In Our Time: Culture

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life and works of Hopkins (1844-89), a Jesuit priest who at times burned his poems and at others insisted they should not be published.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

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