Wordsworth was not unusual among Romantic poets for his enthusiastic support of the French Revolution, but he stands apart from his contemporaries for actually being there to see it for himself (‘Thou wert there,’ Coleridge wrote). This episode looks at Wordsworth’s retrospective account of his 1791 visit to France, described in books 9 and 10 of The Prelude.
Conservative to a fault, Juvenal’s Satires rails against the rapid expansion and transformation of Roman society in the early principate – immigration, sexual mores and eating habits all come under fire. But where his contemporary Tacitus handled the same material with restraint, Juvenal’s work explodes with vivid and vicious depictions of urban life, including immigration, sexual mores and eating habits.
Brent Hayes Edwards talks to Adam about Aimé Césaire's 1950 essay Discourse on Colonialism, a groundbreaking work of 20th-century anti-colonial thought and a precursor to the writings of Césaire's protégé, Frantz Fanon. Césaire was Martinique’s most influential poet and one of its most prominent politicians as a deputy in the French National Assembly, and his Discourse is addressed directly at his country’s colonisers. Adam and Brent consider Césaire’s poetry alongside his political arguments and the particular characteristics of his version of négritude, the far-reaching movement of black consciousness he founded with Léopold Sédar Senghor and Léon Damas.
By the end of 1895 Oscar Wilde’s life was in ruins as he sat in Reading Gaol facing public disgrace, bankruptcy and, two years later, exile. Just ten months earlier the premiere of The Importance of Being Earnest at St James’s Theatre in London had been greeted rapturously by both the audience and critics. In this episode Colin and Clare consider what Wilde was trying do with his comedy, written on the cusp of this dark future.
In his long 1938 poem, Louis MacNeice took many of the ideals shared by other young writers of his time – a desire for relevance, responsiveness and, above all, honesty – and applied them in a way that has few equivalents in English poetry. This diary-style work, written from August to December 1938, reflects with ‘documentary vividness’, as Ian Hamilton has described, on the international and personal crises swirling around MacNeice in those months.
The Annals, Tacitus’ study of the emperors from Tiberius to Nero, covers some of the most vivid and ruthless episodes in Roman history. A masterclass in political intrigue (and how not to do it), the Annals features mutiny, senatorial backstabbing, wars on the imperial frontiers, political purges and enormous egos. Emily and Tom explore the many ambiguities that make the Annals rewarding, as well as difficult, reading and discuss Tacitus’ knotty style and approach to history.
In the preface to the Decameron Boccaccio describes Florentine society laid waste by bubonic plague in the mid-14th century. But before he gets to that he has a confession for the reader: he has been hurt by love, a love ‘more fervent than any other love’, and intends his work as a guide to life and love for young women in particular. In the first of two episodes on Boccaccio’s hundred novelle of sex, dishonesty and foolishness, Mary and Irina consider why both the preface and first story – about the disreputable merchant Cepparello – start with a confession, before looking at the later tale of the gardener Masetto and his noble efforts tending to the needs of every nun in a convent in Lamporecchio.
Brent Hayes Edwards and Adam discuss the ‘ur-text of Black political philosophy’, W.E.B. Du Bois’s The Souls of Black Folk. Spanning autobiography, history, biography, fiction, music criticism and political science, its fourteen essays set the tone for black literature, political debate and scholarly production for the course of the twentieth century. Souls was an immediate bestseller, the subject of furious debate and a foundational work in the new field of sociology.
Few poets have had the courage (or inclination) to rhyme ‘Plato’ with ‘potato’, ‘intellectual’ with ‘hen-peck’d you all’ or ‘Acropolis’ with ‘Constantinople is’. Byron does all of these in Don Juan, his 16,000-line unfinished mock epic that presents itself as a grand satire on human vanity in the tradition of Cervantes, Swift and the Stoics, and refuses to take anything seriously for longer than a stanza.
‘Goblin Market’ was the title poem of Christina Rossetti’s first collection, published in 1862, and while she disclaimed any allegorical purpose in it, modern readers have found it hard to resist political interpretations. Seamus and Mark discuss how post-Freudian readers might read those descriptions and what the poem says about the place of the ‘market’ in Victorian society.
In his prodigious, prolific and very short career, Lucan was at turns championed, disavowed and finally forced into suicide at 25 by the emperor Nero. His only surviving work is Civil War, an account of the bloody and chaotic power struggle between Julius Caesar and Pompey the Great. In their first episode on Latin literature’s so-called ‘Silver Age’, Tom and Emily dive into this brutal and unforgiving epic poem. They explore Lucan’s slippery relationship to power, his rhetorical virtuosity and the influence of Stoicism on his worldview.
The character of Gawain, one of King Arthur’s leading knights, recurs throughout medieval literature, but the way he’s presented underwent a curious development during the period, moving closer and closer to an impossible and perhaps comical ideal of chivalric perfection. Irina and Mary discuss his incarnation in 'Sir Gawain and the Carle of Carlisle', a later version of the character in which many of his traditional traits are exaggerated to the extreme.
Nadezhda Mandelstam’s Hope against Hope is a testimony of life under Stalin, and of the ways in which ordinary people challenge and capitulate to power. It’s also a compendium of gossip, an account of psychological torture, a description of the poet’s craft and a love story. Pankaj Mishra joins Adam to discuss the qualities that make Hope against Hope so compelling: Mandelstam’s uncompromising honesty, perceptiveness and irrepressible humour.
What kind of satirist was Jane Austen? Her earliest writings satirise romantic novelistic conventions, but her mature fiction goes far beyond this, taking the fashion for passionate sensibility and confronting it with moneyed realism. Clare and Colin focus on Emma as the high point of Austen’s satire of character as revealed through conversational style, and consider how the world Austen was born into, of revolutionary thought and new money, shaped the moral and material universe of all her novels.
Whitman wrote several poetic responses to the assassination of Abraham Lincoln. He came to detest his most famous, ‘O Captain! My Captain!’, and in ‘When Lilacs Last in the Dooryard Bloom'd’ Lincoln is not imagined in presidential terms but contained within a love elegy that attempts to unite his death with the 600,000 deaths of the civil war and reconfigure the assassination as a symbolic birth of the new America.