Melvyn Bragg and guests discuss King Lear. Around the turn of 1606, a group of London theatre-goers braved the plague to take in a new play by the well-known impresario, Mr William Shakespeare. Packed into the Globe Theatre, they were treated to a tale of violence, hatred and betrayal so upsetting that it thereafter languished among Shakespeare’s less popular plays.The story of Lear – of a man who divides up his property and loses the love of a daughter - is an ancient and ultimately happy one. But in the hands of William Shakespeare it became a shocking and violent vision of a broken family in a godless universe. So shocking that after the playwright’s death it was shunned and rewritten with a happy ending. Only in the 19th and 20th centuries did Shakespeare’s bleak, experimental and disorientating drama attain the status it has now. But why did Shakespeare take a story from the deep history of Britain and make it so shockingly his own and when, from the Civil War to the Second World War, did this powerful and confusing tragedy emerge as Shakespeare’s greatest? With Jonathan Bate, Professor of English Literature at the University of Warwick; Katherine Duncan-Jones, Tutorial Fellow in English at Somerville College, Oxford; Catherine Belsey, Research Professor in English at the University of Wales, Swansea

Melvyn Bragg and guests will be leaving the studio, the planet and indeed, the universe to take a tour of the Multiverse. If you look up the word ‘universe’ in the Oxford English Dictionary you will find the following definition: “The whole of created or existing things regarded collectively; all things (including the earth, the heavens, and all the phenomena of space) considered as constituting a systematic whole.” That sounds fairly comprehensive as a description of everything, but for an increasing number of physicists and cosmologists the universe is not enough. They talk of a multiverse – literally many universes – to explain aspects of their theory, the character of the universe and the riddle of our existence within it. Indeed, compared to the scope and complexity of the multiverse, the whole of our known reality may be as a speck of sand upon a beach.The idea of a multiverse is still controversial, some argue that it isn’t even science, because it is based on an idea that we may never be able to prove or even see. But what might a multiverse be like, why are physicists and cosmologists increasingly interested in it and is it really scientific to discuss the existence of universes we may never know anything With Martin Rees, President of the Royal Society and Professor of Cosmology and Astrophysics at the University of Cambridge; Fay Dowker, Reader in Theoretical Physics at Imperial College; Bernard Carr, Professor of Mathematics and Astronomy at Queen Mary, University of London

Melvyn Bragg and guests discuss the Statue of Liberty."Give me your tired, your poor, your huddled masses yearning to breathe free”. With these words, inscribed inside her pedestal, the Statue of Liberty has welcomed immigrants to America since 1903. But the Statue of Liberty is herself an immigrant, born in Paris she was shipped across the Atlantic in 214 separate crates, a present to the Americans from the French. She is a token of friendship forged in the fire of twin revolutions, finessed by thinkers like Alexis de Tocqueville and expressed in the shared language of liberty. But why was this colossal statue built, who built it and what did liberty mean to the Frenchmen who created her and the Americans who received her?With Robert Gildea, Professor of Modern History at Oxford University; Kathleen Burk, Professor of Modern Contemporary History at University College London; John Keane, Professor of Politics at the University of Westminster

Melvyn Bragg and guests discuss the Social Contract and ask a foundational question of political philosophy – by what authority does a government govern? “Man was born free and he is everywhere in chains”. So begins Jean Jacques Rousseau’s great work on the Social Contract. Rousseau was trying to understand why a man would give up his natural freedoms and bind himself to the rule of a prince or a government. But the idea of the social contract - that political authority is held through a contract with those to be ruled - began before Rousseau with the work of John Locke, Hugo Grotius and even Plato. We explore how an idea that burgeoned among the 17th century upheavals of the English civil war and then withered in the face of modern capitalist society still influences our attitude to government today. With Melissa Lane, Senior University Lecturer in History at Cambridge University; Susan James, Professor of Philosophy at Birkbeck College, University of London; Karen O’Brien, Professor of English Literature at the University of Warwick.

Melvyn Bragg and guests discuss the coterie of brilliant thinkers gathered in 16th century Prague by the melancholic emperor Rudolph II. In 1606 the Archdukes of Vienna declared: “His majesty is interested only in wizards, alchemists, Kabbalists and the like, sparing no expense to find all kinds of treasures, learn secrets and use scandalous ways of harming his enemies…He also has a whole library of magic books. He strives all the time to eliminate God completely so that he may in future serve a different master.”The subject of this coruscating attack was the Holy Roman Emperor, Rudolf II, and his court at Prague. Rudolph had turned Prague into a collector’s cabinet for the wonders and curiosities of the age – the great paintings of Northern Italy were carried to him over the Alps, intricate automatons constructed to serve drinks, maps and models of the heavens were unwound and engineered as the magnificent city of Prague itself was rebuilt in the image of its dark and thoughtful patron in chief. But Rudolf’s greatest possessions were people - the astronomers Johannes Kepler and Tycho Brahe, the magus John Dee and the philosopher Giordano Bruno had all found their way to his city. Far from the devilish inquisitor of the archdukes’ imaginations, Rudolf patronised a powerhouse of Renaissance ideas. With Peter Forshaw, Postdoctoral Fellow at Birkbeck, University of London and an Honorary Fellow of the University of Exeter; Howard Hotson, Lecturer in Modern History at the University of Oxford; Adam Mosley, Lecturer in the Department of History at the University of Wales, Swansea.

Melvyn Bragg and guests discuss how the science of plate tectonics revolutionised our understanding of the planet on which we live. America is getting further away from Europe. This is not a political statement but a geological fact. Just as the Pacific is getting smaller, the Red Sea bigger, the Himalayas are still going up and one day the Horn of Africa will be a large island. This is the theory of plate tectonics, a revolutionary idea in 20th century geology that claimed the continents of Earth were dancing to the music of deep time. A dance of incredible slowness, yet powerful enough to throw up the mountains and pour away the oceans.Plate tectonics, the idea that the earth’s surface moved on a carpet of molten magma, constituted a genuine scientific revolution in geology. It explained why mountains appeared and why earth quakes occurred; it explained the curious distribution of fossils across the globe and finally solved the age old conundrum of why continents such as Africa and South America appeared to fit together like a giant jigsaw puzzle. Plate tectonics has made geologists, and many more besides, profoundly re-think what the Earth was, how it worked and how it related to all the things in it. With Richard Corfield, Visiting Senior Lecturer in Earth Sciences at the Open University; Joe Cann, Senior Fellow in the School of Earth and Environment at the University of Leeds; Lynne Frostick, Director of the Hull Environment Research Institute and Professor of Physical Geography at the University of Hull

Melvyn Bragg and guests will be delving into the world of medieval legend in pursuit of the powerful and enigmatic Fisher King. In the world of medieval romance there are many weird and wonderful creatures – there are golden dragons and green knights, sinister enchantresses and tragic kings, strange magicians and spears that bleed and talk. And yet, in all this panoply of wonder, few figures are more mysterious than the Fisher King.Blighted by a wound that will not heal and entrusted as the keeper of the Holy; the Fisher King is also a version of Christ, a symbol of sexual anxiety and a metaphor for the decay of societies and civilisations. The Fisher King is a complex and poetic figure and has meant many things to many people. From the age of chivalry to that of psychoanalysis, his mythic even archetypal power has influenced writers from Chrétien de Troyes in the 12th century to TS Eliot in the 20th. With Carolyne Larrington, Tutor in Medieval English at St John’s College, Oxford; Stephen Knight, Distinguished Research Professor in English Literature at Cardiff University; Juliette Wood, Associate Lecturer in the Department of Welsh, Cardiff University and Director of the Folklore Society

Melvyn Bragg and guests discuss the Charge of the Light - an event of no military significance that has become iconic in the British historical imagination. On November 14th 1854 The Times newspaper reported on a minor cavalry skirmish in the Crimean War: “They swept proudly past, glittering in the morning sun in all the pride and splendour of war... At the distance of 1200 yards the whole line of the enemy belched forth, from thirty iron mouths, a flood of smoke and flame through which hissed the deadly balls. Their flight was marked by instant gaps in our ranks, by dead men and horses, by steeds flying wounded or riderless across the plain”.This is the debacle of the Charge of the Light Brigade, which made little difference to the Crimean War yet has become deeply embedded in British culture. It helped to provoke the resignation of a Prime Minister and it profoundly changed British attitudes to war and to the soldiers who fought in them. It also brought censorship to bear on previously uncensored war reporting and inspired Alfred, Lord Tennyson to sit down and write “All in the Valley of Death rode the six hundred”.With Mike Broers, Lecturer in Modern History at the University of Oxford and a Fellow of Lady Margaret Hall; Trudi Tate, Fellow of Clare Hall, Cambridge; Saul David, Visiting Professor of Military History at the University of Hull

Melvyn Bragg and guests discuss the Algerian-French writer and Existentialist philosopher Albert Camus. Shortly after the new year of 1960, a powerful sports car crashed in the French town of Villeblevin in Burgundy, killing two of its occupants. One was the publisher Michel Gallimard; the other was the writer Albert Camus. In Camus’ pocket was an unused train ticket and in the boot of the car his unfinished autobiography The First Man. Camus was 46. Born in Algeria in 1913, Camus became a working class hero and icon of the French Resistance. His friendship with Sartre has been well documented, as has their falling out; and although Camus has been dubbed both an Absurdist and Existentialist philosopher, he denied he was even a philosopher at all, preferring to think of himself as a writer who expressed the realities of human existence. Awarded the Nobel Prize for Literature in 1957, Camus’ legacy is a rich one, as an author of plays, novels and essays, and as a political thinker who desperately sought a peaceful solution to the War for Independence in his native Algeria. With Peter Dunwoodie, Professor of French Literature at Goldsmiths, University of London; David Walker, Professor of French at the University of Sheffield; Christina Howells, Professor of French at Wadham College, University of Oxford.

Melvyn Bragg and guests discuss the Nicene Creed which established the Divinity of Christ. "We believe in one God, the Father Almighty, Maker of heaven and earth, and of all things visible and invisible. And in one Lord Jesus Christ, the only-begotten Son of God, begotten of the Father before all worlds." Thus begins the Nicene Creed, a statement of essential faith spoken for over 1600 years in Christian Churches - Catholic, Orthodox and Protestant. But what has become a universal statement was written for a very particular purpose - to defeat a 4th century theological heresy called Arianism and to establish that Jesus Christ was, indeed, God. The story of the Creed is in many ways the story of early Christianity – of delicate theology and robust politics. It changed the Church and it changed the Roman Empire, but that it has lasted for nearly 2000 years would seem extraordinary to those who created it. With Martin Palmer, Director of the International Consultancy on Religion, Education and Culture; Caroline Humfress, Reader in History at Birkbeck College, University of London; Andrew Louth, Professor of Patristic and Byzantine Studies at the University of Durham.