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I'm embarking on a new railway adventure that will take me | 0:00:02 | 0:00:05 | |
across the heart of Europe. | 0:00:05 | 0:00:07 | |
I'll be using this - | 0:00:10 | 0:00:12 | |
my Bradshaw's Continental Railway Guide, dated 1913, which | 0:00:12 | 0:00:17 | |
opened up an exotic world of foreign travel for the British tourist. | 0:00:17 | 0:00:22 | |
'It told travellers where to go, what to see and how to navigate | 0:00:22 | 0:00:26 | |
'the thousands of miles of tracks crisscrossing the continent. | 0:00:26 | 0:00:30 | |
'Now, a century later, | 0:00:30 | 0:00:32 | |
'I'm using my copy to reveal an era of great optimism and energy, | 0:00:32 | 0:00:36 | |
'where technology, industry, science and the arts were flourishing.' | 0:00:36 | 0:00:41 | |
I want to rediscover that lost Europe that, in 1913, couldn't know | 0:00:42 | 0:00:47 | |
that its way of life would shortly be swept aside by the advent of war. | 0:00:47 | 0:00:52 | |
'On the second part of my journey through Denmark, Sweden and Norway, | 0:01:06 | 0:01:10 | |
'I have a Highland fling, Scandinavian style...' | 0:01:10 | 0:01:14 | |
ALL: Skal! | 0:01:14 | 0:01:16 | |
'I discover the tiny origins of one of Sweden's greatest icons...' | 0:01:18 | 0:01:23 | |
'Rediscover a powerful waterfall...' | 0:01:25 | 0:01:28 | |
That is spectacular! | 0:01:29 | 0:01:32 | |
'And brave a white-knuckle ride | 0:01:32 | 0:01:34 | |
'based on a winter sport invented by Norwegians.' | 0:01:34 | 0:01:38 | |
Whee-hoo! | 0:01:38 | 0:01:41 | |
One of the great experiences of my life. | 0:01:41 | 0:01:44 | |
'My adventure began in Denmark's capital Copenhagen, crossed | 0:01:46 | 0:01:50 | |
'the famous Oresund Bridge to Malmo in Sweden. | 0:01:50 | 0:01:54 | |
'I'm now travelling north along Sweden's west coast to Gothenburg, | 0:01:54 | 0:01:59 | |
'then on to Trollhatten | 0:01:59 | 0:02:01 | |
'before heading to Norway's capital Oslo. | 0:02:01 | 0:02:04 | |
'I'd been told that in the countryside | 0:02:04 | 0:02:06 | |
'just outside the town of Lund, | 0:02:06 | 0:02:08 | |
'there's an attraction of appeal to a railway buff like me. | 0:02:08 | 0:02:11 | |
'Marina Merle will direct my tracks.' | 0:02:11 | 0:02:14 | |
Hi. Nice to meet you. | 0:02:14 | 0:02:15 | |
-What a very nice day for a picnic. -Yes, very nice. | 0:02:15 | 0:02:18 | |
-So, we're going to cycle on these contraptions. -Yes. | 0:02:18 | 0:02:22 | |
What is the history of this device? | 0:02:22 | 0:02:24 | |
The device itself was invented in the 1840s, | 0:02:24 | 0:02:27 | |
so the track inspectors could see | 0:02:27 | 0:02:31 | |
if there was anything wrong on the tracks. | 0:02:31 | 0:02:33 | |
And they actually stopped using them when the trains became too fast. | 0:02:33 | 0:02:38 | |
I've never seen this before as a tourist attraction. | 0:02:38 | 0:02:41 | |
Are there many places where these bikes are available? | 0:02:41 | 0:02:44 | |
-It's not that common. -Well, it's absolutely a first for me. | 0:02:44 | 0:02:47 | |
Um... Do you know a nice spot to go picnicking? | 0:02:47 | 0:02:50 | |
-Yes, three kilometres down the road. -Excellent! Um... | 0:02:50 | 0:02:54 | |
-May I cycle you? -Sure! | 0:02:54 | 0:02:57 | |
'We're riding along a stretch of disused railway | 0:02:59 | 0:03:02 | |
'between Bjornstorp and Veberod. | 0:03:02 | 0:03:04 | |
'This local line closed in the 1970s. | 0:03:04 | 0:03:07 | |
It's fun because this combines cycling | 0:03:07 | 0:03:10 | |
with all the sounds of the railway. | 0:03:10 | 0:03:12 | |
-Yes, exactly. -Going over the track, the duh-duh, duh-duh. | 0:03:12 | 0:03:15 | |
It's very peaceful, even though you're doing an activity. | 0:03:16 | 0:03:21 | |
'That vigorous peddling has worked up my appetite.' | 0:03:23 | 0:03:26 | |
So does anything tell us that this is a typical Lund smorgasbord? Yes! | 0:03:29 | 0:03:33 | |
My Lund sausage tells us that. Anything else? | 0:03:33 | 0:03:38 | |
Well, in that case, it should be this cake. That's very regional. | 0:03:38 | 0:03:41 | |
It's called Spettkaka, and it's very sweet and contains a lot of eggs. | 0:03:41 | 0:03:46 | |
-Mm! And would you care for some crayfish? -Yeah. That's... | 0:03:46 | 0:03:49 | |
We love our crayfish in Sweden. We have crayfish parties every August. | 0:03:49 | 0:03:55 | |
-It's very traditional. -Look at all that goodness in it! | 0:03:55 | 0:03:59 | |
-Don't try this at home. -Aargh! I don't even do that! | 0:03:59 | 0:04:03 | |
THEY LAUGH | 0:04:03 | 0:04:05 | |
-I'm going to try sawing into my brick here. -Oh, good luck! | 0:04:05 | 0:04:09 | |
THEY LAUGH | 0:04:09 | 0:04:11 | |
-It's very dense, that bread. -I know. | 0:04:11 | 0:04:12 | |
This is the sort of matter that Einstein used to write about. | 0:04:12 | 0:04:16 | |
Usually, it's not that thickly sliced. | 0:04:17 | 0:04:19 | |
-Mm. Everyone's a critic. Can I offer you some aquavit? -Sure. -Wow. | 0:04:22 | 0:04:28 | |
-Marina, thank you so much. -Thank you. | 0:04:28 | 0:04:31 | |
-One of the loveliest smorgasbords I've ever had. -Sure. | 0:04:31 | 0:04:34 | |
'With my spirits high, I'm ready to catch the Swedish intercity | 0:04:45 | 0:04:49 | |
'that'll take me north along the West Coast Line, or Vastkustbanan.' | 0:04:49 | 0:04:53 | |
I'm on my way now to what the Swedish call Goteborg, | 0:04:55 | 0:04:57 | |
but we call Gothenburg. | 0:04:57 | 0:04:59 | |
And it's a journey of very nearly three hours, | 0:04:59 | 0:05:02 | |
so I'm looking forward to putting my feet up and relaxing. | 0:05:02 | 0:05:05 | |
I'm travelling 163 miles on a line that runs parallel with | 0:05:08 | 0:05:12 | |
the Kattegat strait. | 0:05:12 | 0:05:14 | |
Standing on the mouth of the Gota alv river, | 0:05:28 | 0:05:30 | |
Gothenburg is Sweden's second-largest city. | 0:05:30 | 0:05:33 | |
With the largest port in Scandinavia, | 0:05:34 | 0:05:37 | |
the city was a world leader in shipbuilding. | 0:05:37 | 0:05:39 | |
But the man who founded that industry wasn't a Swede | 0:05:41 | 0:05:44 | |
but a Scot who crossed the North Sea from Dundee in 1826. | 0:05:44 | 0:05:48 | |
Alexander Keiller was one of many Scots | 0:05:50 | 0:05:53 | |
who made Gothenburg their home. | 0:05:53 | 0:05:54 | |
'Professor Klas Linderborg knows more.' | 0:06:07 | 0:06:10 | |
How was this Scotsman received in Gothenburg? | 0:06:12 | 0:06:14 | |
They had been here from the very start. | 0:06:14 | 0:06:17 | |
When the city was founded, | 0:06:17 | 0:06:20 | |
people were invited to move to boom their business to Goteborg. | 0:06:20 | 0:06:25 | |
And there were Dutch people, German and Scotsmen. | 0:06:25 | 0:06:28 | |
The Scottish connection continued for a very long time. | 0:06:28 | 0:06:31 | |
I mean, with a fair wind, you could go to Britain in a week, | 0:06:31 | 0:06:35 | |
-but it took a month to go to Stockholm. -Really? | 0:06:35 | 0:06:39 | |
So the sea was joining countries, not separating them. | 0:06:39 | 0:06:42 | |
-And does any Scottish connection continue in Gothenburg? -Yes. | 0:06:42 | 0:06:45 | |
Actually, we have a branch here | 0:06:45 | 0:06:48 | |
from the Royal Scottish Country Dance Society. | 0:06:48 | 0:06:50 | |
-We were the third in Europe, outside the British Islands... -Really? | 0:06:50 | 0:06:55 | |
..to be fully approved by the Scottish Society. | 0:06:55 | 0:06:58 | |
And we actually have a dance tonight... | 0:06:58 | 0:07:00 | |
-..if you would like to join us? -That's delightful. | 0:07:02 | 0:07:05 | |
'About 500 miles lie between Scotland and Sweden, | 0:07:08 | 0:07:12 | |
'but some Swedes work hard to keep the bond alive. | 0:07:12 | 0:07:15 | |
'And given the maritime links between the two nations, | 0:07:18 | 0:07:21 | |
'it seems appropriate that the dance should take place aboard a ship, | 0:07:21 | 0:07:25 | |
'the Viking.' | 0:07:25 | 0:07:27 | |
-Hello, everybody. -Hello. | 0:07:27 | 0:07:28 | |
-Thank you for having me to your dance. Hello. -Hello. -Good evening. | 0:07:28 | 0:07:32 | |
-Do you know the dance that we're doing this evening? -Yes, I do. | 0:07:32 | 0:07:35 | |
-What's it called? -It's called Gothenburg's Welcome. | 0:07:35 | 0:07:38 | |
-Is it an easy dance? -No! -Oh! | 0:07:38 | 0:07:40 | |
THEY LAUGH | 0:07:40 | 0:07:42 | |
I'm going to make a complete fool of myself! | 0:07:44 | 0:07:47 | |
'I really don't want to show myself up. | 0:07:51 | 0:07:53 | |
'After all, my mother's family is Scottish.' | 0:07:53 | 0:07:55 | |
Change. | 0:07:55 | 0:07:56 | |
SCOTTISH COUNTRY DANCE MUSIC | 0:07:56 | 0:08:02 | |
-Oh, no! I missed it completely! -Very nice. | 0:08:15 | 0:08:18 | |
'I'm not sure they'll invite me back.' | 0:08:18 | 0:08:20 | |
-All the way. -Oh, sorry. | 0:08:23 | 0:08:25 | |
Take my place. | 0:08:25 | 0:08:26 | |
Stick your right hand out. | 0:08:28 | 0:08:30 | |
Ha! | 0:08:38 | 0:08:39 | |
THEY CLAP | 0:08:39 | 0:08:40 | |
Well... It goes on. | 0:08:40 | 0:08:43 | |
Well done! Well done! | 0:08:43 | 0:08:45 | |
Guys, a little peace offering. | 0:08:47 | 0:08:49 | |
I'm so sorry that I was so bad at Scottish dancing, | 0:08:49 | 0:08:51 | |
but I'm not bad at Scottish drinking. | 0:08:51 | 0:08:54 | |
-So have a whisky. -Skal! -Skal! | 0:08:54 | 0:08:58 | |
From the high seas to the high roads, | 0:09:01 | 0:09:04 | |
Gothenburg is home to perhaps the greatest Swedish icon of all. | 0:09:04 | 0:09:09 | |
Now a global brand, its origin was a technology invented here | 0:09:10 | 0:09:15 | |
for the motor industry in 1907, the self-aligning ball bearing. | 0:09:15 | 0:09:20 | |
The Gothenburg group which produced these ball bearings | 0:09:22 | 0:09:25 | |
registered a new company in 1915, | 0:09:25 | 0:09:28 | |
and when two employees decided to build the first mass-produced | 0:09:28 | 0:09:31 | |
Swedish car, they maintained the ball bearing-inspired name - | 0:09:31 | 0:09:37 | |
the Latin for "I roll", Volvo. | 0:09:37 | 0:09:40 | |
'I'm meeting Soren Nebo from the company's museum to find out more.' | 0:09:40 | 0:09:45 | |
-Magnificent! -Hello, Michael. -Soren, how lovely to see you. | 0:09:45 | 0:09:48 | |
-Nice to see you. -What a beautiful car! -Isn't it nice? | 0:09:48 | 0:09:51 | |
What would be the idea of a Swedish car? | 0:09:53 | 0:09:55 | |
Why, particularly, a Swedish car? | 0:09:55 | 0:09:57 | |
Well, we're looking at it from the sake of quality at the time | 0:09:57 | 0:10:00 | |
because most of the cars that we had were imports. | 0:10:00 | 0:10:04 | |
This was still a very, you could say, undeveloped country | 0:10:04 | 0:10:07 | |
in terms of roads and transportation. | 0:10:07 | 0:10:09 | |
So they were braking, | 0:10:09 | 0:10:10 | |
they were still quite expensive, also, because predominantly, | 0:10:10 | 0:10:14 | |
American cars that we had in, with the very soft suspension, | 0:10:14 | 0:10:18 | |
and they said, look, we need something more sturdy | 0:10:18 | 0:10:20 | |
and better suited for the market, for the country. | 0:10:20 | 0:10:23 | |
In April 1927, the first Volvo rolled off the production line. | 0:10:25 | 0:10:30 | |
Since then, they produced almost 18 million, | 0:10:31 | 0:10:34 | |
making it one of Sweden's greatest exports. | 0:10:34 | 0:10:37 | |
From ball bearing to Volvo, from a tiny acorn grows the mighty oak. | 0:10:44 | 0:10:50 | |
Well, well, well! I've really enjoyed my trip in the car. | 0:10:50 | 0:10:52 | |
Thank you for letting me drive. Thank you so much. | 0:10:52 | 0:10:55 | |
-Thank you, Michael. -Bye-bye. -Bye-bye. | 0:10:55 | 0:10:57 | |
'I'm leaving Gothenburg to head north and inland.' | 0:11:02 | 0:11:06 | |
My guidebook urges me to | 0:11:10 | 0:11:11 | |
"find time to visit the fine falls of Trollhattan | 0:11:11 | 0:11:15 | |
"and the splendid locks that enable the waterway to bypass the cascade. | 0:11:15 | 0:11:20 | |
"What an opportunity to see the wonders of nature | 0:11:20 | 0:11:23 | |
"and the achievements of man in one place." | 0:11:23 | 0:11:26 | |
According to Bradshaw's, there's a wide gorge, | 0:11:31 | 0:11:34 | |
and within it, a fine succession of rapids. | 0:11:34 | 0:11:37 | |
'But on arrival, I find there's little more than a trickle. | 0:11:52 | 0:11:56 | |
'To find out what happened to the falls, | 0:11:56 | 0:11:58 | |
'I'm meeting Magnus Carlsen from the Olidan Power Station.' | 0:11:58 | 0:12:02 | |
-Hello. -Hello. -I'm a bit surprised. | 0:12:02 | 0:12:05 | |
I came with my Bradshaw's guidebook, looking for the falls, | 0:12:05 | 0:12:09 | |
and I find, instead, a power station. | 0:12:09 | 0:12:11 | |
-So was this built after 1913? -No. The power station was built in 1910. | 0:12:11 | 0:12:17 | |
It was the start of the large electrification of Sweden, | 0:12:17 | 0:12:21 | |
and it was Sweden's first large hydropower plant. | 0:12:21 | 0:12:26 | |
This is an area of outstanding natural beauty. | 0:12:26 | 0:12:28 | |
Was it controversial to build the power station here? | 0:12:28 | 0:12:31 | |
I don't think so. It was a push to have the region industrial. | 0:12:31 | 0:12:37 | |
So they looked to the West - the UK and America - | 0:12:39 | 0:12:43 | |
-and wanted to have industrial things, like them. -Yeah. | 0:12:43 | 0:12:49 | |
You Swedish are as lucky as we British are in having lots of water. | 0:12:49 | 0:12:52 | |
Yeah. We have British rain falling down here! | 0:12:52 | 0:12:55 | |
And we gather it in the Lake Vanern. | 0:12:55 | 0:12:58 | |
'British rain and this hydroelectric power station helped to transform | 0:13:01 | 0:13:05 | |
'the country from an agrarian society | 0:13:05 | 0:13:08 | |
'into a modern industrial state.' | 0:13:08 | 0:13:09 | |
Ho-ho! It's absolutely enormous, isn't it? | 0:13:11 | 0:13:14 | |
I had no idea it would be that big. | 0:13:14 | 0:13:17 | |
And that sound is the sound of the water rushing through | 0:13:17 | 0:13:20 | |
the turbines, is it? | 0:13:20 | 0:13:21 | |
It's also the sound of the machinery. They enrage us. | 0:13:21 | 0:13:25 | |
'The water from the falls, described in my Bradshaw's, has been | 0:13:26 | 0:13:30 | |
'diverted to spin these turbines and to generate electricity. | 0:13:30 | 0:13:35 | |
'But Magnus is generously going to release the torrent | 0:13:35 | 0:13:39 | |
'so that I can see the falls in all their natural splendour.' | 0:13:39 | 0:13:42 | |
That is spectacular! | 0:13:48 | 0:13:50 | |
'After recharging my batteries in Trollhattan, | 0:13:50 | 0:13:53 | |
'it's time to leave Sweden | 0:13:53 | 0:13:55 | |
'and head to my third and final country on this trip, Norway. | 0:13:55 | 0:13:59 | |
My Bradshaw's says, "Although the comforts | 0:14:00 | 0:14:03 | |
"and attractions of central Europe | 0:14:03 | 0:14:05 | |
"are not to be expected in Norway, the healthy, hearty | 0:14:05 | 0:14:09 | |
"and good-tempered tourist, the sportsman | 0:14:09 | 0:14:11 | |
"and the admirer of natural beauty, who's willing to bear | 0:14:11 | 0:14:15 | |
"and to forbear, and even occasionally to rough it, | 0:14:15 | 0:14:19 | |
"will be amply rewarded." With a recommendation like that, | 0:14:19 | 0:14:23 | |
I imagine that Norway remained pretty exclusive in 1913. | 0:14:23 | 0:14:27 | |
'Norway was then a young nation. | 0:14:31 | 0:14:34 | |
'Norwegians had voted to dissolve their union with Sweden in 1905. | 0:14:34 | 0:14:39 | |
'Instead of forming a republic, they decided, overwhelmingly, | 0:14:39 | 0:14:43 | |
'to institute their own monarchy.' | 0:14:43 | 0:14:45 | |
Britain's King, Edward VII, used his influence | 0:14:47 | 0:14:49 | |
to secure the Norwegian throne for his son-in-law, Carl, | 0:14:49 | 0:14:53 | |
husband to his daughter, Maud. | 0:14:53 | 0:14:55 | |
'Prince Carl assumed an ancient royal Norwegian name, | 0:14:57 | 0:15:01 | |
'King Harken VII.' | 0:15:01 | 0:15:03 | |
Following independence, | 0:15:08 | 0:15:09 | |
the capital of Norway reverted to the old Norwegian name of Oslo. | 0:15:09 | 0:15:14 | |
This was a country that was new. | 0:15:14 | 0:15:16 | |
This was a country that was independent. | 0:15:16 | 0:15:18 | |
And its artistic outpourings were distinctly modern. | 0:15:18 | 0:15:21 | |
Architects, artists, musicians and writers flourished in this city | 0:15:28 | 0:15:33 | |
that is home to the Nobel prizes. | 0:15:33 | 0:15:36 | |
'But Norway's most famous writer, Henrik Ibsen, | 0:15:36 | 0:15:39 | |
'controversially was rejected by the Nobel judges.' | 0:15:39 | 0:15:42 | |
A poet, playwright and theatre director, | 0:15:43 | 0:15:46 | |
Ibsen is the world's most frequently performed dramatist after Shakespeare. | 0:15:46 | 0:15:50 | |
'His house has been turned into a museum, | 0:15:52 | 0:15:55 | |
'where I'm meeting director Erik Edvardsen.' | 0:15:55 | 0:15:58 | |
Hello, Michael. Welcome in to Ibsen's home. | 0:15:58 | 0:16:00 | |
Thank you, Erik. Good to see you. | 0:16:00 | 0:16:02 | |
What situations do we find in an Ibsen play? | 0:16:02 | 0:16:05 | |
Was this new, what Ibsen was doing? | 0:16:30 | 0:16:32 | |
Ibsen is known for the realism of plays like A Doll's House | 0:16:52 | 0:16:56 | |
and Hedda Gabler. | 0:16:56 | 0:16:57 | |
'As he captured real-life situations, | 0:16:59 | 0:17:01 | |
'he commented on everyday inequalities between men and women. | 0:17:01 | 0:17:06 | |
'Society was changing. | 0:17:06 | 0:17:08 | |
'Women were starting to take control of their lives | 0:17:08 | 0:17:10 | |
'and to demand equality, | 0:17:10 | 0:17:12 | |
'as reflected in Ibsen's strong female characters.' | 0:17:12 | 0:17:16 | |
What about his relationship with his wife? | 0:17:17 | 0:17:19 | |
Well, that was very close and for a long period. | 0:17:19 | 0:17:22 | |
They were married for 50 years. | 0:17:22 | 0:17:25 | |
But she was also one that looked after him, | 0:17:25 | 0:17:28 | |
but she decided that at nine o'clock in the morning, | 0:17:28 | 0:17:31 | |
he had to be in here at the desk and start the day. | 0:17:31 | 0:17:35 | |
If not, he was not free at half past 11, | 0:17:35 | 0:17:38 | |
to walk down to Grand Cafe and take a drink, | 0:17:38 | 0:17:40 | |
which he did every day. | 0:17:40 | 0:17:41 | |
The Grand Cafe was a home from home for Oslo's writers and artists. | 0:17:46 | 0:17:51 | |
Behind me is a mural depicting some of the cultured bourgeoisie | 0:17:56 | 0:18:00 | |
who frequented the Grand Cafe at the end of the 19th century, | 0:18:00 | 0:18:03 | |
beginning of the 20th century. | 0:18:03 | 0:18:04 | |
There is Henrik Ibsen with his distinctive top hat. | 0:18:04 | 0:18:08 | |
And behind me, the somewhat emaciated face, | 0:18:08 | 0:18:10 | |
is the artist Edvard Munch. | 0:18:10 | 0:18:12 | |
Widely imitated, and not just by me, | 0:18:16 | 0:18:18 | |
The Scream is one of the most expensive paintings in the world, | 0:18:18 | 0:18:23 | |
selling recently for nearly 120 million. | 0:18:23 | 0:18:26 | |
Munch created four versions of The Scream, | 0:18:28 | 0:18:30 | |
and one is at Norway's National Museum. | 0:18:30 | 0:18:33 | |
The curator is Maibritt Gulling. | 0:18:33 | 0:18:36 | |
-Welcome... -Thank you very much. -..to the National Gallery. | 0:18:36 | 0:18:39 | |
The Scream, the first time I have ever seen it for real. | 0:18:48 | 0:18:52 | |
I've seen it reproduced so often. It's smaller than I imagined. | 0:18:52 | 0:18:57 | |
The colours are dirtier than I imagined. But, my goodness! | 0:18:57 | 0:19:01 | |
It remains very, very powerful. | 0:19:01 | 0:19:03 | |
Of course, the face and then the red streaks through the sky. | 0:19:03 | 0:19:07 | |
Why has it become so iconic? | 0:19:07 | 0:19:09 | |
Because of the strength of the central figure, | 0:19:09 | 0:19:14 | |
because it's hard to say exactly what it is. | 0:19:14 | 0:19:19 | |
Is it a male, female figure? | 0:19:19 | 0:19:22 | |
Is it a foetus? Is it a skeleton? A ghost? | 0:19:22 | 0:19:26 | |
So you really can't say for sure. | 0:19:26 | 0:19:28 | |
And that ambiguity is something that, I think, | 0:19:28 | 0:19:32 | |
opens up to so many possible interpretations. | 0:19:32 | 0:19:36 | |
But also, of course, it was very important | 0:19:36 | 0:19:39 | |
because it's a very strong painting about emotion. | 0:19:39 | 0:19:43 | |
Where does Munch stand in the history of painting? | 0:19:43 | 0:19:46 | |
He's one of the classic modernists | 0:19:46 | 0:19:48 | |
and he has achieved that position | 0:19:48 | 0:19:51 | |
because of the way he has made paintings | 0:19:51 | 0:19:53 | |
that really mean something to us because of the motives and the way | 0:19:53 | 0:19:57 | |
they are painted and the strong manner in which they are painted. | 0:19:57 | 0:20:02 | |
And he is often associated with being the first Expressionist painter. | 0:20:02 | 0:20:08 | |
For Edvard Munch, The Scream was "a study of the soul, | 0:20:11 | 0:20:15 | |
"a study of my own self." | 0:20:15 | 0:20:17 | |
He later described the personal anguish behind the painting | 0:20:17 | 0:20:21 | |
and said that "Nature was screaming in my blood." | 0:20:21 | 0:20:24 | |
'But while nature seemed to scream at Munch, for most Norwegians, | 0:20:26 | 0:20:30 | |
'nature means peace and tranquillity. | 0:20:30 | 0:20:33 | |
'Love of the great outdoors | 0:20:33 | 0:20:34 | |
'is ingrained in the national consciousness, | 0:20:34 | 0:20:38 | |
'and Norwegians have a deep affinity with their fjords and mountains.' | 0:20:38 | 0:20:41 | |
This is interesting, in a guidebook written in 1913. | 0:20:43 | 0:20:45 | |
"It's only recently that English people have begun to discover | 0:20:45 | 0:20:49 | |
"that the best of everything in a winter holiday | 0:20:49 | 0:20:52 | |
"is to be found in Norway, | 0:20:52 | 0:20:54 | |
"where winter sports may be enjoyed in a crisp, exhilarating air | 0:20:54 | 0:20:58 | |
"that makes one feel glad to be alive." | 0:20:58 | 0:21:01 | |
And it suggests that I make a visit | 0:21:01 | 0:21:03 | |
to the skiing competition of Holmenkollen, | 0:21:03 | 0:21:06 | |
and so I've jumped to it. | 0:21:06 | 0:21:08 | |
Ski jumping as a sport originated here in Norway. | 0:21:13 | 0:21:17 | |
We think of it as a modern sport, | 0:21:17 | 0:21:19 | |
but in a show of bravado in 1809, | 0:21:19 | 0:21:22 | |
a Norwegian army officer launched himself 9.5m into the air. | 0:21:22 | 0:21:27 | |
Today, the world record stands at 246m, | 0:21:31 | 0:21:34 | |
the equivalent of the length of two and a half football pitches. | 0:21:34 | 0:21:38 | |
And the most striking and modern ski jump in the world | 0:21:38 | 0:21:42 | |
is here at Holmenkollen. | 0:21:42 | 0:21:43 | |
But underneath the ski jump, in the Ski Museum, | 0:21:45 | 0:21:48 | |
there is a piece of British history | 0:21:48 | 0:21:50 | |
which curator Karin Berg wants to show me. | 0:21:50 | 0:21:52 | |
So, Michael, I have something very special for you. | 0:21:54 | 0:21:58 | |
It's, um, a treasure | 0:21:58 | 0:22:01 | |
because these skis, which I have taken out from the showcase, | 0:22:01 | 0:22:06 | |
from the exhibition itself, | 0:22:06 | 0:22:08 | |
is Scott's skis itself. | 0:22:08 | 0:22:11 | |
-That is extraordinary. -Ja. | 0:22:11 | 0:22:13 | |
-Scott was beaten to the South Pole by a Norwegian. -Yes. | 0:22:13 | 0:22:17 | |
Ja. It was Roald Amundsen, | 0:22:17 | 0:22:19 | |
and the members of his exposition. | 0:22:19 | 0:22:21 | |
They were the first to plant the Norwegian flag at the South Pole. | 0:22:21 | 0:22:26 | |
What did it mean to Norway to have the first man at the South Pole? | 0:22:26 | 0:22:30 | |
Oh, this question is enormous, | 0:22:31 | 0:22:33 | |
but you must remember that we were a young, new nation | 0:22:33 | 0:22:38 | |
and Roald Amundsen enthused this as gathering the nation together | 0:22:38 | 0:22:44 | |
and spreading out the message | 0:22:44 | 0:22:47 | |
what you really could do with these brown planks, | 0:22:47 | 0:22:50 | |
this means of survival, and he writes about this spreading to the world. | 0:22:50 | 0:22:57 | |
This has to do, Michael, with roots and identity | 0:22:57 | 0:23:01 | |
going back to the Viking period again. | 0:23:01 | 0:23:04 | |
Amundsen said, "Victory awaits him who has everything in order. | 0:23:08 | 0:23:13 | |
"Luck, people call it. Defeat is certain for him | 0:23:13 | 0:23:17 | |
"who has neglected to take the necessary precautions in time. | 0:23:17 | 0:23:22 | |
"This is called bad luck." | 0:23:22 | 0:23:23 | |
In that sense, Britain's Robert Falcon Scott was unlucky. | 0:23:25 | 0:23:29 | |
His party made it to the South Pole 33 days after Amundsen, | 0:23:29 | 0:23:33 | |
on 17th January, 1912. | 0:23:33 | 0:23:36 | |
Dejected, Scott's party turned back | 0:23:36 | 0:23:39 | |
but were blighted by blizzards, hypothermia and starvation, | 0:23:39 | 0:23:43 | |
and never made it back to base. | 0:23:43 | 0:23:45 | |
The rescue party was led by the Norwegian | 0:23:46 | 0:23:49 | |
who had taught Scott to ski, Trygve Gran. | 0:23:49 | 0:23:53 | |
They found, then, the tent with the three bodies - | 0:23:53 | 0:23:58 | |
Scott, Bowers, Wilson. The two others had died before. | 0:23:58 | 0:24:03 | |
And Trygve Gran and the others made a grave about this. | 0:24:06 | 0:24:10 | |
They took snow masses around the tent | 0:24:10 | 0:24:14 | |
and Trygve Gran, he pointed out, | 0:24:14 | 0:24:17 | |
he put his own skis at the top of the tent | 0:24:17 | 0:24:21 | |
and then he took Scott's skis on his own feet, | 0:24:21 | 0:24:26 | |
so these skis, used by Scott, | 0:24:26 | 0:24:29 | |
has been from Cape Evans to the South Pole and back again. | 0:24:29 | 0:24:34 | |
Tales of such fortitude cannot fail to inspire. | 0:24:46 | 0:24:49 | |
Time to show some true grit of my own. | 0:24:51 | 0:24:54 | |
It's a lovely view and a long way down, and I have a feeling | 0:24:57 | 0:25:00 | |
I'm going to cover the distance between here and there very fast. | 0:25:00 | 0:25:04 | |
At the top of the ski jump, around 60m above the ground, | 0:25:07 | 0:25:11 | |
there is a new white-knuckle experience. | 0:25:11 | 0:25:13 | |
Do many people pull out at this stage? | 0:25:13 | 0:25:16 | |
Actually, we had a five-year-old. | 0:25:16 | 0:25:18 | |
-Oh. -That's the only one. -Only a five-year-old. OK. | 0:25:18 | 0:25:20 | |
Ohhh! | 0:25:20 | 0:25:22 | |
'If I'm going to keep the British end up, I can't pull out now.' | 0:25:22 | 0:25:26 | |
After all those stories of courage, | 0:25:26 | 0:25:28 | |
I'm afraid this is the nearest I get to heroism. | 0:25:28 | 0:25:32 | |
Hey, Michael, do you have a long tradition for ski jumping in England? | 0:25:32 | 0:25:35 | |
MICHAEL LAUGHS | 0:25:35 | 0:25:37 | |
If we do, it's not one that's ever affected me before. | 0:25:37 | 0:25:40 | |
Three! | 0:25:40 | 0:25:41 | |
ALL: Two! One! | 0:25:41 | 0:25:43 | |
Go! | 0:25:43 | 0:25:44 | |
Whee-hoo! | 0:25:44 | 0:25:46 | |
That was fantastic! | 0:26:06 | 0:26:08 | |
One of the great experiences of my life. | 0:26:09 | 0:26:11 | |
-That was brilliant. -Welcome down. | 0:26:12 | 0:26:14 | |
Yeah, I'm glad to be back. What a great experience. | 0:26:14 | 0:26:19 | |
My journey through Scandinavia is nearly at an end, | 0:26:34 | 0:26:38 | |
but I can't leave Norway | 0:26:38 | 0:26:40 | |
without paying homage to the man who brought me here, George Bradshaw. | 0:26:40 | 0:26:44 | |
His vision inspired generations of travellers | 0:26:46 | 0:26:49 | |
to venture into the unknown. | 0:26:49 | 0:26:51 | |
Bradshaw's final destination was Oslo. | 0:26:51 | 0:26:54 | |
While on a tour of Norway, he contracted cholera. | 0:26:54 | 0:26:58 | |
Here lies Mr George Bradshaw, | 0:26:59 | 0:27:02 | |
who died here, September 6th, 1853. | 0:27:02 | 0:27:06 | |
He mapped the railways, he compiled the timetables, | 0:27:06 | 0:27:09 | |
and he published the guidebooks. | 0:27:09 | 0:27:11 | |
They opened Victorians' eyes to the new freedoms that trains gave them. | 0:27:11 | 0:27:16 | |
Edwardians used them to fan out across the continent of Europe. | 0:27:16 | 0:27:21 | |
I want to thank him on behalf of the thousands | 0:27:22 | 0:27:25 | |
who in three different centuries | 0:27:25 | 0:27:27 | |
have enjoyed so much and learned so much by following in his tracks. | 0:27:27 | 0:27:32 | |
Next time, I marvel at Prague's stunning Art Nouveau architecture... | 0:27:59 | 0:28:03 | |
..hear of Britain's influence on German railway history... | 0:28:06 | 0:28:10 | |
Where did the original locomotive come from? | 0:28:10 | 0:28:12 | |
Stephenson Locomotive Works, Newcastle upon Tyne. | 0:28:12 | 0:28:15 | |
-So it was Mr George Stephenson? -It was George Stephenson's. | 0:28:15 | 0:28:18 | |
..and take on the toughest opponent of my career. | 0:28:18 | 0:28:21 | |
If you're having trouble with a dragon, call a dragon slayer. | 0:28:21 | 0:28:24 | |
ROARS | 0:28:24 | 0:28:26 |