In Our Time With Melvyn Bragg Folgen

Melvyn Bragg and guests discuss the literary and visual depiction of fairies, supernatural creatures that inhabit a half-way world between this one and the next.'They stole little Bridget for seven years long; When she came down again her friends were all gone. They took her lightly back, between the night and morrow; They thought that she was fast asleep, but she was dead with sorrow. They have kept her ever since deep within the lake, On a bed of flag-leaves, watching till she wake.' When the 19th century Anglo-Irish poet Richard Allingham wrote his poem The Fairies, he was replicating a belief about supernatural figures who steal children that stretched back to ancient Persian myths that date from 3000 BC. So universal is the terror of losing a child that the images of a lonely lost child and a mother who loses her child to fairies exist in civilisations everywhere. Demon Figures and Fairies have undergone a series of transformations according to their historical context, but what remains constant is their supernatural power and their association with the very human concerns of marriage, death and loss. In what way have fairies changed in guise and purpose throughout history? How did ancient fairy lore sit with the Christianity of the Middle Ages? How were fairies appropriated for the purpose of the 16th century witchcraft trials and why did fairies obsess so many Victorian artists and writers? And why is it that stories about fairies exist all over the world and what is our fascination with them?With Juliette Wood, Associate Lecturer in the Department of Welsh at Cardiff University and Secretary of the Folklore Society; Diane Purkiss, Fellow and Tutor of English at Keble College, Oxford; Nicola Bown, Lecturer in Victorian Studies at Birkbeck, University of London.

Melvyn Bragg and guests discuss the relationship between astronomy and the British Empire. The 18th century explorer and astronomer James Cook wrote: 'Ambition leads me not only farther than any other man has been before me, but as far as I think it possible for man to go'. Cook's ambition took him to the far reaches of the Pacific and led to astronomical observations which measured the distance of Venus to the Sun with unprecedented accuracy. Cook's ambition was not just personal and astronomical. It represented the colonial ambition of the British Empire which was linked inextricably with science and trade. The discoveries about the Transit of Venus, made on Cook's voyage to Tahiti, marked the beginning of a period of expansion by the British which relied on maritime navigation based on astronomical knowledge. With Simon Schaffer, Professor in History and Philosophy of Science at the University of Cambridge; Kristen Lippincott, former Director of the Royal Observatory, Greenwich; Allan Chapman, Historian of Science at the History Faculty at Oxford University.

Melvyn Bragg and guests discuss the 1851 Great Exhibition. “Its grandeur does not consist in one thing, but in the unique assemblage of all things. Whatever human industry has created you find there. It seems as if only magic could have gathered this mass of wealth from all the ends of the earth.” So wrote Charlotte Bronte in 1851 after visiting the Great Exhibition set in the vast Crystal Palace in London's Hyde Park. By the time the exhibition closed, one quarter of the entire British population had visited Crystal Palace, the first pre-fabricated building of its kind, to marvel at an extraordinary array of exhibits there. Amongst them were the biggest diamond in the world, a carriage drawn by kites, furniture made of coal, and a set of artificial teeth fitted with a swivel devise which allowed the user to yawn without displacing them. The Great Exhibition was huge in terms of the development of British manufacturing, the burgeoning of a global consumer market, the development of museums and the international standing of Britain culturally and technologically. It was also a triumph for Prince Albert and it turned a tidy profit. How did the Exhibition crystallise a particular moment in early Victorian Britain? In what way did it capitalise on the dawn of mass travel and greater levels of international co-operation? How did fears of revolutionary Europe define the policing and organisation of the event? And how far, if at all, did the Great Exhibition go in blurring class distinctions? With Jeremy Black, Professor of History at the University of Exeter; Hermione Hobhouse, Architectural Historian and Writer; Clive Emsley, Professor of History at the Open University.