Browse content similar to Liberty. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
I'm going to take you on a journey into the human imagination. | 0:00:01 | 0:00:06 | |
Back to a time when the values and ideas and dreams of the modern world were born. | 0:00:08 | 0:00:14 | |
200 years ago, monarchy was falling to the power of people's revolutions. | 0:00:18 | 0:00:25 | |
Industry and commerce were becoming the driving forces of existence, | 0:00:25 | 0:00:30 | |
and advances in science were changing | 0:00:30 | 0:00:34 | |
the way life itself was understood. | 0:00:34 | 0:00:38 | |
Artists all over the world were inspired by these times of dramatic change. | 0:00:38 | 0:00:45 | |
In Britain, a group of poets and novelists pioneered | 0:00:45 | 0:00:48 | |
an alternative way of living and of looking at the world. | 0:00:48 | 0:00:54 | |
Among them were William Blake, | 0:00:54 | 0:00:57 | |
Samuel Taylor Coleridge | 0:00:57 | 0:01:01 | |
and William Wordsworth. | 0:01:01 | 0:01:05 | |
The enduring power of their writing haunts us to this day | 0:01:05 | 0:01:10 | |
and inspires us still with dreams of liberty. | 0:01:10 | 0:01:15 | |
On the morning of the 21st of January, 1793, | 0:01:57 | 0:02:02 | |
a large crowd filled this square in the heart of Paris. | 0:02:02 | 0:02:06 | |
In the centre of the square was erected a contraption | 0:02:09 | 0:02:14 | |
known simply as "the machine". | 0:02:14 | 0:02:17 | |
It was invented by Joseph Guillotine. | 0:02:17 | 0:02:22 | |
At around ten o'clock that morning, | 0:02:23 | 0:02:26 | |
a man lowered his head into "the machine". | 0:02:26 | 0:02:29 | |
The executioner, Charles Henri Sancon, pulled the rope. | 0:02:29 | 0:02:35 | |
The blade sliced down but lodged itself in the fat neck of the victim. | 0:02:39 | 0:02:46 | |
Sancon hoisted the blade for a second attempt. | 0:02:48 | 0:02:52 | |
This time, the head was severed from the victim's body. | 0:02:59 | 0:03:02 | |
It tumbled into the basket in front of "the machine". | 0:03:02 | 0:03:07 | |
A guard picked it out and showed it to the crowd. | 0:03:07 | 0:03:11 | |
It was the head of Louis XVI - the King of France. | 0:03:11 | 0:03:17 | |
This is a story of revolution, | 0:03:28 | 0:03:31 | |
of bloodshed and political upheaval. | 0:03:31 | 0:03:35 | |
It inspired a radical change in the way we perceive the world, | 0:03:35 | 0:03:40 | |
and the greatest outpouring of creativity | 0:03:40 | 0:03:43 | |
in the history of the English language. | 0:03:43 | 0:03:46 | |
The story begins some 40 years before the killing of the king. | 0:04:12 | 0:04:18 | |
In a world based upon the twin principles | 0:04:18 | 0:04:21 | |
of authority and hierarchy. | 0:04:21 | 0:04:24 | |
Only nobility and clergy had personal liberties - | 0:04:26 | 0:04:31 | |
all others had no rights, only duties. | 0:04:31 | 0:04:35 | |
At the heart of this old order was Paris. | 0:04:35 | 0:04:40 | |
The Paris police force was the largest in Europe, | 0:04:40 | 0:04:44 | |
with one member for every 545 Parisians. | 0:04:44 | 0:04:49 | |
Those undesirable to the state would simply disappear. | 0:04:49 | 0:04:55 | |
In 1742, two young men met in this city and became great friends. | 0:05:03 | 0:05:10 | |
They would sit at the cafes of the Left Bank to play chess. | 0:05:14 | 0:05:18 | |
Here they had ideas that became the seeds of the Romantic Revolution. | 0:05:24 | 0:05:30 | |
The names of these two men were Denis Diderot and Jean-Jacques Rousseau. | 0:05:46 | 0:05:53 | |
They were philosophers with very different beliefs, | 0:05:53 | 0:05:57 | |
but they were united against the existing order. | 0:05:57 | 0:06:01 | |
Diderot was convinced that the future would be built on reason. | 0:06:01 | 0:06:06 | |
And the finest privilege of our reason consists in not believing | 0:06:07 | 0:06:12 | |
in anything by the impulsion of a blind and mechanical instinct. | 0:06:12 | 0:06:18 | |
Man is born to think | 0:06:18 | 0:06:22 | |
for himself. | 0:06:22 | 0:06:23 | |
But Rousseau championed feeling over thought. | 0:06:29 | 0:06:32 | |
He was freely emotional - plunging himself | 0:06:32 | 0:06:36 | |
into moods of the deepest dejection and the most serene happiness. | 0:06:36 | 0:06:42 | |
He cried openly and often. | 0:06:42 | 0:06:44 | |
To feel is to exist, | 0:06:44 | 0:06:48 | |
and our feelings come most incontestably | 0:06:48 | 0:06:50 | |
before our thoughts. | 0:06:50 | 0:06:52 | |
Both these men believed the system of control in France to be inhuman. | 0:06:52 | 0:07:00 | |
Both were preaching freedom, and liberty for the individual. | 0:07:04 | 0:07:08 | |
They were playing a dangerous game. | 0:07:10 | 0:07:13 | |
On the 24th of July 1749, Diderot was woken at 7:30 in the morning | 0:07:16 | 0:07:24 | |
by a loud knocking on the door of his apartment | 0:07:24 | 0:07:27 | |
in the Rue de Lestrapade. | 0:07:27 | 0:07:29 | |
This set off a chain of events that would lead to the greatest revolution in human history. | 0:07:29 | 0:07:35 | |
The visitors were the police. | 0:07:37 | 0:07:42 | |
Diderot's crime was that he was thinking differently - | 0:07:42 | 0:07:46 | |
imagining a new world, different from that of the established order. | 0:07:46 | 0:07:53 | |
He was being arrested for writing a book. | 0:07:53 | 0:07:56 | |
It was a great encyclopaedia of all useful knowledge, | 0:08:03 | 0:08:08 | |
dedicated to the ideas of progress and of science. | 0:08:08 | 0:08:12 | |
He was making a map of human understanding. | 0:08:12 | 0:08:17 | |
The encyclopaedia had more than 70,000 articles | 0:08:17 | 0:08:21 | |
and nearly 3,000 diagrams, | 0:08:21 | 0:08:24 | |
illustrating every conceivable subject, | 0:08:24 | 0:08:27 | |
from asparagus to the zodiac. | 0:08:27 | 0:08:30 | |
In this manifesto of pure reason, there was no place for God. | 0:08:30 | 0:08:37 | |
Man will never be free | 0:08:38 | 0:08:40 | |
until the last king is strangled with the entrails of the last priest. | 0:08:40 | 0:08:45 | |
Diderot believed that civilisation had usurped the place of God. | 0:08:48 | 0:08:54 | |
With the power of science and classification, | 0:08:57 | 0:09:01 | |
everything in the world could be explained and understood. | 0:09:01 | 0:09:07 | |
His words were tantamount to heresy and high treason. | 0:09:07 | 0:09:12 | |
The old structure of Europe relied on the existence of a God. | 0:09:28 | 0:09:33 | |
Everyone's place in society was divinely ordained. | 0:09:33 | 0:09:37 | |
But if God did not exist, what then? | 0:09:37 | 0:09:40 | |
Every concept of order and of authority would be thrown into doubt. | 0:09:40 | 0:09:45 | |
These were incendiary ideas. | 0:09:45 | 0:09:49 | |
For the authorities, Diderot's books were the work of the devil | 0:09:49 | 0:09:53 | |
and he would pay dearly. | 0:09:53 | 0:09:55 | |
He was imprisoned in the notorious dungeons of the Chateau of Varsenne. | 0:10:00 | 0:10:06 | |
His encyclopaedia was banned. | 0:10:06 | 0:10:09 | |
Yet he was not the only one in chains. | 0:10:09 | 0:10:13 | |
One day in October 1749, as Rousseau walked to visit his friend in his cell, | 0:10:18 | 0:10:26 | |
he had a revelation that every human being lives their life in a prison. | 0:10:26 | 0:10:32 | |
ROUSSEAU: 'Man was born free and everywhere he is in chains.' | 0:10:36 | 0:10:39 | |
All at once I felt my mind dazzled by a thousand lights, | 0:10:44 | 0:10:48 | |
a crowd of splendid ideas presented themselves to me. | 0:10:48 | 0:10:52 | |
Civilised man is born and dies a slave. | 0:10:52 | 0:10:57 | |
The infant is bound in swaddling clothes, | 0:10:57 | 0:11:00 | |
a corpse is nailed down in a coffin. | 0:11:00 | 0:11:03 | |
All his life, Man is imprisoned by our institutions. | 0:11:04 | 0:11:08 | |
Life is not breath but action, | 0:11:08 | 0:11:12 | |
The use of our senses, our minds, | 0:11:12 | 0:11:15 | |
every part of ourselves. | 0:11:15 | 0:11:18 | |
Rousseau had experienced a vision that would become the single most | 0:11:33 | 0:11:37 | |
important inspiration of the English romantic poets. | 0:11:37 | 0:11:41 | |
He had seen that emotion could unlock the prison | 0:11:41 | 0:11:45 | |
of civilised society. | 0:11:45 | 0:11:46 | |
For him, the key to freedom lay in individual will and feeling. | 0:11:46 | 0:11:52 | |
Rousseau believed that Man in his natural state is essentially good, | 0:11:56 | 0:12:02 | |
that science is wicked, that civilisation is harmful | 0:12:02 | 0:12:08 | |
and that all cultures are corrupt. | 0:12:08 | 0:12:11 | |
Nature never deceives us, it is we who deceive ourselves. | 0:12:11 | 0:12:15 | |
Our greatest evils flow from ourselves. | 0:12:15 | 0:12:17 | |
Man confuses and confounds time, place and natural conditions. | 0:12:18 | 0:12:24 | |
The more we are massed together, the more corrupt we become. | 0:12:24 | 0:12:29 | |
Rousseau was calling for the end of civilisation itself. | 0:12:31 | 0:12:37 | |
It would not be long before he was forced out of France. | 0:12:40 | 0:12:45 | |
The old regimes of Europe would never accept the revolutionary ideas of Diderot and Rousseau - | 0:12:46 | 0:12:54 | |
only a new generation could put them into practice in a new world. | 0:12:54 | 0:13:00 | |
That "new world" already existed. | 0:13:21 | 0:13:25 | |
Thousands of ships had carried immigrants to its shores. | 0:13:25 | 0:13:30 | |
It was called America. | 0:13:34 | 0:13:36 | |
America was an experiment in living. | 0:14:03 | 0:14:07 | |
Religious radicals and political refugees | 0:14:07 | 0:14:10 | |
had come here to create their own communities in the wilderness. | 0:14:10 | 0:14:14 | |
These disaffected Europeans | 0:14:14 | 0:14:16 | |
had embraced ideas of self-government and of liberty. | 0:14:16 | 0:14:21 | |
On November the 30th 1774, | 0:14:24 | 0:14:28 | |
a young English idealist arrived in America | 0:14:28 | 0:14:33 | |
after a series of misfortunes in his old country, | 0:14:33 | 0:14:36 | |
including bankruptcy and the death of his first wife. | 0:14:36 | 0:14:41 | |
Once here, he became a journalist. | 0:14:45 | 0:14:48 | |
His name was Thomas Paine. | 0:14:50 | 0:14:53 | |
This New World had been the asylum for the persecuted lovers | 0:14:57 | 0:15:00 | |
of civil and religious liberty from every part of Europe. | 0:15:00 | 0:15:04 | |
They fled, not from the tender embraces of the mother, | 0:15:04 | 0:15:08 | |
but from the cruelty of the monster. | 0:15:08 | 0:15:11 | |
And it is so far true of England | 0:15:11 | 0:15:12 | |
that the same tyranny which drove the first immigrants from home | 0:15:12 | 0:15:16 | |
pursues their descendants still. | 0:15:16 | 0:15:18 | |
Paine was one of many new Americans who reacted strongly and violently | 0:15:21 | 0:15:27 | |
to the imposition of taxes upon them by their English rulers. | 0:15:27 | 0:15:32 | |
Inspired by the ideals of Diderot and Rousseau, Paine wrote a pamphlet entitled Common Sense. | 0:15:44 | 0:15:51 | |
He attacked the idea of monarchy | 0:15:51 | 0:15:53 | |
and praised the notion of a new civil society. | 0:15:53 | 0:15:57 | |
His was the fuel that would fire the American Revolution. | 0:15:57 | 0:16:01 | |
Where, say some, | 0:16:06 | 0:16:08 | |
is the king of America? | 0:16:08 | 0:16:10 | |
I'll tell you, friend, | 0:16:11 | 0:16:14 | |
he reigns above and doth not make havoc of mankind like the royal brute of Britain. | 0:16:14 | 0:16:19 | |
In America, | 0:16:19 | 0:16:20 | |
the law is king. | 0:16:20 | 0:16:22 | |
The publication of Common Sense | 0:16:30 | 0:16:33 | |
led to the American Declaration of Independence in 1776. | 0:16:33 | 0:16:40 | |
This land was on its way to becoming a nation of the free. | 0:16:41 | 0:16:47 | |
For the first time the people had advanced the cause of a nation | 0:16:51 | 0:16:54 | |
without a king, | 0:16:54 | 0:16:56 | |
without an aristocracy, without a national church. | 0:16:56 | 0:17:00 | |
All men are created equal. | 0:17:00 | 0:17:02 | |
All men have an equal right to life, | 0:17:02 | 0:17:05 | |
liberty and the pursuit of happiness. | 0:17:05 | 0:17:08 | |
This was the beginning of modern democracy, | 0:17:08 | 0:17:11 | |
and it was the clarion call for revolution in Europe. | 0:17:11 | 0:17:15 | |
News of the American Revolution exhilarated the young radicals of Britain. | 0:17:19 | 0:17:25 | |
But new ideas of liberty would do more than | 0:17:27 | 0:17:31 | |
undermine respect for the king | 0:17:31 | 0:17:33 | |
and the existing political order. | 0:17:33 | 0:17:36 | |
They would also bring about an entirely new way | 0:17:36 | 0:17:40 | |
of looking at the world. | 0:17:40 | 0:17:42 | |
The Romantic Revolution was underway. | 0:17:42 | 0:17:46 | |
At the forefront of this revolution | 0:17:53 | 0:17:56 | |
was a Londoner named William Blake. | 0:17:56 | 0:17:59 | |
He saw the events in America as a great prophecy of a future world. | 0:18:02 | 0:18:08 | |
Red rose the clouds from the Atlantic in vast wheels of blood | 0:18:12 | 0:18:16 | |
The king of England looking westwards trembles at the vision | 0:18:17 | 0:18:23 | |
Let the slave grinding in the mill run out into the fields | 0:18:23 | 0:18:29 | |
Let him look up into the heavens and laugh in the bright air | 0:18:29 | 0:18:34 | |
For empire is no more. | 0:18:34 | 0:18:36 | |
In 1779 at the age of 21, Blake was being instructed | 0:18:46 | 0:18:53 | |
by the greatest British artist of the period, Sir Joshua Reynolds. | 0:18:53 | 0:18:58 | |
Reynolds was what we now describe as the ultimate establishment figure - | 0:18:59 | 0:19:05 | |
rich, respected and eminent. | 0:19:05 | 0:19:08 | |
He believed in an ideal art based upon study | 0:19:09 | 0:19:12 | |
and the classical principles of order, unity, | 0:19:12 | 0:19:17 | |
harmony and rationality. | 0:19:17 | 0:19:20 | |
Blake believed the opposite, | 0:19:22 | 0:19:25 | |
that the imagination was the force that made great art. | 0:19:25 | 0:19:29 | |
He rebelled against his teacher. | 0:19:32 | 0:19:34 | |
This man was hired to depress art. | 0:19:43 | 0:19:47 | |
I say taste and genius | 0:19:52 | 0:19:54 | |
are not teachable or acquirable | 0:19:54 | 0:19:57 | |
and are born with us. | 0:19:57 | 0:19:59 | |
Reynolds says the contrary. | 0:20:00 | 0:20:02 | |
Such artists as Reynolds | 0:20:07 | 0:20:10 | |
are at all times hired by the Satans for the depression of art. | 0:20:10 | 0:20:16 | |
A pretence to art. | 0:20:20 | 0:20:23 | |
To destroy art! | 0:20:26 | 0:20:29 | |
Blake was an instinctive libertarian | 0:20:31 | 0:20:34 | |
who sought freedom from the system that enslaved him. | 0:20:34 | 0:20:39 | |
He eventually abandoned the teachings of Reynolds | 0:20:44 | 0:20:47 | |
and became an independent artist. | 0:20:47 | 0:20:50 | |
He poured his radical visionary ideas into poetry, | 0:20:52 | 0:20:57 | |
drawing and engravings. | 0:20:57 | 0:20:59 | |
In 1780, Blake completed a design for a print | 0:21:04 | 0:21:08 | |
that he entitled Albion Rose. | 0:21:08 | 0:21:12 | |
It is a young man with his arms outstretched | 0:21:14 | 0:21:18 | |
in a gesture of liberation. | 0:21:18 | 0:21:20 | |
There is such a look of energy and exultation upon his face | 0:21:24 | 0:21:29 | |
that some people believe it is must be a self-portrait. | 0:21:29 | 0:21:32 | |
Blake lived in Poland Street | 0:21:34 | 0:21:37 | |
with his wife Katherine and his younger brother, Robert. | 0:21:37 | 0:21:41 | |
All three united in a life of constant financial struggle. | 0:21:41 | 0:21:48 | |
Their home was at number 28, | 0:21:48 | 0:21:51 | |
now home to a hairdressing salon. | 0:21:51 | 0:21:53 | |
Blake had very few readers | 0:22:02 | 0:22:04 | |
and was obliged to publish his own work himself. | 0:22:04 | 0:22:09 | |
But it remains as a great document | 0:22:09 | 0:22:12 | |
of the revolutionary anger of a new generation in an oppressive city. | 0:22:12 | 0:22:18 | |
I wander through each chartered street | 0:22:21 | 0:22:24 | |
Near where the chartered Thames does flow | 0:22:25 | 0:22:28 | |
Marking every face I meet | 0:22:30 | 0:22:33 | |
Marks of weakness, marks of woe | 0:22:33 | 0:22:37 | |
In every cry of every man In every infant's cry of fear | 0:22:38 | 0:22:45 | |
In every voice | 0:22:45 | 0:22:47 | |
In every ban | 0:22:47 | 0:22:50 | |
The mind-forged manacles I hear. | 0:22:50 | 0:22:54 | |
"The mind-forged manacles" that Blake perceived | 0:22:58 | 0:23:02 | |
were the prisons of custom and of habit. | 0:23:02 | 0:23:05 | |
No-one could escape from the dreary round of duty and obedience | 0:23:05 | 0:23:10 | |
demanded by the old order of society. | 0:23:10 | 0:23:14 | |
The will and imagination of each person were locked away. | 0:23:14 | 0:23:19 | |
Life itself had become a prison. | 0:23:19 | 0:23:23 | |
ROUSSEAU: 'Man was born free and everywhere he is in chains.' | 0:23:24 | 0:23:29 | |
Blake, like Rousseau and Paine before him, | 0:23:40 | 0:23:43 | |
saw human beings as shackled and chained in their daily lives. | 0:23:43 | 0:23:49 | |
It was an idea that was slowly spreading through the radicals of Europe. | 0:23:50 | 0:23:56 | |
These radicals, derided and exiled, | 0:23:57 | 0:24:00 | |
often found themselves in Blake's neighbourhood of Soho in London, | 0:24:00 | 0:24:06 | |
a shadow area considered exotic and disreputable. | 0:24:06 | 0:24:11 | |
A haven for the freethinkers of Europe. | 0:24:11 | 0:24:15 | |
One French radical came to Soho in November 1783. | 0:24:18 | 0:24:24 | |
He lived off Newman Passage. | 0:24:24 | 0:24:26 | |
His name was Jacques-Pierre Brissot. | 0:24:29 | 0:24:32 | |
Here he could safely publish French anti-monarchist propaganda | 0:24:37 | 0:24:42 | |
for distribution in his native country. | 0:24:42 | 0:24:46 | |
Brissot wrote a radical journal called Universal Correspondence. | 0:24:48 | 0:24:54 | |
In it he attacked the inherent decadence and corruption | 0:24:54 | 0:24:59 | |
of the old regime in Paris. | 0:24:59 | 0:25:01 | |
He was calling for bloodshed, he was calling for revolution in his own country. | 0:25:01 | 0:25:07 | |
If blood must be shed in order to be free... | 0:25:09 | 0:25:13 | |
..then let it be the blood of tyrants, | 0:25:14 | 0:25:17 | |
those who have the arrogance to tell us | 0:25:17 | 0:25:20 | |
that they are our masters. | 0:25:20 | 0:25:23 | |
When you think that one tenth of the nation | 0:25:23 | 0:25:27 | |
oppresses all the others for five sous a day! | 0:25:27 | 0:25:31 | |
There is nothing left to say. | 0:25:33 | 0:25:35 | |
Brissot and other radical journalists firmly believed | 0:25:42 | 0:25:46 | |
that they would bring down the French state with their words. | 0:25:46 | 0:25:51 | |
On the 19th of May, 1784, Brissot returned to Paris | 0:26:08 | 0:26:13 | |
to raise more funding for his London printing press. | 0:26:13 | 0:26:17 | |
He arrived back in France full of hope. | 0:26:27 | 0:26:31 | |
But soon after his arrival in Paris, he was arrested. | 0:26:33 | 0:26:38 | |
He was thrown into the Bastille Prison, | 0:26:41 | 0:26:44 | |
charged with the publication of libels against the French queen. | 0:26:44 | 0:26:49 | |
Brissot remained in the Bastille for two months, | 0:26:53 | 0:26:57 | |
but just outside its walls, | 0:26:57 | 0:26:59 | |
the radical press of France | 0:26:59 | 0:27:01 | |
was becoming ever more daring and ever more popular. | 0:27:01 | 0:27:06 | |
It was these revolutionary words | 0:27:06 | 0:27:08 | |
that would inspire the French people to seek their liberty. | 0:27:08 | 0:27:13 | |
"The people is the foundation of the state. | 0:27:16 | 0:27:20 | |
"The people is everything. | 0:27:21 | 0:27:23 | |
"It is in the hands of the people that national power resides." | 0:27:25 | 0:27:30 | |
The main focus of attack was the corrupt and secretive old regime, | 0:27:34 | 0:27:40 | |
with the royal family at its head. | 0:27:40 | 0:27:42 | |
King Louis XVI and his Austrian wife, Marie Antoinette, | 0:27:42 | 0:27:46 | |
or, as the literature referred to her, "the Austrian bitch". | 0:27:46 | 0:27:51 | |
Salacious pornographic prints represented Marie Antoinette | 0:27:56 | 0:28:01 | |
in a series of sexual liaisons | 0:28:01 | 0:28:04 | |
with the King's brother and various court officials. | 0:28:04 | 0:28:08 | |
The people hated those in power. | 0:28:08 | 0:28:12 | |
Change had to come. | 0:28:12 | 0:28:15 | |
On the morning of the 14th of July 1789, | 0:28:37 | 0:28:41 | |
thousands of Parisians gathered on the city's streets. | 0:28:41 | 0:28:45 | |
They were fearful that the king's armies were marching upon the city | 0:28:47 | 0:28:53 | |
to impose martial law. | 0:28:53 | 0:28:55 | |
It was a day that would change the course of world history. | 0:28:57 | 0:29:02 | |
A day that would redefine the possibilities of human nature. | 0:29:02 | 0:29:07 | |
Every people's revolution of the last 200 years | 0:29:10 | 0:29:15 | |
owes its debt to this day. | 0:29:15 | 0:29:17 | |
It will never be forgotten. | 0:29:19 | 0:29:22 | |
On what is now a roundabout stood the Bastille, | 0:29:36 | 0:29:41 | |
a 14th-century fortress with walls 80 feet in height. | 0:29:41 | 0:29:46 | |
It was the mob's destination. | 0:29:46 | 0:29:49 | |
The Bastille was more than a fortress. | 0:29:50 | 0:29:54 | |
Here people were imprisoned in solitary confinement without trial. | 0:29:54 | 0:29:59 | |
Rumours of torture abounded. | 0:29:59 | 0:30:02 | |
It represented all the inhumanity of the state | 0:30:02 | 0:30:06 | |
which the revolutionaries were fighting to overthrow. | 0:30:06 | 0:30:10 | |
ROUSSEAU: 'Man was born free and everywhere he is in chains.' | 0:30:31 | 0:30:35 | |
The governor of the prison had no choice | 0:30:49 | 0:30:52 | |
in the face of such overwhelming force. | 0:30:52 | 0:30:55 | |
He opened the gates and the crowd surged in. | 0:30:55 | 0:30:59 | |
The Bastille was taken. | 0:30:59 | 0:31:02 | |
PEOPLE CHEER | 0:31:02 | 0:31:05 | |
The governor was killed and beheaded. | 0:31:17 | 0:31:21 | |
His head was placed upon a pike. | 0:31:21 | 0:31:24 | |
After the 14th of July 1789, Europe was never the same. | 0:31:30 | 0:31:36 | |
Human beings were never the same. | 0:31:36 | 0:31:40 | |
Diderot's and Rousseau's revolutionary ideas | 0:31:40 | 0:31:44 | |
were coming of age. | 0:31:44 | 0:31:46 | |
The individual would define the future. | 0:31:46 | 0:31:51 | |
As the sun came up in London the day after the storming of the Bastille, | 0:32:00 | 0:32:06 | |
everything seemed possible. | 0:32:06 | 0:32:08 | |
The French people had unlocked the prison of their history. | 0:32:08 | 0:32:13 | |
Now it was time for the British to do the same. | 0:32:13 | 0:32:17 | |
Revolutionary slogans began to appear all over the country. | 0:32:21 | 0:32:26 | |
Radicals such as the London Revolutionary Society | 0:32:28 | 0:32:32 | |
met in inns and coffee houses. | 0:32:32 | 0:32:34 | |
Out of this revolutionary fervour | 0:32:37 | 0:32:40 | |
would emerge a great Romantic whose writing would have a profound effect | 0:32:40 | 0:32:46 | |
upon literature and upon our perception of human life. | 0:32:46 | 0:32:50 | |
His name was William Wordsworth. | 0:33:00 | 0:33:03 | |
It was a time when Europe was rejoiced | 0:33:03 | 0:33:06 | |
And France standing on the top of golden hours | 0:33:06 | 0:33:11 | |
And human nature seeming born again | 0:33:11 | 0:33:14 | |
Bliss was it in that dawn to be alive | 0:33:14 | 0:33:18 | |
But to be young was very heaven. | 0:33:18 | 0:33:22 | |
For Wordsworth, the revolution | 0:33:27 | 0:33:29 | |
seemed one of the greatest events in history, | 0:33:29 | 0:33:33 | |
promising the future freedom of the human race. | 0:33:33 | 0:33:37 | |
It was this spirit | 0:33:39 | 0:33:41 | |
that drew him to France to be near the true forces of liberty. | 0:33:41 | 0:33:46 | |
His experiences of revolution would mark him for life | 0:33:48 | 0:33:54 | |
and would transform his art. | 0:33:54 | 0:33:57 | |
I stare... | 0:33:57 | 0:33:59 | |
and listen with a stranger's ears to hawkers and haranguers | 0:33:59 | 0:34:04 | |
And hissing factionalists with ardent eyes | 0:34:04 | 0:34:07 | |
In knots or prayers or singles | 0:34:07 | 0:34:09 | |
And like swans and builders and subverters | 0:34:09 | 0:34:13 | |
Every face that hope or repression could put on | 0:34:13 | 0:34:17 | |
I saw the revolutionary power tossed like a ship at anchor | 0:34:19 | 0:34:24 | |
Rocked by storms. | 0:34:24 | 0:34:26 | |
Wordsworth was alive to the new possibilities of life. | 0:34:28 | 0:34:33 | |
He fell deeply in love with a young French woman named Annette Vallon. | 0:34:46 | 0:34:52 | |
Oh, happy time and youthful lovers | 0:35:01 | 0:35:04 | |
Thus my story began | 0:35:05 | 0:35:09 | |
Oh, barmy time | 0:35:09 | 0:35:12 | |
Love not in a lady's brow | 0:35:12 | 0:35:14 | |
Is fairer than the fairest star of heaven. | 0:35:14 | 0:35:17 | |
Annette gave birth to a baby girl - a child for a new age. | 0:35:23 | 0:35:29 | |
The future was Wordsworth's to fashion as he liked, | 0:35:29 | 0:35:34 | |
together with Annette and their daughter Carolene. | 0:35:34 | 0:35:38 | |
But the revolution was careering out of control. | 0:35:42 | 0:35:47 | |
As debates raged in Paris | 0:35:52 | 0:35:55 | |
about how French society should be reorganised, | 0:35:55 | 0:35:59 | |
there was fear of a foreign invasion and talk | 0:35:59 | 0:36:04 | |
of French royalists masquerading as revolutionary sympathisers. | 0:36:04 | 0:36:09 | |
This fear erupted into an outbreak of butchery and bloodshed | 0:36:17 | 0:36:22 | |
that threatened the very possibilities of liberty. | 0:36:22 | 0:36:25 | |
Priests and nuns were viciously slaughtered for refusing to agree to a Republican oath. | 0:36:25 | 0:36:33 | |
For Wordsworth, the savage violence | 0:36:33 | 0:36:36 | |
would destroy all hope for a new world. | 0:36:36 | 0:36:40 | |
The Jacobeans, the revolutionary group in control of Paris, | 0:37:03 | 0:37:08 | |
killed the king. | 0:37:08 | 0:37:10 | |
THUNDER RUMBLES | 0:37:14 | 0:37:16 | |
This was the beginning of the great terror. | 0:37:20 | 0:37:24 | |
RAIN FALLS HEAVILY | 0:37:28 | 0:37:30 | |
They instituted a regime in which any of the king's supporters | 0:37:30 | 0:37:36 | |
would be summarily executed, | 0:37:36 | 0:37:38 | |
by guillotine. | 0:37:38 | 0:37:40 | |
And the best it seemed a place of fear | 0:37:43 | 0:37:47 | |
Defenseses above where tigers roam. | 0:37:47 | 0:37:50 | |
Slowly the Jacobeans' rule reached a state of paranoia. | 0:38:06 | 0:38:11 | |
Anyone who disagreed with them on any matter would die. | 0:38:11 | 0:38:16 | |
In ever increasing numbers, | 0:38:30 | 0:38:32 | |
the citizens of Paris were tried for crimes against the revolution. | 0:38:32 | 0:38:38 | |
From the conciergery prison, hundreds wrote their last letters. | 0:38:49 | 0:38:54 | |
Philippe Rigaud wrote to his wife. | 0:38:54 | 0:38:58 | |
RIGAUD: 'In a few moments, dear wife, I shall appear before my god. | 0:39:01 | 0:39:06 | |
'My pen is trembling in my hand and my tears cover the paper. | 0:39:06 | 0:39:10 | |
'I'm sending you the only thing that still belongs to me. | 0:39:10 | 0:39:15 | |
'It is a tuft of my hair. | 0:39:15 | 0:39:17 | |
'When you look at it, | 0:39:17 | 0:39:19 | |
'think sometimes of one who loved you well. | 0:39:19 | 0:39:22 | |
'My heart is full, I cannot say more. | 0:39:22 | 0:39:25 | |
'Farewell, yes, farewell.' | 0:39:25 | 0:39:29 | |
The next morning Rigaud was put in a cart called a tumbrel | 0:39:33 | 0:39:38 | |
and hauled through jeering crowds along the Rue Saint Honore | 0:39:38 | 0:39:44 | |
to the guillotine. | 0:39:44 | 0:39:45 | |
Many of those who went to the guillotine | 0:39:56 | 0:39:59 | |
were great supporters of liberty. | 0:39:59 | 0:40:01 | |
In the panic and paranoia, | 0:40:01 | 0:40:03 | |
the revolution was devouring its own children. | 0:40:03 | 0:40:07 | |
The corpses piled up and the stench became unendurable. | 0:40:07 | 0:40:12 | |
It represented the decay of hope. | 0:40:12 | 0:40:16 | |
The headless bodies were loaded back into carts, leaving bloodstained | 0:40:17 | 0:40:22 | |
trails across the city, to be dumped in stinking pits. | 0:40:22 | 0:40:27 | |
In the suburb of Pickpus, surrounded by modern flats and office blocks, | 0:40:29 | 0:40:37 | |
lies a small patch of the past. | 0:40:37 | 0:40:40 | |
In two huge mass graves under these gardens, | 0:40:40 | 0:40:45 | |
lie the remains of 1,306 victims of the guillotine. | 0:40:45 | 0:40:51 | |
Among them are a young chambermaid named Louise Cecile Covoran. | 0:40:53 | 0:41:00 | |
Charles Adet, a wine merchant. | 0:41:00 | 0:41:03 | |
Martin Ayome, an apprentice hairdresser. | 0:41:03 | 0:41:08 | |
Louis Bordeaux, a surgeon. | 0:41:08 | 0:41:12 | |
And a dressmaker called Marie Chaplin. | 0:41:12 | 0:41:16 | |
In the midst of the terror, France was a dangerous place for Britons, | 0:41:30 | 0:41:34 | |
and Britain a dangerous place for the French. | 0:41:34 | 0:41:38 | |
William Wordsworth found himself heading home, | 0:41:38 | 0:41:42 | |
forced to leave his great love Annette | 0:41:42 | 0:41:44 | |
and their little daughter behind. | 0:41:44 | 0:41:47 | |
His revolutionary faith had been shaken. | 0:41:47 | 0:41:51 | |
Wordsworth was learning a hard but salutary lesson. | 0:41:51 | 0:41:56 | |
One man's idea of liberty is another man's idea of tyranny. | 0:41:56 | 0:42:01 | |
Most melancholy at that time were my day thoughts | 0:42:03 | 0:42:09 | |
My dreams were miserable | 0:42:09 | 0:42:12 | |
Through months, through years | 0:42:12 | 0:42:15 | |
Long after the last beat of those atrocities | 0:42:15 | 0:42:19 | |
I speak the truth as if to thee alone in private talk | 0:42:19 | 0:42:23 | |
I had scarcely one night of quiet sleep | 0:42:23 | 0:42:29 | |
Such ghastly visions had I of despair... | 0:42:29 | 0:42:32 | |
..of tyranny and implements of death. | 0:42:34 | 0:42:39 | |
Annette wrote to Wordsworth, | 0:42:54 | 0:42:56 | |
but the revolutionary authorities seized her letters. | 0:42:56 | 0:43:01 | |
ANNETTE: 'Come, my love, my husband, | 0:43:01 | 0:43:05 | |
'and receive the tender embraces of your wife, | 0:43:05 | 0:43:09 | |
'of your daughter. | 0:43:09 | 0:43:11 | |
'She grows more like you every day - I seem to be holding you in my arms. | 0:43:11 | 0:43:16 | |
'Her little heart often beats against my own | 0:43:16 | 0:43:19 | |
'and I seem to feel her father's.' | 0:43:19 | 0:43:22 | |
These words never reached Wordsworth. | 0:43:24 | 0:43:29 | |
He became a wanderer, | 0:43:29 | 0:43:31 | |
looking for a new direction in which to pursue his vision. | 0:43:31 | 0:43:35 | |
To wander without destination, to seek out new territories, | 0:43:39 | 0:43:44 | |
was itself a revolutionary act. | 0:43:44 | 0:43:46 | |
For Wordsworth, the wild uncharted landscape | 0:43:46 | 0:43:50 | |
was a place of contemplation and of healing, | 0:43:50 | 0:43:54 | |
where he could be most natural and most himself. | 0:43:54 | 0:43:57 | |
But it was his encounters with the people in the landscape | 0:44:10 | 0:44:15 | |
that restored his faith in human nature. | 0:44:15 | 0:44:18 | |
I began to enquire | 0:44:18 | 0:44:19 | |
To watch and question those I met | 0:44:19 | 0:44:23 | |
And held familiar talk with them | 0:44:23 | 0:44:25 | |
The lonely roads were schools to me | 0:44:25 | 0:44:28 | |
In which I daily read with most delight, the passions of mankind. | 0:44:28 | 0:44:33 | |
Wordsworth began to write poems about his encounters with the downtrodden - | 0:44:36 | 0:44:41 | |
the same kind of people to whom the revolution in France had given a voice. | 0:44:41 | 0:44:48 | |
But it was another chance meeting with a man in Bristol | 0:44:51 | 0:44:55 | |
one August evening in 1795 that changed the course of his life. | 0:44:55 | 0:45:02 | |
Above the corn market, this man gave rousing lectures | 0:45:09 | 0:45:13 | |
on revolutionary politics, in rooms that are now vacant council offices. | 0:45:13 | 0:45:20 | |
His name was Samuel Taylor Coleridge. | 0:45:20 | 0:45:25 | |
The example of France is indeed a warning to Britain. | 0:45:25 | 0:45:30 | |
A nation wading to its rights through blood, | 0:45:30 | 0:45:34 | |
and marking the track of freedom by devastation. | 0:45:34 | 0:45:41 | |
French freedom is a beacon which, while it guides to equality, | 0:45:41 | 0:45:47 | |
should show us the dangers that throng the road. | 0:45:47 | 0:45:51 | |
Together Wordsworth and Coleridge would salvage the ideals | 0:45:55 | 0:45:59 | |
of Romanticism from the chaos of the French Revolution. | 0:45:59 | 0:46:04 | |
Wordsworth was staying at number seven Great George Street | 0:46:06 | 0:46:10 | |
in the centre of Bristol. | 0:46:10 | 0:46:12 | |
He read to Coleridge one of his poems entitled The Female Vagrant. | 0:46:13 | 0:46:19 | |
It was the story of a woman | 0:46:29 | 0:46:31 | |
who on the death of her husband and children | 0:46:31 | 0:46:35 | |
becomes a vagrant and an outcast. | 0:46:35 | 0:46:38 | |
The pains and plagues that on our heads came down | 0:46:40 | 0:46:45 | |
Disease and famine, agony and fear | 0:46:45 | 0:46:49 | |
In wood or wilderness In camp or town | 0:46:49 | 0:46:56 | |
It would thy brain unsettle | 0:46:56 | 0:46:58 | |
Even to hear all perished | 0:46:58 | 0:47:02 | |
All... | 0:47:02 | 0:47:05 | |
In one remorseless year | 0:47:05 | 0:47:08 | |
She ceased, and weeping turned away | 0:47:09 | 0:47:13 | |
As if because her tale was at an end | 0:47:13 | 0:47:16 | |
She wept because she had no more to say | 0:47:16 | 0:47:20 | |
Of that perpetual wait which of her spirit lay. | 0:47:20 | 0:47:25 | |
A bond between Wordsworth and Coleridge was forged | 0:47:30 | 0:47:33 | |
that would last a lifetime. | 0:47:33 | 0:47:35 | |
They wanted to change the world | 0:47:40 | 0:47:43 | |
by diverting their revolutionary zeal into poetry. | 0:47:43 | 0:47:47 | |
They moved to the Quantock Hills in Somerset. | 0:47:49 | 0:47:53 | |
Coleridge and his family settled in the village of Nether Stowy. | 0:47:53 | 0:47:58 | |
Wordsworth and his sister Dorothy rented a nearby house - | 0:47:58 | 0:48:04 | |
the now-neglected Alfoxton. | 0:48:04 | 0:48:07 | |
But this house is one of the most important places | 0:48:09 | 0:48:13 | |
in the history of English literature. | 0:48:13 | 0:48:16 | |
It is here that Coleridge and Wordsworth | 0:48:18 | 0:48:21 | |
would collaborate on a collection of poems | 0:48:21 | 0:48:24 | |
that would define the Romantic age. | 0:48:24 | 0:48:27 | |
As the two men wrote, | 0:48:49 | 0:48:52 | |
the whole country was gripped by fear and paranoia. | 0:48:52 | 0:48:57 | |
Fear that the revolution that had struck France would engulf Britain next. | 0:48:57 | 0:49:03 | |
A government agent named James Walsh was sent to spy on them. | 0:49:04 | 0:49:10 | |
He interviewed several locals | 0:49:10 | 0:49:13 | |
regarding the strange new people at Alfoxton. | 0:49:13 | 0:49:17 | |
WALSH: 'Charles Mogg says that he was at Alfoxton. | 0:49:21 | 0:49:24 | |
'Thomas Jones informed Mogg that some French people had got in possession of the mansion house. | 0:49:24 | 0:49:29 | |
'Christopher Tricky told Mogg that the French people | 0:49:29 | 0:49:32 | |
'had taken the plan of all the places | 0:49:32 | 0:49:34 | |
'around that part of the country. | 0:49:34 | 0:49:36 | |
'The French people inquired of Tricky | 0:49:36 | 0:49:38 | |
'whether the brook was navigable to the sea. | 0:49:38 | 0:49:40 | |
'As Mr Mogg is by no means the most intelligent man in the world, | 0:49:40 | 0:49:44 | |
'I thought it my duty to send you the whole of his story the way he related it. | 0:49:44 | 0:49:49 | |
'I shall await your further orders.' | 0:49:49 | 0:49:51 | |
The locals told Walsh that the Wordsworths had visitors late at night. | 0:49:57 | 0:50:02 | |
They were frequently on the Heights in darkness. | 0:50:02 | 0:50:05 | |
They kept a portfolio in which they made notes. | 0:50:07 | 0:50:12 | |
They were continually writing things down on pieces of paper. | 0:50:12 | 0:50:17 | |
They said that their work was "almost finished". | 0:50:18 | 0:50:22 | |
There was no evidence to arrest Wordsworth and Coleridge, | 0:50:33 | 0:50:36 | |
but although their actions were not political in any obvious sense, | 0:50:36 | 0:50:41 | |
their words began a revolution no less profound. | 0:50:41 | 0:50:45 | |
They had almost finished a volume that would have more lasting effects | 0:50:45 | 0:50:50 | |
than a thousand political manifestos. | 0:50:50 | 0:50:53 | |
It was the book for a new age, it was called The Lyrical Ballads. | 0:50:53 | 0:50:58 | |
Taking its name from the popular forms of song and verse, | 0:51:07 | 0:51:11 | |
The Lyrical Ballads was a collection of intimate accounts of rustic lives | 0:51:11 | 0:51:17 | |
told in simple language. | 0:51:17 | 0:51:19 | |
It is a pure expression of Romantic ideals. | 0:51:19 | 0:51:24 | |
When it was published in 1798, | 0:51:24 | 0:51:27 | |
Wordsworth and Coleridge withheld their names from it. | 0:51:27 | 0:51:31 | |
They were proclaiming a new poetic faith | 0:51:31 | 0:51:35 | |
which they believed to be beyond individual authorship. | 0:51:35 | 0:51:41 | |
A neighbouring farmer who had been forced to sell off his animals | 0:51:43 | 0:51:47 | |
to feed his family | 0:51:47 | 0:51:49 | |
became the subject of one poem called The Last Of The Flock. | 0:51:49 | 0:51:55 | |
In distant countries I have been | 0:51:55 | 0:51:59 | |
And yet I have not often seen | 0:51:59 | 0:52:02 | |
A healthy man, a man full grown | 0:52:02 | 0:52:05 | |
Weep in the public roads alone | 0:52:05 | 0:52:08 | |
This lusty lamb of all my store is all that is alive | 0:52:08 | 0:52:13 | |
And now I care not if we die | 0:52:13 | 0:52:16 | |
And perish all of poverty. | 0:52:16 | 0:52:19 | |
Wordsworth and Coleridge were relocating dignity in the commonplace, | 0:52:24 | 0:52:30 | |
restoring grace and significance to ordinary lives | 0:52:30 | 0:52:34 | |
where saints and heroes walk unannounced and unknown. | 0:52:34 | 0:52:38 | |
Their writing had the same purpose as the French Revolution - | 0:52:40 | 0:52:44 | |
to create a democratic world | 0:52:44 | 0:52:46 | |
in which outcasts had as much right to be heard as anyone else. | 0:52:46 | 0:52:51 | |
In which women and children also had a voice. | 0:52:51 | 0:52:55 | |
Theirs was poetry of the individual conscience | 0:52:55 | 0:53:00 | |
and the individual consciousness. | 0:53:00 | 0:53:03 | |
People ceased to be subjects and became citizens, | 0:53:03 | 0:53:08 | |
and the poems invested them with a soul as well. | 0:53:08 | 0:53:12 | |
Everyone was different, | 0:53:12 | 0:53:14 | |
everyone was unique. | 0:53:14 | 0:53:16 | |
The French Revolution had proclaimed the liberty of every citizen, | 0:53:18 | 0:53:22 | |
even the very poorest, but it had descended into madness. | 0:53:22 | 0:53:28 | |
By making art out of revolutionary philosophy, | 0:53:28 | 0:53:31 | |
Wordsworth and Coleridge succeeded where the revolution had failed. | 0:53:31 | 0:53:37 | |
They gave politics a human face. | 0:53:37 | 0:53:41 | |
The Lyrical Ballads was a revolution in 23 poems. | 0:53:41 | 0:53:46 | |
At its heart was a tale of visionary captivating force. | 0:53:48 | 0:53:54 | |
The Rime of The Ancient Mariner | 0:53:58 | 0:54:00 | |
has become one of the great poems in the English language. | 0:54:00 | 0:54:04 | |
During a visit to the harbour town of Watchet, | 0:54:13 | 0:54:17 | |
Wordsworth conceived the idea of a mariner who shoots an albatross. | 0:54:17 | 0:54:23 | |
Coleridge began writing out Wordsworth's story | 0:54:23 | 0:54:26 | |
and soon took over the narrative. | 0:54:26 | 0:54:29 | |
In The Rime of The Ancient Mariner, | 0:54:36 | 0:54:38 | |
the voyager who has been touched by madness | 0:54:38 | 0:54:42 | |
sees into the heart of life and death. | 0:54:42 | 0:54:45 | |
I pass like night from land to land | 0:54:47 | 0:54:51 | |
I have strange power of speech | 0:54:51 | 0:54:55 | |
And know that his face I see | 0:54:56 | 0:54:58 | |
I know the man that must hear me | 0:54:58 | 0:55:01 | |
To him my tale I teach. | 0:55:01 | 0:55:04 | |
In the poem, the ancient mariner's ship is driven off its course | 0:55:14 | 0:55:19 | |
towards the South Pole. | 0:55:19 | 0:55:21 | |
The ice was here, the ice was there | 0:55:23 | 0:55:27 | |
The ice was all around | 0:55:27 | 0:55:30 | |
It cracked and growled and roared and howled | 0:55:30 | 0:55:34 | |
A wild and ceaseless sound | 0:55:34 | 0:55:37 | |
At length would cross an albatross | 0:55:39 | 0:55:42 | |
Through the fog it came | 0:55:42 | 0:55:45 | |
As though it were a Christian soul We hailed it in God's name. | 0:55:45 | 0:55:50 | |
But then the ancient mariner commits an arbitrary and irrational crime. | 0:55:52 | 0:56:00 | |
-COLERIDGE: -God save the ancient mariner | 0:56:00 | 0:56:03 | |
From the fiends that plague thee thus | 0:56:03 | 0:56:05 | |
Why look thou so? | 0:56:05 | 0:56:08 | |
WORDSWORTH: With my crossbow | 0:56:08 | 0:56:10 | |
I shot the albatross. | 0:56:10 | 0:56:13 | |
As a result, the ship is pursued by phantoms | 0:56:23 | 0:56:27 | |
that destroy the rest of the crew. | 0:56:27 | 0:56:30 | |
Breezes is blue | 0:56:38 | 0:56:39 | |
The white foam flew The furrow furrowed free | 0:56:39 | 0:56:43 | |
We were the first that ever burst into that silent sea. | 0:56:43 | 0:56:48 | |
The ancient mariner is allowed to survive | 0:56:51 | 0:56:54 | |
and is compelled to tell his cautionary tale - | 0:56:54 | 0:56:57 | |
a warning that Man must respect his fellow creatures. | 0:56:57 | 0:57:02 | |
With this poem, Coleridge had begun a journey | 0:57:02 | 0:57:05 | |
that would take the Romantics far beyond the domain of politics | 0:57:05 | 0:57:09 | |
in their search for freedom. | 0:57:09 | 0:57:11 | |
This new quest for liberty | 0:57:11 | 0:57:13 | |
would take them into the very heart of the natural world. | 0:57:13 | 0:57:17 | |
Alone, alone | 0:57:29 | 0:57:31 | |
All, all alone | 0:57:31 | 0:57:33 | |
Alone on a white, white sea | 0:57:33 | 0:57:37 | |
And Christ would take no pity on my soul in agony | 0:57:37 | 0:57:42 | |
So many men, so beautiful | 0:57:43 | 0:57:47 | |
And they all dead did lie | 0:57:47 | 0:57:51 | |
And a million, million slimy things lived on | 0:57:51 | 0:57:55 | |
And so did I. | 0:57:57 | 0:57:59 | |
Find out more about some of the poets and poems | 0:58:23 | 0:58:26 | |
featured in this series with a free booklet | 0:58:26 | 0:58:29 | |
from The Open University. | 0:58:29 | 0:58:32 | |
To order, call 0870 900 0311. | 0:58:32 | 0:58:39 | |
Hear more of the Romantics poetry at bbc.co.uk/romantics | 0:58:52 | 0:59:00 |