0:00:37 > 0:00:39Thomas Gradgrind, sir.
0:00:39 > 0:00:41A man of realities.
0:00:41 > 0:00:44A man of facts and calculations.
0:00:44 > 0:00:48A man who proceeds upon the principle that two and two are four,
0:00:48 > 0:00:53and nothing over, and is not to be talked into allowing for anything over.
0:00:53 > 0:00:56Thomas Gradgrind, sir -
0:00:56 > 0:01:00peremptorily Thomas - Thomas Gradgrind.
0:01:01 > 0:01:05With a rule and a pair of scales, and the multiplication table always in his pocket, sir,
0:01:05 > 0:01:10ready to weigh and measure any parcel of human nature, and tell you exactly what it comes to.
0:01:11 > 0:01:16A mere question of figures, a case of simple arithmetic.
0:01:17 > 0:01:21You might hope to get some other nonsensical belief into the head of George Gradgrind,
0:01:21 > 0:01:26or Augustus Gradgrind, or John Gradgrind, or Joseph Gradgrind -
0:01:26 > 0:01:29all supposititious, non-existent persons -
0:01:29 > 0:01:33but into the head of Thomas Gradgrind - no, sir!
0:01:43 > 0:01:46Now, what I want is Facts.
0:01:46 > 0:01:50Teach these boys and girls nothing but Facts.
0:01:54 > 0:01:56Facts alone are wanted in life.
0:01:57 > 0:02:03Plant nothing else, and root out everything else.
0:02:04 > 0:02:07You can only form the minds of reasoning animals upon Facts:
0:02:07 > 0:02:10Nothing else will ever be of any service to them.
0:02:13 > 0:02:16This is the principle on which I bring up my own children,
0:02:16 > 0:02:21and this is the principle on which I bring up these children.
0:02:21 > 0:02:23Stick to the Facts, sir!
0:02:25 > 0:02:31In this life, we want nothing but Facts, sir; nothing but Facts!
0:02:37 > 0:02:38Girl number 20.
0:02:38 > 0:02:41I don't know that girl. Who is that girl?
0:02:41 > 0:02:42Sissy Jupe, sir.
0:02:42 > 0:02:44Sissy is not a name.
0:02:44 > 0:02:47Don't call yourself Sissy. Call yourself Cecilia.
0:02:47 > 0:02:49It's Father as calls me Sissy, sir.
0:02:49 > 0:02:51Then he has no business to do it.
0:02:51 > 0:02:56Tell him he mustn't, Cecilia Jupe. Let me see. What is your father?
0:02:56 > 0:02:59He belongs to the horse-riding, if you please, sir.
0:02:59 > 0:03:02We don't want to know anything about that, here.
0:03:02 > 0:03:04You mustn't tell us about that, here.
0:03:04 > 0:03:06Your father breaks horses, don't he?
0:03:06 > 0:03:11If you please, sir, when they can get any to break, they do break horses in the ring, sir.
0:03:11 > 0:03:14You mustn't tell us about the ring here.
0:03:14 > 0:03:16Very well, then.
0:03:16 > 0:03:19Describe your father as a horsebreaker.
0:03:19 > 0:03:22He doctors sick horses, I dare say?
0:03:22 > 0:03:23Oh yes, sir.
0:03:23 > 0:03:25Very well, then.
0:03:25 > 0:03:29He is a veterinary surgeon, a farrier, and horsebreaker.
0:03:29 > 0:03:31Give me your definition of a horse.
0:03:37 > 0:03:40Girl number 20 unable to define a horse!
0:03:40 > 0:03:47Girl number 20 possessed of no Facts, in reference to one of the commonest of animals!
0:03:49 > 0:03:53Some boy's definition of a horse. Bitzer, yours.
0:03:54 > 0:03:56Your definition of a horse.
0:04:00 > 0:04:03Quadruped. Graminivorous.
0:04:03 > 0:04:07Forty teeth, namely twenty-four grinders,
0:04:07 > 0:04:11four eye-teeth, and twelve incisive.
0:04:11 > 0:04:15Sheds coat in the spring; in marshy countries, sheds hoofs, too.
0:04:15 > 0:04:19Hoofs hard, but requiring to be shod with iron.
0:04:19 > 0:04:21Age known by marks in mouth.
0:04:26 > 0:04:28Now girl number 20,
0:04:28 > 0:04:29you know what a horse is.
0:04:44 > 0:04:49'Transportation pod emerging.
0:04:49 > 0:04:51'Floor 421.'
0:04:52 > 0:04:53John.
0:04:53 > 0:04:57Tom. Tom Gradgrind. Welcome.
0:04:57 > 0:05:00Now, I'm a man of the real world.
0:05:00 > 0:05:04I believe in facts and calculations.
0:05:04 > 0:05:07All I need to know is that two and two are four, with nothing leftover,
0:05:07 > 0:05:09and no one can change my mind on that.
0:05:09 > 0:05:14Give me a calculator and I can tell you how much anything is worth.
0:05:14 > 0:05:16Or anyone.
0:05:16 > 0:05:18It's not hard to put a value on people.
0:05:18 > 0:05:20It's just simple arithmetic.
0:05:20 > 0:05:25So, I teach my lot facts. Nothing but facts.
0:05:25 > 0:05:30That's all they need to get a job, and we have to clear everything else out of their heads.
0:05:30 > 0:05:34If we want kids who can think straight, we need to give them facts.
0:05:34 > 0:05:39That's how I bring my own kids up and if it's good enough for them it's good enough for this lot.
0:05:39 > 0:05:42Stick to the facts, you'll be fine.
0:05:43 > 0:05:46Watch and learn, my friend. Watch and learn.
0:05:52 > 0:05:54Hello.
0:05:54 > 0:05:57A new girl. What's your name?
0:05:57 > 0:05:59Sissy Jupe, Mr Gradgrind.
0:05:59 > 0:06:02That sounds like a nickname.
0:06:02 > 0:06:06Use your real name. Don't call yourself Sissy. Call yourself Cecilia.
0:06:06 > 0:06:09It's my dad that calls me Sissy.
0:06:09 > 0:06:14Mmm, well, Cecilia Jupe. What does your father do?
0:06:14 > 0:06:17He works with the horses, at the fairground, sir.
0:06:17 > 0:06:20Don't need to know about fairgrounds here.
0:06:20 > 0:06:22You don't need to tell us about that.
0:06:22 > 0:06:25So, your father trains horses, does he?
0:06:25 > 0:06:29When we have them to train, yes. He trains horses for the circus.
0:06:29 > 0:06:35I think I've already told you, Cecilia, you don't need to tell us about the circus here. OK?
0:06:35 > 0:06:39Describe your father as a horse trainer.
0:06:41 > 0:06:44I suppose he looks after the sick horses, does he?
0:06:44 > 0:06:45Yes.
0:06:45 > 0:06:49Well, then. He's a vet! And a horse trainer.
0:06:49 > 0:06:51Give me your definition of a horse.
0:06:55 > 0:06:58Huh. Cecilia Jupe can't describe a horse.
0:06:58 > 0:07:04Cecilia Jupe possessed of no facts in reference to one of the commonest of animals.
0:07:04 > 0:07:06Let's see,
0:07:06 > 0:07:10someone else's definition of a horse. Bitzer, yours.
0:07:10 > 0:07:12Give me your definition of a horse.
0:07:12 > 0:07:14Quadruped. Graminivorous.
0:07:14 > 0:07:19Forty teeth, namely twenty-four grinders, four eye-teeth, and twelve incisive.
0:07:19 > 0:07:24Sheds coat in the spring; in marshy countries, sheds hoofs, too.
0:07:24 > 0:07:27Hoofs hard, but requiring to be shod with iron.
0:07:27 > 0:07:29Age known by marks in mouth.
0:07:31 > 0:07:35Now, Cecilia Jupe, you know what a horse is.
0:07:51 > 0:07:54Now, what I want is, Facts.
0:07:54 > 0:07:58Teach these boys and girls nothing but Facts.
0:08:01 > 0:08:05Facts alone are wanted in life.
0:08:05 > 0:08:10Plant nothing else, and root out everything else.
0:08:12 > 0:08:15You can only form the minds of reasoning animals upon Facts:
0:08:15 > 0:08:18nothing else will ever be of any service to them.
0:08:20 > 0:08:24This is the principle upon which I bring up my own children,
0:08:24 > 0:08:27and this is the principle on which I bring up these children.
0:08:28 > 0:08:30Stick to the Facts, sir!
0:09:08 > 0:09:12The emphasis was helped by the speakers voice which was...
0:09:15 > 0:09:19The emphasis was helped by the speaker's hair which...
0:09:24 > 0:09:26..all covered with knobs...
0:09:29 > 0:09:31As if the head had scarcely...
0:09:34 > 0:09:36The speaker's...
0:09:46 > 0:09:47Like a...
0:09:48 > 0:09:51as it was, - all helped the emphasis.
0:09:53 > 0:09:59In this life, we want nothing but Facts, sir; nothing but Facts!
0:10:35 > 0:10:37Thomas Gradgrind, sir.
0:10:37 > 0:10:39A man of realities.
0:10:39 > 0:10:42A man of facts and calculations.
0:10:42 > 0:10:48A man who proceeds upon the principle that two and two are four, and nothing over,
0:10:48 > 0:10:52and is not to be talked into allowing for anything over.
0:10:52 > 0:10:58Thomas Gradgrind, sir - peremptorily Thomas - Thomas Gradgrind.
0:10:58 > 0:11:03With a rule and a pair of scales, and the multiplication table always in his pocket, sir,
0:11:03 > 0:11:09ready to weigh and measure any parcel of human nature, and tell you exactly what it comes to.
0:11:09 > 0:11:14A mere question of figures, a case of simple arithmetic.
0:11:14 > 0:11:19You might hope to get some other nonsensical belief into the head of George Gradgrind,
0:11:19 > 0:11:23or Augustus Gradgrind, or John Gradgrind, or Joseph Gradgrind -
0:11:23 > 0:11:27all supposititious, non-existent persons -
0:11:27 > 0:11:31but into the head of Thomas Gradgrind - no, sir!
0:11:57 > 0:12:03Indeed, as he eagerly sparkled at them from the cellerage, before mentioned.
0:12:03 > 0:12:07He seemed a kind of cannon, loaded to the muzzle with facts
0:12:07 > 0:12:13and prepared to blow them clean out of the regions of childhood at one discharge.
0:12:17 > 0:12:18Girl number 20.
0:12:18 > 0:12:21I don't know that girl. Who is that girl?
0:12:21 > 0:12:22Sissy Jupe, sir.
0:12:22 > 0:12:24Sissy is not a name.
0:12:24 > 0:12:27Don't call yourself Sissy. Call yourself Cecilia.'
0:12:27 > 0:12:29It's Father as calls me Sissy, sir.
0:12:29 > 0:12:31Then he has no business to do it.
0:12:31 > 0:12:36Tell him he mustn't. Cecilia Jupe. Let me see. What is your father?
0:12:36 > 0:12:38He belongs to the horse-riding, if you please, sir.
0:12:38 > 0:12:42We don't want to know anything about that here.
0:12:42 > 0:12:44You mustn't tell us about that here.
0:12:44 > 0:12:47Your father breaks horses, don't he?
0:12:47 > 0:12:51If you please, sir, when they can get any to break, they do break horses in the ring, sir.
0:12:51 > 0:12:55You mustn't tell us about the ring, here.
0:12:55 > 0:12:56Very well, then.
0:12:56 > 0:12:59Describe your father as a horsebreaker.
0:12:59 > 0:13:02He doctors sick horses, I dare say?
0:13:02 > 0:13:03Oh yes, sir.
0:13:03 > 0:13:05Very well, then.
0:13:05 > 0:13:09He is a veterinary surgeon, a farrier, and a horsebreaker.
0:13:09 > 0:13:11Give me your definition of a horse.
0:13:17 > 0:13:20Girl number 20 unable to define a horse!
0:13:21 > 0:13:28Girl number 20 possessed of no facts, in reference to one of the commonest of animals!
0:13:30 > 0:13:34Some boy's definition of a horse. Bitzer, yours.
0:14:08 > 0:14:12His cold eyes would hardly have been eyes, but for the...
0:14:14 > 0:14:18..which, by bringing them into immediate contrast with something...
0:14:18 > 0:14:20..expressed their form.
0:14:20 > 0:14:22His hair might have been...
0:14:26 > 0:14:27His skin was...
0:14:36 > 0:14:38Bitzer, your definition of a horse.
0:14:42 > 0:14:46Quadruped. Graminivorous.
0:14:46 > 0:14:53Forty teeth, namely twenty-four grinders, four eye-teeth, and twelve incisive.
0:14:53 > 0:14:58Sheds coat in the spring; in marshy countries, sheds hoofs, too.
0:14:58 > 0:15:01Hoofs hard, but requiring to be shod with iron.
0:15:01 > 0:15:04Age known by marks in mouth.
0:15:09 > 0:15:12Now girl number 20, you know what a horse is.
0:15:25 > 0:15:27The character of Gradgrind
0:15:27 > 0:15:32pushes his idea of why facts are the only thing
0:15:32 > 0:15:34that is essential to living a life.
0:15:34 > 0:15:37Now, what I want is Facts.
0:15:37 > 0:15:42'In trying to, basically, fill up the minds of these little children in front of him,'
0:15:42 > 0:15:47Gradgrind pushes out his theory of facts is all, facts is everything.
0:15:47 > 0:15:51Facts alone are wanted in life.
0:15:51 > 0:15:57Plant nothing else, and root out everything else.
0:15:57 > 0:16:02'We realise very quickly on that little Sissy's father is somebody who works with horses.
0:16:02 > 0:16:06'So Sissy's knowledge of the horse would probably be very good.'
0:16:06 > 0:16:11Being put under the spotlight and pushed quite hard by this strong, stern, dark, foreboding man,
0:16:11 > 0:16:16'she seems to struggle at the concept of answering the question, what is a horse?
0:16:16 > 0:16:18- 'And, in doing so, is cast aside.' - Bitzer, yours.
0:16:18 > 0:16:26'Gradgrind will turn to Bitzer, who will provide the factual information as to what is a horse.'
0:16:26 > 0:16:29Quadruped. Graminivorous.
0:16:29 > 0:16:33'Poor Sissy, her idea, and probably knowledge, of what a horse is,'
0:16:33 > 0:16:36a thing of beauty, power, muscular brilliance,
0:16:36 > 0:16:42and an animal that can be loved and cherished, has been swept away.
0:16:42 > 0:16:47I think today we might need to think about how in our education we do need a balance
0:16:47 > 0:16:51between what is factual and maybe what is real and what is imaginary.
0:16:51 > 0:16:56What is in our soul, what allows us to develop as characters, as human beings.
0:16:57 > 0:17:01Now girl number 20, you know what a horse is.
0:17:42 > 0:17:43What's up, blud?
0:17:53 > 0:17:55Let me show you something.
0:17:57 > 0:18:00That's my last duchess painted on the wall
0:18:00 > 0:18:02Looking as if she were alive
0:18:02 > 0:18:06I call that piece a wonder now
0:18:08 > 0:18:10Fra Pandolf's hands Worked busily a day
0:18:10 > 0:18:12And there she stands
0:18:12 > 0:18:15Will't please you sit and look at her?
0:18:18 > 0:18:21I said, "Fra Pandolf" by design
0:18:22 > 0:18:26For never read strangers like you that pictured countenance
0:18:27 > 0:18:29The depth and passion of its earnest glance
0:18:31 > 0:18:33But to myself they turned
0:18:33 > 0:18:37Since none puts by the curtain I have drawn for you, but I
0:18:37 > 0:18:40And seemed as they would ask me, if they durst
0:18:40 > 0:18:42How such a glance came there
0:18:44 > 0:18:47So, not the first Are you to turn and ask thus
0:18:49 > 0:18:53Sir, 'twas not her husband's presence
0:18:53 > 0:18:58Only called that spot of joy into the Duchess' cheek
0:18:58 > 0:19:01Perhaps Fra Pandolf chanced to say
0:19:01 > 0:19:05"Her mantle laps over my lady's wrist too much"
0:19:05 > 0:19:09or "Paint must never hope to reproduce the faint half-flush
0:19:09 > 0:19:12"That dies along her throat"
0:19:13 > 0:19:15Such stuff was courtesy, she thought
0:19:15 > 0:19:20And cause enough for calling up that spot of joy
0:19:26 > 0:19:28She had a heart
0:19:28 > 0:19:30How shall I say?
0:19:30 > 0:19:32Too soon made glad,
0:19:32 > 0:19:34Too easily impressed
0:19:36 > 0:19:38She liked whate'er she looked on
0:19:41 > 0:19:46And her looks went everywhere
0:19:54 > 0:19:57Sir, 'twas all one!
0:19:59 > 0:20:01My favor at her breast,
0:20:02 > 0:20:05The dropping of the daylight in the West,
0:20:07 > 0:20:09The bough of cherries some officious fool
0:20:09 > 0:20:11Broke in the orchard for her
0:20:12 > 0:20:16The white mule she rode with round the terrace
0:20:16 > 0:20:20All and each would draw from her alike the approving speech
0:20:20 > 0:20:22Or blush, at least.
0:20:23 > 0:20:26She thanked men good!
0:20:28 > 0:20:30But thanked
0:20:30 > 0:20:33Somehow I know not how
0:20:33 > 0:20:37As if she ranked my gift
0:20:37 > 0:20:42of a nine-hundred-years-old name With anybody's gift.
0:20:45 > 0:20:48Who'd stoop to blame This sort of trifling?
0:20:48 > 0:20:51Even had you skill In speech which I have not
0:20:51 > 0:20:55To make your will Quite clear to such a one, to say,
0:20:55 > 0:20:59"Just this or that in you disgusts me
0:20:59 > 0:21:01"Here you miss, or there exceed the mark"
0:21:03 > 0:21:07And if she let herself be lessoned so
0:21:07 > 0:21:12Nor plainly set her wits to yours, forsooth, and give excuse,
0:21:12 > 0:21:17E'en then would be some stooping
0:21:17 > 0:21:21And I choose never to stoop.
0:21:29 > 0:21:31Oh sir,
0:21:33 > 0:21:36She smiled, no doubt, Whene'er I passed her
0:21:37 > 0:21:40But who passed without Much the same smile?
0:21:41 > 0:21:43This grew
0:21:44 > 0:21:46I gave commands
0:21:50 > 0:21:55Then all smiles stopped together
0:22:02 > 0:22:05There she stands as if alive
0:22:10 > 0:22:12Will't please you rise?
0:22:13 > 0:22:15We'll meet the company below, then
0:22:17 > 0:22:19I repeat,
0:22:19 > 0:22:22The Count your master's known munificence is ample warrant
0:22:22 > 0:22:26that no just pretense of mine for dowry will be disallowed
0:22:26 > 0:22:29Though his fair daughter's self, as I avowed
0:22:29 > 0:22:32At starting, will be my object
0:22:38 > 0:22:40Nay we'll go together down, sir
0:22:42 > 0:22:45Notice Neptune,
0:22:45 > 0:22:46Taming a sea-horse,
0:22:46 > 0:22:52Though thought a rarity, which Claus of Innsbruck cast in bronze for me!
0:22:52 > 0:22:54HE LAUGHS
0:23:07 > 0:23:09Michael, thanks for coming in to see me.
0:23:22 > 0:23:25That's my last duchess painted on the wall
0:23:25 > 0:23:27Looking as if she were alive
0:23:27 > 0:23:31I call that piece a wonder now
0:23:32 > 0:23:37Fra Pandolf's hands worked busily a day, and there she stands
0:23:37 > 0:23:39Will't please you sit and look at her?
0:23:46 > 0:23:48I said, "Fra Pandolf" by design,
0:23:48 > 0:23:55For never read strangers such as you that pictured countenance,
0:23:55 > 0:23:59The depth and passion of its earnest glance,
0:23:59 > 0:24:02But to myself they turned
0:24:03 > 0:24:07Since none puts by the curtain I have drawn for you, but I
0:24:08 > 0:24:11And seemed as they would ask me, if they durst,
0:24:11 > 0:24:14How such a glance came there
0:24:15 > 0:24:19So, not the first Are you to turn and ask thus
0:24:20 > 0:24:22Sir,
0:24:22 > 0:24:26'Twas not her husband's presence only
0:24:26 > 0:24:31Called that spot of joy into the Duchess' cheek
0:24:35 > 0:24:39Perhaps Fra Pandolf chanced to say
0:24:41 > 0:24:45"Her mantle laps over my lady's wrist too much,"
0:24:47 > 0:24:50or "Paint
0:24:50 > 0:24:52"Must never hope to reproduce
0:24:52 > 0:24:57"the faint half-flush that dies along her throat"
0:25:00 > 0:25:03Such stuff was courtesy, she thought
0:25:03 > 0:25:06And cause enough for calling up that spot of joy.
0:25:09 > 0:25:13She had a heart how shall I say?
0:25:14 > 0:25:17Too soon made glad, Too easily impressed
0:25:18 > 0:25:21She liked whate'er she looked on
0:25:22 > 0:25:25And her looks went everywhere
0:25:26 > 0:25:29Sir, 'twas all one!
0:25:30 > 0:25:33My favor at her breast,
0:25:33 > 0:25:36The dropping of the daylight in the West
0:25:36 > 0:25:40The bough of cherries some officious fool
0:25:40 > 0:25:42Broke in the orchard for her
0:25:42 > 0:25:46The white mule she rode with round the terrace
0:25:46 > 0:25:49All and each would draw from her alike the approving speech
0:25:49 > 0:25:51Or blush, at least
0:25:52 > 0:25:55She thanked men good!
0:25:56 > 0:26:03But thanked somehow I know not how as if she ranked my gift
0:26:03 > 0:26:06Of a nine-hundred-years-old name
0:26:07 > 0:26:09With anybody's gift
0:26:11 > 0:26:15Who'd stoop to blame This sort of trifling?
0:26:15 > 0:26:19Even had you skill in speech which I have not to make your will
0:26:19 > 0:26:21Quite clear to such an one, and say,
0:26:21 > 0:26:25"Just this Or that in you disgusts me
0:26:25 > 0:26:29"Or here you miss, Or there exceed the mark"
0:26:30 > 0:26:33And even if she let Herself be lessoned so,
0:26:33 > 0:26:38Nor plainly set her wits to yours, forsooth, and give excuse,
0:26:38 > 0:26:42E'en then would be some stooping;
0:26:43 > 0:26:47And I choose never to stoop
0:26:49 > 0:26:51Oh sir,
0:26:52 > 0:26:55She smiled, no doubt, Whene'er I passed her;
0:26:55 > 0:26:58But who passed without Much the same smile?
0:27:00 > 0:27:02This grew
0:27:06 > 0:27:08I gave commands
0:27:10 > 0:27:15Then all smiles stopped together
0:27:20 > 0:27:22There she stands
0:27:22 > 0:27:24As if alive
0:27:26 > 0:27:28Will't please you rise?
0:27:33 > 0:27:36We'll meet the company below, then
0:27:36 > 0:27:38I repeat,
0:27:38 > 0:27:41The Count your master's known munificence
0:27:41 > 0:27:44Is ample warrant that no just pretense
0:27:44 > 0:27:47Of mine for dowry will be disallowed
0:27:47 > 0:27:51Though his fair daughter's self, as I avowed
0:27:51 > 0:27:54At starting, is my object
0:27:56 > 0:27:59Nay we'll go together down, sir
0:27:59 > 0:28:03Notice Neptune, though, Taming a sea-horse, thought a rarity,
0:28:03 > 0:28:06Which Claus of Innsbruck cast in bronze for me!
0:28:21 > 0:28:25It's a poem about a very controlling and dominating man.
0:28:25 > 0:28:30The poem tells the story of his wife's murder.
0:28:30 > 0:28:34- Let me show you something. - 'But the murder is implied.'
0:28:34 > 0:28:37That's my last duchess painted on the wall
0:28:37 > 0:28:39Looking as if she were alive
0:28:39 > 0:28:43'Robert Browning has structured the poem as a dramatic monologue.'
0:28:43 > 0:28:46You almost feel as if the voice in the poem, the Duke,
0:28:46 > 0:28:49is speaking to you and confessing what he's done to you.
0:28:49 > 0:28:55'But there is an implied listener to the poem. An envoy listening in absolute abject horror.
0:28:55 > 0:28:59'The fact that he can speak about the death of a young woman
0:28:59 > 0:29:03in such a measured manner makes this one of the most sinister,
0:29:03 > 0:29:06threatening poems I've read in a long time.
0:29:06 > 0:29:08I gave commands
0:29:12 > 0:29:17Then all smiles stopped together
0:29:18 > 0:29:22'If you turn on the television and you watch any soap, or any film even,'
0:29:22 > 0:29:30they often deal with the idea of relationships that turn sour for a variety of reasons.
0:29:30 > 0:29:35A man who can't accept the fact that his wife is beautiful and vivacious
0:29:35 > 0:29:41and is admired by others and takes steps to try and control her behaviour.
0:29:42 > 0:29:45She liked whate'er she looked on
0:29:48 > 0:29:52And her looks went everywhere
0:30:08 > 0:30:13Although it was a cold day on November 19th 1863,
0:30:13 > 0:30:15I did not feel the chill.
0:30:16 > 0:30:20True, I was well wrapped up in a borrowed coat and cap
0:30:20 > 0:30:23but it was the excitement that kept me warm.
0:30:23 > 0:30:26The mere thought of laying eyes on the great man.
0:30:26 > 0:30:30The man who had led the North's great army for these last two years against the Confederates
0:30:30 > 0:30:33made me swell up with pride.
0:30:35 > 0:30:39It had only been four months since the battle on this field
0:30:39 > 0:30:42had taken so many thousands of our proud soldiers.
0:30:50 > 0:30:54- APPLAUSE - We knew the Southern slave-owning states wanted to leave the Union
0:30:54 > 0:30:57which would have torn our great country apart.
0:30:57 > 0:31:01President Lincoln wanted to stop that and if I'd been a few years older,
0:31:01 > 0:31:03I would have fought myself for such a great cause.
0:31:08 > 0:31:12Four score and seven years ago
0:31:12 > 0:31:16our fathers brought forth from this continent, a new nation,
0:31:16 > 0:31:19conceived in Liberty,
0:31:19 > 0:31:24and dedicated to the proposition that all men are created equal.
0:31:27 > 0:31:30Now we are engaged in a great civil war,
0:31:30 > 0:31:33testing whether that nation,
0:31:33 > 0:31:39or any nation so conceived and so dedicated, can long endure.
0:31:41 > 0:31:46We are met on a great battlefield of that war.
0:31:49 > 0:31:53We come to dedicate a portion of it,
0:31:53 > 0:31:59as a final resting place for those who died here that the nation might live.
0:32:02 > 0:32:10But, in a larger sense, we can not dedicate - we can not consecrate -
0:32:10 > 0:32:14we can not hallow this ground.
0:32:14 > 0:32:20The brave men, living and dead, who struggled here,
0:32:20 > 0:32:26have consecrated it, far above our poor power to add or detract.
0:32:28 > 0:32:36The world will little note, nor long remember what we say here,
0:32:36 > 0:32:41while it can never forget what they did here.
0:32:41 > 0:32:44APPLAUSE
0:32:48 > 0:32:53It is, rather for us the living,
0:32:53 > 0:32:57to be dedicated here to the unfinished work
0:32:57 > 0:33:04which they who fought here have thus far so nobly advanced.
0:33:04 > 0:33:07It is rather for us
0:33:07 > 0:33:12to be dedicated here to the great task remaining before us -
0:33:12 > 0:33:18that from these honoured dead, we take increased devotion to that cause
0:33:18 > 0:33:24for which they gave their last full measure of devotion -
0:33:24 > 0:33:32that we here highly resolve that these dead shall not have died in vain - that the nation,
0:33:32 > 0:33:37under God, shall have a new birth of freedom -
0:33:37 > 0:33:44and that the government of the people, by the people, and for the people,
0:33:44 > 0:33:48shall not perish from the earth.
0:33:48 > 0:33:51APPLAUSE
0:33:53 > 0:33:58We all felt honoured to be at Gettysburg that day in the presence of the President.
0:33:58 > 0:34:04The faces of those around me, so full of pride, told the story.
0:34:04 > 0:34:10It was as if we knew we were witnessing a great moment in our country's history.
0:34:58 > 0:35:02We travelled to Gettysburg to see the man who had taken us to war.
0:35:02 > 0:35:05I wanted him to tell us if it had been worth my husband's life.
0:35:05 > 0:35:11And the lives of thousands of our young men from both North and South.
0:35:11 > 0:35:15I took the children with me because I wanted them to understand what had happened.
0:35:15 > 0:35:17Even if I could not myself.
0:35:17 > 0:35:21John Jr was still finding it hard.
0:35:21 > 0:35:23He missed his father.
0:35:29 > 0:35:31The war had gone on for two long years
0:35:31 > 0:35:36and many of us had doubts about whether it was really worth fighting.
0:35:36 > 0:35:41If the Southern states wanted to break away from the Union, maybe that was their right.
0:35:41 > 0:35:45Was it really worth Americans killing Americans?
0:35:45 > 0:35:48Was it worth my husband's life?
0:35:48 > 0:35:50APPLAUSE
0:35:56 > 0:35:59Four score and seven years ago
0:35:59 > 0:36:04our fathers brought forth from this continent, a new nation,
0:36:04 > 0:36:10conceived in Liberty, and dedicated to the proposition
0:36:10 > 0:36:13that all men are created equal.
0:36:13 > 0:36:18Now we are engaged in a great civil war,
0:36:18 > 0:36:26testing whether that nation, or any nation so conceived and so dedicated, can long endure.
0:36:28 > 0:36:34We are met on a great battlefield of that war.
0:36:34 > 0:36:38We come to dedicate a portion of it,
0:36:38 > 0:36:44as a final resting place for those who died here that the nation might live.
0:36:48 > 0:36:50But, in a larger sense,
0:36:50 > 0:36:55we can not dedicate - we can not consecrate -
0:36:55 > 0:37:00we can not hallow this ground.
0:37:00 > 0:37:05The brave men, living and dead, who struggled here, have consecrated it,
0:37:05 > 0:37:10far above our poor power to add or detract.
0:37:11 > 0:37:18The world will little note, nor long remember what we say here,
0:37:18 > 0:37:24while it can never forget what they did here.
0:37:24 > 0:37:29It is for us the living,
0:37:29 > 0:37:34to be dedicated here to the unfinished work
0:37:34 > 0:37:39which they who fought here have thus far so nobly advanced.
0:37:41 > 0:37:45It is rather for us to be dedicated
0:37:45 > 0:37:49to the great task remaining before us
0:37:49 > 0:37:55that from these honoured dead, we take increased devotion to that cause
0:37:55 > 0:38:01for which they gave the last full measure of devotion
0:38:01 > 0:38:07that we here highly resolve that these dead shall not have died in vain -
0:38:07 > 0:38:15that this nation, under God, shall have a new birth of freedom -
0:38:15 > 0:38:21and that the government of the people, by the people and for the people,
0:38:21 > 0:38:25shall not perish from the earth.
0:38:28 > 0:38:31Many of us stood quietly after his speech.
0:38:31 > 0:38:34Silent in our thoughts of those who we had lost.
0:38:34 > 0:38:38His words did nothing to ease our sadness.
0:38:38 > 0:38:43I could see disappointment on the faces of those who had lost loved ones.
0:39:46 > 0:39:49Go, lovely Rose
0:39:50 > 0:39:53Tell her that wastes her time and me
0:39:53 > 0:39:55That now she knows
0:39:55 > 0:39:58When I resemble her to thee
0:39:58 > 0:40:02How sweet and fair she seems to be
0:40:05 > 0:40:07Tell her that's young
0:40:07 > 0:40:10And shuns to have her graces spied
0:40:10 > 0:40:11That hadst thou sprung
0:40:11 > 0:40:15In deserts where no men abide
0:40:16 > 0:40:18Thou must have uncommended died
0:40:21 > 0:40:22Small is the worth
0:40:22 > 0:40:24Of beauty from the light retired
0:40:26 > 0:40:28Bid her come forth
0:40:28 > 0:40:31Suffer herself to be desired
0:40:31 > 0:40:35And not blush so to be admired
0:40:37 > 0:40:39Then die
0:40:40 > 0:40:43That she
0:40:43 > 0:40:45The common fate of all things rare
0:40:45 > 0:40:46May read in thee
0:40:47 > 0:40:50How small a part of time they share
0:40:52 > 0:40:59That are so wondrous sweet and fair!
0:41:25 > 0:41:27GO, lovely Rose
0:41:27 > 0:41:31Tell her that wastes her time and me, That now she knows
0:41:31 > 0:41:36When I resemble her to thee, How sweet and fair she seems to be
0:41:36 > 0:41:40Tell her that's young, And shuns to have her graces spied
0:41:40 > 0:41:44That hadst thou sprung In deserts where no men abide
0:41:44 > 0:41:47Thou must have uncommended died
0:41:48 > 0:41:52Small is the worth Of beauty from the light retired
0:41:52 > 0:41:57Bid her come forth Suffer herself to be desired
0:41:57 > 0:41:59And not blush so to be admired
0:42:01 > 0:42:03Then die
0:42:03 > 0:42:07That she The common fate of all things rare
0:42:07 > 0:42:09May read in thee
0:42:09 > 0:42:12How small a part of time they share
0:42:12 > 0:42:16That are so wondrous sweet and fair!
0:42:25 > 0:42:27The Edmund Waller poem, Go, Lovely Rose.
0:42:27 > 0:42:29There was a feeling that maybe
0:42:29 > 0:42:35he was writing this from a bitter viewpoint or there was a bit of anger, resentment.
0:42:35 > 0:42:38But, we try to play it more sensitive.
0:42:38 > 0:42:43And, the man plays it, very much someone who's been knocked back.
0:42:43 > 0:42:50And who is maybe feeling that he's not gonna get anywhere with this girl
0:42:50 > 0:42:52but is determined to keep trying.
0:42:52 > 0:42:56That's why he's sending her the poem, that's why he's sending her the rose.
0:42:56 > 0:43:02To try and make her come out of herself and join in the world and come and have a party.
0:43:02 > 0:43:05Don't stay at home doing your homework every night.
0:43:06 > 0:43:08Bid her come forth
0:43:08 > 0:43:11Suffer herself to be desired
0:43:11 > 0:43:14And not blush so to be admired
0:43:14 > 0:43:18And then we wanted to do a version that was a bit more bitter.
0:43:18 > 0:43:20And thought about what would it sound like
0:43:20 > 0:43:24if a young woman was to read that poem.
0:43:25 > 0:43:29Small is the worth Of beauty from the light retired
0:43:29 > 0:43:33Bid her come forth Suffer herself to be desired
0:43:33 > 0:43:37When the girl reads this poem, you can see she's really angry about this.
0:43:37 > 0:43:41Everybody's chasing this girl, even though she's not doing very much. Why's that?
0:43:41 > 0:43:44Then die
0:43:44 > 0:43:48That she The common fate of all things rare
0:43:48 > 0:43:50May read in thee
0:43:50 > 0:43:53How small a part of time they share
0:43:53 > 0:43:57That are so wondrous sweet and fair!
0:44:07 > 0:44:10GUNFIRE
0:44:15 > 0:44:18What passing-bells for these who die as cattle?
0:44:18 > 0:44:21Only the monstrous anger of guns
0:44:21 > 0:44:24Only the stuttering rifles' rapid rattle
0:44:24 > 0:44:27Can patter out their hasty orisons
0:44:27 > 0:44:29No mockeries now for them
0:44:29 > 0:44:32No prayers nor bells
0:44:32 > 0:44:35Nor any voice of mourning save the choirs
0:44:35 > 0:44:39The shrill, demented choirs of wailing shells
0:44:39 > 0:44:42And bugles calling for them from sad shires
0:44:43 > 0:44:47What candles may be held to speed them all?
0:44:47 > 0:44:50Not in the hands of boys but in their eyes
0:44:50 > 0:44:53Shall shine the holy glimmer of goodbyes
0:44:53 > 0:44:57The pallor of girls' brows shall be their pall
0:44:57 > 0:45:01Their flowers the tenderness of patient minds
0:45:01 > 0:45:07And each slow dusk a drawing-down of blinds.
0:45:17 > 0:45:20CHURCH BELLS TOLL
0:45:23 > 0:45:27What passing-bells for those who die as cattle?
0:45:30 > 0:45:33Only the monstrous anger of guns
0:45:34 > 0:45:37Only the stuttering rifles' rapid rattle
0:45:37 > 0:45:40Can patter out their hasty orisons.
0:45:42 > 0:45:45No mockeries now for them
0:45:45 > 0:45:48No prayers nor bells
0:45:48 > 0:45:52Nor any voice of mourning save the choirs
0:45:52 > 0:45:57The shrill, demented choirs of wailing shells
0:45:58 > 0:46:02And bugles calling for them from sad shires
0:46:17 > 0:46:21What candles may be held to speed them all?
0:46:22 > 0:46:26Not in the hands of boys but in their eyes shall shine
0:46:26 > 0:46:29The holy glimmers of goodbyes
0:46:32 > 0:46:37The pallor of girls' brows will be their pall
0:46:37 > 0:46:39Their flowers
0:46:39 > 0:46:42The tenderness of patient minds
0:46:44 > 0:46:47And each slow dusk
0:46:47 > 0:46:50A drawing-down of blinds.
0:47:01 > 0:47:05The poem is remarkable for the two quite different moods
0:47:05 > 0:47:06which it manages to convey.
0:47:06 > 0:47:08In the first section of the poem,
0:47:08 > 0:47:12there is a great sense of sound, of fury and of anger.
0:47:12 > 0:47:15Only the monstrous anger of guns
0:47:15 > 0:47:17Only the stuttering rifles' rapid rattle
0:47:17 > 0:47:20Can patter out their hasty orisons
0:47:20 > 0:47:25Which helps to create a sense of the noise of battle, the clatter and roar and the wail.
0:47:25 > 0:47:28No mockeries now for them
0:47:29 > 0:47:31No prayers nor bells
0:47:31 > 0:47:34Nor any voice of mourning save the choirs
0:47:34 > 0:47:37The shrill, demented choirs of wailing shells
0:47:37 > 0:47:41And bugles calling for them from sad shires
0:47:42 > 0:47:44In the second half of the poem,
0:47:44 > 0:47:47we see Owen setting out what he sees as the fitting remembrance.
0:47:47 > 0:47:51The tears of boys, the pale faces of girls,
0:47:51 > 0:47:57forming a gentle, loving remembrance of those who died in the war.
0:47:59 > 0:48:03What candles may be held to speed them all?
0:48:05 > 0:48:09Not in the hands of boys but in their eyes shall shine
0:48:09 > 0:48:12The holy glimmers of goodbyes
0:48:19 > 0:48:21GUNFIRE
0:48:32 > 0:48:34If I should die
0:48:34 > 0:48:36Think only this of me
0:48:36 > 0:48:39That there's some corner of a foreign field
0:48:39 > 0:48:43That is forever England
0:48:43 > 0:48:45There shall be, in that rich earth
0:48:45 > 0:48:48A richer dust concealed
0:48:48 > 0:48:53A dust whom England bore, shaped, made aware
0:48:53 > 0:48:57Gave, once, her flowers to love, her ways to roam
0:48:58 > 0:49:02A body of England's, breathing English air
0:49:02 > 0:49:06Washed by the rivers, blest by suns of home
0:49:06 > 0:49:10And think, this heart
0:49:10 > 0:49:13All evil shed away
0:49:13 > 0:49:16A pulse in the eternal mind, no less
0:49:16 > 0:49:21Gives somewhere back the thoughts by England given
0:49:21 > 0:49:26Her sights and sounds; dreams happy as her day
0:49:26 > 0:49:31And laughter, learnt of friends, and gentleness
0:49:31 > 0:49:36In hearts at peace, under an English heaven.
0:49:56 > 0:49:58If I should die
0:49:58 > 0:50:01Think only this of me
0:50:02 > 0:50:08That there's some corner of a foreign field that is forever England
0:50:08 > 0:50:15There shall be in that rich earth a richer dust concealed
0:50:15 > 0:50:19A dust whom England bore, shaped, made aware,
0:50:19 > 0:50:24Gave, once, her flowers to love, her ways to roam
0:50:24 > 0:50:28A body of England's, breathing English air
0:50:28 > 0:50:32Washed by the rivers, blest by suns of home
0:50:32 > 0:50:36And think, this heart
0:50:36 > 0:50:39All evil shed away
0:50:39 > 0:50:43A pulse in the eternal mind, no less
0:50:43 > 0:50:46Gives somewhere back the thoughts by England given
0:50:46 > 0:50:50Her sights and sounds; dreams happy as her day
0:50:50 > 0:50:55And laughter, learnt of friends
0:50:55 > 0:50:57And gentleness
0:50:57 > 0:51:01In hearts at peace, under an English heaven.
0:51:07 > 0:51:12The first part of the sonnet is, very much, a hymn to England.
0:51:12 > 0:51:19And, it is also followed by what many people think is a quite arrogant line,
0:51:19 > 0:51:23that the dust of his body will enrich the dust of a foreign field.
0:51:23 > 0:51:28I think if I was somebody who lived in the Commonwealth, or perhaps lived in France,
0:51:28 > 0:51:34I might have an argument with the fact that an Englishman's body made it a better place.
0:51:34 > 0:51:40There shall be in that rich earth a richer dust concealed.
0:51:40 > 0:51:44The poem ends with a very strong statement of Brooke's Englishness
0:51:44 > 0:51:49with his love of country and, maybe a message of hope for those who died,
0:51:49 > 0:51:54that those who have gone will be at peace and under an English heaven.
0:51:54 > 0:52:02ie that God is an Englishman which was a very, very common idea at the time.
0:52:02 > 0:52:07In hearts at peace, under an English heaven.
0:52:16 > 0:52:17- Oh, hello.- Hello.
0:52:17 > 0:52:20- Coffee and a muffin, please. - You can indeed.
0:52:21 > 0:52:23Who will believe my verse in time to come
0:52:23 > 0:52:26If it were fill'd with your most high deserts?
0:52:26 > 0:52:29Though yet, heaven knows, it is but as a tomb
0:52:29 > 0:52:32Which hides your life and shows not half your parts
0:52:33 > 0:52:35If I could write the beauty of your eyes
0:52:35 > 0:52:38And in fresh numbers number all your graces
0:52:38 > 0:52:41The age to come would say, "This poet lies
0:52:41 > 0:52:45"Such heavenly touches ne'er touch'd earthly faces."
0:52:45 > 0:52:48So should my papers yellow'd with their age
0:52:48 > 0:52:52Be scorn'd like old men of less truth than tongue
0:52:52 > 0:52:54And your true rights be term'd a poet's rage
0:52:54 > 0:52:58And stretched metre of an antique song
0:52:58 > 0:53:01But were some child of yours alive that time
0:53:01 > 0:53:06You should live twice; in it and in my rhyme.
0:53:19 > 0:53:23Who will believe my verse in time to come if it were fill'd with your most high deserts?
0:53:23 > 0:53:29Though yet, heaven knows, it is but as a tomb which hides your life and shows not half your parts.
0:53:29 > 0:53:34If I could write the beauty of your eyes and in fresh numbers number all your graces,
0:53:34 > 0:53:41the age to come would say, "This poet lies: Such heavenly touches ne'er touch'd earthly faces."
0:53:41 > 0:53:45So should my papers yellow'd with their age be scorn'd like old men of less truth than tongue
0:53:45 > 0:53:48And your true rights be term'd a poet's rage
0:53:48 > 0:53:52And stretched metre of an antique song
0:53:52 > 0:53:55But were some child of yours alive that time
0:53:55 > 0:54:00You should live twice; in it and my rhyme.
0:54:13 > 0:54:18You can have different ways of talking to people about how you fancy them.
0:54:18 > 0:54:22So, we had the young lad doing a very, kind of,
0:54:22 > 0:54:26jokey, um, teasing, you know,
0:54:26 > 0:54:31clearly, you're not quite sure if he's absolutely serious.
0:54:31 > 0:54:35Who will believe my verse in time to come, if it were fill'd with your most high deserts?
0:54:35 > 0:54:40Though yet, heaven knows, it is but as a tomb which hides your life and shows not half your parts.
0:54:40 > 0:54:44And then we also did a version with a young girl.
0:54:44 > 0:54:47When she talks, he doesn't even know what she's saying.
0:54:47 > 0:54:52He doesn't know she's saying this poem. Her delivery is much more sensitive.
0:54:52 > 0:54:57You get a feeling that she really meant what she was saying and she really was in love with him.
0:54:57 > 0:55:00Who will believe my verse in time to come
0:55:00 > 0:55:02If it were fill'd with your most high deserts?
0:55:02 > 0:55:05Though yet, heaven knows, it is but as a tomb
0:55:05 > 0:55:08Which hides your life and shows not half your parts.
0:55:20 > 0:55:24This fearsome burn, horseback brown
0:55:24 > 0:55:28His rollrock highroad roaring down
0:55:28 > 0:55:32In coop and in comb the fleece of his foam
0:55:32 > 0:55:37Flutes and low to the lake falls home
0:55:40 > 0:55:43A windpuff-bonnet of fawn-froth
0:55:43 > 0:55:46Turns and twindles over the broth
0:55:46 > 0:55:50Of a pool so pitchblack, fell-frowning
0:55:50 > 0:55:54It rounds and rounds Despair to drowning
0:55:58 > 0:56:01Degged with dew, dappled with dew
0:56:01 > 0:56:05Are the groins of the braes that the brook runs through
0:56:05 > 0:56:08Wiry heathpacks, flitches of fern
0:56:08 > 0:56:12And the beadbonny ash that sits over the burn
0:56:18 > 0:56:20What would the world be, once bereft
0:56:20 > 0:56:24Of wet and of wildness? Let them be left
0:56:24 > 0:56:27O let them be left, the wildness and wet
0:56:27 > 0:56:31Long live the weeds and the wilderness yet.
0:56:37 > 0:56:41There's so much to love about Inversnaid, the poem.
0:56:41 > 0:56:45First of all, it's difficult to believe it was written nearly 130 years ago.
0:56:45 > 0:56:48It feels so alive and vibrant.
0:56:48 > 0:56:51The thing to me about the best poetry
0:56:51 > 0:56:55is the language crackles and sparkles off the page.
0:56:55 > 0:57:00And reading this poem, even if you don't really know what it's about,
0:57:00 > 0:57:02I just love hearing the words spoken.
0:57:02 > 0:57:07"Rollrock highroad roaring down", it's just beautiful.
0:57:08 > 0:57:12For me, the beauty of poetry is
0:57:12 > 0:57:17the ability of the poet in describing something to make a word up to describe it.
0:57:17 > 0:57:19For example, "twindles".
0:57:19 > 0:57:24That doesn't exist in any dictionary but I know exactly what Hopkins was talking about
0:57:24 > 0:57:26when he talks about things turning and twindling.
0:57:26 > 0:57:30It's beautiful, again, it's the sound of language.
0:57:30 > 0:57:33Cos if you stand and listen for a minute,
0:57:33 > 0:57:35you're hearing nature.
0:57:35 > 0:57:36He was hearing nature,
0:57:36 > 0:57:42so it was only natural that he would want us to hear those sounds and create new words.
0:57:45 > 0:57:50A lot of great artists have taken their inspiration from nature.
0:57:50 > 0:57:55And, although as a species we're trying to do our best to completely ruin nature and the countryside,
0:57:55 > 0:58:00I can't imagine this poem would be any more relevant than it is today.
0:58:00 > 0:58:02This very day.
0:58:02 > 0:58:06When we're talking about conservation, when we're caring about our planet.
0:58:06 > 0:58:10Standing here and experiencing the natural beauty, the anger
0:58:10 > 0:58:14of nature, alongside the beauty of nature.
0:58:14 > 0:58:18I can't imagine it could be any more relevant than it is today.
0:58:18 > 0:58:21Also, on a beautiful day like this.
0:58:22 > 0:58:25Gerard Manley Hopkins, that's why they called him "manly".
0:58:25 > 0:58:28He was out here on cold days, writing poetry.
0:58:29 > 0:58:31That's manly.
0:58:35 > 0:58:38Subtitles by Red Bee Media Ltd
0:58:38 > 0:58:41E-mail subtitling@bbc.co.uk