Melvyn Bragg and guests discuss the history of the artist. The sculptors who created the statues of ancient Greece were treated with disdain by their contemporaries, who saw the menial task of chipping images out of stone as a low form drudgery. Writing in the 1st century AD the Roman writer Seneca looked at their work and said: "One venerates the divine images, one may pray and sacrifice to them, yet one despises the sculptors who made them". Since antiquity artists have attempted to throw off the slur of manual labour and present themselves as gifted intellectuals on a higher level than mere artisans or craftsmen. By the Romantic period Wordsworth claimed that poets were 'endowed with a greater knowledge of human nature and a more comprehensive soul than are supposed to be common in mankind'. How did the artist become a special kind of human being? What role did aristocratic patronage of the arts play in changing the status of the artist? And how have we constructed the image of the artist? With Emma Barker, Lecturer in Art History, The Open University; Thomas Healy, Professor of Renaissance Studies at Birkbeck University of London; Tim Blanning, Professor of Modern European History at the University of Cambridge.

Melvyn Bragg and guests discuss the history of marriage.‘To have and to hold from this day forward, for better for worse, for richer for poorer, in sickness and in health, to love and to cherish, till death us do part.’ These marriage vows have been recited at church weddings since 1552, whenever two individuals have willingly pledged to enter into a relationship for life. But before the wedding service was written into the Book of Common Prayer, marriages were much more informal: couples could simply promise themselves to one another at any time or place and the spoken word was as good as the written contract. The ancients permitted polygamy and the taking of concubines so how did monogamy come to be the favoured mode in the West? Were procreation, financial stability, companionship, or love the reasons to get married? And what role has the state and the church played in legislating on personal affairs? With Janet Soskice, Reader in Modern Theology and Philosophical Theology, Cambridge University; Frederik Pedersen, Lecturer in History, Aberdeen University; Christina Hardyment, Social historian and journalist.

Melvyn Bragg examines the literary and political career of the poet John Milton. If it wasn't for the poet Andrew Marvell we wouldn't have his later works; Paradise Lost, Paradise Regained and Samson Agonistes. Milton spent the English Civil Wars as a prominent politician and right hand man to Oliver Cromwell. When the Monarchy was restored in 1660 it was only Marvell's intervention that saved Milton from execution. By then, Marvell argued, Milton was old and blind and posed no threat to Charles II. But as a young man Milton had been an activist and pamphleteer extraordinaire. Allegedly inspired by a meeting with Galileo he wrote in passionate defence of Liberty. He detested the Church's insistence on empty ritual. And most dramatically for his time he demanded that the state serve its people rather than the people serve the state. How then should we remember Milton - as poet or politician - as an idealist or an apologist for a revolutionary yet intolerant regime? And was he a man at one with the people or an elitist who preached to the masses but lived his own life only in the most rarefied of circles? With John Carey, Emeritus Professor of English Literature at Oxford University; Lisa Jardine, Professor of Renaissance Studies at Queen Mary College, University of London and Honorary Fellow of King's College Cambridge; Blair Worden, Professor of Early Modern History at the University of Sussex.

Melvyn Bragg explores the strange and mystical world of the poet W B Yeats. Celtic folklore, the Theosophical society, the Golden Dawn group, seances and a wife who communicated with the spirit world all had a huge effect on the work of this great Irish poet. He published his first collection in 1889 and won the Nobel prize for literature in 1923.At the close of the nineteenth century he published one of his best known works. He Wishes for the Cloths of Heaven: “Had I the heavens’ embroidered cloths,Enwrought with golden and silver light,The blue and the dim and the dark clothsOf night and light and the half-light,I would spread the cloths under your feet:But I, being poor, have only my dreams; I have spread my dreams under your feet; Tread softly because you tread on my dreams.” But Yeats the dreamer and the poet was also a mystic, a philosopher and a practitioner of magic. From the occult subcultures of Victorian London to the outlandish folklore of the Irish Peasantry, Yeats’ obsession with the spiritual world infused his poetic mind and even drove him to describe his own religion. Why was the period so alive with spiritualism? And how did the poems reflect the dreams? With Roy Foster, Carroll Professor of Irish History at Oxford University; Warwick Gould, Director of the Institute of English Studies, University of London; Brenda Maddox, author of George’s Ghosts: A New Life of W B Yeats.

Melvyn Bragg examines the 18th century idea of Sensibility. In Laurence Sterne’s A Sentimental Journey, the lead character Yorick comforts a young woman who has been abandoned by a little pet goat that had proved as faithless as her lover. Yorick describes her effect upon his ‘sweet sensibility’, “I sat down close by her, and Maria let me wipe the tears away as they fell, with my handkerchief. I then steeped it in my own - and then in hers - and then in mine - and then I wiped hers again - and as I did it, I felt such undescribable emotions within me, as I am sure could not be accounted for from any combinations of matter and motion. (I am positive I have a soul; nor can all the books with which materialists have pestered the world ever convince me to the contrary.)”It seems a bit mawkish to us now but Sterne, Richardson and Mackenzie were all part of the ‘cult of sensibility’ in the eighteenth century which elevated the sentimental novel to the height of literary art. Jane Austen’s masterpiece, Sense and Sensibility, has traditionally been taken as a parody of sensibility. But what caused the rush to emotion that so infused and enthused the Sensibility movement and was Jane Austen really so critical of the expression of feeling?With Claire Tomalin, literary biographer and author of Jane Austen: A Life and The Life and Death of Mary Wollstonecraft; John Mullan, Senior Lecturer in English at University College London; Hermione Lee, Goldsmiths Professor of English Literature, University of Oxford.

Melvyn Bragg explores the history of food in Modern Europe. The French philosopher of food Brillat-Savarin wrote in his Physiology of Taste, 'The pleasures of the table belong to all times and all ages, to every country and to every day; they go hand in hand with all our other pleasures; outlast them, and remain to console us for their loss' . The story of food is cultural as well as culinary, and what we eat and how we eat has always been linked to who we are or whom we might become, from the great humanist thinker Erasmus warning us to 'Always use a fork!' to the materialist philosopher Feuerbach telling us baldly, 'You are what you eat'.But what have we eaten, and why? In Europe since the Renaissance how have our intellectual appetites fed our empty stomachs? With Rebecca Spang, Lecturer in Modern History at University College London; Ivan Day, food historian; Felipe Fernandez-Armesto, Professor of Modern History at Oxford University.

Melvyn Bragg examines Oscar Wilde and the Aesthetes. In February 1895 Oscar Wilde was at the height of his powers, he was known on both sides of the Atlantic, he was feted in London society and celebrated in the West End where An Ideal Husband continued to play to packed houses as The Importance of Being Earnest opened to ecstatic reviews. “The man who can dominate a London dinner table can dominate the world” he is reputed to have said, and he seemed on course to do just that. But in April that year he was arrested for the crime of ‘gross indecency’ and his swift decent from omnipotence began; it ended five years later, when exiled and humiliated he died, famously ‘beyond his means’, in a Paris hotel.Wilde’s reputation spent a long time in the wilderness but just over a century after his death his stock is higher than ever before. Now that his rehabilitation seems complete how should we understand his legacy? Was Wilde a reactionary - the last of the romantics - or was he the midwife to modernism? Was there a coherent philosophy behind those beguiling epigrams or was there little more to aestheticism than dressing up and showing off? With Valentine Cunningham, Professor of English Language and Literature at Oxford University, Regenia Gagnier, Professor of English at the University of Exeter and Neil Sammells, Dean of Humanities at Bath Spa University and author of Wilde Style.

Melvyn Bragg and guests discuss surrealism. ‘Si vous aimez L’amour, vous aimerez Surrealisme!’. If you like Love, you’ll love Surrealism! Thus was the launch of the surrealist manifesto publicised in Paris in 1924. In that document the formerly Dadaist poet André Breton defined his new movement, “Surrealism is pure psychic automatism, by which it is intended to express…the real process of thought. It is the dictation of thought, free from any control by reason and of any aesthetic or moral preoccupation”.Surrealism is about sex, the unconscious, repression and desire and seems to carry more than a distant echo of the Doctor from Vienna. How much was their notion of ‘pure thought’ influenced by the writings of Sigmund Freud and the new technique of psychoanalysis being developed at the time? Did the surrealists manage to release the secrets and wonders of the human psyche, or was their wild foray into melting clocks, floating euphoniums and automatic writing simply a wasted journey into nonsense?With Dawn Adiss, Professor of Art History and Theory at the University of Essex; Malcolm Bowie, Marshal Foch Professor of French Literature at Oxford University and a fellow of All Souls College; the psychoanalyst Darian Leader

Melvyn Bragg and guests discuss the achievements of the 19th century literary giant, Charles Dickens. George Bernard Shaw said of Little Dorrit that it was “more seditious than Das Kapital”. We can all think of classic Dickens; the gin palaces, grimy narrow lanes, shoe shine boys sitting in the gutters and the terrible city smog. Silas Wake with his peg leg, young Oliver asking for more. But were these figures fictional agents for the radical change that Bernard Shaw suggests? Or was Dickens a great caricaturist but really a conservative at heart? What kind of person was the man Charles Dickens? And what is his political and literary legacy to our age? With Rosemary Ashton is Professor of English at University College London; Michael Slater is Professor of Victorian Literature at Birkbeck College, University of London and editor of The Dent Uniform Edition of Dickens’ Journalism; John Bowen, Senior Lecturer in English at the University of Keele.

Melvyn Bragg and guests discuss existentialism. Imagine being back inside the bustling cafes on the Left Bank of Paris in the 1930s, cigarette smoke, strong coffee and the buzz of continental voices philosophising about human responsibility and freedom. This kind of talk gave utterance to Existentialism. A twentieth century philosophy of everyday life concerned with the individual, and his or her place within the world. In novels, plays and philosophy, Existentialists try to work out the nature of our existence. As Roquentin says in Sartre’s novel ‘Nausea’, “To exist is simply to be there; what exists appears, lets itself be encountered, but you can never deduce it”.But where did these ideas come from? What do they really mean? And how have they impacted on our lives? With Dr A. C. Grayling, Reader in Philosophy at Birkbeck College, University of London; Christina Howells, Professor of French at the University of Oxford, fellow of Wadham College; Simon Critchley, Professor of Philosophy at the University of Essex and author of A Companion to Continental Philosophy.