty years to write and, consisting of over 50,000 verses, is said to be the longest poem ever written by a single author. Laced with tragedy, Ferdowsi's epic chronicles battles, romances, family rifts and Man's interior struggle with himself. Although the stories may not always be true they have a profound resonance with Iranians even today, and the poem has been referred to as both the 'encyclopaedia of Iranian culture' and the identity card of the Persian people. With:Narguess Farzad Senior Fellow in Persian at SOAS, University of LondonCharles Melville Professor of Persian History at Pembroke College at the University of CambridgeVesta Sarkhosh Curtis Curator of Middle Eastern Coins at the British Museum Producer: Natalia Fernandez.

Melvyn Bragg and his guests discuss The Anarchy, the civil war that took place in mid-twelfth century England. The war began as a succession dispute between the Empress Matilda, daughter of Henry I, and her cousin, Stephen of Blois. On Henry's death Stephen seized the English throne and held it for a number of years before Matilda wrestled it from him, although she was chased out of London before she could be crowned. The Anarchy dragged on for nearly twenty years and is so called because of the chaos and lawlessness that characterised the period. Yet only one major battle ever took place, the Battle of Lincoln in 1141, and any other fighting associated with the conflict was fairly localised. This has led historians to question the accuracy of labelling the civil war as The Anarchy, a name only bestowed on the era in the 19th century. But why did Matilda fail to become the monarch, and what impact did it have on the way England was ruled in centuries to come?With: John Gillingham Emeritus Professor of History at the London School of Economics and Political ScienceLouise Wilkinson Reader in Medieval History at Canterbury Christ Church UniversityDavid Carpenter Professor of Medieval History at Kings College London. Producer: Natalia Fernandez.

Melvyn Bragg and his guests discuss the life and influence of William Caxton, the merchant who brought the printing press to the British Isles. After spending several years working as a printer in Bruges, Caxton returned to London and in 1476 set up his first printing press in Westminster, and also imported and sold other printed books. Caxton concentrated on producing popular books that he knew would sell, such as Chaucer's 'Canterbury Tales' and small liturgical 'books of hours'. The standard of Caxton's printing may have lagged behind that on the continent, but he was a skilful businessman and unusually for printers at the time, he managed not to go bankrupt. The advent of print is now seen as one of the great revolutions in intellectual history - although many scholars believe it was a revolution that took many generations to have an effect.With:Richard Gameson Professor of the History of the Book at the University of DurhamJulia Boffey Professor of Medieval Studies in the English Department at Queen Mary, University of LondonDavid Rundle Member of the History Faculty at the University of OxfordProducer: Natalia Fernandez.

Melvyn Bragg and his guests discuss the medieval scholar Gerald of Wales. Born around the middle of the twelfth century, Gerald was a cleric and courtier. For much of his life he was close to Henry II and the Church hierarchy, and wrote accounts of official journeys he made around Wales and Ireland in their service. Both Anglo-Norman and Welsh by parentage, he had a unique perspective on the political strife of his age. Gerald's Journey Around Wales and Description of Ireland are among the most colourful and informative chronicles of the Middle Ages, and had a powerful influence on later historians.With:Henrietta Leyser Emeritus Fellow of St Peter's College, University of OxfordMichelle Brown Professor Emerita of Medieval Manuscript Studies at the School of Advanced Study, University of LondonHuw Pryce Professor of Welsh History at Bangor UniversityProducer: Thomas Morris.

Melvyn Bragg and his guests discuss the Druids, the priests of ancient Europe. Active in Ireland, Britain and Gaul, the Druids were first written about by Roman authors including Julius Caesar and Pliny, who described them as wearing white robes and cutting mistletoe with golden sickles. They were suspected of leading resistance to the Romans, a fact which eventually led to their eradication from ancient Britain. In the early modern era, however, interest in the Druids revived, and later writers reinvented and romanticised their activities. Little is known for certain about their rituals and beliefs, but modern archaeological discoveries have shed new light on them.With:Barry Cunliffe Emeritus Professor of Archaeology at the University of OxfordMiranda Aldhouse-Green Professor of Archaeology at Cardiff UniversityJustin Champion Professor of the History of Early Modern Ideas at Royal Holloway, University of LondonProducer: Thomas Morris.

Melvyn Bragg and his guests discuss the life of the prominent 19th-century social reformer Annie Besant. Born in 1847, Annie Besant espoused a range of causes including secularism, women's rights, Socialism, Irish Home Rule, birth control and better conditions for workers. Described by Beatrice Webb as having "the voice of a beautiful soul", Besant became an eloquent public speaker as well as writing numerous campaigning articles and pamphlets. She is perhaps most famous for the key role she played in the successful strike by female workers at the Bryant and May match factory in East London in 1888, which brought the appalling working conditions of many factory workers to greater public attention. Later in life she became a follower of theosophy, a belief system bringing together elements of Hinduism, Buddhism and other Eastern religions. She moved to India, its main base, and took on a leading role in the Indian self-rule movement, being appointed the first female president of the Indian National Congress in 1917. With: Lawrence Goldman Fellow in Modern History at St Peter's College, University of OxfordDavid Stack Reader in History at the University of Reading Yasmin Khan Senior Lecturer in Politics and International Relations at Royal Holloway, University of London. Producer: Victoria Brignell.

Melvyn Bragg and his guests discuss James Joyce's novel Ulysses. First published ninety years ago in Paris, Joyce's masterpiece is a sprawling and startlingly original work charting a single day in the life of the Dubliner Leopold Bloom. Some early readers were outraged by its sexual content and daringly scatalogical humour, and the novel was banned in most English-speaking countries for a decade after it first appeared. But it was soon recognised as a genuinely innovative work: overturning the ban on its publication, an American judge described Ulysses as "a sincere and serious attempt to devise a new literary method for the observation and description of mankind."Today Ulysses is widely regarded as the greatest example of literary modernism, and a work that changed literature forever. It remains one of the most discussed novels ever written.Steven ConnorProfessor of Modern Literature and Theory at Birkbeck, University of LondonJeri JohnsonSenior Fellow in English at Exeter College, OxfordRichard BrownReader in Modern English Literature at the University of LeedsProducer: Thomas Morris.

Melvyn Bragg and his guests discuss Voltaire's novel Candide. First published in 1759, the novel follows the adventures of a young man, Candide, and his mentor, the philosopher Pangloss. Candide was written in the aftermath of a major earthquake in Lisbon and the outbreak of the Seven Years' War, events which caused such human suffering that they shook many people's faith in a benevolent God. Voltaire's masterpiece piles ridicule on Optimism, the fashionable philosophical belief that such disasters are part of God's plan for humanity - that 'all is for the best in this best of all possible worlds'.Often uproariously funny, the novel is a biting satire whose other targets include bad literature, extremist religion and the vanity of kings and politicians. It captivated contemporary readers and has proved one of French literature's most enduring classics.With:David WoottonAnniversary Professor of History at the University of YorkNicholas CronkProfessor of French Literature and Director of the Voltaire Foundation at the University of OxfordCaroline WarmanLecturer in French and Fellow of Jesus College at the University of Oxford.Producer: Thomas Morris.

Melvyn Bragg and his guests discuss the work and influence of the eighteenth-century philosopher Moses Mendelssohn. A prominent figure at the court of Frederick the Great, Mendelssohn was one of the most significant thinkers of his age. He came from a humble, but culturally rich background and his obvious intelligence was recognised from a young age and nurtured by the local rabbi where he lived in the town of Dessau in Prussia. Moses's learning earned him the sobriquet of the 'German Socrates' and he is considered to be one of the principal architects of the Haskala, the Jewish Enlightenment, and widely regarded as having helped bring Judaism into the mainstream of European culture. Mendelssohn is perhaps best remembered today for his efforts to bring Jewish and German culture closer together and for his plea for religious toleration.With:Christopher ClarkProfessor of Modern European History at the University of CambridgeAbigail GreenTutor and Fellow in History at the University of OxfordAdam SutcliffeSenior Lecturer in European History at King's College, London Producer: Natalia Fernandez.

Melvyn Bragg and his guests discuss the life and work of Benjamin Franklin. A printer, statesman, diplomat, writer and scientist, Franklin was one of the most remarkable individuals of the eighteenth century. His discoveries relating to the nature of electricity, and in particular a celebrated experiment which involved flying a kite in a thunderstorm, made him famous in Europe and America. His inventions include bifocal spectacles, and a new type of stove. In the second half of his life he became prominent as a politician and a successful diplomat. As the only Founding Father to have signed all three of the fundamental documents of the United States of America, including its Declaration of Independence and Constitution, Benjamin Franklin occupies a unique position in the history of the nation. With:Simon MiddletonSenior Lecturer in American History at the University of SheffieldSimon NewmanSir Denis Brogan Professor of American History at the University of GlasgowPatricia FaraSenior Tutor at Clare College, University of Cambridge.Producer: Thomas Morris.

Melvyn Bragg and his guests discuss the Kama Sutra, one of the most celebrated and often misunderstood texts of Indian literature. Probably composed during the reign of the Gupta dynasty around 1800 years ago, the work is a collection of writings about the art of love and sensual pleasure. Although it is best known today for a single chapter devoted to sexual pleasure, this important Sanksrit collection contains much besides. In particular it teaches the attainment of Kama (pleasure), one of the central goals of Hinduism. The Kama Sutra is a manual to a life of fulfilment, offering advice on such subjects as finding a spouse and how to behave in marriage; it has had a profound influence on Indian culture and thought. With:Julius LipnerProfessor of Hinduism and the Comparative Study of Religion at the University of CambridgeJessica FrazierLecturer in Religious Studies at the University of Kent and Research Fellow at the Oxford Centre for Hindu StudiesDavid SmithReader in South Asian Religions at the University of Lancaster.Producer: Thomas Morris.

Melvyn Bragg and his guests discuss the Safavid Dynasty, rulers of the Persian empire between the 16th and 18th centuries.In 1501 Shah Ismail, a boy of fifteen, declared himself ruler of Azerbaijan. Within a year he had expanded his territory to include most of Persia, and founded a ruling dynasty which was to last for more than two hundred years. At the peak of their success the Safavids ruled over a vast territory which included all of modern-day Iran. They converted their subjects to Shi'a Islam, and so created the religious identity of modern Iran - although they were also often ruthless in their suppression of Sunni practices. They thrived on international trade, and their capital Isfahan, rebuilt by the visionary Shah Abbas, became one of the most magnificent cities in the world. Under Safavid rule Persia became a cultural centre, producing many great artists and thinkers. With:Robert GleaveProfessor of Arabic Studies at the University of ExeterEmma LoosleySenior Lecturer at the School of Arts, Histories and Cultures at the University of ManchesterAndrew NewmanReader in Islamic Studies and Persian at the University of Edinburgh.Producer: Thomas Morris.

Melvyn Bragg and his guests discuss Daniel Defoe's novel Robinson Crusoe. Published in 1719, it was an immediate success and is considered the classic adventure story. There are several incidents that may have inspired the tale, although none of them exactly mirrors Defoe's thrilling yet didactic narrative. The plot is now universally known - the sailor stranded on a desert island who learns to tame the environment and the native population. The character of Friday, Crusoe's trusty companion and servant, has become almost as famous as Crusoe himself and their master-servant relationship forms one of the principal themes in the novel. Robinson Crusoe has been interpreted in myriad ways, from colonial fable to religious instruction manual to capitalist tract; although arguably above all of these, it is perhaps best known today as a children's story. With:Karen O'BrienPro-Vice Chancellor for Education at the University of Birmingham Judith HawleyProfessor of Eighteenth-Century Literature at Royal Holloway, University of LondonBob OwensEmeritus Professor of English Literature at the Open UniversityProducer: Natalia Fernandez.

Melvyn Bragg and his guests discuss the life and work of the Victorian poet Christina Rossetti. Rossetti was born into an artistic family and her siblings included Dante Gabriel, one of the leading lights of the Pre-Raphaelite Brotherhood, to whose journal, 'The Germ', Christina contributed poems. She was a devout Anglican all her life and her religious beliefs are a recurring theme in her work. Christina never married, although she was engaged twice - one of her fiancés was the Pre-Raphaelite painter, James Collinson. She spent her time writing and volunteering for charitable works. It is said she even considered going to the Crimea with Florence Nightingale, but in the end ill health prevented her from doing so. Best known for her ballads and long narrative poems, she also wrote some prose and children's verses. Christina was admired by contemporaries including Swinburne, Tennyson and Elizabeth Barrett Browning. Her work was to have an influence on later writers such as Virginia Woolf and Gerard Manley Hopkins. Rossetti's poetry has a spirituality and sensitivity that has led to her redisovery in recent decades, not least by feminist critics who praise her powerful and independent poetic voice. With:Dinah BirchProfessor of English Literature and Pro-Vice Chancellor for Research at Liverpool University Rhian WilliamsLecturer in Nineteenth-Century English Literature at the University of GlasgowNicholas ShrimptonEmeritus Fellow of Lady Margaret Hall, University of Oxford Producer: Natalia Fernandez.

Melvyn Bragg and his guests discuss Alfred, Lord Tennyson's long poem In Memoriam.In 1850, shortly before his appointment as Poet Laureate, Tennyson published a work which many critics regard as his masterpiece. In Memoriam A.H.H. was written in tribute to a close friend, Arthur Hallam, who had died seventeen years earlier. The two had met while at university in Cambridge; during one summer when Hallam was visiting Tennyson he had fallen in love with and become engaged to Tennyson's sister, Emily. When Hallam died suddenly at the age of 22 Tennyson was torn apart by grief. He started to write verses for In Memoriam almost straight away, but it was only later that he assembled these fragments into one long poem. The work is a farewell not just to Hallam but to an entire system of thought. New geological discoveries meant that Biblical certainties, such as the age of the Earth, were suddenly thrown into question. Tennyson realised that the advent of new scientific certainties meant the death of old religious ones. The work was enormously successful; one early reader was Queen Victoria, who after the death of Prince Albert wrote: "Next to the Bible, In Memoriam is my comfort".With: Dinah BirchProfessor of English Literature and Pro-Vice-Chancellor for Research at Liverpool UniversitySeamus PerryFellow and Tutor in English at Balliol College, University of OxfordJane WrightLecturer in English at the University of Bristol. Producer: Natalia Fernandez.

Melvyn Bragg and his guests discuss Robert Burton's masterpiece The Anatomy of Melancholy.In 1621 the priest and scholar Robert Burton published a book quite unlike any other. The Anatomy of Melancholy brings together almost two thousand years of scholarship, from Ancient Greek philosophy to seventeenth-century medicine. Melancholy, a condition believed to be caused by an imbalance of the body's four humours, was characterised by despondency, depression and inactivity. Burton himself suffered from it, and resolved to compile an authoritative work of scholarship on the malady, drawing on all relevant sources.Despite its subject matter the Anatomy is an entertaining work, described by Samuel Johnson as the only book 'that ever took him out of bed two hours sooner than he wished to rise.' It also offers a fascinating insight into seventeenth-century medical theory, and influenced many generations of playwrights and poets.With:Julie SandersProfessor of English Literature and Drama at the University of NottinghamMary Ann LundLecturer in English at the University of LeicesterErin SullivanLecturer and Fellow at the Shakespeare Institute at the University of Birmingham.Producer: Thomas Morris.

Melvyn Bragg and his guests discuss the medieval universities.In the 11th and 12th centuries a new type of institution started to appear in the major cities of Europe. The first universities were those of Bologna and Paris; within a hundred years similar educational organisations were springing up all over the continent. The first universities based their studies on the liberal arts curriculum, a mix of seven separate disciplines derived from the educational theories of Ancient Greece. The universities provided training for those intending to embark on careers in the Church, the law and education. They provided a new focus for intellectual life in Europe, and exerted a significant influence on society around them. And the university model proved so robust that many of these institutions and their medieval innovations still exist today.With:Miri RubinProfessor of Medieval and Early Modern History at Queen Mary, University of LondonIan WeiSenior Lecturer in Medieval European History at the University of BristolPeter DenleyReader in History at Queen Mary, University of London.Producer: Thomas Morris.

Melvyn Bragg and his guests discuss Aristotle's Poetics. The Poetics is, as far as we know, the first ever work of literary theory. Written in the 4th century BC, it is the work of a scholar who was also a biologist, and treats literary works with the detached analytical eye of a scientist. Aristotle examines drama and epic poetry, and how they achieve their effects; he analyses tragedy and the ways in which it plays on our emotions. Many of the ideas he articulates, such as catharsis, have remained in our critical vocabulary ever since. The book also contains an impassioned defence of poetry, which had been attacked by other thinkers, including Aristotle's own teacher Plato.Translated by medieval Arab scholars, the Poetics was rediscovered in Europe during the Renaissance and became a playwriting manual for many dramatists of the era. Today it remains a standard text for would-be Hollywood screenwriters.With:Angie HobbsAssociate Professor of Philosophy and Senior Fellow in the Public Understanding of Philosophy at the University of WarwickNick LoweReader in Classical Literature at Royal Holloway, University of LondonStephen HalliwellProfessor of Greek at the University of St AndrewsProducer: Thomas Morris.

Melvyn Bragg and his guests discuss Byron's poem Childe Harold's Pilgrimage.In 1812 the 24-year-old Lord Byron published the first part of a long narrative poem. It caused an instant sensation. "I awoke one morning and found myself famous", wrote Byron in his memorandum book, and the first edition sold out in three days. The poem narrates the life of an aristocrat on a grand tour of Europe. Its central character is the first Byronic hero, a flawed but charismatic young man modelled on the poet.As well as offering a self-portrait of Byron as a young man, Childe Harold is a fascinating snapshot of Europe at the beginning of the nineteenth century, a place ravaged by revolution and war; the poem also gives us an insight into the political and intellectual concerns of its author.With:Jonathan BateProfessor of English Literature at the University of WarwickJane StablerReader in Romanticism at the University of St AndrewsEmily Bernhard JacksonAssistant Professor in Nineteenth-Century English Literature at the University of Arkansas.Producer: Thomas Morris.

Melvyn Bragg and his guests discuss the history of metaphor. In Shakespeare's As You Like It, the melancholy Jaques declares: "All the world's a stage/And all the men and women merely players." This is a celebrated use of metaphor, a figure of speech in which one thing is used to describe another. Metaphor is a technique apparently as old as language itself; it is present in the earliest surviving work of literature, the Epic of Gilgamesh. Homer developed it into an art form, and his invention of the epic simile was picked up by later writers including Milton. In the Middle Ages the device of allegory underpinned much of French and English writing, while the Metaphysical poets employed increasingly elaborate metaphorical conceits in the sixteenth century. In the age of the novel the metaphor once again evolved, while the Modernist writers used it to subvert their readers' expectations. But how does metaphor work, and what does this device tell us about the way our minds function?With:Steven ConnorProfessor of Modern Literature and Theory at Birkbeck, University of LondonTom HealyProfessor of Renaissance Studies at the University of SussexJulie SandersProfessor of English Literature and Drama at the University of NottinghamProducer: Thomas Morris.

Melvyn Bragg and his guests discuss the unicorn. In the 5th century BC a Greek historian, Ctesias, described a strange one-horned beast which he believed to live in a remote area of India. Later classical scholars, including Aristotle and Pliny, added to his account of this animal which they called the monoceros, a vicious ass-like creature with a single horn in the middle of its forehead.For centuries the monoceros or unicorn was widely accepted to be a real - if rarely seen - beast. It appears in the Bible, and in the Middle Ages became a powerful Christian symbol. It continued to be represented in art and literature throughout the Renaissance, when 'unicorn horn' became one of the most valuable commodities on earth, thanks to its supposed properties as an antidote to poison. As late as the seventeenth century, scientists believed they had found conclusive proof of the existence of unicorns. It was some time before the animal was shown to be a myth; four hundred years on, the unicorn retains much of its fascination and symbolic power.With:Juliette WoodAssociate Lecturer in Folklore at Cardiff UniversityLauren KassellLecturer in the History and Philosophy of Science at the University of CambridgeDavid EkserdjianProfessor of the History of Art and Film at the University of Leicester.Producer: Thomas Morris.

Melvyn Bragg and his guests discuss the artistic movement known as Sturm und Drang.In the 1770s a small group of German writers started to produce plays, poetry and novels which were radically different from what had gone before. These writers were all young men, and they rejected the values of the Enlightenment, which they felt had robbed art of its spontaneity and feeling. Their work was passionate, ignored existing conventions and privileged the individual's free will above the constraints of society.The most prominent member of the movement was Johann von Goethe, whose novel The Sorrows of Young Werther became its most notable success, translated into more then thirty languages. Despite this and other successes including Schiller's play The Robbers, the Sturm und Drang disappeared almost as quickly as it had emerged; by the mid-1780s it was already a thing of the past.With:Tim BlanningEmeritus Professor of Modern European History at Cambridge UniversitySusanne KordProfessor of German at University College, LondonMaike Oergel Associate Professor of German at the University of NottinghamProducer: Thomas Morris.

Melvyn Bragg discusses 'Lives of the Artists' - the great biographer Giorgio Vasari's study of Renaissance painters, sculptors and architects. In 1550 a little known Italian artist, Giorgio Vasari, published a revolutionary book entitled 'Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times'. In it he chronicled the evolution of Italian art from the early pioneer Giotto to the perfection of Michelangelo.For the first time, Vasari set out to record artists' eccentricities and foibles as well as their artistic triumphs. We learn that the painter Piero di Cosimo was scared of the sound of bells, and witness Donatello shouting at his statues. But amongst these beguiling stories of human achievement, Vasari also explained his own theory of what made great art.In more recent decades, Vasari has been criticised for not allowing factual accuracy to get in the way of a good story. Nonetheless, the influence of his work has been unparalleled. It has formed and defined the way we think about Renaissance art to this day and some credit him with being the founder of the discipline of the history of art. Few artists that Vasari criticised have been comprehensively rehabilitated and Vasari's semi-divine trio of Michelangelo, Raphael and Leonardo are still seen as the apotheosis of artistic perfection. With:Evelyn WelchProfessor of Renaissance Studies and Academic Dean for Arts at Queen Mary, University of LondonDavid EkserdjianProfessor of History of Art and Film at the University of LeicesterMartin KempEmeritus Professor in the History of Art at the University of OxfordProducer: Thomas Morris.

Melvyn Bragg and guests discuss Roman Satire. Much of Roman culture was a development of their rich inheritance from the Greeks. But satire was a form the Romans could claim to have invented. The grandfather of Roman satire, Ennius, was also an important figure in early Roman literature more generally. Strikingly, he pioneered both epic and the satirical mockery of epic.But the father of the genre, Lucilius, is the writer credited with taking satire decisively towards what we now understand by the word: incisive invective aimed at particular personalities and their wrongs.All this happened under the Roman Republic, in which there was a large measure of free speech. But then the Republic was overthrown and Augustus established the Empire.The great satirist Horace had fought to save the Republic, but now reinvented himself as a loyal citizen of the Imperium. His satirical work explores the strains and hypocrisies of trying to maintain an independent sense of self at the heart of an autocracy.This struggle was deepened in the work of Persius, whose Stoicism-inflected writing was a quietist attempt to endure under the regime without challenging it.The work of the last great Roman satirist, Juvenal, was famously savage - yet his targets were either generic or long dead. So was satire a conservative or a radical genre? Was it cynical or did it aim to 'improve' people? Did it have any real impact? And was it actually funny?With:Mary BeardProfessor of Classics at Cambridge UniversityDenis FeeneyProfessor of Classics and Giger Professor of Latin at Princeton UniversityDuncan KennedyProfessor of Latin Literature and the Theory of Criticism at the University of BristolProducer: Phil Tinline.

Melvyn Bragg and guests David Jackson, Dorothy Rowe and Alastair Wright discuss the work of the Norwegian artist Edvard Munch, focusing on his most famous painting, The Scream.First exhibited in 1893 in Berlin, The Scream was the culmination of Munch's magnum opus, a series of paintings called The Frieze of Life. This depicted the course of human existence through burgeoning love and sexual passion to suffering, despair and death, in Munch's highly original, proto-expressionist style. His titles, from Death in the Sickroom, through Madonna to The Vampire, suggest just how directly and unironically he sought to depict the anxieties of late-19th century Europe.But against all Munch's images, it is The Scream which stands out as the work which has seared itself into the Western imagination. It remains widely celebrated for capturing the torment of existence in what appeared to many in Munch's time to be a frightening, godless world.Munch himself endured a childhood beset by illness, madness and bereavement. At 13, he was told by his father that his tuberculosis was fatal. But he survived and went on to become a major figure first in the Norwegian, then the European, avant-garde. He became involved with two of the great playwrights of the period. He collaborated with his fellow countryman Henrik Ibsen and became a close friend of the tempestuous Swede August Strindberg. He admired the work of Post-Impressionist painters such as Paul Gauguin and Vincent van Gogh and the philosophy of Friedrich Nietzsche, all of whom influenced his art. Munch's own influence resonated through the 20th century, from German Expressionism to Andy Warhol and beyond. His work, particularly The Scream, remains powerful today.David Jackson is Professor of Russian and Scandinavian Art Histories at the University of Leeds; Dorothy Rowe is Senior Lecturer in the History of Art at the University of Bristol; Alastair Wright is University Lecturer in the History of Art at St John's College, University of Oxford.

Melvyn Bragg and guests Rosemary Ashton, Dinah Birch and Valentine Cunningham discuss George Eliot's novel Silas Marner.Published in 1861, Silas Marner is by far Eliot's shortest and seemingly simplest work. Yet beneath the fairytale-like structure, of all her novels it offers the most focused expression of Eliot's moral view. Influenced by the deconstruction of Christianity pioneered by leading European thinkers including Auguste Comte and Ludwig Feuerbach, Silas Marner is a highly sophisticated attempt to translate the symbolism of religion into purely human terms.The novel tells the story of Silas, a weaver who is thrown out of his religious community after being falsely charged with theft. Silas is embittered and exists only for his work and his precious hoard of money - until that money is stolen, and an abandoned child wanders into his house.By the end of her lifetime, George Eliot was the most powerful female intellectual in the country. Her extraordinary range of publications encompassed novels, poetry, literary criticism, scientific and religious texts. But beneath her fierce intellecualism was the deep convinction that for society to continue, humans must connect with their fellow humans. And it is this idea that forms the core of her writing.Rosemary Ashton is Quain Professor of English Language and Literature at University College, London; Dinah Birch is Professor of English at Liverpool University; And Valentine Cunningham is Professor of English Language and Literature at Corpus Christi, University of Oxford.

Melvyn Bragg and guests Gregory Irvine, Nicola Liscutin and Angus Lockyer discuss the history of the Samurai and the role of their myth in Japanese national identity.The Samurai have a fearsome historical reputation as a suicidally brave caste of Japanese warriors. During World War Two, kamikaze pilots were photographed climbing into their cockpits with Samurai swords, encapsulating the way the myth of the Samurai's martial ethos kept its power long after their heyday. But the Samurai's role in Japanese culture is much more complex than that. They were deeply engaged with Zen Buddhism and Noh Theatre, and sponsored haiku poetry. After their role in Japan's century of civil war, ending in the early 1600s, they became part of the country's civil service. A 250-year peace toppled them into identity crisis.In the 19th century, with the arrival of the West, they played an important role in the establishment of a Japanese nation-state, not least by restoring the Emperor to power. And in the 20th century the mythological version of the Samurai, designed in part for Western consumption, became integral to a newly forged national identity.Nicola Liscutin is Programme Director of Japanese Studies at Birkbeck College, University of London; Gregory Irvine is Senior Curator Japan at the Victoria and Albert Museum; Angus Lockyer is Lecturer in Japanese History and Chair of the Japan Research Centre at the School of Oriental and African Studies, University of London.

Melvyn Bragg and guests Roy Foster, Jeri Johnson and Katherine Mullin discuss A Portrait of the Artist as a Young Man, James Joyce's groundbreaking 1916 novel about growing up in Catholic Ireland.Many novelists choose their own young life as the subject for their first book. But very few have subjected themselves to the intense self-scrutiny of the great Irish novelist James Joyce. In A Portrait of the Artist as a Young Man, published in 1916, Joyce follows his alter ego, Stephen Dedalus, from babyhood to young adulthood. He takes us from Stephen wetting the bed, through a teenage visit to a prostitute, and on through religious terrors to the prospect of freedom. When it was published, the book met with shock at its graphic honesty. Joyce shows Stephen wrestling with the pressures of his family, his Church and his nation. Yet this was far from being a straightforward youthful tirade. Joyce's novel is also daringly experimental, taking us deep into Stephen's psyche. And since its publication almost a century ago, it has had a huge influence on novelists across the world.With: Roy Foster, Carroll Professor of Irish History and Fellow of Hertford College, OxfordJeri Johnson, Senior Fellow in English at Exeter College, OxfordKatherine Mullin, Senior Lecturer in English Literature at the University of Leeds.

Melvyn Bragg and guests Jonathan Bate, Julie Sanders and Janet Clare discuss Elizabethan and Jacobean revenge tragedy. From Thomas Kyd's The Spanish Tragedy to Shakespeare's Hamlet, the Elizabethan stage was awash with the bloody business of revenge. Revenge was dramatic, theatrical and hugely popular. It also possessed a fresh psychological depth in the way vengeful minds were portrayed through a new dramatic device: the soliloquy. But these tales of troubled individuals, of family wrongs and the iniquities of power also spoke to an audience for whom the vengeful codes of medieval England were being replaced by Tudor legal systems, by bureaucracy and the demands of the state above those of the individual. Therefore, the heady brew of hatred, madness, violence, evil deeds and righteous anger found on stage reflected the passing of something off stage.Jonathan Bate is Professor of Shakespeare and Renaissance Literature at the University of Warwick; Julie Sanders is Professor of English Literature and Drama at the University of Nottingham; Janet Clare is Professor of Renaissance Literature at the University of Hull.

Melvyn Bragg and guests Steve Jones, Bill Amos and Eleanor Weston discuss the evolutionary history of the whale. The ancestor of all whales alive today was a small, land-based mammal with cloven hoofs, perhaps like a pig or a big mole. How this creature developed into the celebrated leviathan of the deep is one of the more extraordinary stories in the canon of evolution. The whale has undergone vast changes in size, has moved from land to water, lost its legs and developed specialised features such as filter feeding and echo location. How it achieved this is an exemplar of how evolution works and how natural selection can impose extreme changes on the body shape and abilities of living things. How the story of the whales was pieced together also reveals the various forms of evidence - from fossils to molecules - that we now use to understand the ancestry of life on Earth.Steve Jones is Professor of Genetics at University College London; Eleanor Weston is a mammalian palaeontologist at the Natural History Museum, London; Bill Amos is Professor of Evolutionary Genetics at Cambridge University.

Melvyn Bragg and guests David Bradshaw, Daniel Pick and Michele Barrett discuss Aldous Huxley's dystopian 1932 novel, Brave New World. In Act V Scene I of Shakespeare's The Tempest, the character Miranda declares 'O wonder! How many Godly creatures are there here! How beauteous mankind is! O Brave new world! That has such people in it!'. It is perhaps the only line of Shakespeare to be made famous by someone else, for Brave New World is not associated with Prospero's Island of sprites, magic and wondrous noises, but with Aldous Huxley's dystopia of eugenics, soma and zero gravity tennis. A world, incidentally, upon which literary references to Shakespeare would be entirely lost. Brave New World is a lurid, satirical dystopia in which the hopes and fears of the 1930s are writ large and yet the book seems uncannily prescient about our own time. But why did Huxley feel the need to write it and is Brave New World really as dystopian as we are led to believe?

Melvyn Bragg and guests discuss The School of Athens – the fresco painted by the Italian Renaissance painter, Raphael, for Pope Julius II’s private library in the Vatican. The fresco depicts some of the most famous philosophers of ancient times, including Aristotle and Plato, engaged in discussion amidst the splendour of a classical Renaissance chamber. It is considered to be one of the greatest images in Western art not only because of Raphael’s skill as a painter, but also his ability to have created an enduring image that continues to inspire philosophical debate today. Raphael captured something essential about the philosophies of these two men, but he also revealed much about his own time. That such a pagan pair could be found beside a Pope in private tells of the complexity of intellectual life at the time when classical learning was reborn in what we now call the Renaissance.With Angie Hobbs, Associate Professor in Philosophy at the University of Warwick; Valery Rees, Renaissance scholar and senior member of the Language Department at the School of Economic Science; Jill Kraye, Professor of the History of Renaissance Philosophy and Librarian at the Warburg Institute at the University of London

Melvyn Bragg and guests, including Steve Connor and Lawrence Rainey, discuss TS Eliot's seminal poem The Waste Land and its ambivalence to the modern world of technology, democracy and capitalism that was being forged around it.

Melvyn Bragg discusses the fairy tales of the Brothers Grimm with Juliette Wood, Marina Warner and Tony Phelan. The German siblings who in 1812 published a collection of fairy tales including Rapunzel, Hansel and Gretel, Cinderella and Rumpelstiltskin. But the Grimm versions are surprisingly, sometimes shockingly, different. Cinderella has no fairy godmother, her ugly sisters are not ugly but they do have their eyes pecked out by pigeons. Sleeping Beauty does not have an evil stepmother, Rapunzel is pregnant and Frog Princes do not get kissed but thrown against walls. They may not be the fairy tales as we know them, but without the Brothers Grimm we might not know them at all. But why did two respectable German linguists go chasing after fairy stories, what do the stories tell us about German culture and romantic nationalism at the time and why do these ever-evolving tales of horror, wonder and fantasy continue to hold us in thrall?With Juliette Wood, Associate Lecturer in Folklore at Cardiff University; Marina Warner, Professor in the Department of Literature, Film and Theatre Studies at the University of Essex; Tony Phelan, Professor in German at Keble College, Oxford.

Melvyn Bragg and guests discuss one of the most brilliant and shocking satires ever written in English – Jonathan Swift’s A Modest Proposal. Masquerading as an attempt to end poverty in Ireland once and for all, a Modest Proposal is a short pamphlet that draws the reader into a scheme for economic and industrial horror. Published anonymously but written by Jonathan Swift, A Modest Proposal lays bare the cruel presumptions, unchecked prejudice, the politics and the poverty of the 18th century, but it also reveals, perhaps more than anything else, the character and the mind of Swift himself.With John Mullan, Professor of English at University College London; Judith Hawley, Professor of 18th Century Literature at Royal Holloway, University of London and Ian McBride, Senior Lecturer in the History Department at King’s College London.

Melvyn Bragg and guests discuss the culture of the Baroque. What do the music of Bach, the Colonnades of St Peter’s, the paintings of Caravaggio and the rebuilding of Prague have in common? The answer is the Baroque – a term used to describe a vast array of painting, music, architecture and sculpture from the 17th and 18th centuries.Baroque derives from the word for a misshapen pearl and denotes an art of effusion, drama, grandeur and powerful emotion. Strongly religious it became the aesthetic of choice of absolute monarchs. But the more we examine the Baroque, the more subtle and mysterious it becomes. It is impossible to discuss 17th century Europe without it, yet it is increasingly hard to say what it is. It was coined as a term of abuse, denounced by thinkers of the rational Enlightenment and by Protestant cultures which read into Baroque the excess, decadence and corruption they saw in the Catholic Church. With Tim Blanning, Professor of Modern European History and Fellow of Sidney Sussex College, University of Cambridge; Nigel Aston, Reader in Early Modern History at the University of Leicester and Helen Hills, Professor of Art History at the University of York

Melvyn Bragg and guests discuss Dante’s ‘Inferno’ - a medieval journey through the nine circles of Hell. “Abandon hope, all ye who enter here”. This famous phrase is written above the gate of Hell in a 14th century poem by the Italian poet Dante Alighieri. The poem is called the ‘Divine Comedy’ and Hell is known as ‘Dante’s Inferno’. It is a lurid vision of the afterlife complete with severed heads, cruel and unusual punishments and devils in frozen lakes. But the inferno is much more than a trip into the macabre - it is a map of medieval spirituality, a treasure house of early renaissance learning, a portrait of 14th century Florence, and an acute study of human psychology. It is also one of the greatest poems ever written. With, Margaret Kean, University Lecturer in English and College Fellow at St Hilda’s College, University of Oxford; John Took, Professor of Dante Studies at University College London and Claire Honess, Senior Lecturer in Italian at the University of Leeds and Co-Director of the Leeds Centre for Dante Studies.

Melvyn Bragg and guests discuss the music of the spheres, the elegant and poetic idea that the revolution of the planets generates a celestial harmony of profound and transcendent beauty. In Shakespeare’s The Merchant of Venice the young Lorenzo woos his sweetheart with talk of the stars: “There’s not the smallest orb which thou behold’stBut in his motion like an angel sings,Still quiring to the young-eyed cherubins;Such harmony is in immortal souls;But whilst this muddy vesture of decayDoth grossly close it in, we cannot hear it.”The idea of music of the spheres ran through late antiquity and the medieval period into the Renaissance and its echoes could be heard in astrology and astronomy, in theology, and, of course, in music itself. Influenced by Pythagoras and Plato, it was discussed by Cicero, Boethius, Marcello Ficino and Johannes Kepler It affords us a glimpse into minds for which the universe was full of meaning, of strange correspondences and grand harmonies.With Peter Forshaw, Postdoctoral Fellow at Birkbeck, University of London; Jim Bennett, Director of the Museum of the History of Science at the University of Oxford and Angela Voss, Director of the Cultural Study of Cosmology and Divination at the University of Kent, Canterbury.

Melvyn Bragg and guests discuss the Metaphysical poets, a diffuse group of 17th century writers including John Donne, Andrew Marvell and George Herbert. Mourning the death of a good friend in 1631, the poet Thomas Carew declared: “The Muses' garden, with pedantic weeds O'erspread, was purg'd by thee; the lazy seeds Of servile imitation thrown away, And fresh invention planted.”The gardener in question was a poet, John Donne, and from his fresh invention blossomed a group of 17th century writers called the metaphysical poets. Concerned with sex and death, with science and empire, the metaphysical poets challenged the conventions of Elizabethan poetry with drama and with wit. And they showed that English, like Italian and French, was capable of true poetry.Unashamedly modern, they were saluted by another great modernist, T.S. Eliot, who admired their genius for imagery, the freshness of their language and the drama of their poetic character. But what do we mean by metaphysical poetry, how did it reflect an age of drama and discovery and do poets as different as John Donne, Andrew Marvell and George Herbert really belong together in the canon of English literature? With Tom Healy, Professor of Renaissance Studies at Birkbeck College, University of London; Julie Sanders, Professor of English Literature and Drama at the University of Nottingham; and Tom Cain, Professor of Early Modern Literature at the University of Newcastle upon Tyne

Melvyn Bragg and guests discusses the prescient thriller ‘The Riddle of the Sands’ about the decline Anglo-German relations before the First World War. In 1903 an Englishman called Charles Caruthers went sailing in the North Sea and stumbled upon a German military plot. The cunning plan was to invade the British Isles from the Frisian Islands using special barges. The plucky Caruthers foiled the plot and returned to his sailing holiday.This is not history but fiction, an immensely popular book called ‘The Riddle of the Sands’ by Erskine Childers. It was a prescient vision of two nations soon to fight the First World War but it went against the spirit of the previous century. Brits and Germans had fought together at Waterloo and had influenced profoundly each other’s thought and art. They even shared a royal family. Yet somehow victory at Waterloo and the shared glories of Romanticism became the mutual tragedy of the Somme.With Richard Evans, Professor of Modern History at the University of Cambridge; Rosemary Ashton, Quain Professor of English Language and Literature at University College London and Tim Blanning, Professor of Modern European history at The University of Cambridge.

Melvyn Bragg and guests discuss the Library at Nineveh, a treasure house of Assyrian ideas from the 7th Century BC. In 1849 a young English adventurer called Henry Layard started digging into a small hill on the banks of the River Tigris in Northern Iraq. Underneath it he found the ancient city of Nineveh. Layard unearthed extraordinary things - wonderful carved reliefs, ancient palace rooms and great statues of winged bulls. He also found a collection of clay tablets, broken up, jumbled around and sitting on the floor of a toilet. It was the remnants of a library and although Layard didn’t know it at the time, it was one of the greatest archaeological finds ever made.Conceived to house the sum of all human knowledge the library was built in the 7th century BC as the grand Assyrian Empire entered its last years. The clay tablets have proved to be a window into all aspects of Assyrian life, its literature, politics, religion and medicine – practises that are both deeply alien to us and alluringly familiar. With Eleanor Robson, Senior Lecturer at Cambridge University and Vice-Chair of the British Institute for the Study of Iraq; Karen Radner, Lecturer in the Ancient Near Eastern History at University College London; Andrew George, Professor of Babylonian at the School of Oriental and African Studies at the University of London

Melvyn Bragg and guests discuss the poet W.B. Yeats and Irish politics. Yeats lived through a period of great change in Ireland from the collapse of the home rule bill through to the Easter Rising of 1916 and the partitioning of the country. In May 1916, 15 men were shot by the British government. They were the leaders of the Easter Rising – a doomed attempt to overthrow British rule in Ireland - and they were commemorated by W.B. Yeats in a poem called Easter 1916. It ends with the following lines: MacDonagh and MacBrideAnd Connolly and PearseNow and in time to be,Wherever green is worn,Are changed, changed utterly:A terrible beauty is born.Yeats lived through decades of turbulence in Ireland. He saw the suspension of home rule, civil war and the division of the country, but how did the politics of the age imprint themselves on his poetry, what was the nature of Yeats’ own nationalism, and what did he mean by that most famous of phrases ‘a terrible beauty is born’?With Roy Foster, Carroll Professor of Irish History at Oxford University and Fellow of Hertford College, Oxford; Fran Brearton, Reader in English at Queen’s University, Belfast and Assistant Director of the Seamus Heaney Centre for Poetry; Warwick Gould, Director of the Institute of English Studies in the School of Advanced Study, University of London

Melvyn Bragg and guests discuss the Greek myths from Achilles to Zeus. Are you a touch narcissistic? Do you have the body of an Adonis? Are you willing to undertake Herculean tasks or Promethean ventures? Perhaps you have an Oedipus complex? If you answer to any or perhaps all of these you owe something to the Greek myths, a collection of weird and wonderful stories that, like Penelope’s shroud or the needlework of Arachne, were constantly woven and unpicked across centuries of Greek and Roman civilisation. The myths have a cast of thousands including mighty Zeus, Jason and the Argonauts, wily Odysseus, beautiful Aphrodite and Cerberus, the three-headed dog. They are funny, shocking, quirky and epic and have retained their power and their wisdom from the ancient world to the modern. With Nick Lowe, Senior Lecturer in Classics at Royal Holloway, University of London; Richard Buxton, Professor of Greek Language and Literature at the University of Bristol; Mary Beard, Professor of Classics at Cambridge University

Melvyn Bragg and guests discuss King Lear. Around the turn of 1606, a group of London theatre-goers braved the plague to take in a new play by the well-known impresario, Mr William Shakespeare. Packed into the Globe Theatre, they were treated to a tale of violence, hatred and betrayal so upsetting that it thereafter languished among Shakespeare’s less popular plays.The story of Lear – of a man who divides up his property and loses the love of a daughter - is an ancient and ultimately happy one. But in the hands of William Shakespeare it became a shocking and violent vision of a broken family in a godless universe. So shocking that after the playwright’s death it was shunned and rewritten with a happy ending. Only in the 19th and 20th centuries did Shakespeare’s bleak, experimental and disorientating drama attain the status it has now. But why did Shakespeare take a story from the deep history of Britain and make it so shockingly his own and when, from the Civil War to the Second World War, did this powerful and confusing tragedy emerge as Shakespeare’s greatest? With Jonathan Bate, Professor of English Literature at the University of Warwick; Katherine Duncan-Jones, Tutorial Fellow in English at Somerville College, Oxford; Catherine Belsey, Research Professor in English at the University of Wales, Swansea