Melvyn Bragg and guests discuss the ideas, people and events that have shaped our world.
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Marlowe
Melvyn Bragg and guests discuss Christopher Marlowe. In the prologue to The Jew of Malta Christopher Marlowe has Machiavel say:"I count religion but a childish toy, And hold there is no sin but ignorance. Birds of the air will tell of murders past! I am ashamed to hear such fooleries.Many will talk of title to a crown. What right had Caesar to the empire? Might first made kings, and laws were then most sure When, like the Draco's, they were writ in blood."A forger, a brawler, a spy, a homosexual and accused of atheism but above all a playwright and poet, Christopher Marlowe was the most celebrated writer of his generation, bringing Tamburlaine, Faustus and The Jew of Malta to the stage and far outshining William Shakespeare during his lifetime. Then came his mysterious death at 29, days before he was due to appear on trial accused of heresy. Was he stabbed in an argument over a bill? Was he assassinated? And how does his work measure up to Shakespeare, a man who paid generous tribute and some say stole some of his best lines? Was Marlowe assassinated by the Elizabethan state? How subversive was his literary work? And had he lived as long as his contemporary Shakespeare, how would he have compared?With Katherine Duncan-Jones, Senior Research Fellow in the English Faculty of Oxford University; Jonathan Bate, Professor of English Literature, University of Warwick; Emma Smith, Lecturer in English, Oxford University.
Merlin
Melvyn Bragg and guests discuss the legendary wizard Merlin. He was sired by an incubus and born of a virgin; he was a prophet, a shape-shifter, a king-maker and a mad man of the woods. Before Gandalf there was Merlin: the power behind Arthur and a literary sensation for centuries. In a literary career spanning 1500 years, Merlin, or originally Myrddin, put the sword in the stone, built Stonehenge, knew the truth behind the Holy Grail and discovered the Elixir of Life. "Beware Merlin for he knows all things by the devil's craft" say the poisoners in Malory's Morte D'Arthur; but he is also on the side of the good and is almost Christ-like in some of the versions of his tale, and his prophesies were pored over by the medieval Church. Who was Merlinus Ambrosius, as he is sometimes known? Where does his legend spring from and how has it been appropriated and adapted over time?With Juliette Wood, Associate Lecturer in the Department of Welsh at Cardiff University, Stephen Knight, Distinguished Research Professor in English Literature at Cardiff University, Peter Forshaw, Lecturer in Renaissance Philosophies at Birkbeck, University of London.
The KT Boundary
Melvyn Bragg and guests discuss the KT Boundary. Across the entire planet, where it hasn't been eroded or destroyed in land movements, there is a thin grey line. In Italy it is 1 cm thick, in America it stretches to three centimetres, but it is all the same thin grey line laid into the rock some 65 million years ago and it bears witness to a cataclysmic event experienced only once in Earth's history. It is called the KT Boundary and geologists believe it is the clue to the death of the dinosaurs and the ultimate reason why mammals and humans inherited the Earth.But exactly what did happen 65 million years ago? How was this extraordinary line created across the Earth and does it really hold the key to the death of the dinosaurs?With Simon Kelley, Head of Department in the Department of Earth Sciences, Open University, Jane Francis, Professor of Palaeoclimatology, University of Leeds; Mike Benton, Professor of Vertebrate Palaeontology in the Department of Earth Sciences, University of Bristol.
Paganism in the Renaissance
Melvyn Bragg and guests discuss paganism in the Renaissance. For hundreds of years in the Middle Ages, the only way to read Ovid was through the prism of a Christian moralising text. Ovid's sensual tales of metamorphosis and pagan gods were presented as veiled allegories, and the famous story of Zeus descending to Danae in a shower of gold was explained as the soul receiving divine illumination. But in 1478 Botticelli finished Primavera, the first major project on a mythological theme for a thousand years, and by 1554 Titian completed a very different version of Danae - commissioned by a Cardinal, no less - where she expectantly awaits her union with Zeus in what is a nakedly sexual pose. What happened to bring the myths and eroticism of antiquity back into the culture of Europe? And how was it possible for a Church that was prosecuting for heresy, to exalt in pagan imagery, even in the Vatican itself?With Tom Healy, Professor of Renaissance Studies, Birkbeck College, University of London; Charles Hope, Director of the Warburg Institute and Professor of the History of the Classical Tradition, University of London; Evelyn Welch, Professor of Renaissance Studies at Queen Mary, University of London.
The Scriblerus Club
Melvyn Bragg and guests discuss the Scriblerus Club. The 18th century Club included some of the most extraordinary and vivid satirists ever to have written in the English language. We are given giants and midgets, implausible unions with Siamese twins, diving competitions into the open sewer of Fleet-ditch, and Olympic-style pissing competitions: "Who best can send on high/The salient spout, far streaming to the sky". But these exotic images were part of an attempt by Pope, Swift and their cadres to show a world in terrible decline: "Religion, blushing, veils her sacred fires,And unawares Morality expires.Nor public flame, nor private dares to shine;Nor human spark is left, nor glimpse divine!Lo! Thy dread empire, Chaos! Is restored:Light dies before thy uncreating word".So wrote Alexander Pope in his great mock epic verse, The Dunciad. Who were the Scriblerans? And what in eighteenth century society had driven them to such disdain and despair?With John Mullan, Senior Lecturer in English, University College London; Judith Hawley, Senior Lecturer in English, Royal Holloway, University of London; Marcus Walsh, Kenneth Allott Professor of English Literature, University of Liverpool.
Renaissance Maths
Melvyn Bragg and guests discuss Renaissance Mathematics. As with so many areas of European thought, mathematics in the Renaissance was a question of recovering and, if you were very lucky, improving upon Greek ideas. The geometry of Euclid, Appollonius and Ptolemy ruled the day. Yet within two hundred years, European mathematics went from being an art that would unmask the eternal shapes of geometry to a science that could track the manifold movements and changes of the real world. The Arabic tradition of Algebra was also assimilated. In its course it changed the way people understood numbers, movement, time, even nature itself and culminated in the calculus of Isaac Newton and Gottfried Leibniz. But how did this profound change come about? What were the ideas that drove it and is this the period in which mathematics became truly modern?With Robert Kaplan, co-founder of the Maths Circle at Harvard University; Jim Bennett, Director of the Museum of Science and Fellow of Linacre College, University of Oxford; Jackie Stedall, Research Fellow in the History of Mathematics, The Queen's College, Oxford.
The French Revolution's reign of terror
Melvyn Bragg and guests discuss the reign of terror during the French Revolution. On Monday September 10th 1792 The Times of London carried a story covering events in revolutionary France: "The streets of Paris, strewed with the carcases of the mangled victims, are become so familiar to the sight, that they are passed by and trod on without any particular notice. The mob think no more of killing a fellow-creature, who is not even an object of suspicion, than wanton boys would of killing a cat or a dog". These were the infamous September Massacres when Parisian mobs killed thousands of suspected royalists and set the scene for the events to come, when Madame La Guillotine took centre stage and The Terror ruled in France. But how did the French Revolution descend into such extremes of violence? Who or what drove The Terror? And was it really an aberration of the revolutionary cause or the moment when it truly expressed itself? With Mike Broers, Lecturer in Modern History at the University of Oxford and Fellow of Lady Margaret Hall; Rebecca Spang, Lecturer in Modern History at University College London; Tim Blanning, Professor of Modern European History at the University of Cambridge.
Beauty
Melvyn Bragg and guests discuss beauty and its qualities."Beauty is truth, truth beauty, - that is all Ye know on earth, and all ye need to know."That was John Keats' emphatic finale to his Ode on a Grecian Urn. It seems to express Plato's theory of aesthetics, his idea that an apprehension of beauty is an apprehension of perfection and that all things in our shadowy realm are botched representations of perfect 'forms' that exist elsewhere. Beauty is goodness and, for Plato, the ultimate of all the forms is 'The Good'.But does beauty really have a moral quality? And is it inherent in things, or in the mind of the observer? How much influence have Plato's ideas had on the history of aesthetics and what has been said to counter or develop them?With Angie Hobbs, Lecturer in Philosophy at the University of Warwick; Susan James, Professor of Philosophy at Birkbeck College, University of London; Julian Baggini, Editor of The Philosophers' Magazine.
Abelard and Heloise
Melvyn Bragg and guests discuss the story of Abelard and Heloise, a tale of literature and philosophy, theology and scandal, and above all love in the high Middle Ages. They were two of the greatest minds of their time and Abelard, a famous priest and teacher, wrote of how their affair began in his biography, Historia Calamitatum, “Her studies allowed us to withdraw in private, as love desired, and then with our books open before us, more words of love than of reading passed between us, and more kissing than teaching. My hands strayed oftener to her bosom than to the pages; love drew our eyes to look on each other more than reading kept them on our texts”. Years later, when she was an Abbess at the head of her own convent, Heloise wrote to Abelard: “Even during the celebration of Mass, when our prayers should be purer, lewd visions of those pleasures take such a hold upon my unhappy soul that my thoughts are on their wantonness instead of on prayers”. With Anthony Grayling, Professor of Philosophy at Birkbeck College, University of London; Henrietta Leyser, Medieval Historian and Fellow of St Peter’s College, Oxford; Michael Clanchy, Emeritus Professor of Medieval History at the Institute of Historical Research.
Perception and the Senses
Melvyn Bragg and guests discuss perception: how the brain reacts to the mass of data continually crowding it. Barry Stein's laboratory at Wake Forest University in the United States found that the shape of a right angle drawn on the hand of a chimpanzee starts the visual part of the brain working, even when the shape has not been seen. It has also been discovered that babies learn by touch before they can properly make sense of visual data, and that the senses of smell and taste chemically combine to give us flavour.Perception is a tangled web of processes and so much of what we see, hear and touch is determined by our own expectations that it raises the question of whether we ever truly perceive what others do.What governs our perception of the world? And are we correct to distinguish between sight, sound, smell, touch and taste when they appear to influence each other so very much?With Richard Gregory, Senior Research Fellow in the Department of Experimental Psychology, Bristol University; David Moore, Director of the Medical Research Council Institute of Hearing Research, University of Nottingham; Gemma Calvert, Reader in Cognitive Neuroscience, University of Bath.
The Aeneid
Melvyn Bragg and guests discuss 'The Aeneid'. Out of the tragedy and destruction of the Trojan wars came a man heading West, his father on his back and his small son holding his hand. This isn't Odysseus, it's Aeneas and in that vision Virgil gives an image of the very first Romans of the Empire.Virgil's Aeneid was the great epic poem that formed a founding narrative of Rome. It made such an impact on its audience that it soon became a standard text in all schools and wiped away the myths that preceded it. It was written in Augustus' reign at the start of the Imperial era and has been called an apologia for Roman domination; it has also been called the greatest work of literature ever written.How much was Virgil's poem influenced by the extraordinary times in which it was written? How does it transcend the political pressures of Imperial patronage and what are the qualities that make it such a universal work?With Edith Hall, Leverhulme Professor of Greek Cultural History, Durham University; Philip Hardie, Corpus Christi Professor of Latin at the University of Oxford; Catharine Edwards, Senior Lecturer in Classics and Ancient History, Birkbeck College, University of London.
Archaeology and Imperialism
Melvyn Bragg and guests discuss the link between archaeology and imperialism. In 1842 a young English adventurer called Austen Henry Layard set out to excavate what he hoped were the remains of the biblical city of Nineveh in Mesopotamia. On arrival he discovered that the local French consul, Paul Emile Botta, was already hard at work. Across the Middle East and in Egypt, archaeologists, antiquarians and adventurers were exploring cities older than the Bible and shipping spectacular monuments down the Nile and the Tigris to burgeoning European museums.What was it about the ancient cultures of Egypt and Mesopotamia that so gripped the 19th century imagination? How did nationalism and imperialism affect the search for the ancient past and how did archaeology evolve from its adventuresome, even reckless, origins into the science of artefacts we know today?With Tim Champion, Professor of Archaeology, University of Southampton; Richard Parkinson, Assistant Keeper in the Department of Ancient Egypt and Sudan at the British Museum; Eleanor Robson, Lecturer in the History and Philosophy of Science at Cambridge University and a Fellow of All Souls College, Oxford.
Alfred and the Battle of Edington
Melvyn Bragg and guests discuss King Alfred and the defeat of the Vikings at Battle of Edington. At the end of the 9th century the Vikings controlled almost all of what we now call England. Mercia had fallen and its king had fled, Northumbria had fallen and so had Essex. The only independent kingdom left standing against the rampaging Danes was Wessex, and Alfred the Great; then he was overrun, his treasury, palaces and castles taken whilst he and his most loyal followers were left to wander the moors. Yet he came back. The Battle of Edington in 878 is taken by many to be the great founding Battle of England. It is the conflict in which Alfred, King of Wessex, came back to defeat the Vikings and launch a grand project to establish a new entity of Englishness, what he called the 'Anglecynn' in the South of the island of Britain.How did Alfred manage to defeat the Vikings when he had been so thoroughly routed? What motivated his project to fashion Englishness? And without Edington, would there be no England?With Richard Gameson, Reader in Medieval History, University of Kent at Canterbury; Sarah Foot, Professor of Early Medieval History, University of Sheffield; John Hines, Professor in the School of History and Archaeology, Cardiff University.
John Ruskin
Melvyn Bragg and guests discuss the life and work of John Ruskin. He was the most brilliant art critic of his age, perhaps the most brilliant that Britain has ever produced, but he was much more than that. A champion of Turner and an enemy of Whistler, he placed the study of art and architecture at the heart of a moral assault on Victorian life. In the stone work of a Gothic cathedral, Ruskin saw all that was right about medieval society and all that was wrong about his own capitalist age.But why was Ruskin so critical of his own time? What deep currents of thought infused his ideas? And how much does our thinking, about society, the environment, art and work owe to this unusual man?With Dinah Birch, Professor of English, Liverpool University; Keith Hanley, Professor of English Literature and Director of the Ruskin Programme, Lancaster University; Stefan Collini, Professor of Intellectual History and English Literature, University of Cambridge.
Angels
Melvyn Bragg and guests discuss the heavenly host of Angels. George Bernard Shaw made the observation that "in heaven an angel is nobody in particular", but there is nothing commonplace about this description of angels from the Bible's book of Ezekiel:"They had the likeness of a man. And every one had four faces, and every one had four wings. And their feet were straight feet; and the sole of their feet was like the sole of a calf's foot: and they sparkled like the colour of burnished brass.... As for the likeness of their faces, they four had the face of a man, and the face of a lion, on the right side: and they four had the face of an ox on the left side; they four also had the face of an eagle." With angels like that, it is easy to see why they have caused so much controversy over the centuries.What part have angels played in western religion? How did they get their halos and their wings? And what are they really: Gods or men?With Martin Palmer, theologian and Director of the International Consultancy on Religion, Education and Culture; Valery Rees, Renaissance Scholar at the School of Economic Science; John Haldane, Professor of Philosophy, University of St Andrews.