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Flog It has taken me to all corners of the British Isles. | 0:00:14 | 0:00:17 | |
It's been a wonderful opportunity to meet some fantastic people | 0:00:17 | 0:00:21 | |
and delve into our illustrious past. | 0:00:21 | 0:00:24 | |
In Britain we have a great literary tradition | 0:00:24 | 0:00:27 | |
and poetry is a key part of that. | 0:00:27 | 0:00:29 | |
Over the years, I've had the chance to follow in the footsteps | 0:00:29 | 0:00:32 | |
of some of my favourite poets. | 0:00:32 | 0:00:34 | |
And on this journey, I learn how the horrors of war | 0:00:34 | 0:00:38 | |
have left their mark on two young writers and unearth the true passion | 0:00:38 | 0:00:42 | |
of a Dorset poet best known for his novels. | 0:00:42 | 0:00:44 | |
But firstly, I discover which of Britain's great romantic poets | 0:00:44 | 0:00:48 | |
was inspired by this stunning landscape. | 0:00:48 | 0:00:51 | |
The Lake District is home to some of the most spectacular scenery | 0:00:54 | 0:00:57 | |
to be found anywhere, | 0:00:57 | 0:00:59 | |
but for centuries, people didn't really see the beauty in the region. | 0:00:59 | 0:01:03 | |
Instead, they considered its peaks and crags | 0:01:03 | 0:01:05 | |
wild, savage and terrifying. | 0:01:05 | 0:01:07 | |
All that began to change in the middle of the 18th century | 0:01:10 | 0:01:13 | |
when observers looked at the region with new eyes. | 0:01:13 | 0:01:17 | |
Amongst them was a great name in British poetry - | 0:01:18 | 0:01:21 | |
William Wordsworth. | 0:01:21 | 0:01:23 | |
Wordsworth was a member of what became known as | 0:01:23 | 0:01:26 | |
the English Romantic Movement in the arts. | 0:01:26 | 0:01:29 | |
He and his fellow poets and painters found inspiration | 0:01:29 | 0:01:32 | |
in the power of nature in all its awesome glory. | 0:01:32 | 0:01:36 | |
The romantics moved away from the structural, intellectual | 0:01:36 | 0:01:39 | |
approach of the 18th century - which is sometimes known now | 0:01:39 | 0:01:42 | |
as the age of reason or the enlightenment - | 0:01:42 | 0:01:45 | |
towards ways of looking at the world which recognised the importance | 0:01:45 | 0:01:48 | |
of the imagination and the emotions. | 0:01:48 | 0:01:51 | |
The epic themes of poems by their forerunners, | 0:01:54 | 0:01:56 | |
such as John Milton's Paradise Lost, where rejected by the romantics. | 0:01:56 | 0:02:00 | |
They felt that poetry should be inspired by just ordinary events. | 0:02:00 | 0:02:06 | |
In fact, one of Wordsworth's most famous poems | 0:02:11 | 0:02:14 | |
was inspired by a communal garden plant | 0:02:14 | 0:02:17 | |
and it grows in abundance during the spring. | 0:02:17 | 0:02:19 | |
I wandered lonely as a cloud | 0:02:19 | 0:02:22 | |
That floats on high o'er vales and hill | 0:02:22 | 0:02:24 | |
When all at once I saw a crowd | 0:02:24 | 0:02:27 | |
A host of golden daffodils | 0:02:27 | 0:02:29 | |
Beside the lake, beneath the trees | 0:02:29 | 0:02:31 | |
Fluttering and dancing in the breeze | 0:02:31 | 0:02:34 | |
Continuous as the stars that shine | 0:02:34 | 0:02:36 | |
And twinkle on the Milky Way | 0:02:36 | 0:02:39 | |
They stretched in never-ending line | 0:02:39 | 0:02:41 | |
Along the margin of a bay | 0:02:41 | 0:02:43 | |
Ten thousand saw I at a glance | 0:02:43 | 0:02:46 | |
Tossing their heads in sprightly dance | 0:02:46 | 0:02:49 | |
And then my heart with pleasure fills | 0:02:49 | 0:02:51 | |
And dances with the daffodils. | 0:02:51 | 0:02:54 | |
Place and family were central to Wordsworth. | 0:02:58 | 0:03:02 | |
Both in his poetry and his own life and he spent his happiest years here | 0:03:02 | 0:03:06 | |
at Rydal Mount with his wife and children, his sister and his sister-in-law. | 0:03:06 | 0:03:10 | |
The marvellous thing is, his descendants today | 0:03:10 | 0:03:13 | |
still refer to this place as home. | 0:03:13 | 0:03:15 | |
A servant once said to a visitor, | 0:03:29 | 0:03:32 | |
"This is my master's library where he keeps all his books. | 0:03:32 | 0:03:35 | |
"His study, well that, that's out of doors." | 0:03:35 | 0:03:38 | |
And to this day, visitors come in their droves to Rydal Mount | 0:03:38 | 0:03:41 | |
to pay tribute to one of English literature's greatest sons. | 0:03:41 | 0:03:45 | |
300 miles south in Dorset, I had the pleasure of visiting the home | 0:03:45 | 0:03:50 | |
of another of Britain's most famous poets - Thomas Hardy. | 0:03:50 | 0:03:54 | |
Although, as a writer, he's better known for his novels | 0:03:54 | 0:03:57 | |
such as Tess Of The D'Urbervilles and Far From The Madding Crowd. | 0:03:57 | 0:04:01 | |
Hardy was born in this cottage just outside Dorchester in 1840. | 0:04:01 | 0:04:05 | |
He lived here and grew up here | 0:04:05 | 0:04:07 | |
with his family of stonemasons and builders. | 0:04:07 | 0:04:09 | |
In his novels, he liked to describe real settings | 0:04:09 | 0:04:13 | |
as the scenes for the plots. | 0:04:13 | 0:04:14 | |
And in Under The Greenwood Tree published in 1872 | 0:04:14 | 0:04:18 | |
the cottage was described like this... | 0:04:18 | 0:04:20 | |
"It was a long low cottage with a hipped roof of thatch | 0:04:22 | 0:04:25 | |
"having dormer windows breaking up into the eaves, | 0:04:25 | 0:04:28 | |
"a chimney standing in the middle of the ridge | 0:04:28 | 0:04:30 | |
"and another at each end. | 0:04:30 | 0:04:32 | |
"The window-shutters were not yet closed | 0:04:32 | 0:04:34 | |
"and the fire and candle-light within radiated forth | 0:04:34 | 0:04:38 | |
"upon the thick bushes..." | 0:04:38 | 0:04:39 | |
After leaving school, Hardy became an apprentice to an architect | 0:04:39 | 0:04:43 | |
and spent five years working and living in London. | 0:04:43 | 0:04:45 | |
But his real passion was writing. | 0:04:45 | 0:04:47 | |
So he returned to Dorset to try to get his books published. | 0:04:47 | 0:04:51 | |
Towns, villages and buildings throughout the county | 0:04:51 | 0:04:54 | |
are all recognisable from Hardy's novels. | 0:04:54 | 0:04:56 | |
In The Mayor Of Casterbridge, | 0:04:56 | 0:04:58 | |
Casterbridge is a thinly disguised Dorchester. | 0:04:58 | 0:05:01 | |
The story centres around Michael Henchard | 0:05:01 | 0:05:04 | |
who sells his wife and his daughter when he gets drunk. | 0:05:04 | 0:05:07 | |
18 years later, they return to the town to find out that he's become | 0:05:07 | 0:05:10 | |
the Mayor and is presiding over dinner here, in The King's Arms. | 0:05:10 | 0:05:15 | |
"A spacious bow window projected into the street over the main portico, | 0:05:16 | 0:05:20 | |
"and from the open sashes came the babble of voices, | 0:05:20 | 0:05:23 | |
"the jingle of glasses, and the drawing of corks." | 0:05:23 | 0:05:26 | |
I've come to Dorset County Museum | 0:05:30 | 0:05:32 | |
to see some of Hardy's treasured possessions | 0:05:32 | 0:05:34 | |
and talk to museum director, Judy Lindsay. | 0:05:34 | 0:05:37 | |
Now, Hardy didn't come from a very wealthy background, did he? | 0:05:37 | 0:05:41 | |
No, he didn't. He was born to a labouring family | 0:05:41 | 0:05:43 | |
in the village of Bockhampton. | 0:05:43 | 0:05:45 | |
And, although he describes his cottage as seven-bedroomed | 0:05:45 | 0:05:48 | |
and rambling, it was still very much a labourer's cottage. | 0:05:48 | 0:05:51 | |
When did he start to write novels? | 0:05:51 | 0:05:53 | |
Thomas Hardy published his first novel in 1871. | 0:05:53 | 0:05:57 | |
He had written one previously, The Poor Man And The Lady, | 0:05:57 | 0:06:00 | |
but he'd failed to find a publisher for that. | 0:06:00 | 0:06:02 | |
So the first novel he wrote was Desperate Remedies. | 0:06:02 | 0:06:04 | |
He followed that up, however, with a much more popular novel | 0:06:04 | 0:06:07 | |
and the one which really bought him public acclaim - | 0:06:07 | 0:06:10 | |
Under The Greenwood Tree. | 0:06:10 | 0:06:12 | |
Looking around the room, I notice a cello there | 0:06:12 | 0:06:14 | |
and a couple of violins and there's one here. | 0:06:14 | 0:06:16 | |
Did he actually play the violin? | 0:06:16 | 0:06:18 | |
He started to play the violin aged only eight. | 0:06:18 | 0:06:21 | |
He played for the Stinsford Band, which was a church band | 0:06:21 | 0:06:24 | |
and it was very much a family tradition for him to do that. | 0:06:24 | 0:06:28 | |
His father, grandfather and uncle all played in the string band. | 0:06:28 | 0:06:31 | |
This was his violin. | 0:06:31 | 0:06:33 | |
-May I hold this? -Yes, you may. | 0:06:33 | 0:06:34 | |
Wow, Hardy's violin. | 0:06:36 | 0:06:37 | |
You really couldn't put a value on something like that. | 0:06:37 | 0:06:40 | |
In antiques we talk about provenance and its history | 0:06:40 | 0:06:43 | |
which adds to the value and I don't think it gets much better than this, | 0:06:43 | 0:06:47 | |
-does it? -No. | 0:06:47 | 0:06:48 | |
We're very lucky in that all of the items in our Thomas Hardy collection | 0:06:48 | 0:06:52 | |
-come with excellent provenance. -Yeah. | 0:06:52 | 0:06:54 | |
Tell me a little bit about the pens. | 0:06:54 | 0:06:56 | |
Thomas Hardy was self conscious enough to label some of the pens | 0:06:56 | 0:07:00 | |
that he wrote with so that we would know which pens he used | 0:07:00 | 0:07:04 | |
to write which novels and poems. | 0:07:04 | 0:07:06 | |
This one is labelled "Tess", as in Tess Of The D'Urbervilles. | 0:07:06 | 0:07:09 | |
And this one is The Dynasts, | 0:07:09 | 0:07:11 | |
which was his epic poem about the Napoleonic wars. | 0:07:11 | 0:07:14 | |
Wow. | 0:07:14 | 0:07:15 | |
Thoughtful chap, passing on his legacy there and then, really. | 0:07:15 | 0:07:19 | |
Very much so. | 0:07:19 | 0:07:20 | |
You mentioned his manuscripts, can we have a look at them? | 0:07:20 | 0:07:23 | |
-Of course we can. -You'll have to put your white gloves on to do that. | 0:07:23 | 0:07:26 | |
-So if I move the violin... -Thank you. | 0:07:26 | 0:07:28 | |
..just to there. | 0:07:28 | 0:07:29 | |
So this is the manuscript of The Mayor Of Casterbridge | 0:07:29 | 0:07:32 | |
and this is a bound copy of the original manuscript. | 0:07:32 | 0:07:36 | |
-So it's extremely precious. -Wow. | 0:07:36 | 0:07:39 | |
And one of the things I think is particularly lovely | 0:07:39 | 0:07:42 | |
is that inside the cover, is says, "Presented by Thomas Hardy." | 0:07:42 | 0:07:45 | |
Very distinctively his own signature. | 0:07:45 | 0:07:47 | |
And there's also a note here saying, "Hand it on to the museum." | 0:07:47 | 0:07:51 | |
Gosh, how exciting! Can you turn a page...please. | 0:07:51 | 0:07:54 | |
I can, yes. | 0:07:54 | 0:07:55 | |
When you research Thomas Hardy for any period of time | 0:07:59 | 0:08:02 | |
you become so familiar with the handwriting | 0:08:02 | 0:08:04 | |
it's absolutely distinctive. | 0:08:04 | 0:08:06 | |
-Is he buried here in Dorset? -When Thomas Hardy died, | 0:08:06 | 0:08:08 | |
his family were very keen that he would be buried here | 0:08:08 | 0:08:11 | |
and his heart was actually taken from his body | 0:08:11 | 0:08:13 | |
and interred at the church in Stinsford | 0:08:13 | 0:08:15 | |
which is very close to Bockhampton where Hardy grew up. | 0:08:15 | 0:08:18 | |
The rest of his body was cremated and the ashes were interred | 0:08:21 | 0:08:25 | |
in Westminster Abbey in Poets Corner which is particularly fitting | 0:08:25 | 0:08:29 | |
because many people see Thomas Hardy as a novelist. | 0:08:29 | 0:08:31 | |
Those who know his work better are aware that Thomas Hardy | 0:08:31 | 0:08:35 | |
-saw himself first and foremost as a poet. -Yeah. | 0:08:35 | 0:08:37 | |
Some of the most arresting poetry of the 20th century | 0:08:48 | 0:08:51 | |
was composed during the First World War. | 0:08:51 | 0:08:53 | |
Rupert Brooke and Wilfred Owen are two of the most celebrated authors | 0:08:56 | 0:09:01 | |
of this period, but both with contrasting and opposing approaches. | 0:09:01 | 0:09:05 | |
Brooke was a student here at the historic Rugby School | 0:09:05 | 0:09:10 | |
where I met with English master, Richard Smith. | 0:09:10 | 0:09:12 | |
Richard, tell me a little bit about Rupert Brooke, the man himself. | 0:09:12 | 0:09:16 | |
I know he used to mix with the Bloomsbury set | 0:09:16 | 0:09:19 | |
so he was certainly in with the in crowd of the day. | 0:09:19 | 0:09:21 | |
Yes and even before he leaves Rugby and goes to London | 0:09:21 | 0:09:25 | |
and starts mixing with that Bloomsbury group of writers, | 0:09:25 | 0:09:29 | |
he was a popular man at school. He mixed with the in crowd at school. | 0:09:29 | 0:09:33 | |
Later he was described by another poet, Yates, | 0:09:33 | 0:09:35 | |
as the most handsome young man in England. | 0:09:35 | 0:09:37 | |
So perhaps that's one reason why he was so popular. | 0:09:37 | 0:09:40 | |
Very fashionable guy. So, school, he obviously had, | 0:09:40 | 0:09:42 | |
what, a ball in one hand and a book in the other? | 0:09:42 | 0:09:44 | |
Yeah, he was a bit of an all-rounder. | 0:09:44 | 0:09:46 | |
And he went off to fight in the First World War? | 0:09:46 | 0:09:49 | |
Did he see any action? | 0:09:49 | 0:09:50 | |
No. He died before he saw any action. | 0:09:50 | 0:09:53 | |
He died in 1915 on his way to Gallipoli. | 0:09:53 | 0:09:55 | |
He was quite excited about joining in, listing up, | 0:09:55 | 0:09:57 | |
representing his country, wasn't he? | 0:09:57 | 0:09:59 | |
Yes, I think that's one of the reasons why Brookes poetry | 0:09:59 | 0:10:02 | |
is so different from the other First World War poets | 0:10:02 | 0:10:05 | |
-simply because his poetry reflects that early optimism. -Yeah. | 0:10:05 | 0:10:08 | |
-Euphoria of fighting in a war. -Being the hero. -Yes. | 0:10:08 | 0:10:12 | |
Blow, bugles, blow! | 0:10:12 | 0:10:14 | |
They brought us for our dearth | 0:10:14 | 0:10:16 | |
Holiness lacked so long | 0:10:16 | 0:10:18 | |
And love and pain | 0:10:18 | 0:10:20 | |
Honour has come back as a king to earth | 0:10:20 | 0:10:23 | |
And paid his subjects with a royal wage | 0:10:23 | 0:10:27 | |
And nobleness walks in our ways again | 0:10:27 | 0:10:29 | |
And we have come into our heritage. | 0:10:29 | 0:10:33 | |
It was believed that the war would be over by Christmas | 0:10:34 | 0:10:36 | |
so there was that gung-ho attitude of fighting for king and country. | 0:10:36 | 0:10:40 | |
Which is certainly reflected in his most famous war poem, The Soldier. | 0:10:40 | 0:10:43 | |
If I should die think only this of me | 0:10:44 | 0:10:47 | |
That there's some corner of a foreign field | 0:10:47 | 0:10:50 | |
That is for ever England | 0:10:50 | 0:10:52 | |
There shall be in that rich earth a richer dust concealed | 0:10:52 | 0:10:56 | |
A dust whom England bore shaped and made aware | 0:10:56 | 0:10:59 | |
Gave once her flowers to love her ways to roam | 0:10:59 | 0:11:04 | |
A body of England's breathing English air | 0:11:04 | 0:11:07 | |
Washed by the rivers blest by suns of home. | 0:11:07 | 0:11:11 | |
Well, obviously, history tells us it was awful. | 0:11:11 | 0:11:14 | |
In fact, it was a bloody mess and Brooke didn't see any of that. | 0:11:14 | 0:11:17 | |
Yes, you're right. He was removed from the very worst of it. | 0:11:17 | 0:11:21 | |
There's nothing like sitting in a cold damp trench like | 0:11:21 | 0:11:24 | |
other poets like Wilfred Owen. Perhaps Wilfred Owen's poetry | 0:11:24 | 0:11:28 | |
is more arresting for a modern readership, simply because | 0:11:28 | 0:11:31 | |
he describes those terrible conditions. | 0:11:31 | 0:11:33 | |
Wilfred Owen is probably Britain's most celebrated war poet. | 0:11:33 | 0:11:37 | |
He enlisted in 1915 and was sent to the front | 0:11:37 | 0:11:41 | |
where he saw heavy fighting and appalling conditions. | 0:11:41 | 0:11:45 | |
His poems revealed how many soldiers spent much of the war | 0:11:45 | 0:11:49 | |
huddled in trenches in all weathers. | 0:11:49 | 0:11:51 | |
Our brains ache | 0:11:53 | 0:11:55 | |
In the merciless iced east winds that knife us | 0:11:55 | 0:11:59 | |
Wearied we keep awake because the night is silent | 0:11:59 | 0:12:02 | |
Low drooping flares confuse our memory of the salient | 0:12:03 | 0:12:06 | |
Worried by silence, sentries whisper, curious, nervous, | 0:12:06 | 0:12:12 | |
But nothing happens. | 0:12:12 | 0:12:14 | |
That winter of 1917 was particularly bad. | 0:12:17 | 0:12:21 | |
Icy cold winds, relentless rain, | 0:12:21 | 0:12:23 | |
I mean, that must've cut right through you. | 0:12:23 | 0:12:26 | |
It's quite amazing to think such poignant works were produced. | 0:12:26 | 0:12:30 | |
Yes and such beautiful words as well, from such horror. | 0:12:30 | 0:12:34 | |
Because of his experience of fighting, | 0:12:34 | 0:12:36 | |
Owen hated the idealistic views of writers like Brooke, | 0:12:36 | 0:12:40 | |
who bought into the Latin philosophy - | 0:12:40 | 0:12:43 | |
Dolce et decorum est pro patria mori - | 0:12:43 | 0:12:46 | |
It is sweet and fitting to die for one's country. | 0:12:46 | 0:12:49 | |
Am I right in thinking that Owen was sent home | 0:12:54 | 0:12:56 | |
suffering form shell shock? | 0:12:56 | 0:12:58 | |
Yes, he goes to a military hospital up near Edinburg | 0:12:58 | 0:13:01 | |
called Craiglockhart. | 0:13:01 | 0:13:02 | |
There he meets another famous First World War poet - | 0:13:02 | 0:13:05 | |
Siegfried Sassoon - who had been decorated for bravery at the front, | 0:13:05 | 0:13:09 | |
but had become disillusioned with the war. | 0:13:09 | 0:13:11 | |
It's Sassoon who really encourages Owen to publish his works. | 0:13:11 | 0:13:15 | |
-They formed a friendship, a bond. -Yes. | 0:13:15 | 0:13:17 | |
So, what happened to them both? | 0:13:22 | 0:13:24 | |
Sassoon survives, he lives into the 1940s. | 0:13:24 | 0:13:28 | |
Even during the Second World War he's writing poetry. | 0:13:28 | 0:13:31 | |
Owen, poignantly, dies the week armistice is declared. | 0:13:31 | 0:13:35 | |
It's said that his mother opened the telegram on the 11th November. | 0:13:35 | 0:13:40 | |
-So it's quite a sad story. -That is so sad. | 0:13:40 | 0:13:43 | |
A sad ending and a sad loss to English poetry. | 0:13:43 | 0:13:46 | |
Yep. | 0:13:46 | 0:13:47 | |
Subtitles By Red Bee Media Ltd | 0:13:55 | 0:13:56 | |
E-mail [email protected] | 0:13:56 | 0:13:58 |