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For Edwardian Britons, a Bradshaw's was an indispensable guide | 0:00:04 | 0:00:09 | |
to a railway network at its peak. | 0:00:09 | 0:00:11 | |
I'm using an early 20th-century edition to navigate a vibrant | 0:00:13 | 0:00:17 | |
and optimistic Britain | 0:00:17 | 0:00:19 | |
at the height of its power and influence in the world. | 0:00:19 | 0:00:22 | |
But a nation wrestling with political, | 0:00:24 | 0:00:27 | |
social and industrial unrest at home. | 0:00:27 | 0:00:30 | |
Dressed in the colours of the Welsh flag, | 0:00:53 | 0:00:55 | |
I begin in south Wales | 0:00:55 | 0:00:58 | |
on a journey that will also take in southwest England. | 0:00:58 | 0:01:01 | |
At the time of this Bradshaw's, 110 years ago, | 0:01:01 | 0:01:05 | |
the Victorian age was over and King Edward VII reigned. | 0:01:05 | 0:01:11 | |
Railways, coal and the British Empire were at their zenith, | 0:01:11 | 0:01:16 | |
but this was not a tranquil age - | 0:01:16 | 0:01:20 | |
big changes were under way in technology, society and politics. | 0:01:20 | 0:01:26 | |
Starting in Carmarthenshire, | 0:01:31 | 0:01:32 | |
this journey will take me east through industrial south Wales, | 0:01:32 | 0:01:36 | |
passing through its major cities - Swansea and Cardiff - | 0:01:36 | 0:01:40 | |
before crossing the border into England. | 0:01:40 | 0:01:43 | |
I'll explore Edwardian Bristol, | 0:01:43 | 0:01:45 | |
then set a south-westerly course to take in rural Somerset | 0:01:45 | 0:01:49 | |
and the Devon coast, en route to my final stop in Cornwall. | 0:01:49 | 0:01:53 | |
This first leg gets into gear at Whitland | 0:01:56 | 0:02:00 | |
and continues on to Llanelli. | 0:02:00 | 0:02:02 | |
I'll travel to Gowerton and finish at Swansea, | 0:02:02 | 0:02:06 | |
the birthplace of one of the 20th century's best-loved poets. | 0:02:06 | 0:02:10 | |
On this journey, I burn rubber in the hot seat... | 0:02:13 | 0:02:15 | |
-Well, this is exciting! What speed are we doing? -About 70. | 0:02:15 | 0:02:18 | |
Follow in the footsteps of the great Welsh bard... | 0:02:19 | 0:02:23 | |
So, I suppose Dylan Thomas came here, did he? | 0:02:23 | 0:02:25 | |
I don't think there's a pub in Swansea that he didn't go to! | 0:02:25 | 0:02:28 | |
And uncover a spiritual renaissance. | 0:02:28 | 0:02:31 | |
"I stir up a few friends who turn back to Jesus, | 0:02:31 | 0:02:34 | |
"but he will need thousands of friends in Wales." | 0:02:34 | 0:02:37 | |
At the beginning of the 20th century, | 0:02:45 | 0:02:47 | |
Britain had 20,000 miles of railways. | 0:02:47 | 0:02:51 | |
In south Wales, they threaded up the valleys and linked the villages. | 0:02:51 | 0:02:55 | |
Locomotives had exceeded 100mph, | 0:02:55 | 0:03:00 | |
but Edwardians who craved speed looked to a different technology. | 0:03:00 | 0:03:05 | |
The motor car demanded individual skill | 0:03:05 | 0:03:08 | |
and offered the freedom of the open road. | 0:03:08 | 0:03:12 | |
I'm alighting at Whitland, | 0:03:15 | 0:03:16 | |
a small Carmarthenshire town with a tradition of dairy farming. | 0:03:16 | 0:03:20 | |
But I'm bound for the coast to join the gathering crowds | 0:03:20 | 0:03:24 | |
at the site of what was Britain's very first | 0:03:24 | 0:03:27 | |
international motor rally. | 0:03:27 | 0:03:29 | |
It took place on the stretch of beach at Pendine Sands in 1909, | 0:03:31 | 0:03:36 | |
pioneering the development of modern motorsport, | 0:03:36 | 0:03:39 | |
and today it's still a magnet for petrolheads | 0:03:39 | 0:03:43 | |
and those who feel the need for speed. | 0:03:43 | 0:03:45 | |
-I did 98mph last year. -Why do you do it? | 0:03:47 | 0:03:50 | |
Once you've raced, there isn't anything else. | 0:03:50 | 0:03:52 | |
I'm currently the fastest woman in the world. | 0:03:52 | 0:03:55 | |
-You're the fastest woman in the world? -I am, yes. Yeah. | 0:03:55 | 0:03:58 | |
What was your record? | 0:03:58 | 0:03:59 | |
Um, the actual official record was 264.1mph | 0:03:59 | 0:04:04 | |
over a standing mile. | 0:04:04 | 0:04:06 | |
-You went at 264.1mph on a motorbike? -Yes. | 0:04:06 | 0:04:09 | |
-And you're here to tell the tale? -Yes. | 0:04:10 | 0:04:12 | |
-Well, I want to get the ton at least on it today. -100mph? | 0:04:12 | 0:04:16 | |
-Yeah. -And why do you wear thimbles to do that? | 0:04:16 | 0:04:19 | |
Ah, because it's very important to give the thumbs up to | 0:04:19 | 0:04:21 | |
the right people at the right time. | 0:04:21 | 0:04:23 | |
You know, "Yes, we're good," or, "No, we're not." | 0:04:23 | 0:04:25 | |
-That's what that's all about. -What are they, then? | 0:04:25 | 0:04:27 | |
They're actually off my battery. | 0:04:27 | 0:04:29 | |
It's the covers, it's so I don't lose them. | 0:04:29 | 0:04:31 | |
The royal family had become accustomed to travelling | 0:04:33 | 0:04:36 | |
the country by rail, but King Edward VII became the nation's first | 0:04:36 | 0:04:41 | |
motoring monarch when he purchased a Daimler automobile in 1900. | 0:04:41 | 0:04:46 | |
The Pendine Museum Of Speed overlooks the famous | 0:04:47 | 0:04:50 | |
seven-mile stretch of sand. | 0:04:50 | 0:04:52 | |
-Chris. -Hi. Bore da. | 0:04:52 | 0:04:55 | |
Motor historian Chris Delaney can tell me | 0:04:55 | 0:04:58 | |
about the groundbreakers of world land speed records. | 0:04:58 | 0:05:02 | |
Chris, today there's the roar of engines all around us. | 0:05:02 | 0:05:05 | |
How did Pendine Sands become associated with motor racing? | 0:05:05 | 0:05:09 | |
At the turn of the 20th century, you can't race on the roads. | 0:05:09 | 0:05:12 | |
20mph speed limit, | 0:05:12 | 0:05:14 | |
dangerous roads designed for horses, not designed for the motor car, | 0:05:14 | 0:05:18 | |
but this, out here, is a large area of flat, hard sand. | 0:05:18 | 0:05:22 | |
It's a great natural racecourse. | 0:05:22 | 0:05:25 | |
The glory days, when the Sands put land speed record attempts | 0:05:25 | 0:05:30 | |
on the world stage, came about because of the rivalry | 0:05:30 | 0:05:33 | |
between an English racing journalist and a Welsh engineer. | 0:05:33 | 0:05:37 | |
And so, 1924, Malcolm Campbell comes along in the first Blue Bird | 0:05:37 | 0:05:41 | |
and takes the land speed record, here, on Pendine. | 0:05:41 | 0:05:44 | |
And then John Godfrey Parry-Thomas, born in Wrexham, in north Wales, | 0:05:44 | 0:05:49 | |
comes and does it as well in 1926. | 0:05:49 | 0:05:51 | |
What sort of speeds? | 0:05:51 | 0:05:52 | |
He pushed it over 170mph, which was an incredible speed | 0:05:52 | 0:05:56 | |
for the time, and then Campbell came back and took it back again. | 0:05:56 | 0:06:02 | |
And it was in April, 1927, that Parry-Thomas came back here | 0:06:02 | 0:06:06 | |
in an attempt to retake his record from Malcolm Campbell. | 0:06:06 | 0:06:10 | |
Sadly, the car skidded, turned over. | 0:06:10 | 0:06:14 | |
Unfortunately, he was killed in the process. | 0:06:14 | 0:06:16 | |
So this is the very car in which Parry-Thomas died? | 0:06:18 | 0:06:22 | |
Obviously, substantially restored, but, yes, this is it. | 0:06:22 | 0:06:25 | |
Despite the obvious dangers of speed competitions, | 0:06:30 | 0:06:34 | |
the hard sands at Pendine | 0:06:34 | 0:06:36 | |
continue to attract thrill-seekers chasing records. | 0:06:36 | 0:06:40 | |
Welcome to 2017 Pendine record attempts. Are we all happy? | 0:06:40 | 0:06:45 | |
-ALL: -Yeah. -MAN: -Very. | 0:06:45 | 0:06:47 | |
This event was established by former motorcycle racer Trevor Duckworth... | 0:06:48 | 0:06:53 | |
-Thanks, gentlemen. -ALL: -Thank you. | 0:06:53 | 0:06:55 | |
..with the aim of providing competitors | 0:06:55 | 0:06:57 | |
with organised conditions | 0:06:57 | 0:06:59 | |
in which to race safely. | 0:06:59 | 0:07:01 | |
So, today is straight lining? | 0:07:01 | 0:07:03 | |
Yeah, today's record attempt on the famous Pendine Beach... | 0:07:03 | 0:07:07 | |
We've got classes for all types of machines and the fast stuff | 0:07:07 | 0:07:11 | |
will be nudging 200mph at the end of the measured distances. | 0:07:11 | 0:07:15 | |
I might take a spin on the sand myself in a three-wheeler. | 0:07:15 | 0:07:18 | |
Any particular tips for me? | 0:07:18 | 0:07:20 | |
Yeah, I hold a lot of world records on three-wheelers, | 0:07:20 | 0:07:22 | |
believe it or not, and the thing to do is just set off nice | 0:07:22 | 0:07:25 | |
and gently, and then just build the speed up through the gears. | 0:07:25 | 0:07:28 | |
Short shift and just let it get into top | 0:07:28 | 0:07:31 | |
and that will give you the best speed you can have. | 0:07:31 | 0:07:33 | |
Maybe 130, if you're brave. | 0:07:33 | 0:07:36 | |
I was thinking more like 50. | 0:07:36 | 0:07:37 | |
TREVOR LAUGHS | 0:07:37 | 0:07:38 | |
My carriage is a modern interpretation of the three-wheeler | 0:07:50 | 0:07:54 | |
first designed by the Morgan Motor Company in 1910. | 0:07:54 | 0:07:59 | |
Trevor will be my instructor from the passenger seat. | 0:07:59 | 0:08:02 | |
-Well, this is an amazing experience for me, Trevor. -It will be, yeah. | 0:08:04 | 0:08:08 | |
I don't think I've ever done anything quite like this. | 0:08:08 | 0:08:10 | |
Yeah, let's go, let's do it. | 0:08:10 | 0:08:11 | |
KLAXON BLARES | 0:08:11 | 0:08:14 | |
Brake. | 0:08:14 | 0:08:15 | |
-Whoa! -Change...change gear. | 0:08:15 | 0:08:18 | |
Keep going. | 0:08:18 | 0:08:19 | |
Right, a bit more, a bit more. | 0:08:19 | 0:08:21 | |
You can feel the back end move, but it's all right. Just keep going. | 0:08:21 | 0:08:24 | |
Higher gear, that's it, keep going. | 0:08:24 | 0:08:26 | |
That's it, nice and steady. | 0:08:26 | 0:08:28 | |
-Nice and steady. -Nice and steady. | 0:08:28 | 0:08:30 | |
-Top gear. -Fifth gear? -Yep, right. | 0:08:30 | 0:08:32 | |
-That's it. Just keep going, a bit more. -Getting faster and faster... | 0:08:32 | 0:08:35 | |
-A bit more. -I've got the accelerator down. -Absolutely fantastic. | 0:08:35 | 0:08:38 | |
-We're reaching the finish point... -A bit more. | 0:08:38 | 0:08:41 | |
Well, this is exciting. | 0:08:41 | 0:08:42 | |
-What speed are we doing? -I think we're about 70. | 0:08:42 | 0:08:45 | |
-And off! -Just let it slow down. | 0:08:46 | 0:08:50 | |
Right, nice and steady, we're starting to brake. | 0:08:50 | 0:08:53 | |
-Well, Trevor, that was amazing. -All right? Well done. -Thank you so much. | 0:08:55 | 0:08:59 | |
Fantastic fun. | 0:08:59 | 0:09:01 | |
"Stands the church clock at ten to three? | 0:09:16 | 0:09:18 | |
"And is there honey still for tea?" | 0:09:18 | 0:09:22 | |
The poet Rupert Brooke makes us look at the period | 0:09:22 | 0:09:24 | |
before the First World War through rose-coloured spectacles. | 0:09:24 | 0:09:28 | |
In fact, the Government was terrified of industrial strife | 0:09:28 | 0:09:33 | |
and of possible rebellion in Ireland | 0:09:33 | 0:09:36 | |
and the two came together threateningly in 1911, | 0:09:36 | 0:09:39 | |
when railwaymen at Llanelli went on strike, | 0:09:39 | 0:09:43 | |
potentially closing the rail corridor for troops | 0:09:43 | 0:09:46 | |
who would be needed to suppress any revolt in the Emerald Isle. | 0:09:46 | 0:09:51 | |
From the late 19th century, Llanelli was known as Tinopolis, | 0:10:02 | 0:10:06 | |
thanks to its flourishing tin plate industry. | 0:10:06 | 0:10:09 | |
I'll retrace the fateful events of the 1911 railway strike | 0:10:09 | 0:10:13 | |
with historian Russell Grigg. | 0:10:13 | 0:10:15 | |
-Hello, Russell. -Hello, Michael. | 0:10:15 | 0:10:17 | |
-Very good to see you. -Nice to see you, too. | 0:10:17 | 0:10:19 | |
So, why was there trouble here at Llanelli in 1911? | 0:10:19 | 0:10:22 | |
Well, essentially, because of the topography of the railway station. | 0:10:22 | 0:10:26 | |
So, you have a bottleneck between two level crossings, | 0:10:26 | 0:10:29 | |
the eastern and western crossings. | 0:10:29 | 0:10:31 | |
So, essentially, it was a good place for the strikers to actually | 0:10:31 | 0:10:36 | |
undertake their protest. | 0:10:36 | 0:10:38 | |
What was the strike about? | 0:10:38 | 0:10:40 | |
There were major concerns about the pay and working conditions. | 0:10:40 | 0:10:43 | |
I mean, typically, a railway worker then | 0:10:43 | 0:10:44 | |
would earn around 20 shillings a week, £1 a week, whereas the | 0:10:44 | 0:10:48 | |
average salary then was probably nearer around 30 shillings a week, | 0:10:48 | 0:10:52 | |
but also it's quite a dangerous occupation, or dangerous employment. | 0:10:52 | 0:10:57 | |
In the ten years prior to the 1907 period, | 0:10:57 | 0:11:00 | |
around 5,000 railwaymen were actually killed. | 0:11:00 | 0:11:04 | |
In the years before the Great War, disgruntled British workers | 0:11:07 | 0:11:11 | |
from dockers to miners were turning to industrial action. | 0:11:11 | 0:11:15 | |
In 1911, railwaymen joined the fray | 0:11:16 | 0:11:20 | |
with their first-ever national strike. | 0:11:20 | 0:11:22 | |
Here, in Llanelli, workers blockaded the line. | 0:11:22 | 0:11:26 | |
How did the strike progress? | 0:11:28 | 0:11:30 | |
Eventually, troops were sent here to obviously try to open the two | 0:11:30 | 0:11:34 | |
-level crossings. -What happened next? | 0:11:34 | 0:11:37 | |
Major Brownlow Stuart went up on the bank | 0:11:37 | 0:11:39 | |
to try and talk to the protesters. | 0:11:39 | 0:11:42 | |
One report says that he got his watch out and he said, | 0:11:42 | 0:11:45 | |
"Look, you have one minute. | 0:11:45 | 0:11:46 | |
"The Riot Act will be read, one minute to disperse." | 0:11:46 | 0:11:50 | |
The dispersal didn't occur, five shots were fired | 0:11:50 | 0:11:53 | |
and we know that some killed two young men, | 0:11:53 | 0:11:57 | |
one aged 19 and one aged 21. | 0:11:57 | 0:11:59 | |
What was the reaction of Llanelli to these deaths? | 0:11:59 | 0:12:02 | |
Well, clearly, that was a major trauma | 0:12:02 | 0:12:04 | |
and there was a great deal of anger. | 0:12:04 | 0:12:05 | |
News travelled very quickly. | 0:12:05 | 0:12:07 | |
Of course, the railway workers themselves, | 0:12:07 | 0:12:09 | |
there were only around 500 of those, | 0:12:09 | 0:12:11 | |
so they were supplemented by the tin plate workers. | 0:12:11 | 0:12:14 | |
So that gathering numbers started to look at where | 0:12:14 | 0:12:17 | |
they could vent their anger and their frustration. | 0:12:17 | 0:12:20 | |
So, what happens next is the attention shifts | 0:12:20 | 0:12:22 | |
from the railway station itself towards the goods shed. | 0:12:22 | 0:12:25 | |
After the deaths, | 0:12:25 | 0:12:27 | |
what had started as a peaceful strike turned to violence. | 0:12:27 | 0:12:30 | |
Tracks were torn up, trains and shops ransacked, | 0:12:30 | 0:12:34 | |
and a freight wagon containing explosives was set alight, | 0:12:34 | 0:12:39 | |
resulting in four more fatalities. | 0:12:39 | 0:12:41 | |
This was a riot that turned really into looting, was it? | 0:12:41 | 0:12:44 | |
Exactly, and I think there is a distinction to be drawn, | 0:12:44 | 0:12:46 | |
or certainly the records try to distinguish between those | 0:12:46 | 0:12:49 | |
who were rioting and those who were looting, and the punishments | 0:12:49 | 0:12:53 | |
meted out at the end following the inquest reflected the difference. | 0:12:53 | 0:12:57 | |
-A painful history for Llanelli. -Absolutely so. | 0:12:57 | 0:13:00 | |
The goods shed still stands in Llanelli, | 0:13:02 | 0:13:05 | |
one of the few surviving examples in Wales. | 0:13:05 | 0:13:08 | |
Robert Lloyd heads up a project committed to restoring it. | 0:13:09 | 0:13:13 | |
Robert, can anything be done with these fine buildings? | 0:13:15 | 0:13:17 | |
Yes, lots can be done to it. | 0:13:17 | 0:13:19 | |
I mean, it looks derelict now, obviously, | 0:13:19 | 0:13:21 | |
but this is an iconic building in Llanelli. | 0:13:21 | 0:13:23 | |
It's a Grade II listed building, built in 1875. | 0:13:23 | 0:13:26 | |
So, the Goods Shed Trust have been working since 2011, really, | 0:13:26 | 0:13:29 | |
to restore it and to get ideas for rejuvenating the place | 0:13:29 | 0:13:33 | |
and we intend telling the bigger picture of how Llanelli went | 0:13:33 | 0:13:35 | |
from a little village to this huge industrial complex, | 0:13:35 | 0:13:38 | |
the Tinopolis of Llanelli. | 0:13:38 | 0:13:40 | |
Tinopolis' unofficial anthem is Sosban Fach, or Little Saucepan, | 0:13:44 | 0:13:49 | |
said to have been sung by the strikers in 1911 | 0:13:49 | 0:13:52 | |
and today by the Llanelli Male Choir. | 0:13:52 | 0:13:55 | |
# Sosban fach yn berwi ar y tan | 0:13:55 | 0:13:59 | |
# Sosban fawr yn berwi ar y llawr | 0:13:59 | 0:14:03 | |
# A'r gath wedi sgrapo Joni bach. # | 0:14:03 | 0:14:17 | |
My goodness, gentlemen, that was stirring! | 0:14:17 | 0:14:19 | |
Gentlemen who sing that really mean business, don't they? MEN LAUGH | 0:14:19 | 0:14:22 | |
Thank you. | 0:14:22 | 0:14:23 | |
-How do you feel, having sung like that today, how do you feel? -Proud. | 0:14:23 | 0:14:27 | |
Proud? | 0:14:27 | 0:14:28 | |
-When Wales wins at the rugby, yes? -Yeah! -Is that...? | 0:14:29 | 0:14:34 | |
I mean, it does happen, does it? Yes, yeah. | 0:14:34 | 0:14:36 | |
-MEN: -Ooh! -LAUGHTER | 0:14:36 | 0:14:39 | |
When Wales wins at the rugby, what do you like to sing then? | 0:14:41 | 0:14:44 | |
-Amen. -Amen! | 0:14:44 | 0:14:46 | |
-Could I have a moment of Amen? ALL: -Yes! | 0:14:46 | 0:14:49 | |
# Amen | 0:14:49 | 0:14:51 | |
# Amen, amen, amen | 0:14:51 | 0:14:55 | |
# Amen, amen | 0:14:55 | 0:14:59 | |
# Amen, amen, amen. # | 0:14:59 | 0:15:03 | |
A new day, and I'm resuming my travels, | 0:15:12 | 0:15:15 | |
heading east in the direction of Swansea. | 0:15:15 | 0:15:17 | |
A satirical song goes, | 0:15:27 | 0:15:29 | |
"Have you ever been to Wales where they brew the finest ales? | 0:15:29 | 0:15:32 | |
"And you want to drink on Sunday but you have to wait till Monday." | 0:15:32 | 0:15:37 | |
And Sunday observance is still an important influence in Wales. | 0:15:37 | 0:15:41 | |
At the beginning of the 20th century, Nonconformists - | 0:15:41 | 0:15:44 | |
Methodists, Baptists and the like - | 0:15:44 | 0:15:47 | |
easily outnumbered Anglicans of the established church. | 0:15:47 | 0:15:51 | |
And according to newspapers of the day, a Welsh revival was under way, | 0:15:51 | 0:15:56 | |
featuring a preacher called Evan Roberts making 40,000 converts. | 0:15:56 | 0:16:02 | |
I must relive that revival. | 0:16:02 | 0:16:05 | |
Gowerton Station opened as Gower Road in 1854. | 0:16:08 | 0:16:13 | |
The village that it serves | 0:16:14 | 0:16:16 | |
is known as the gateway to the Gower Peninsula. | 0:16:16 | 0:16:19 | |
I'm bound for the nearby town of Loughor - | 0:16:20 | 0:16:22 | |
the birthplace of the leader of the religious revival | 0:16:22 | 0:16:26 | |
that gripped Edwardian Wales. | 0:16:26 | 0:16:28 | |
-Hello, Bill. -Hello, Michael. Very nice to meet you. | 0:16:31 | 0:16:34 | |
I've arranged to meet historian Bill Jones. | 0:16:34 | 0:16:37 | |
Bill, I've been looking at a newspaper from December 1904 - | 0:16:39 | 0:16:42 | |
"The revival wave spreading. | 0:16:42 | 0:16:45 | |
"Scenes of enthusiasm. | 0:16:45 | 0:16:46 | |
"Great change in the habits of the people." | 0:16:46 | 0:16:49 | |
It was quite a thing, this Welsh revival. | 0:16:49 | 0:16:50 | |
Oh, this is a remarkable episode in many respects | 0:16:50 | 0:16:53 | |
and we're here almost at the peak of the revival at the end of 1904, | 0:16:53 | 0:16:57 | |
although it lasted, in many areas, right through until 1905 as well. | 0:16:57 | 0:17:02 | |
By this time the movement had spread from this chapel, here, in Loughor, | 0:17:02 | 0:17:06 | |
out towards other parts of Wales | 0:17:06 | 0:17:09 | |
and in many ways the revival is helped by the railways, of course. | 0:17:09 | 0:17:14 | |
Who was Evan Roberts? | 0:17:14 | 0:17:16 | |
Evan Roberts was born in 1878. He was the son of a collier, | 0:17:16 | 0:17:19 | |
he also had worked underground himself, | 0:17:19 | 0:17:22 | |
but had then decided he wanted to become a minister of religion | 0:17:22 | 0:17:25 | |
and, in order to do that, had become a student at the grammar school | 0:17:25 | 0:17:29 | |
at Newcastle Emlyn. | 0:17:29 | 0:17:30 | |
Just a few weeks into his studies, | 0:17:32 | 0:17:35 | |
26-year-old Roberts experienced a profound religious awakening | 0:17:35 | 0:17:39 | |
after attending a meeting led by Methodist evangelists. | 0:17:39 | 0:17:42 | |
He returned to his hometown of Loughor to spread the word | 0:17:44 | 0:17:47 | |
and his passionate preaching was well received from the start. | 0:17:47 | 0:17:51 | |
Roberts soon began touring Wales, addressing huge crowds. | 0:17:53 | 0:17:58 | |
For the next year, he was constantly on the road. | 0:17:58 | 0:18:00 | |
What happened to Evan Roberts? | 0:18:03 | 0:18:05 | |
This, of course, was an intense moment in his life | 0:18:05 | 0:18:08 | |
and physically and mentally demanding, | 0:18:08 | 0:18:10 | |
and he has what most people would acknowledge would be | 0:18:10 | 0:18:12 | |
some sort of a breakdown and then he retires from public life. | 0:18:12 | 0:18:16 | |
Extraordinary. | 0:18:17 | 0:18:18 | |
Wales had been swept by periodic waves of religious fervour | 0:18:19 | 0:18:23 | |
since the 18th century, but the 1904 revival was the biggest yet. | 0:18:23 | 0:18:28 | |
Lively meetings characterised by spontaneous outbursts of emotion | 0:18:29 | 0:18:34 | |
and rousing singing converted an estimated 100,000 souls. | 0:18:34 | 0:18:39 | |
Alun Ebenezer's uncle, a tin plate worker from Llanelli, | 0:18:40 | 0:18:44 | |
played a part in the story. | 0:18:44 | 0:18:46 | |
Now, tell me about your uncle. | 0:18:46 | 0:18:47 | |
My uncle was the main singer with Evan Roberts | 0:18:47 | 0:18:50 | |
and some of the other revivalists. | 0:18:50 | 0:18:53 | |
His name was Sam Jenkins. | 0:18:53 | 0:18:55 | |
Can you remember what your uncle would sing? | 0:18:55 | 0:18:58 | |
Yes, there was one song in particular which my uncle had | 0:18:58 | 0:19:02 | |
translated into Welsh and it was, um, For Saving A Sinner Like Me. | 0:19:02 | 0:19:08 | |
He asked for the word "sinner" to be changed to "rebel", | 0:19:08 | 0:19:11 | |
so it was changed to For Saving A Rebel Like Me, | 0:19:11 | 0:19:14 | |
and that became quite a well-known hymn during the revival. | 0:19:14 | 0:19:18 | |
In Evan Roberts' day, | 0:19:19 | 0:19:21 | |
Anglicanism was Wales' established religion, | 0:19:21 | 0:19:24 | |
but in 1920, Nonconformists won a long-desired victory | 0:19:24 | 0:19:28 | |
when the Church of England lost its official status in Wales. | 0:19:28 | 0:19:33 | |
By then, however, Nonconformism was in decline. | 0:19:33 | 0:19:37 | |
The revival led by Roberts had been its high-water mark. | 0:19:37 | 0:19:40 | |
"Hear, my brethren, he gave of himself. | 0:19:40 | 0:19:43 | |
"Hear, my friends, Jesus comes out of the grave. | 0:19:43 | 0:19:46 | |
"Men must keep their promise, God will come to them. | 0:19:46 | 0:19:49 | |
"Give him your all, all lands. | 0:19:49 | 0:19:51 | |
"I stir up a few friends who turn back to Jesus, | 0:19:51 | 0:19:55 | |
"but he will need thousands of friends in Wales." | 0:19:55 | 0:19:58 | |
Bill, the revival at the time did have quite an effect | 0:19:58 | 0:20:01 | |
on Welsh society, didn't it? | 0:20:01 | 0:20:03 | |
There was a significant change in sort of people's habits, | 0:20:03 | 0:20:06 | |
if you like. There was a decline in drunkenness, that's evident. | 0:20:06 | 0:20:10 | |
There was also... Undermined popular culture at the time, | 0:20:10 | 0:20:13 | |
particularly sports that had become very well-known. | 0:20:13 | 0:20:16 | |
Rugby clubs closed, | 0:20:16 | 0:20:17 | |
but it's undoubtedly one of the most remarkable events | 0:20:17 | 0:20:20 | |
in the history of modern Wales and one of international significance. | 0:20:20 | 0:20:23 | |
From this small town, I'll travel one stop | 0:20:32 | 0:20:35 | |
to Wales' second-largest city. | 0:20:35 | 0:20:38 | |
"I was born in a large Welsh industrial town | 0:20:43 | 0:20:46 | |
"at the beginning of the Great War - | 0:20:46 | 0:20:48 | |
"an ugly, lovely town - or so it was, and is, to me - | 0:20:48 | 0:20:52 | |
"crawling, sprawling, slummed, unplanned, jerry-villa'd, | 0:20:52 | 0:20:56 | |
"and smug-suburbed by the side of a long and splendid-curving shore." | 0:20:56 | 0:21:02 | |
I'm on my way to Swansea in search of the poet who penned those words, | 0:21:02 | 0:21:07 | |
who, in an alcohol-fuelled life, wrote like an angel. | 0:21:07 | 0:21:12 | |
-Excuse me? -Yes. | 0:21:14 | 0:21:15 | |
Does Dylan Thomas mean anything to you? | 0:21:15 | 0:21:18 | |
-Um, I know he's a famous Welsh writer. -Um, are you Welsh yourself? | 0:21:18 | 0:21:23 | |
-Um, I've got Welsh heritage, but I was born and live in London. -Ah-hah. | 0:21:23 | 0:21:28 | |
And would you know... | 0:21:28 | 0:21:30 | |
..would you know any of the works that Dylan Thomas was famous for? | 0:21:30 | 0:21:33 | |
Uh, Under Milk Wood is really the only one I know. | 0:21:33 | 0:21:35 | |
-It's the most famous, I think. -Yes. | 0:21:35 | 0:21:38 | |
I was just reading a tiny bit there, I don't know whether you heard it? | 0:21:38 | 0:21:40 | |
-Yes. -The way he plays with the words... -The words, yeah. -Wonderful. | 0:21:40 | 0:21:44 | |
It was absolutely beautiful, yeah. | 0:21:44 | 0:21:46 | |
-Well, I'm going in search of Dylan Thomas. -Enjoy your search. | 0:21:46 | 0:21:49 | |
Thank you very much. | 0:21:49 | 0:21:51 | |
Abertawe, as the city is called in the native tongue, | 0:21:55 | 0:21:58 | |
was a hub of south Wales' industrial revolution. | 0:21:58 | 0:22:02 | |
And as soon as I step off the train, my Thomas quest is rewarded. | 0:22:02 | 0:22:07 | |
The poet was born and raised in Swansea's western suburbs | 0:22:10 | 0:22:14 | |
and as a boy he played in the beautifully planted Cwmdonkin Park. | 0:22:14 | 0:22:18 | |
Fondly described by Thomas as a world within the world | 0:22:21 | 0:22:25 | |
of the sea town, the park lies a short walk from his boyhood home. | 0:22:25 | 0:22:29 | |
The house where Dylan Thomas lived as a child. | 0:22:31 | 0:22:34 | |
It's unexpected, it's comfortable, | 0:22:34 | 0:22:36 | |
it's prim, it's proper, it's suburban. | 0:22:36 | 0:22:39 | |
-Geoff Haden manages the house... -Hello, Michael. | 0:22:39 | 0:22:42 | |
And welcome to the Dylan Thomas Birthplace. | 0:22:42 | 0:22:44 | |
-Great to see you, Geoff, thank you very much. -Come on in. | 0:22:44 | 0:22:47 | |
..and conducts guided tours. | 0:22:47 | 0:22:49 | |
It has a very authentic period feel. | 0:22:50 | 0:22:54 | |
Well, I'm glad you like it, it took a long time to get it to this stage. | 0:22:54 | 0:22:57 | |
There was very little to go on, but we were really lucky, we found | 0:22:57 | 0:23:00 | |
the maid, Emily, who had worked here for five years when she was 15 | 0:23:00 | 0:23:04 | |
and Dylan was 16, and so she was able to tell us | 0:23:04 | 0:23:07 | |
all about the house, the colours, the furnishings | 0:23:07 | 0:23:10 | |
and the layout of the house. | 0:23:10 | 0:23:11 | |
A maid? | 0:23:11 | 0:23:12 | |
So we're talking about quite a middle-class family. | 0:23:12 | 0:23:15 | |
Dylan himself described this house as his parents' | 0:23:15 | 0:23:18 | |
professional Glamorgan villa. | 0:23:18 | 0:23:20 | |
So that's quite sardonic. | 0:23:20 | 0:23:22 | |
-Did he write in this house? -He wrote two thirds of his published work. | 0:23:22 | 0:23:26 | |
Um, he lived here for 23 years. | 0:23:26 | 0:23:29 | |
The foundation for all his work came from this house and this area. | 0:23:29 | 0:23:33 | |
And might I see the place where he wrote? | 0:23:33 | 0:23:35 | |
Of course you can, it's his little bedroom upstairs. | 0:23:35 | 0:23:37 | |
This semidetached house was built in 1914, | 0:23:37 | 0:23:41 | |
the year of Dylan Thomas' birth. | 0:23:41 | 0:23:44 | |
But by 2004, it was in use as student digs. | 0:23:44 | 0:23:48 | |
Geoff bought the house and has carefully restored it. | 0:23:48 | 0:23:51 | |
It is very surprisingly small. | 0:23:53 | 0:23:55 | |
So much creativity came out of such a tiny room. | 0:23:55 | 0:23:58 | |
Well, Dylan described it as a room that was so small, | 0:23:58 | 0:24:01 | |
you had to go outside to turn around. | 0:24:01 | 0:24:03 | |
Big enough for a bed, a desk, a chair. | 0:24:03 | 0:24:06 | |
There was a good library here? | 0:24:06 | 0:24:08 | |
A very good library in his father's study | 0:24:08 | 0:24:10 | |
and that's where Dylan was allowed | 0:24:10 | 0:24:12 | |
to go and read anything and everything | 0:24:12 | 0:24:14 | |
from Tiger Tim's Annual to Shakespeare and Dickens. | 0:24:14 | 0:24:18 | |
Why do you think we still feel | 0:24:18 | 0:24:19 | |
so much interest in this son of Swansea? | 0:24:19 | 0:24:21 | |
I think it's because he's a bit of an enigma. | 0:24:21 | 0:24:24 | |
He is, to some people, a drunk and a womaniser. | 0:24:24 | 0:24:27 | |
To others, he's a small, shy boy who becomes a celebrity. | 0:24:27 | 0:24:31 | |
He's like the first rock star, | 0:24:31 | 0:24:33 | |
and like so many of those rock stars, he was self-destructive. | 0:24:33 | 0:24:38 | |
Thomas published his first book when he was 20. | 0:24:38 | 0:24:42 | |
Although he's known as a poet, his vast body of work also | 0:24:42 | 0:24:45 | |
includes film, radio and television scripts, short stories and plays. | 0:24:45 | 0:24:50 | |
-Jeff. -Sit down. | 0:24:50 | 0:24:53 | |
Thank you so much. | 0:24:53 | 0:24:54 | |
Jeff Towns is a lifelong Dylan Thomas fan. | 0:24:54 | 0:24:58 | |
-Well, Jeff, thank you very much. -Cheers. -Cheers. | 0:24:58 | 0:25:01 | |
-So, I suppose Dylan Thomas came here, did he? -I'm sure he did. | 0:25:01 | 0:25:05 | |
I don't think there's a pub in Swansea that he didn't go to! | 0:25:05 | 0:25:07 | |
Does Swansea appear a lot in his work? | 0:25:07 | 0:25:10 | |
Particularly in his prose, really. | 0:25:10 | 0:25:12 | |
And there's Return Journey, a journey back to Swansea. | 0:25:12 | 0:25:14 | |
A Child's Christmas In Wales is Swansea. Holiday Memory is Swansea. | 0:25:14 | 0:25:18 | |
And we can recognise specific places in the work, can we? | 0:25:18 | 0:25:21 | |
You can, if you know the geography, | 0:25:21 | 0:25:23 | |
because he wrote a short story called The Followers, | 0:25:23 | 0:25:25 | |
his only ghost story, and right next to us is Salubrious Passage, | 0:25:25 | 0:25:31 | |
the Georgian passageway, and this is the No Sign Wine Bar, | 0:25:31 | 0:25:34 | |
but I think Dylan thought that those were just too Dylan-esque for him. | 0:25:34 | 0:25:38 | |
So, Salubrious Passage becomes Paradise Alley | 0:25:38 | 0:25:40 | |
and the No Sign Bar becomes The Vaults. | 0:25:40 | 0:25:43 | |
-He refers to Swansea as, "Ugly - lovely to me." -Mm. | 0:25:43 | 0:25:47 | |
Which was it for him, do you think? | 0:25:47 | 0:25:49 | |
He was a little bit ashamed of his bourgeois middle-class upbringing | 0:25:49 | 0:25:52 | |
and he wanted to be more bohemian. | 0:25:52 | 0:25:55 | |
So, at times he would say he couldn't wait to get away from Swansea, | 0:25:55 | 0:25:59 | |
but once he went away, he couldn't wait to get back. | 0:25:59 | 0:26:02 | |
There's a wonderful Welsh word, "hiraeth". | 0:26:02 | 0:26:05 | |
It doesn't translate, but hiraeth means a love of home, | 0:26:05 | 0:26:09 | |
and wanting to be home, and his letters are infused - | 0:26:09 | 0:26:12 | |
"Swansea is still the best place. | 0:26:12 | 0:26:15 | |
"I want to hear our sweet town accent." | 0:26:15 | 0:26:19 | |
He was passionate about his hometown. | 0:26:19 | 0:26:21 | |
But the thing about Dylan Thomas was, he never grew up. | 0:26:21 | 0:26:23 | |
You know, that poem, Fern Hill, "As I was young and easy," | 0:26:23 | 0:26:28 | |
his problem was that he never grew up. | 0:26:28 | 0:26:29 | |
And then drink was a problem. | 0:26:29 | 0:26:32 | |
I mean, being drunk was part of his shtick, what a writer did, | 0:26:32 | 0:26:36 | |
and I think, as his life progressed, it took hold of him | 0:26:36 | 0:26:40 | |
and by the time he was in America, drinking double whiskies, | 0:26:40 | 0:26:43 | |
big whiskies and getting plied with drink, it just became too much. | 0:26:43 | 0:26:48 | |
His was a short and turbulent life. | 0:26:54 | 0:26:57 | |
Dylan Thomas died when he was just 39 years old. | 0:27:00 | 0:27:04 | |
Spread below me is what Dylan Thomas called the sprawling, | 0:27:12 | 0:27:16 | |
crawling town of Swansea. | 0:27:16 | 0:27:19 | |
By the beginning of the 20th century, | 0:27:19 | 0:27:21 | |
the relentless march of technology had urbanised | 0:27:21 | 0:27:24 | |
and industrialised south Wales with tumultuous results. | 0:27:24 | 0:27:29 | |
One was the rail strike in Llanelli, which resulted in several deaths. | 0:27:29 | 0:27:33 | |
Another was the Welsh religious revival, | 0:27:33 | 0:27:37 | |
which urged the Welsh, amongst the smoke and the grime | 0:27:37 | 0:27:40 | |
and the pursuit of profit, to rediscover God and to give up drink. | 0:27:40 | 0:27:46 | |
The latter message at least was lost on Dylan Thomas. | 0:27:46 | 0:27:50 | |
Next time, I discover how money is made in Wales... | 0:27:55 | 0:27:58 | |
And when the guard opens it will come out. | 0:28:00 | 0:28:02 | |
HE LAUGHS | 0:28:03 | 0:28:04 | |
..test my sea legs and my lungs... | 0:28:04 | 0:28:07 | |
Oh, come down! | 0:28:07 | 0:28:09 | |
GROANING: Oh, come down! | 0:28:09 | 0:28:11 | |
..and get back on the track over 1,300 feet above sea level. | 0:28:12 | 0:28:17 | |
TRAIN WHISTLE HOOTS | 0:28:17 | 0:28:19 |