Browse content similar to 01/05/2016. Check below for episodes and series from the same categories and more!
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BAND STRIKES UP | 0:00:02 | 0:00:06 | |
Hello! If you've ever said, | 0:00:06 | 0:00:08 | |
"I must be cruel to be kind" or "I'm in a pickle" | 0:00:08 | 0:00:11 | |
or "on a wild goose chase", | 0:00:11 | 0:00:13 | |
you've been quoting the great man himself. | 0:00:13 | 0:00:15 | |
In the week that the country has been | 0:00:15 | 0:00:17 | |
celebrating 400 years of William Shakespeare's legacy, | 0:00:17 | 0:00:21 | |
I'm here in his hometown, Stratford-upon-Avon, to | 0:00:21 | 0:00:25 | |
search for the religious influences | 0:00:25 | 0:00:27 | |
that may have shaped his work. | 0:00:27 | 0:00:29 | |
I decipher medieval wall paintings... | 0:00:29 | 0:00:32 | |
glimpse a 16th-century Book of Common Prayer | 0:00:32 | 0:00:35 | |
believed to have belonged to him... | 0:00:35 | 0:00:38 | |
And look for answers in the inscription on Shakespeare's | 0:00:38 | 0:00:41 | |
final resting place. | 0:00:41 | 0:00:43 | |
All the world's a stage and all the men and women merely players. | 0:00:45 | 0:00:49 | |
And we join Shakespearean actor Simon Callow as he reveals | 0:00:49 | 0:00:52 | |
what it's like to perform the great Bard's work. | 0:00:52 | 0:00:55 | |
"Music oft hath such a charm to make bad good | 0:01:05 | 0:01:08 | |
"And good provoke to harm", | 0:01:08 | 0:01:10 | |
wrote Shakespeare in Measure For Measure and today, we have no | 0:01:10 | 0:01:13 | |
shortage of music to inspire you, with hymns | 0:01:13 | 0:01:16 | |
from across the country, | 0:01:16 | 0:01:18 | |
including a special performance of one of the Bard's own sonnets | 0:01:18 | 0:01:22 | |
performed here at the church where he was both baptised and buried. | 0:01:22 | 0:01:27 | |
But we begin with a joyous hymn | 0:01:27 | 0:01:28 | |
that Shakespeare himself would have known, | 0:01:28 | 0:01:31 | |
sung for us now in London, where the Bard wrote most of his plays. | 0:01:31 | 0:01:34 | |
BELL TOLLS | 0:04:15 | 0:04:17 | |
It's a historic day here in Stratford-upon-Avon as 20,000 | 0:04:17 | 0:04:21 | |
people have gathered to commemorate William Shakespeare, | 0:04:21 | 0:04:24 | |
400 years after his death. | 0:04:24 | 0:04:27 | |
But it's not all sorrow and tragedy. | 0:04:30 | 0:04:32 | |
-Hip, hip! -ALL: -Hooray! -Hip, hip! -ALL: -Hooray! | 0:04:32 | 0:04:37 | |
-Hip, hip, hip! -Hooray! | 0:04:37 | 0:04:40 | |
LIVELY JAZZ | 0:04:40 | 0:04:43 | |
In a dramatic twist, | 0:04:44 | 0:04:45 | |
both his death and his birth are marked on the same date. | 0:04:45 | 0:04:48 | |
He is the most celebrated playwright in the history | 0:04:51 | 0:04:54 | |
of the theatre. | 0:04:54 | 0:04:55 | |
It's quite hard to overstate the influence his work has | 0:04:55 | 0:04:57 | |
had on language and culture, | 0:04:57 | 0:04:59 | |
so it's no wonder his hometown is putting on quite a show. | 0:04:59 | 0:05:04 | |
But although his works are well known, | 0:05:08 | 0:05:10 | |
his personal faith is more difficult to uncover. | 0:05:10 | 0:05:13 | |
Perhaps the first clue lies in the town's Guild Chapel | 0:05:16 | 0:05:19 | |
that was well known to Shakespeare's family. | 0:05:19 | 0:05:22 | |
As Dr Paul Edmondson explains, the young Shakespeare grew up | 0:05:22 | 0:05:25 | |
in a time when Catholic imagery was suppressed. | 0:05:25 | 0:05:28 | |
It was a turbulent time for religion. | 0:05:30 | 0:05:32 | |
The state had moved from Protestant to Catholic to Protestant again | 0:05:32 | 0:05:36 | |
and it was a time surely of | 0:05:36 | 0:05:38 | |
psychological trauma for the people. | 0:05:38 | 0:05:42 | |
Shakespeare has a direct connection to this very chapel, doesn't he? | 0:05:42 | 0:05:45 | |
He does. When his father was Chamberlain for the borough council, | 0:05:45 | 0:05:48 | |
John Shakespeare ordered the whitewashing | 0:05:48 | 0:05:51 | |
and the defacing of the medieval images here. | 0:05:51 | 0:05:54 | |
So this wall painting | 0:05:54 | 0:05:56 | |
that we can still sort of see is important, then? | 0:05:56 | 0:05:59 | |
The Last Judgment in this chapel was also known as a "doom image" | 0:05:59 | 0:06:04 | |
and in Macbeth, | 0:06:04 | 0:06:06 | |
when Shakespeare's conveying just how awful | 0:06:06 | 0:06:09 | |
the image of the murdered King Duncan is, he talks about it being | 0:06:09 | 0:06:13 | |
like "the great doom's image", | 0:06:13 | 0:06:15 | |
perhaps thinking of paintings like this one. | 0:06:15 | 0:06:18 | |
And in Hamlet, when he mentions Purgatory, | 0:06:18 | 0:06:21 | |
a Roman Catholic belief, he also mentions | 0:06:21 | 0:06:24 | |
the death of 20,000 men who go to their graves like beds. | 0:06:24 | 0:06:28 | |
When you see what this picture was like and the souls are rising | 0:06:28 | 0:06:32 | |
at the last judgment, it looks like they're just climbing out of bed. | 0:06:32 | 0:06:36 | |
So it's becoming clearer and clearer that Shakespeare was heavily | 0:06:36 | 0:06:40 | |
influenced by religious iconography of his time. | 0:06:40 | 0:06:42 | |
I think so and he's really been brave in the way he's able to | 0:06:42 | 0:06:46 | |
remind people of religious issues, but he wasn't allowed | 0:06:46 | 0:06:50 | |
to refer to them explicitly, because of censorship. | 0:06:50 | 0:06:53 | |
But he could allude to it and as the wall paintings had vanished, | 0:06:53 | 0:06:56 | |
they're re-emerging in these vibrant, bold, | 0:06:56 | 0:06:59 | |
brave images on stage. | 0:06:59 | 0:07:01 | |
DRUMS | 0:09:01 | 0:09:04 | |
Shakespeare is undoubtedly Stratford-upon-Avon's most famous | 0:09:07 | 0:09:11 | |
son, but of course he spent most of his professional life in London. | 0:09:11 | 0:09:16 | |
And it's from the capital that Shakespearean actor Simon Callow | 0:09:16 | 0:09:19 | |
shines a little more light on the Bard's relationship with the church. | 0:09:19 | 0:09:23 | |
"All the world's a stage and all the men and women merely players. | 0:09:28 | 0:09:32 | |
"They have their exits and their entrances | 0:09:32 | 0:09:35 | |
"and one man in his time plays many parts, | 0:09:35 | 0:09:38 | |
"His acts being seven ages." | 0:09:38 | 0:09:42 | |
Famous words from As You like It, | 0:09:43 | 0:09:45 | |
and surely the way Shakespeare saw the world. | 0:09:45 | 0:09:49 | |
We're all actors in this "wide and universal theatre", as he puts it. | 0:09:50 | 0:09:56 | |
I've been enchanted, enraptured by the works of William Shakespeare | 0:10:00 | 0:10:04 | |
since I was five years old. | 0:10:04 | 0:10:06 | |
I've acted in his plays, I've written books about them, | 0:10:06 | 0:10:09 | |
I've done a one-man show to try | 0:10:09 | 0:10:11 | |
to find out who the man was who wrote these plays. | 0:10:11 | 0:10:15 | |
He gives incomparably the greatest account of what it is to be | 0:10:15 | 0:10:18 | |
a human being, but what of the spiritual dimension of his plays? | 0:10:18 | 0:10:23 | |
This is Southwark Cathedral. | 0:10:27 | 0:10:28 | |
In Shakespeare's day, it was St Saviour's Parish Church, | 0:10:28 | 0:10:32 | |
just a short walk from the Globe Theatre. | 0:10:32 | 0:10:34 | |
We obviously don't know how often | 0:10:36 | 0:10:38 | |
Shakespeare will have come to church here, | 0:10:38 | 0:10:40 | |
although there was an expectation | 0:10:40 | 0:10:42 | |
and a legal obligation upon people at one stage to go to church. | 0:10:42 | 0:10:47 | |
We do know, however, that he paid for his brother's funeral here, | 0:10:47 | 0:10:52 | |
and we also know that that funeral had to be | 0:10:52 | 0:10:55 | |
arranged for the morning so that the show could go on in the afternoon. | 0:10:55 | 0:11:00 | |
'But the theatre was by no means universally | 0:11:00 | 0:11:03 | |
'accepted by the establishment. | 0:11:03 | 0:11:05 | |
'Indeed, when Shakespeare first came to the capital, | 0:11:05 | 0:11:08 | |
'all productions had been forced outside of the City of London. | 0:11:08 | 0:11:11 | |
'But I've come to Shoreditch, | 0:11:14 | 0:11:15 | |
'near the site of the first purpose-built playhouse in London, | 0:11:15 | 0:11:19 | |
'to discuss with Professor Alison Shell | 0:11:19 | 0:11:21 | |
'how it wasn't all condemnation.' | 0:11:21 | 0:11:24 | |
Here in Shoreditch, | 0:11:24 | 0:11:25 | |
on the foundations of this actual church, | 0:11:25 | 0:11:27 | |
was the first actors' church, | 0:11:27 | 0:11:30 | |
so that tells us there was a church which looked favourably on actors. | 0:11:30 | 0:11:35 | |
Yes, and I think that's partly because | 0:11:35 | 0:11:37 | |
the techniques of actors, | 0:11:37 | 0:11:38 | |
erm, were so often used by preachers themselves. | 0:11:38 | 0:11:41 | |
Both professions of preacher and player were in the business | 0:11:41 | 0:11:44 | |
of communication and effective, entertaining communication. | 0:11:44 | 0:11:49 | |
If you really had to, Alison, would you describe Shakespeare as | 0:11:49 | 0:11:53 | |
a religious man or a non-religious man? | 0:11:53 | 0:11:56 | |
I've never had the impression that he was somebody who found | 0:11:57 | 0:12:00 | |
personal piety as important as many of his contemporaries did, | 0:12:00 | 0:12:05 | |
and the interesting point of comparison here is John Donne. | 0:12:05 | 0:12:08 | |
You never get away from religion in what Donne writes. | 0:12:08 | 0:12:12 | |
Yes, by comparison with John Donne, | 0:12:12 | 0:12:13 | |
who's always thinking about things in eternal terms, | 0:12:13 | 0:12:16 | |
Shakespeare seems sublimely to connect with human life, | 0:12:16 | 0:12:20 | |
with what it's like to be a human being. | 0:12:20 | 0:12:22 | |
Yes, and in an age when Protestant theology was obsessed with | 0:12:22 | 0:12:28 | |
the sinfulness of humanity, Shakespeare is offering | 0:12:28 | 0:12:32 | |
a much more positive alternative, celebrating humanity. | 0:12:32 | 0:12:36 | |
That's a religious perspective, too. | 0:12:36 | 0:12:38 | |
'The idea of a spirituality rooted in human life is something that | 0:12:41 | 0:12:45 | |
'appeals to me, whether Shakespeare intended it or not.' | 0:12:45 | 0:12:48 | |
But what we do know, me and my fellow actors know, | 0:12:50 | 0:12:55 | |
is that when we open ourselves to his work, we experience | 0:12:55 | 0:13:01 | |
an extraordinary life force, a kind of profundity of emotion | 0:13:01 | 0:13:06 | |
and experience which almost amounts to a religious experience for us. | 0:13:06 | 0:13:12 | |
# Immortal, invisible God only wise... # | 0:13:18 | 0:13:25 | |
'I hadn't expected to find a shop that celebrates Christmas | 0:15:27 | 0:15:31 | |
'all year round on my trail through Shakespeare's Stratford, | 0:15:31 | 0:15:34 | |
'but it's a reminder that the 12 days of Christmas | 0:15:34 | 0:15:37 | |
'and their festivities were hugely popular in Elizabethan England.' | 0:15:37 | 0:15:41 | |
It is the perfect opportunity for me | 0:15:41 | 0:15:44 | |
to tell you about our Christmas card competition. | 0:15:44 | 0:15:47 | |
It's your chance to create one of ten winning designs that will | 0:15:47 | 0:15:51 | |
go on sale later this year, with the proceeds going to Children in Need. | 0:15:51 | 0:15:56 | |
The closing date is May 23rd, so, yes, please, do get designing. | 0:15:56 | 0:16:00 | |
All the information and terms and conditions you need to enter | 0:16:01 | 0:16:04 | |
are on our website... | 0:16:04 | 0:16:05 | |
Now, this Thursday marks 40 days since Easter Sunday, | 0:16:11 | 0:16:15 | |
which means it's Ascension Day. | 0:16:15 | 0:16:17 | |
Our next hymn celebrates Christ's ascension into Heaven | 0:16:17 | 0:16:21 | |
in the glorious setting of St Albans Cathedral. | 0:16:21 | 0:16:23 | |
# Rejoice, the Lord is King... # | 0:16:28 | 0:16:32 | |
'I'm looking for clues to unlock Shakespeare's beliefs. | 0:18:53 | 0:18:56 | |
'His writing was undoubtedly influenced by the Bible, | 0:18:56 | 0:19:00 | |
'but I've been invited to take a look at another object that's also | 0:19:00 | 0:19:03 | |
'very precious.' | 0:19:03 | 0:19:06 | |
-So, Daniel, here it is. -So, this is it. -Wow, it's so tiny. | 0:19:06 | 0:19:11 | |
-Tiny and very, very fragile. -Yeah, I can see that. | 0:19:12 | 0:19:15 | |
Let's get this out and put it there. | 0:19:15 | 0:19:17 | |
-So this is the Book of Common Prayer... -Uh-huh. | 0:19:17 | 0:19:20 | |
..and it was first published in 1549, | 0:19:20 | 0:19:23 | |
and it's really the handbook of the English Church. | 0:19:23 | 0:19:26 | |
And this is special because it's not just any common book of prayer, | 0:19:26 | 0:19:29 | |
this could actually be his. | 0:19:29 | 0:19:31 | |
Yes, it seems so, and what we do is if we open here... | 0:19:31 | 0:19:34 | |
..we see Shakespeare's signature. | 0:19:36 | 0:19:38 | |
Wow, has that been authenticated? | 0:19:38 | 0:19:40 | |
We very much hope this is Shakespeare's personal copy | 0:19:40 | 0:19:43 | |
-since that would be such a wonderful treasure to have. -Uh-huh. | 0:19:43 | 0:19:45 | |
But even if it wasn't his personal copy, he certainly would have | 0:19:45 | 0:19:49 | |
known the contents by heart, as every worshipper in England would. | 0:19:49 | 0:19:52 | |
You say he would have known this book by heart, is that because | 0:19:52 | 0:19:55 | |
he would have had to have read it, or because he would have wanted to? | 0:19:55 | 0:19:59 | |
Simply because he would have heard it | 0:19:59 | 0:20:01 | |
repeated on Sundays at every church service, at morning prayer, | 0:20:01 | 0:20:04 | |
at evening prayer, so simply by repetition and simply by a kind of | 0:20:04 | 0:20:08 | |
common experience, he would have come to know them. | 0:20:08 | 0:20:11 | |
How significant is this prayer book | 0:20:11 | 0:20:13 | |
in understanding Shakespeare's beliefs? | 0:20:13 | 0:20:15 | |
I think this book is absolutely crucial in understanding both | 0:20:15 | 0:20:18 | |
Shakespeare's beliefs and his plays | 0:20:18 | 0:20:20 | |
because it is often the secret hidden ingredient in those plays. | 0:20:20 | 0:20:24 | |
'I'm intrigued to hear | 0:20:26 | 0:20:27 | |
'just how Shakespeare uses the prayer book in his work, | 0:20:27 | 0:20:30 | |
'but first Daniel takes me to | 0:20:30 | 0:20:32 | |
'the schoolroom that was also a huge influence on his life. | 0:20:32 | 0:20:36 | |
'Today it's part of King Edward VI School.' | 0:20:36 | 0:20:39 | |
This is where he would have gone to school between the age of about | 0:20:40 | 0:20:43 | |
seven and about 14, and he didn't really have much other education. | 0:20:43 | 0:20:46 | |
He didn't go to university, so this is not only | 0:20:46 | 0:20:49 | |
-one of his classrooms, this is really his only classroom. -OK. | 0:20:49 | 0:20:52 | |
Here is where he would have first encountered plays, | 0:20:52 | 0:20:54 | |
so he would have seen plays here and also acted in school plays, | 0:20:54 | 0:20:58 | |
so it really is, you know, on both those levels. | 0:20:58 | 0:21:01 | |
He's learning but he's also figuring out about drama | 0:21:01 | 0:21:04 | |
and figuring out about the theatre. | 0:21:04 | 0:21:06 | |
So let's talk more about the Book of Common Prayer | 0:21:06 | 0:21:08 | |
and its influence on him. | 0:21:08 | 0:21:10 | |
So, what the prayer book does is | 0:21:10 | 0:21:12 | |
it gives a kind of structure to human life. | 0:21:12 | 0:21:14 | |
When we're born, we're baptized, according to the prayer book. | 0:21:14 | 0:21:17 | |
When we fall in love and marry, we say the words from the prayer book. | 0:21:17 | 0:21:20 | |
So, really, the prayer book gives a kind of reservoir of things to do | 0:21:20 | 0:21:25 | |
in times of extreme emotion, | 0:21:25 | 0:21:26 | |
and I think that's why Shakespeare, as a dramatist, was drawn to it. | 0:21:26 | 0:21:30 | |
There's a wonderful scene towards the end of Hamlet | 0:21:30 | 0:21:32 | |
when Hamlet interrupts Ophelia's funeral, | 0:21:32 | 0:21:35 | |
and because she's committed suicide she's not allowed to be | 0:21:35 | 0:21:38 | |
buried in church ground, and Hamlet is horrified by this. | 0:21:38 | 0:21:41 | |
And for me that's the voice of Shakespeare, who believed that these | 0:21:41 | 0:21:45 | |
church rites were these crucial, emotional, important events. | 0:21:45 | 0:21:49 | |
So, what's your personal view, then, of his beliefs? | 0:21:49 | 0:21:52 | |
I think what's amazing about Shakespeare's plays is that | 0:21:52 | 0:21:54 | |
they're like a mirror, so that whoever looks upon them | 0:21:54 | 0:21:57 | |
can see him or herself in them. | 0:21:57 | 0:21:59 | |
For me, personally, the important spiritual lesson that comes from | 0:21:59 | 0:22:02 | |
Shakespeare's plays is, I suppose, compassion. | 0:22:02 | 0:22:06 | |
That's the thing I think he truly believes in. | 0:22:06 | 0:22:09 | |
It's incredible to think that such was Shakespeare's brilliance | 0:22:09 | 0:22:13 | |
he's thought to have written 38 plays and 154 sonnets, | 0:22:13 | 0:22:17 | |
one of which was later turned into a hymn. | 0:22:17 | 0:22:20 | |
So, now, for a special performance of Sonnet 146, | 0:22:20 | 0:22:24 | |
which is often thought to be his only Christian sonnet. | 0:22:24 | 0:22:28 | |
And it's performed here at Holy Trinity Church, | 0:22:28 | 0:22:31 | |
where Shakespeare was baptised and later buried. | 0:22:31 | 0:22:34 | |
Sonnet 146 is important as it's Shakespeare's | 0:25:30 | 0:25:33 | |
only piece of work that can be described as overtly Christian. | 0:25:33 | 0:25:37 | |
But that doesn't make it any easier | 0:25:37 | 0:25:39 | |
to pin down exactly what Shakespeare believed. | 0:25:39 | 0:25:42 | |
Dr Anjna Chouhan explains why. | 0:25:42 | 0:25:44 | |
Now, a lot of people will look at the sonnet and say, | 0:25:45 | 0:25:49 | |
well, it's profoundly spiritual. | 0:25:49 | 0:25:50 | |
It's talking about the idea of the soul lasting for ever, | 0:25:50 | 0:25:54 | |
when the body is going to "perish and be food for worms", | 0:25:54 | 0:25:57 | |
as he says in the sonnet. | 0:25:57 | 0:25:59 | |
But some other scholars will actually argue that, | 0:25:59 | 0:26:02 | |
this could be read as a secular sonnet as well, | 0:26:02 | 0:26:05 | |
because the focus is on the body. | 0:26:05 | 0:26:07 | |
There's a lot of talk about earthliness | 0:26:07 | 0:26:09 | |
and earthly sinfulness and lease and buying and selling, | 0:26:09 | 0:26:13 | |
so there's quite a lot of commercial language in there too, | 0:26:13 | 0:26:16 | |
so really you could bring whatever you want to the sonnet. | 0:26:16 | 0:26:20 | |
But in his lifetime, he definitely identified himself as a Christian? | 0:26:20 | 0:26:25 | |
Almost certainly, yes, of course a Christian, | 0:26:25 | 0:26:27 | |
but, you know, ultimately, I think that Shakespeare's work | 0:26:27 | 0:26:30 | |
means all sorts of things to everybody, no matter what your race, | 0:26:30 | 0:26:34 | |
gender, where you live in the world, what age you are. | 0:26:34 | 0:26:37 | |
It's special to everyone. | 0:26:37 | 0:26:39 | |
As my search nears its end, I wonder if Shakespeare's grave and its | 0:26:41 | 0:26:45 | |
inscription gives us any final clues to what he personally believed. | 0:26:45 | 0:26:50 | |
He lies buried close to the altar of Holy Trinity Church. | 0:26:50 | 0:26:53 | |
"Good friend, for Jesus' sake forebeare | 0:26:56 | 0:26:58 | |
"To digg the dust enclosed heare | 0:26:58 | 0:27:01 | |
"Bleste be the man that spares thes stones, | 0:27:01 | 0:27:05 | |
"And curst be he that moves my bones." | 0:27:05 | 0:27:08 | |
So, Paul, what clues to Shakespeare's spirituality | 0:27:11 | 0:27:14 | |
-lie here, on his tombstone? -He says, "for Jesus' sake", so it's a prayer. | 0:27:14 | 0:27:20 | |
-Mm-hm. -It's two rhyming couplets, | 0:27:20 | 0:27:23 | |
so it's a poem. | 0:27:23 | 0:27:25 | |
It's a blessing and there's a curse at the very end, | 0:27:25 | 0:27:29 | |
-"curst be he that moves" his bones. -Interesting. | 0:27:29 | 0:27:33 | |
Why that curse at the end? | 0:27:33 | 0:27:34 | |
He seems really clear that he wants to remain here. | 0:27:34 | 0:27:37 | |
This is a man who, like the rest of the country, | 0:27:37 | 0:27:40 | |
said that they believed in the resurrection of the body, | 0:27:40 | 0:27:43 | |
-week-in, week-out in church. -Mm-hm. -There's a theatricality about it. | 0:27:43 | 0:27:47 | |
There's a sense of doubt that we all feel | 0:27:47 | 0:27:49 | |
as well as hoping in Jesus' company. | 0:27:49 | 0:27:53 | |
And that hope is expressed in our next hymn, | 0:27:53 | 0:27:56 | |
sung here at Shakespeare's church, encouraging us | 0:27:56 | 0:27:59 | |
to praise God in words and music, both in this world and the next. | 0:27:59 | 0:28:03 | |
# Angel voices ever singing... # | 0:28:03 | 0:28:08 | |
Here at Shakespeare's final resting place, | 0:30:22 | 0:30:24 | |
thousands of people are waiting to pay their respects. | 0:30:24 | 0:30:27 | |
The church has become the focal point of the commemorations. | 0:30:27 | 0:30:31 | |
I'm sure the Bard would have appreciated such an audience. | 0:30:32 | 0:30:35 | |
My time here has shown me that, in life as well as death, | 0:30:39 | 0:30:42 | |
Shakespeare was such an inspired dramatist | 0:30:42 | 0:30:44 | |
that he managed to keep everyone guessing | 0:30:44 | 0:30:46 | |
about the person behind his plays. | 0:30:46 | 0:30:49 | |
Perhaps because he could only offer more questions | 0:30:49 | 0:30:53 | |
than answers about life, existence and the soul. | 0:30:53 | 0:30:56 | |
Next week, Sally's in Belfast | 0:31:04 | 0:31:05 | |
to mark the centenary of the Battle of the Somme | 0:31:05 | 0:31:08 | |
and the Easter Rising and their impact on today's Northern Ireland. | 0:31:08 | 0:31:13 | |
Until then, our final hymn today is a favourite for many of us | 0:31:13 | 0:31:17 | |
as we continue on the pilgrimage of life. | 0:31:17 | 0:31:19 | |
Thanks for watching. | 0:31:19 | 0:31:21 |