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Speaking and writing correct English are the hallmarks of an intelligent person. No one who cares about language wants to be caught splitting an infinitive or muddling up ‘infer’ and ‘imply’. Which is why the bestseller lists are regularly topped by books on 'good' English by the likes of Daily Mail polemicist Simon Heffer and Today programme presenter John Humphrys - both of whom defend the motion in this debate.
Taking them on are Mary Beard, Professor of Classics at Cambridge, and Oliver Kamm, top commentator at The Times. No one would dare describe either as lacking in grey matter or being insensitive to good English. So why the disagreement with Heffer and Humphrys? Because people on their side of the argument believe that our language can take care of itself, and that it certainly doesn’t need a bunch of self-appointed rule-book sticklers to make others feel insecure about how they speak and write. Good style matters, they argue, and can be taught but the pedants should stop confusing their pet peeves with ‘correct’ English.
This was originally recorded at The Royal Geographic society on the 5th March 2014 in London, and was produced by Executive Producer Hannah Kaye.
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Think opera and you think Verdi. Verdi created some of the most beloved operas of all time, from the romantic tragedy of La traviata and Rigoletto to the Shakespearian dramas of Macbeth, Otello and Falstaff Verdi’s music transcends the barriers between high and low culture. Many of his arias count among the greatest songs ever written, streaming out of opera houses and into football stadiums and even the charts. Verdi was also the outstanding cultural figure at the heart of the unification of Italy, the musical father of the Risorgimento. Who needs Wagner when Verdi offers such richness? People who truly appreciate great music, say the Wagnerians. Wagner’s music is on an altogether more intellectual sphere. You hum Verdi; you think Wagner. Here is opera, and music, at its epic, definitive height. To know The Ring is to be fully immersed in opera at its greatest technical brilliance and compositional originality. To appreciate Wagner’s music is not to forgive his political views, but to cast them aside...
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