Melvyn Bragg and guests discuss the literary sensation caused by Gustave Flaubert's novel Madame Bovary. In January 1857 a man called Ernest Pinard stood up in a crowded courtroom and declared, “Art that observes no rule is no longer art; it is like a woman who disrobes completely. To impose the one rule of public decency on art is not to subjugate it but to honour it”. Pinard was no grumbling hack, he was the imperial prosecutor of France, and facing him across the courtroom was the writer Gustave Flaubert. Flaubert’s work had been declared “an affront to decent comportment and religious morality”. It was a novel called Madame Bovary.The story of an adulterous housewife called Emma, Madame Bovary, is a vital staging post in the development of realism. The arguments in court involved a heady brew of art, morality, sex and marriage and ensured the fame of the novel and its author. With Andy Martin, Lecturer in French at the University of Cambridge; Mary Orr, Professor of French at the University of Southampton; Robert Gildea, Professor of Modern History at the University of Oxford

Melvyn Bragg and guests discuss the war poet Siegfried Sassoon. In 1916 the Military Cross was awarded to a captain in the Royal Welch Fusiliers for "conspicuous gallantry during a raid on the enemy's trenches". The citation noted that he had braved "rifle and bomb fire" and that "owing to his courage and determination, all the killed and wounded were brought in". The hero in question was the poet, Siegfried Sassoon. And yet a year later, and at great personal risk, Sassoon publicly denounced the conduct of the war in which he had fought so well.Although famous for his bitter, satirical verses and his denunciation of the conduct of the war which landed him in Craiglockhart mental hospital there is much more to this man of contradictions. A mentor to Wilfred Owen, arch enemy of T.S. Eliot and the Modernist movement, his life included a string of homosexual affairs, a failed marriage, a religious conversion and several tumultuous arguments with literary friends. Notably Robert Graves. He was also an obsessive diarist and writer of autobiography and he continued to write poetry until his death, from cancer, in 1967. But how significant a poet is Siegfried Sassoon, what version of Englishness did this half-Jewish, homosexual cricket lover invent for himself and how do you explain the mind of a man who bitterly opposed the First World War, yet fought in it with an almost insane ferocity?With Jean Moorcroft Wilson, Lecturer in English at Birkbeck, University of London and a biographer of Sassoon; Fran Brearton, Reader in English and Assistant Director of the Seamus Heaney Centre for Poetry at the University of Belfast; Max Egremont, a biographer of Siegfried Sassoon

Melvyn Bragg and guests discuss Victorian Pessimism. On 1 September 1851 the poet Matthew Arnold was on his honeymoon. Catching a ferry from Dover to Calais, he sat down and worked on a poem that would become emblematic of the fears and anxieties of a generation of Victorians. It is called Dover Beach and it finishes like this: “Ah, love, let us be true To one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night”.From Matthew Arnold’s poem Dover Beach to the malign universe of Thomas Hardy’s novels, an age famed for its forthright sense of progress and Christian belief was also riddled with anxieties about faith, morality and the future of the human race. They were even worried that the sun would soon go out. But to what extent was this pessimism spread across all areas of Victorian life? What events and ideas were driving it on and were any of their concerns about race, religion, class and culture borne out as the 19th century drew to a close? With Dinah Birch, Professor of English at the University of Liverpool; Rosemary Ashton, Quain Professor of English Language and Literature at University College London; Peter Mandler, University Lecturer and Fellow in History at Gonville and Caius College, Cambridge.

Melvyn Bragg and guests discuss Greek and Roman love poetry, from the Greek poet Sappho and her erotic descriptions of romance on Lesbos, to the love-hate poems of the Roman writer Catullus. The source of many of the images and metaphors of love that have survived in literature through the centuries. We begin with the words of Sappho, known as the Tenth Muse and one of the great love poets of Ancient Greece: “Love, bittersweet and inescapable, creeps up on me and grabs me once again”Such heartfelt imploring by Sappho and other writers led poetry away from the great epics of Homer and towards a very personal expression of emotion. These outpourings would have been sung at intimate gatherings, accompanied by the lyre and plenty of wine. The style fell out of fashion only to be revived first in Alexandria in the third Century BC and again by the Roman poets starting in the 50s BC. Catullus and his peers developed the form, employing powerful metaphors of war and slavery to express their devotion to their Beloved – as well as the ill treatment they invariably received at her hands!So why did Greek poetry move away from heroic narratives and turn to love in the 6th Century BC? How did the Romans transform the genre? And what effect did the sexual politics of the day have on the form? With Nick Lowe, Senior Lecturer in Classics at Royal Holloway, University of London; Edith Hall, Professor of Classics and Drama at Royal Holloway, University of London; Maria Wyke, Professor of Latin at University College London.

Melvyn Bragg and guests discuss the great 18th Century fashion for epistolary literature. From its first appearance in the 17th Century with writers like Aphra Behn, epistolary fiction, fiction in the form of letters, reached its heyday in the 18th Century with works like Clarissa by Samuel Richardson. At over a million words, it's a contender for the longest English novel. It inspired impassioned followers such as Denis Diderot who described reading Richardson's novels like this: “In the space of a few hours I had been through a host of situations which the longest life can scarcely provide in its whole course. I had heard the genuine language of the passions; I had seen the secret springs of self-interest and self-love operating in a hundred different ways: I had become privy to a multitude of incidents and I felt I had gained in experience.”This sense of the reader gaining a privileged peek into the psychology of the protagonists was a key device of the epistolary form and essential to the development of the novel. Its emphasis on moral instruction also propelled the genre into literary respectability. These novels were a publishing sensation. Philosophers like Rousseau and Montesquieu took up the style, using it to convey their ideas on morality and society.So why was letter writing so important to 18th Century authors? How did this style aid the development of the novel? And why did epistolary literature fall out of favour?With John Mullan, Professor of English at University College London; Karen O’Brien, Professor in English at the University of Warwick; and Brean Hammond, Professor of Modern English Literature at the University of Nottingham.

Melvyn Bragg will be discussing Joseph Conrad’s Heart of Darkness. Written in 1899, Heart of Darkness is a fascinating fin de siecle critique of colonialism and man's greed. Conrad draws on his own adventures for the plot. The story's main narrator is Marlow, a merchant seaman who pilots a steamship upriver in what is largely assumed to be the Belgian Congo. He finds the scramble for Africa well underway, with Europeans desperately competing to make their fortunes from ivory. Marlow's journey takes him into the interior of this mysterious silent continent. After a dangerous passage he finally arrives at the company's most remote trading station. It is reigned over by Kurtz, a white man who seems to have become a kind of God figure to the local people. Marlow is fascinated by him, preferring his messianic ravings to the petty treachery and mercenarism of the other white traders. On the journey back, Kurtz dies, whispering “the horror, the horror”.The interpretation of these words has perplexed readers ever since and the book has prompted a diverse range of readings from the psychoanalytical, that sees the novella as a metaphor for the journey into the subconscious, to feminist readings that examine how Conrad excludes female characters and focuses on the male consciousness. Conrad wrote; “My task is, above all, to make you see”. So did he intend this novella to provoke a discussion of the immorality and rapacity at the centre of colonialism? Was he questioning the hero's welcome given to those famous explorers who came back from “civilising” Africa, as they saw it? Or was he, as the Nigerian writer Chinua Achebe put it, “guilty of preposterous and perverse arrogance in reducing Africa to the role of props for the break-up of one petty European mind?” With Susan Jones, Fellow and Tutor in English at St Hilda's College, Oxford; Robert Hampson, Professor of Modern Literature at Royal Holloway, University of London; Laurence Davies, Honorary Senior Research Fellow in English at Glasgow University and Visiting Professor of Comparative Literature at Dartmouth College, New Hampshire

Melvyn Bragg and guests discuss the life and work of the Argentinian master of the short story, Jorge Luis Borges. Borges is one of the greatest writers of the 20th Century, best known for his intriguing short stories that play with philosophical ideas, such as identity, reality and language. His work, which includes poetry, essays, and reviews of imaginary books, has had great influence on magical realism and literary theory. He viewed the realist novel as over-rated and deluded, revelling instead in fable and imaginary worlds. He declared "people think life is the thing but I prefer reading".Translation formed an important part of his work, writing a Spanish language version of an Oscar Wilde story when aged around 9. He went on to introduce other key writers such as Faulkner and Kafka to Latin America, liberally making changes to the original work which went far beyond what was, strictly speaking, translation.He lived most of his life in obscurity, finding recognition only in his sixties when he was awarded the International Publishers' Prize which he shared with Samuel Beckett. By this point he was blind but continued to write, composing poetry in his head and reciting from memory.So how has Borges' work informed ideas about our experience of the world through language? How much was his writing shaped by his travel abroad and an unrequited love? And how has his legacy inspired the next generation of great Latin American authors such as Gabriel Garcia Marquez and Mario Vargas Llosa?With Edwin Williamson, Professor of Spanish Studies at Oxford University; Efraín Kristal, Professor of Comparative Literature at University of California, Los Angeles; Evelyn Fishburn, Professor Emeritus at London Metropolitan University and Honorary Senior Research Fellow at University College London.

Melvyn Bragg and guests discuss hell and its representation in literature and the visual arts, through the ages from Ancient Egypt to modern Christianity. Why do certain religions have a Satan figure and others don’t? And why did hell shift from the underworld to here on earth in 20th Century representations?A fiery vault beneath the earth or as Sartre put it, other people - it seems our ideas of hell are inevitably shaped by religious and cultural forces. For Homer and Virgil it’s a place you can visit and return from, often a wiser person for it. With Christianity it’s a one way journey and a just punishment for a sinful, unrepentant life. Writers and painters like Dante and Hieronymus Bosch gave free rein to their imaginations, depicting a complex hierarchical world filled with the writhing bodies of tormented sinners. In the 20th century hell can be found on earth in portrayals of war and the Holocaust but also in the mind, particularly in the works of TS Eliot and Primo Levi. So what is the purpose of hell and why is it found mainly in religions concerned with salvation? Why has hell proved so inspirational for artists through the ages, perhaps more so than heaven? And why do some ideas of hell require a Satan figure while others don't?With Martin Palmer, Director of the International Consultancy on Religion, Education and Culture; Margaret Kean, Tutor and Fellow in English at St Hilda’s College, Oxford; Neil MacGregor, Director of the British Museum.

Melvyn Bragg and guests discuss the life and work of Alexander Pope. His enemies – who were numerous - described him as a hunchbacked toad, twisted in body, twisted in mind, but Alexander Pope is without doubt one of the greatest poets of the English language. His acerbic wit and biting satire were the scourge of politicians, fellow writers and most especially the critics. He was the first Englishman to make a living from his pen, free from the shackles of patronage and flattery. Indeed, his sharp tongue meant he couldn’t go out walking without his Great Dane and a pair of loaded pistols. He was a ferocious businessman too, striking tough deals with his publishers, ensuring he kept control of his work and was well-rewarded for it. So how did Pope manage to transform himself from a crippled outsider into a major cultural and moral authority? How did he shape our ideas about what a “modern author” is? Does his work still have resonances today or is it too firmly embedded in the politics, cultural life and rivalries of the period?With John Mullan, Professor of English at University College London; Jim McLaverty, Professor of English at Keele University; Valerie Rumbold, Reader in English Literature at Birmingham University.

Melvyn Bragg and guests discuss the French encyclopédie, the European Enlightenment in book form. One of its editors, D’Alembert, described its mission as giving an overview of knowledge, as if gazing down on a vast labyrinth of all the branches of human ideas, observing where they separate or unite and even catching sight of the secret routes between them. It was a project that attracted some of the greatest thinkers of the Enlightenment - Voltaire, Rousseau and Diderot - striving to bring together all that was known of the world in one comprehensive encyclopaedia. No subject was too great or too small, so while Voltaire wrote of “fantasie” and “elegance”, Diderot rolled up his sleeves and got to grips with jam-making.The resulting Encyclopédie was a bestseller - running to 28 volumes over more than 20 years, amidst censorship, bans, betrayals and reprieves. It even got them excited on this side of the Channel, with subscribers including Oliver Goldsmith, Samuel Johnson and Charles Burney. So what drove these men to such lengths that they were prepared to risk ridicule, prison, even exile? How did the Encyclopédie embody the values of the Enlightenment? And what was its legacy – did it really fuel the French Revolution? With Judith Hawley, Senior Lecturer in English at Royal Holloway, University of London; Caroline Warman, Fellow and Tutor in French at Jesus College, Oxford; David Wootton, Anniversary Professor of History at the University of York.