WEBVTT - Sacred Daggers, Part 1

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<v Speaker 1>Is this a dagger which I see before me, the

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<v Speaker 1>handle toward my hand? Come, let me clutch THEE. I

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<v Speaker 1>have THEE not, And yet I see THEE. Still art

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<v Speaker 1>thou not fatal visions sensible to feeling, as to sight,

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<v Speaker 1>or art Thou but a dagger of the mind, a

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<v Speaker 1>false creation proceeding from the heat of rests brain. I

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<v Speaker 1>see THEE yet in form as palpable as this which

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<v Speaker 1>now I draw Thou, marshalst me the way that I

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<v Speaker 1>was going, and such an instrument I was to use.

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<v Speaker 2>Welcome to Stuff to Blow Your Mind a production of iHeartRadio.

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<v Speaker 1>Hey, Welcome to Stuff to Blow your Mind.

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<v Speaker 3>My name is Robert Lamb and I'm Joe McCormick.

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<v Speaker 1>In today's episode and likely a follow up episode, I

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<v Speaker 1>believe to be discussing daggers, but not just your common

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<v Speaker 1>everyday daggers and dirks like I know you know most

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<v Speaker 1>of you are carrying around. But no, we're gonna be

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<v Speaker 1>busting out some awesome plus two and plus three daggers

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<v Speaker 1>with all sorts of sacred, sacrificial, historically or culturally significant connotations.

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<v Speaker 1>As is often the case with these multi part explorations,

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<v Speaker 1>We're just gonna kind of open the dagger drawer here.

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<v Speaker 1>We're going to pull some out and see what we learn,

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<v Speaker 1>see what we discover. Not entirely sure what all the

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<v Speaker 1>connections are necessarily gonna be, but I think we're gonna

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<v Speaker 1>have some interesting artifacts to discuss here.

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<v Speaker 3>Were you inspired to do this topic because of recent

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<v Speaker 3>events in your D and D campaign?

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<v Speaker 1>I mean, there are always cool daggers in D and

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<v Speaker 1>D campaign, so I certainly reflected on that a fair amount,

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<v Speaker 1>but no real recent things that I can think of.

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<v Speaker 1>I think my current character doesn't even use a dagger.

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<v Speaker 1>I mean she probably has one, like your character, unless

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<v Speaker 1>they just are not allowed to have sharp objects. Probably

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<v Speaker 1>has a dagger, or you'll have the opportunity to pick

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<v Speaker 1>one up here there.

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<v Speaker 3>Yeah, at this point, I forget how many cult daggers

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<v Speaker 3>we've stashed into our bag of holding. We got a

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<v Speaker 3>bunch in there.

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<v Speaker 1>Yeah, I just keep throwing them in.

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<v Speaker 3>Yeah. No, the shopkeepers want to buy them.

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<v Speaker 1>Yeah, the return rate you don't get much back on those,

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<v Speaker 1>the cultest daggers. I mean, I guess they've been used

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<v Speaker 1>a lot. They're a little bit dull, yeah, you know,

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<v Speaker 1>a little bit cursed from their usage. But in that

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<v Speaker 1>we kind of get into something we will be discussing,

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<v Speaker 1>and that is like, the dagger does seem to have

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<v Speaker 1>a special place sometimes in our hearts, sometimes literally in

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<v Speaker 1>our hearts, I guess. But the dagger itself is of

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<v Speaker 1>course a human weapon invention that goes way back in

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<v Speaker 1>our development of tools. Our ancestors, of course took up

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<v Speaker 1>various nature facts, you know, found objects, and some of

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<v Speaker 1>these might have taken on the form of a dagger,

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<v Speaker 1>you know, some sort of a talent or two, and

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<v Speaker 1>eventually they went on to create full fledged artifacts, so

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<v Speaker 1>short stabbing weapons crafted from say flint, ivory or bone,

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<v Speaker 1>along with some other material to sort of bind things

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<v Speaker 1>together to make it, you know, more than just one

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<v Speaker 1>found implement, but multiple implements brought together into a proper artifact.

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<v Speaker 3>I was just trying to think, is there a formal

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<v Speaker 3>dividing line between the concept of a knife and the

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<v Speaker 3>concept of a dagger. I can say my usage, which

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<v Speaker 3>is that I would think of a knife as a

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<v Speaker 3>all purpose utility tool, whereas a dagger is a weapon.

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<v Speaker 3>It's something made for violence.

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<v Speaker 1>Yeah, I mean it does, it gets it gets a

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<v Speaker 1>little subjective at times, for sure. I was reading a

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<v Speaker 1>bit about this because you know, on one hand, you'll

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<v Speaker 1>have plenty of examples throughout history where someone had a

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<v Speaker 1>blade that certainly had a utility function. This would be

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<v Speaker 1>your knife for you know, cutting through bits of rope

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<v Speaker 1>or perhaps vegetation, maybe you use it in butchery. But

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<v Speaker 1>then it might also be a weapon that not only

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<v Speaker 1>can be used as a weapon, because certainly any knife

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<v Speaker 1>can be used as a weapon against say other humans

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<v Speaker 1>or you know, hostile organisms of one sort or the other.

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<v Speaker 1>But then also sometimes you have you have weapons like this,

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<v Speaker 1>You have blades that kind of a dual purpose like this,

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<v Speaker 1>this is your working blade, but if me be it's

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<v Speaker 1>also your stab in blade.

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<v Speaker 3>Huh, and maybe you're eating blade too, exactly.

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<v Speaker 1>Yeah, So you know it's going to vary culturally and individually.

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<v Speaker 1>It's going to depend on the exact size of the weapon.

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<v Speaker 1>It is worth noting that while the origins of the

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<v Speaker 1>dagger are essentially like vanish into prehistory, you know, to

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<v Speaker 1>the extent that we can even know these things, it

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<v Speaker 1>does seem to predate the sword, but is not as

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<v Speaker 1>old as the spear. And I think this makes a

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<v Speaker 1>lot more sense when we sort of get into how

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<v Speaker 1>we divide up some of these weapons. I turn to

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<v Speaker 1>book I frequently reference, and that is Brian Fagan's The

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<v Speaker 1>Seventy Great Inventions of the Ancient World, and there's a

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<v Speaker 1>chapter in there dealing with spears and swords and so

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<v Speaker 1>forth that I've probably referenced in the past that he

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<v Speaker 1>wrote with Thomas Hewlett, and they point out that scholars

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<v Speaker 1>tend to decide what is a dagger, a dirk or

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<v Speaker 1>a sword based purely on blade length, though this method

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<v Speaker 1>in and of itself doesn't consider the method by which

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<v Speaker 1>the blade would have been used. So it's just kind

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<v Speaker 1>of like, all right, is it how long is it?

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<v Speaker 1>Is it shorter than a sword? Well, that looks like

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<v Speaker 1>a dirk. Oh, it's shorter than a dirk. It's a dagger.

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<v Speaker 1>And that's about, you know, as nuance as they get,

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<v Speaker 1>you know, leave the other details, I guess, for more

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<v Speaker 1>detailed examination of the artifact. But in broad strokes, if

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<v Speaker 1>you will, that the spear, of course keeps an adversary

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<v Speaker 1>at a distance, and at a considerable distance if you

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<v Speaker 1>get into, you know, examples of throwing the spear one

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<v Speaker 1>way or another, which we've discussed in the show before,

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<v Speaker 1>but then if the enemy's closer, while the sword allows

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<v Speaker 1>for a close quarters combat but still keeps the adversary

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<v Speaker 1>at a modest distance and also allows for a fair

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<v Speaker 1>amount of force, but then when we come in even tighter, well,

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<v Speaker 1>then we get into dirk range and then dagger range,

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<v Speaker 1>and the weapon becomes increasingly close combat, you know, risky.

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<v Speaker 1>And also, while all hand weapons are an extension of

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<v Speaker 1>the human body, you know, factored into the mind's body schema,

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<v Speaker 1>the dagger is just about as intimate a weapon as

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<v Speaker 1>you can get. You know that with a dagger, death

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<v Speaker 1>and bloodshed are close, like they are, like it's I

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<v Speaker 1>think it's ultimately one of the things that's so hypnotizing

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<v Speaker 1>and ticing and like symbolically potent about the dagger is that, like,

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<v Speaker 1>to get closer you'd be dealing with, like with a

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<v Speaker 1>weapon you'd be dealing with like brass knuckles or something, right,

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<v Speaker 1>something that's essentially just parts of the human body slightly augmented,

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<v Speaker 1>but in terms of a weapon that one bears and

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<v Speaker 1>again updates the body schema and kind of makes it

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<v Speaker 1>a part of you, Like, the dagger is the most

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<v Speaker 1>intimate of weapons.

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<v Speaker 3>I think about that in the context of what often

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<v Speaker 3>happened in combat between knights wearing plate armor. So if

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<v Speaker 3>you're both wearing plate armor, it's going to be difficult

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<v Speaker 3>to hurt each other with a sword and doing cuts

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<v Speaker 3>and thrusts that just bounce off the plate. So often

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<v Speaker 3>the way these duels or fights on the battlefield would

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<v Speaker 3>go would be that you would initially trade blows with longer,

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<v Speaker 3>heavier weapons at a distance, maybe like a pole arm.

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<v Speaker 3>You probably also have a mace with you, and the

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<v Speaker 3>goal would be to knock your opponent down on the

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<v Speaker 3>ground or to tire them out and injure them with

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<v Speaker 3>blunt force, and then usually into the fight by grappling

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<v Speaker 3>with them and trying to get a killing stroke, by

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<v Speaker 3>getting up close and using a short blade like a

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<v Speaker 3>Rondell dagger to try to stab in between the plates

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<v Speaker 3>of the armor or through the face plate.

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<v Speaker 1>Yeah, and that's where it gets really, it gets really

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<v Speaker 1>I get really squeamish thinking about it. Yeah, and yeah,

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<v Speaker 1>I mean it would seem this is of course going

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<v Speaker 1>to vary greatly by you know, individual and culture and

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<v Speaker 1>proximity to these various martial arts, if you will, But

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<v Speaker 1>it feels less of a like a dignified art form

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<v Speaker 1>of battle, and it becomes more just about like personal

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<v Speaker 1>murder and death at that point.

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<v Speaker 3>Yeah, some of the pretty illusions of heroic warfare kind

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<v Speaker 3>of fade away when you get that close and you

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<v Speaker 3>see what's really going on.

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<v Speaker 1>Yeah, and that makes it such an interesting focal point

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<v Speaker 1>I think for so many authors and artists throughout time, Like,

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<v Speaker 1>there's something about a knife fight that is frightening and

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<v Speaker 1>also tantalizing. So, you know, it should come as no

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<v Speaker 1>surprise that the Dagger was a frequent point of contemplation

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<v Speaker 1>for author Jorae Luis Borges. Alongside things like mirrors and labyrinths.

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<v Speaker 1>You know, knife fighters pop up again and again his

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<v Speaker 1>short stories, including nineteen sixty nine's The Encounter, which I

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<v Speaker 1>think has also I think it was published in The

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<v Speaker 1>New Yorker under a different title back in the day,

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<v Speaker 1>but in the collection I have it is listed as

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<v Speaker 1>The Encounter, and it deals with a violent encounter between

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<v Speaker 1>a pair of knife fighters or ku chi euros and

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<v Speaker 1>the author. In the narrator anyway, it comes to believe

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<v Speaker 1>that it was not the two men who fought each

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<v Speaker 1>other ultimately, but the two antique dueling daggers that they wielded.

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<v Speaker 3>So it's dagger versus dagger with some human pilots tacked on.

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<v Speaker 1>Yeah, I'm gonna read from Borges and translation here it

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<v Speaker 1>was the weapons, not the men, that fought. And then

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<v Speaker 1>later this passage they had sought each other for a

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<v Speaker 1>long time, down the long roads of the province, and

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<v Speaker 1>at last they had found each other. By that time,

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<v Speaker 1>their gauchos were dust in the blades of those knives.

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<v Speaker 1>They're slept and lurked a human grudge. Things last longer

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<v Speaker 1>than men. Who can say whether the story ends here,

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<v Speaker 1>Who can say that they will never meet again?

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<v Speaker 3>Well, by that logic, the bones of the men could

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<v Speaker 3>meet again somehow.

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<v Speaker 1>Well, yes, but yeah, something but I like it. Yeah yeah,

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<v Speaker 1>something like this could be said of any weapon, or

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<v Speaker 1>any antique weapon especially, but yeah, the dagger, especially via

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<v Speaker 1>its closeness, it's intimacy. You know, it seems especially apt

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<v Speaker 1>for this kind of reading. You know, perhaps it's just

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<v Speaker 1>so close to our own bodies and our own wills

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<v Speaker 1>it becomes like a focal point of our most violent

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<v Speaker 1>designs and desires that it becomes something more.

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<v Speaker 3>Oh yeah, yeah, And I don't think we have to

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<v Speaker 3>speculate about the symbolic importance of the dagger. I mean,

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<v Speaker 3>we can literally just see that a huge number of

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<v Speaker 3>the daggers produced and preserved throughout history are things that,

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<v Speaker 3>as far as we can tell, might never have actually

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<v Speaker 3>been used, you know, might never have been used for violence.

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<v Speaker 3>They were symbols, They were decorations. They were something that

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<v Speaker 3>people held and kept on their body to look a

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<v Speaker 3>certain way and to mean something.

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<v Speaker 1>Yeah, whether they were actually used in any kind of

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<v Speaker 1>a particular ritual of use or ritual without use, you know,

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<v Speaker 1>like what was it used to cut open a you know,

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<v Speaker 1>an animal in some sort of a practice, or was

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<v Speaker 1>it just sort of presented or was it more what

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<v Speaker 1>we might think of as decoration like in some cases

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<v Speaker 1>We don't know, But yeah, the dagger takes on this

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<v Speaker 1>important symbolic place in various cultures throughout time.

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<v Speaker 3>In fact, I would not say this is not just

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<v Speaker 3>true of daggers. I would extend this to weapons in

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<v Speaker 3>all times and places as used by humans. Clearly, I

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<v Speaker 3>mean obviously they are in many cases actually used for

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<v Speaker 3>violence or defense. But that's not the only reason people

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<v Speaker 3>get them. You know, people don't just have weapons because

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<v Speaker 3>they will literally actually have to use them at some point.

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<v Speaker 3>A lot of it's about how they make people feel,

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<v Speaker 3>how you feel when you have a weapon. It's like

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<v Speaker 3>a psychological self management issue.

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<v Speaker 1>Yeah, yeah, there's something to be said too, how we

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<v Speaker 1>even end up buying weapons that, first of all, have

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<v Speaker 1>no conceivable real life purpose. We're not planning to use them,

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<v Speaker 1>either for a utilitarian purpose or even or even in battle,

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<v Speaker 1>like people will buy things like cling on battle accents

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<v Speaker 1>or whatnot.

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<v Speaker 3>You know, this is my Samurai sword.

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<v Speaker 1>Yeah, yeah, yeah, And you know, and again it may

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<v Speaker 1>be tied to an actual culture, it may be tied

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<v Speaker 1>to a misrepresentation of a culture or something from a

0:12:37.240 --> 0:12:41.200
<v Speaker 1>science fiction fantasy show. But yeah, it still takes on

0:12:41.240 --> 0:12:43.600
<v Speaker 1>this important meaning. And there's something about holding it in

0:12:43.600 --> 0:12:47.440
<v Speaker 1>our hands. By the way, the knives in that Borgz story,

0:12:47.679 --> 0:12:52.400
<v Speaker 1>he describes them a fair link for a short story.

0:12:52.880 --> 0:12:55.360
<v Speaker 1>So I looked up some images of what these things

0:12:55.400 --> 0:12:59.439
<v Speaker 1>actually looked like, and I have a picture here for you, Joe. Apparently,

0:12:59.480 --> 0:13:04.600
<v Speaker 1>the two eyes that the Gauchos would use around the

0:13:04.640 --> 0:13:07.559
<v Speaker 1>time that the story is taking place consisted of two

0:13:07.600 --> 0:13:11.600
<v Speaker 1>different sorts of blades. There was the facan this would

0:13:11.920 --> 0:13:17.920
<v Speaker 1>like a short and it almost looks like a bayonet.

0:13:16.679 --> 0:13:19.680
<v Speaker 3>Kind of long, almost dirk like, you know, I would

0:13:19.760 --> 0:13:21.760
<v Speaker 3>almost think of this as a short sword.

0:13:22.000 --> 0:13:24.680
<v Speaker 1>Yeah, it really does look almost like a short sword.

0:13:25.400 --> 0:13:27.800
<v Speaker 1>It has like a either a U or an S

0:13:27.800 --> 0:13:31.160
<v Speaker 1>shaped crossguard on it. And then there was another blade

0:13:31.200 --> 0:13:34.199
<v Speaker 1>called the Dagga, which was which had like a really

0:13:34.240 --> 0:13:36.840
<v Speaker 1>short guard, so no S or U shapes, and it

0:13:36.920 --> 0:13:41.800
<v Speaker 1>was apparently double edged. And the Facan especially was a

0:13:41.840 --> 0:13:45.000
<v Speaker 1>blade that was both something that they would use for

0:13:45.120 --> 0:13:48.000
<v Speaker 1>work and also if they were to engage in a

0:13:48.040 --> 0:13:51.120
<v Speaker 1>knife fight, this would be their blade. All right, Well,

0:13:51.160 --> 0:13:56.199
<v Speaker 1>let's get into our dagger selections for this episode. We

0:13:56.559 --> 0:14:00.199
<v Speaker 1>came up with a whole list of possible choices sort

0:14:00.200 --> 0:14:02.920
<v Speaker 1>of like get things started. And I have to admit

0:14:03.920 --> 0:14:07.880
<v Speaker 1>this first one that I picked my selection here has

0:14:07.920 --> 0:14:12.640
<v Speaker 1>everything to do with fantasy and RPGs because it sounds

0:14:12.720 --> 0:14:14.760
<v Speaker 1>like something from a fantasy or RP. It sounds like

0:14:14.800 --> 0:14:16.760
<v Speaker 1>it could be the name of a Dungeons and Dragons

0:14:16.840 --> 0:14:21.120
<v Speaker 1>adventure module. Well, let's hear it, and that is the

0:14:21.240 --> 0:14:25.320
<v Speaker 1>rock Crystal dagger of the Ivory Lady. So many questions, right,

0:14:26.640 --> 0:14:29.520
<v Speaker 1>is it made of rock crystal? Who's the Ivory Lady?

0:14:29.520 --> 0:14:31.640
<v Speaker 1>What's her deal? Why does she have this blade or

0:14:31.680 --> 0:14:32.680
<v Speaker 1>why does she want this blade?

0:14:32.720 --> 0:14:35.480
<v Speaker 3>And so forth? What's the quest? Yeah, of the Ivory Lady.

0:14:35.560 --> 0:14:38.280
<v Speaker 3>It makes me think like our Lady of Perpetual Knife.

0:14:38.720 --> 0:14:43.160
<v Speaker 1>Yes, so yeah, let's start with the lady in question here,

0:14:43.240 --> 0:14:46.280
<v Speaker 1>So not to be confused with the Ivory Bengal Lady,

0:14:46.680 --> 0:14:50.960
<v Speaker 1>which I was momentarily sidetracked by, because this is also

0:14:51.240 --> 0:14:56.040
<v Speaker 1>a fascinating sounding historical tidbit. The Ivory Bengal Lady is

0:14:56.080 --> 0:15:00.680
<v Speaker 1>a fourth century CE skeleton found in North Yorkshire, England

0:15:00.840 --> 0:15:05.560
<v Speaker 1>and apparently of North African origin, so not her different lady.

0:15:05.880 --> 0:15:08.360
<v Speaker 1>The Ivory Lady in question here that we'll be discussing

0:15:08.480 --> 0:15:12.600
<v Speaker 1>was found in southwestern Spain, near Seville and adjacent to

0:15:12.640 --> 0:15:18.000
<v Speaker 1>the Tolos de Montellierio gravesite. The lady in question first

0:15:18.000 --> 0:15:19.920
<v Speaker 1>believed to be a man till I believe a twenty

0:15:19.960 --> 0:15:23.600
<v Speaker 1>twenty one analysis proved otherwise, was a woman of some importance,

0:15:23.640 --> 0:15:27.040
<v Speaker 1>if not leadership, during the Iberian Copper Age. This would

0:15:27.040 --> 0:15:30.840
<v Speaker 1>have been between thirty two hundred and twenty two hundred BCE.

0:15:32.000 --> 0:15:34.200
<v Speaker 1>The main source I was looking at here for this

0:15:34.440 --> 0:15:39.640
<v Speaker 1>is Amologen and peptide analysis reveal female leadership in copper age, Iberia.

0:15:40.040 --> 0:15:44.080
<v Speaker 1>And this was by census Penna at all. This was

0:15:44.080 --> 0:15:47.840
<v Speaker 1>published in Scientific Reports. It's a really interesting article that

0:15:47.920 --> 0:15:49.160
<v Speaker 1>of course does a good job it just sort of

0:15:49.240 --> 0:15:52.960
<v Speaker 1>laying out what was found, what we know about the

0:15:53.000 --> 0:15:56.080
<v Speaker 1>body of the Ivory Lady, and what it signifies. But

0:15:56.080 --> 0:15:59.720
<v Speaker 1>also they make this case that she was evidently like

0:15:59.760 --> 0:16:03.760
<v Speaker 1>a eating social figure at the time, so perhaps a

0:16:04.040 --> 0:16:09.080
<v Speaker 1>highly ranking priestess, and not only like a highly ranking priestess,

0:16:09.160 --> 0:16:13.200
<v Speaker 1>but like perhaps the highly ranking priestess of her time,

0:16:13.840 --> 0:16:16.840
<v Speaker 1>someone who would have commanded a great deal of power

0:16:16.920 --> 0:16:21.120
<v Speaker 1>and authority among her people, and in doing so like

0:16:21.560 --> 0:16:27.520
<v Speaker 1>retained that aura after death, like for generations. So the

0:16:27.560 --> 0:16:31.360
<v Speaker 1>Ivory Lady in question here was buried with an African

0:16:31.400 --> 0:16:37.000
<v Speaker 1>elephant's tusk. Again this is in an Iberian Spain, an

0:16:37.000 --> 0:16:42.120
<v Speaker 1>ivory comb, an ostrocheg shell, a flint dagger inlaid with amber,

0:16:42.800 --> 0:16:46.360
<v Speaker 1>which in and of itself is a pretty fascinating sounding dagger,

0:16:46.400 --> 0:16:49.160
<v Speaker 1>but also a crystal dagger, which I'll come back to.

0:16:49.600 --> 0:16:53.040
<v Speaker 1>She also had a large ceramic plate bearing trace elements

0:16:53.080 --> 0:16:57.200
<v Speaker 1>of wine and cannabis, and some of these items seem

0:16:57.240 --> 0:17:00.200
<v Speaker 1>to have been buried with her, while others include the

0:17:00.200 --> 0:17:04.879
<v Speaker 1>crystal dagger, were left as offering some time after her death.

0:17:05.119 --> 0:17:07.520
<v Speaker 1>Its thought that the crystal dagger was placed maybe some

0:17:07.600 --> 0:17:09.160
<v Speaker 1>eighty years after her death.

0:17:09.359 --> 0:17:09.919
<v Speaker 3>Oh wow.

0:17:10.200 --> 0:17:12.919
<v Speaker 1>Yeah, you can find images of this dagger online if

0:17:12.960 --> 0:17:18.040
<v Speaker 1>you look for ivory lady, crystal dagger, that sort of thing.

0:17:18.720 --> 0:17:21.400
<v Speaker 1>I included an image here for your Joe though, and

0:17:21.080 --> 0:17:24.960
<v Speaker 1>you can see the blade and the reconstructed hilt here.

0:17:25.480 --> 0:17:29.399
<v Speaker 1>So it was composed of rock crystal and had an

0:17:29.480 --> 0:17:33.480
<v Speaker 1>ivory handle. The ivory, as with the other examples of ivory,

0:17:33.520 --> 0:17:36.560
<v Speaker 1>would have been imported, and it was decorated with some

0:17:37.440 --> 0:17:43.199
<v Speaker 1>ninety different decorative beads made of mother of pearl. The

0:17:43.280 --> 0:17:48.240
<v Speaker 1>rock crystal itself. This is a transparent, colorless variety of quartz,

0:17:48.280 --> 0:17:51.160
<v Speaker 1>so it's essentially a quartz dagger. But I think rock crystal,

0:17:51.160 --> 0:17:53.960
<v Speaker 1>of course, is just going to sound a little more exciting.

0:17:54.680 --> 0:17:57.680
<v Speaker 1>But still it does very much look like crystal.

0:17:57.760 --> 0:17:57.840
<v Speaker 2>Like.

0:17:58.520 --> 0:18:00.960
<v Speaker 1>You can imagine this thing perhaps being held up to

0:18:01.000 --> 0:18:04.320
<v Speaker 1>the light, be it fire light or sunlight, and it

0:18:04.440 --> 0:18:06.720
<v Speaker 1>being quite an evocative site.

0:18:06.720 --> 0:18:11.479
<v Speaker 3>Casting rainbows everywhere. Yeah, I mean perhaps wow. Yeah, So

0:18:11.480 --> 0:18:13.760
<v Speaker 3>I'm trying to tell just looking at the picture if

0:18:13.800 --> 0:18:16.280
<v Speaker 3>I'm seeing this correctly, So you said it is transparent

0:18:16.359 --> 0:18:18.879
<v Speaker 3>or translucent, this is a blade that you can see

0:18:18.920 --> 0:18:20.280
<v Speaker 3>through to some extent.

0:18:20.400 --> 0:18:23.440
<v Speaker 1>To some extent, yeah, one gets the impression that would

0:18:23.440 --> 0:18:24.720
<v Speaker 1>have done interesting things.

0:18:24.480 --> 0:18:26.520
<v Speaker 3>With the light. Yeah.

0:18:26.720 --> 0:18:29.840
<v Speaker 1>And so clearly this is a rather different beast than

0:18:29.880 --> 0:18:34.000
<v Speaker 1>the working and fighting blades we were talking about earlier, Like,

0:18:34.040 --> 0:18:39.359
<v Speaker 1>this is clearly an item of prestige, of symbolic importance,

0:18:39.920 --> 0:18:43.320
<v Speaker 1>and it was finally crafted. So it's a combination of

0:18:43.440 --> 0:18:48.120
<v Speaker 1>rare materials, imported materials, and also just a high level

0:18:48.119 --> 0:18:50.960
<v Speaker 1>of craftsmanship, especially when it comes to the working of

0:18:51.000 --> 0:18:54.080
<v Speaker 1>the rock crystal, which I'm to understand would have been

0:18:54.800 --> 0:18:59.280
<v Speaker 1>extra labor intensive and also maybe not as ideal for

0:18:59.400 --> 0:19:02.480
<v Speaker 1>actual use if you were intending to stab a bunch

0:19:02.520 --> 0:19:04.640
<v Speaker 1>of people with it or use it for some sort

0:19:04.680 --> 0:19:07.159
<v Speaker 1>of you know, day to day sort of purpose. So

0:19:07.200 --> 0:19:10.639
<v Speaker 1>it was something that would have signified class and or power.

0:19:11.840 --> 0:19:14.880
<v Speaker 1>In this paper, they also include an illustration of what

0:19:14.920 --> 0:19:18.359
<v Speaker 1>they think the lady, the Ivory Lady might have looked

0:19:18.440 --> 0:19:21.200
<v Speaker 1>like in life. I included this for you here as well, Joe,

0:19:21.200 --> 0:19:25.119
<v Speaker 1>and you can see her seated in a position of authority,

0:19:25.560 --> 0:19:29.879
<v Speaker 1>and you'll notice that they've depicted her with like red

0:19:29.920 --> 0:19:34.240
<v Speaker 1>pigment over part of her torso. And this is actually

0:19:34.359 --> 0:19:37.760
<v Speaker 1>really key and quite interesting. This would be due to

0:19:38.119 --> 0:19:40.680
<v Speaker 1>the red and the red ranges from like a bright

0:19:40.760 --> 0:19:45.600
<v Speaker 1>scarlet to a brick red form of mercury sulfide. This

0:19:45.640 --> 0:19:48.480
<v Speaker 1>is cinnabar, and this has been used in various places

0:19:48.480 --> 0:19:52.720
<v Speaker 1>around the world for pigmentation and everything from art and

0:19:52.840 --> 0:19:56.919
<v Speaker 1>clothing to cosmetics and body adornment, and it's also been

0:19:56.960 --> 0:20:00.800
<v Speaker 1>used in various traditional medicines as well. But again it

0:20:00.840 --> 0:20:05.280
<v Speaker 1>is mercury so far, so it is quite toxic.

0:20:05.359 --> 0:20:07.560
<v Speaker 3>And we were not recommending it.

0:20:07.760 --> 0:20:09.880
<v Speaker 1>Yes, ye, do not decide that you want to go

0:20:10.920 --> 0:20:14.160
<v Speaker 1>upgrade your look with cinebar. Now it is toxic. And

0:20:14.240 --> 0:20:20.000
<v Speaker 1>we know that she used cinnebar because she had quote

0:20:20.040 --> 0:20:24.840
<v Speaker 1>striking strikingly high levels of mercury in the bones and

0:20:24.880 --> 0:20:29.399
<v Speaker 1>these revealed intense anti mortem exposure to cinebar, So she

0:20:29.440 --> 0:20:32.680
<v Speaker 1>would have she would have been using cinnabar on a

0:20:32.800 --> 0:20:35.560
<v Speaker 1>level that she wouldn't have just picked up through just

0:20:35.640 --> 0:20:39.320
<v Speaker 1>sort of like casual usage, like she had privileged access

0:20:39.359 --> 0:20:42.959
<v Speaker 1>to this stuff. So this would again, as with her

0:20:43.000 --> 0:20:46.960
<v Speaker 1>association with wine and cannabis. The argument here is that

0:20:47.000 --> 0:20:50.600
<v Speaker 1>she probably had some sort of priestly role in the society.

0:20:51.720 --> 0:20:53.639
<v Speaker 1>Now I mentioned already that this grave side is in

0:20:53.640 --> 0:20:59.960
<v Speaker 1>close proximity to another grave site, that Tolos de Monteluerio site,

0:21:00.240 --> 0:21:04.680
<v Speaker 1>and there are other women buried there as well, and

0:21:06.280 --> 0:21:09.400
<v Speaker 1>they also have high levels of mercury due to cinebar

0:21:10.720 --> 0:21:13.680
<v Speaker 1>and these were seemingly buried, according to the paper, two

0:21:13.760 --> 0:21:17.760
<v Speaker 1>or three generations later. And so the assumption here is

0:21:17.800 --> 0:21:20.240
<v Speaker 1>this they would have been buried close to her grave

0:21:20.920 --> 0:21:23.000
<v Speaker 1>in an attempt to sort of connect them to her,

0:21:23.280 --> 0:21:25.840
<v Speaker 1>or because they were you know, they were part of

0:21:26.000 --> 0:21:30.159
<v Speaker 1>a lineage that was connected to her. And the authors

0:21:30.160 --> 0:21:32.960
<v Speaker 1>of the paper make an argument for a powerful priestess

0:21:33.000 --> 0:21:37.320
<v Speaker 1>class in this coppy age Iberian culture. One of the

0:21:37.760 --> 0:21:41.960
<v Speaker 1>later buried females had an extra toe on each foot, incidentally,

0:21:42.000 --> 0:21:45.239
<v Speaker 1>which they point out would have possibly been interpreted as

0:21:45.280 --> 0:21:48.080
<v Speaker 1>a signifier of her special class and powers.

0:21:48.359 --> 0:21:48.919
<v Speaker 3>Interesting.

0:21:49.400 --> 0:21:52.399
<v Speaker 1>Yeah, So again, the argument here is that she was

0:21:52.720 --> 0:21:55.720
<v Speaker 1>an important person, and perhaps more than that, perhaps the

0:21:55.760 --> 0:22:01.040
<v Speaker 1>most important person in her society at the time. And

0:22:01.119 --> 0:22:05.639
<v Speaker 1>so this is not necessarily to say that The argument

0:22:05.720 --> 0:22:08.800
<v Speaker 1>then therefore is that Copper Age Iberian people were part

0:22:08.800 --> 0:22:12.320
<v Speaker 1>of a matriarchal society, though some might make that case,

0:22:12.400 --> 0:22:14.440
<v Speaker 1>but I believe based on the reading here, like the

0:22:14.680 --> 0:22:18.520
<v Speaker 1>main argument they're making is that previously it's kind of

0:22:18.560 --> 0:22:22.200
<v Speaker 1>like the default assumption was, oh, they were a patriarchal society,

0:22:22.440 --> 0:22:24.400
<v Speaker 1>and we can kind of see that in the idea

0:22:24.440 --> 0:22:27.040
<v Speaker 1>that when we first discovered the Ivory Lady, we thought

0:22:27.080 --> 0:22:29.919
<v Speaker 1>she was the Ivory Man, and then we came to

0:22:29.960 --> 0:22:34.840
<v Speaker 1>realize that error later on with additional analysis, and so

0:22:34.960 --> 0:22:38.040
<v Speaker 1>the idea here would be that women, and especially the

0:22:38.040 --> 0:22:40.879
<v Speaker 1>Ivory woman, enjoyed a great deal of power in a

0:22:40.920 --> 0:22:44.480
<v Speaker 1>society that was socially and politically more complex than we

0:22:44.520 --> 0:22:47.880
<v Speaker 1>previously thought, or more complex than we previously gave them

0:22:47.880 --> 0:22:48.359
<v Speaker 1>credit for.

0:22:49.480 --> 0:22:49.680
<v Speaker 3>Now.

0:22:49.840 --> 0:22:53.040
<v Speaker 1>Sadly, when it comes to the exact significance of the

0:22:53.119 --> 0:22:57.480
<v Speaker 1>rock Crystal Dagger, you know, we just have to speculate again.

0:22:57.720 --> 0:23:02.440
<v Speaker 1>A prestige item made with great skill and imported costly materials,

0:23:03.080 --> 0:23:05.800
<v Speaker 1>we can only assume it had sacred or even magical

0:23:05.880 --> 0:23:09.199
<v Speaker 1>attributes in the eyes of the people who crafted it

0:23:09.280 --> 0:23:12.359
<v Speaker 1>and carried carried on with it, and ultimately buried it

0:23:12.440 --> 0:23:17.280
<v Speaker 1>with the Ivory lady, and that adjacent gravesite also reveals

0:23:17.359 --> 0:23:21.120
<v Speaker 1>other examples of rock crystal artifacts, so I don't believe

0:23:21.280 --> 0:23:25.119
<v Speaker 1>there has been another rock crystal dagger discovered, but there

0:23:25.160 --> 0:23:29.120
<v Speaker 1>are arrowheads and other examples of the craftsmanship with rock crystal,

0:23:29.800 --> 0:23:32.520
<v Speaker 1>so the item wasn't completely a one off. But as

0:23:32.560 --> 0:23:35.520
<v Speaker 1>far as I can tell, the surviving artifact is one

0:23:35.560 --> 0:23:36.119
<v Speaker 1>of a kind.

0:23:37.520 --> 0:23:39.560
<v Speaker 3>You know, this kind of connects to something I've been

0:23:39.600 --> 0:23:41.560
<v Speaker 3>thinking about wanting to do on the show for a while.

0:23:42.240 --> 0:23:45.120
<v Speaker 3>I haven't locked in exactly what the topic would be yet,

0:23:45.160 --> 0:23:50.000
<v Speaker 3>but something about interesting transparent materials in the ancient world.

0:23:50.680 --> 0:23:53.600
<v Speaker 3>You know, there are some stories in the ancient texts

0:23:53.680 --> 0:23:57.000
<v Speaker 3>hard to verify exactly how true they are about things

0:23:57.080 --> 0:24:01.640
<v Speaker 3>that sound like transparent rocks or something in cases where

0:24:01.640 --> 0:24:03.600
<v Speaker 3>it would be hard to imagine something of that sort.

0:24:03.640 --> 0:24:06.160
<v Speaker 3>But then we do have these, you know, these rock

0:24:06.200 --> 0:24:10.040
<v Speaker 3>crystals that are at least partially transparent or translucent like

0:24:10.080 --> 0:24:13.080
<v Speaker 3>we have here with the dagger, So yeah, I think

0:24:13.960 --> 0:24:15.040
<v Speaker 3>be worth looking at sometimes.

0:24:15.119 --> 0:24:18.480
<v Speaker 1>Yeah. Yeah, it reminds me of the episode of Invention

0:24:18.640 --> 0:24:21.359
<v Speaker 1>that we did on sunglasses and getting into some of

0:24:21.400 --> 0:24:25.840
<v Speaker 1>these older accounts that may or may not have been

0:24:25.880 --> 0:24:30.359
<v Speaker 1>something like sunglasses. Yeah, and and of course we also

0:24:30.400 --> 0:24:32.119
<v Speaker 1>we've talked a little bit about the history of glass

0:24:32.160 --> 0:24:33.800
<v Speaker 1>and mirrors and so forth as well.

0:24:44.000 --> 0:24:46.520
<v Speaker 3>All right, you ready to look at another ancient dagger.

0:24:46.880 --> 0:24:49.640
<v Speaker 1>Yeah, I'm putting this one back in the drawer. And yeah,

0:24:49.680 --> 0:24:50.800
<v Speaker 1>go ahead and pull another one out.

0:24:50.920 --> 0:24:53.719
<v Speaker 3>I'm going to talk for a minute here about the

0:24:53.760 --> 0:24:58.399
<v Speaker 3>bush Barrow dagger. The Bush Barrow dagger is a partially

0:24:58.440 --> 0:25:03.199
<v Speaker 3>preserved artifact from Bronze Age Britain found inside the ancient

0:25:03.240 --> 0:25:07.000
<v Speaker 3>barrow grave known as Bush Barrow, which was excavated in

0:25:07.119 --> 0:25:10.640
<v Speaker 3>the year eighteen oh eight by an English antiquarian named

0:25:10.680 --> 0:25:14.080
<v Speaker 3>William Cunnington who was working for a patron named Sir

0:25:14.160 --> 0:25:17.560
<v Speaker 3>Richard cult Whore. Rob if got a photo taken from

0:25:17.560 --> 0:25:19.560
<v Speaker 3>a bit up in the air a bit overhead that

0:25:19.720 --> 0:25:23.119
<v Speaker 3>shows Bush Barrow and some of the surrounding grave sites

0:25:23.160 --> 0:25:27.920
<v Speaker 3>in this field in England. Bush Barrow is a mound

0:25:28.119 --> 0:25:32.200
<v Speaker 3>shaped burial site also known as a tumulus, located on

0:25:32.240 --> 0:25:37.359
<v Speaker 3>a ridge about one kilometer southwest of Stone Hinge, which

0:25:37.480 --> 0:25:40.680
<v Speaker 3>is so it's part of a larger grave complex known

0:25:40.760 --> 0:25:45.440
<v Speaker 3>as the Normanton Down Barrow Cemetery. So if you stand

0:25:45.600 --> 0:25:49.720
<v Speaker 3>at Bush Barrow. You are actually looking out directly over

0:25:49.840 --> 0:25:52.760
<v Speaker 3>the stone circle at Stone Hinge. It's the good seats.

0:25:54.119 --> 0:25:58.240
<v Speaker 3>The bush Barrow Grave dates back to around nineteen hundred BCE,

0:25:58.560 --> 0:26:00.720
<v Speaker 3>give or take a century or so, so this is

0:26:00.720 --> 0:26:04.879
<v Speaker 3>a roughly four thousand year old burial and it is

0:26:05.000 --> 0:26:09.600
<v Speaker 3>famous for being one of the richest Bronze Age tombs

0:26:09.640 --> 0:26:13.679
<v Speaker 3>in Britain when measured by the quality and quantity of

0:26:13.760 --> 0:26:17.360
<v Speaker 3>the grave goods deposited with the body inside. So who

0:26:17.400 --> 0:26:20.240
<v Speaker 3>is this grave four? We don't know the person's name,

0:26:20.520 --> 0:26:24.400
<v Speaker 3>but it was obviously a figure of great power and status,

0:26:24.600 --> 0:26:28.439
<v Speaker 3>maybe a great priest or a great warrior or political leader.

0:26:28.800 --> 0:26:32.520
<v Speaker 3>Usually this person is referred to as the Bush Barrow Chieftain.

0:26:32.960 --> 0:26:35.280
<v Speaker 3>If you want to look up some of these artifacts

0:26:35.280 --> 0:26:38.000
<v Speaker 3>from Bush Barrow online, you can find good photos of

0:26:38.080 --> 0:26:41.720
<v Speaker 3>them and some good video content about them hosted by

0:26:41.840 --> 0:26:46.640
<v Speaker 3>the Wilchair Museum and by the Wessex Museums. I think

0:26:46.680 --> 0:26:50.520
<v Speaker 3>the Wilchair Museum might fall under the Wessex Museums, I'm

0:26:50.520 --> 0:26:53.800
<v Speaker 3>not quite sure, but the Wiltshire Museum website. I found

0:26:53.800 --> 0:26:56.680
<v Speaker 3>a good video hosted by them that sort of goes

0:26:56.720 --> 0:26:59.680
<v Speaker 3>through the artifacts from Bush Barrow one by one by

0:27:00.160 --> 0:27:02.760
<v Speaker 3>and it's hosted by an expert affiliated with the museum.

0:27:03.280 --> 0:27:05.320
<v Speaker 3>So before I get to the main dagger, I want

0:27:05.359 --> 0:27:07.480
<v Speaker 3>to mention a few other things from this grave that

0:27:07.520 --> 0:27:11.760
<v Speaker 3>are quite interesting. One is known as the gold lozenge.

0:27:12.240 --> 0:27:16.360
<v Speaker 3>Lozenge is not just the thing you know grandparents take

0:27:16.440 --> 0:27:18.880
<v Speaker 3>for when you got a cold. It's another word for

0:27:18.960 --> 0:27:23.639
<v Speaker 3>a rhombus or a diamond shape. So to picture this artifact,

0:27:23.720 --> 0:27:28.520
<v Speaker 3>think of a flat, very thin gold plate shaped like

0:27:28.560 --> 0:27:31.880
<v Speaker 3>a diamond. It's about one hundred and eighty four millimeters

0:27:31.960 --> 0:27:35.199
<v Speaker 3>long by one hundred and fifty six millimeters wide, so

0:27:35.280 --> 0:27:37.919
<v Speaker 3>that's a little over seven inches by six inches and

0:27:37.960 --> 0:27:42.080
<v Speaker 3>it's about one millimeter thick, so very thin. And on

0:27:42.119 --> 0:27:46.000
<v Speaker 3>the Wessex Museum's website they include a passage about the

0:27:46.080 --> 0:27:50.080
<v Speaker 3>discovery of this lozenge in the in the mound from

0:27:50.119 --> 0:27:54.160
<v Speaker 3>the text of the original excavation report. So the passage

0:27:54.160 --> 0:27:58.320
<v Speaker 3>starts off describing attempts by William Cunnington and several allied

0:27:58.359 --> 0:28:01.520
<v Speaker 3>farmers to dig into the mound. At first they failed

0:28:01.840 --> 0:28:04.800
<v Speaker 3>to get into the grave, but eventually they break through

0:28:04.840 --> 0:28:08.920
<v Speaker 3>to the floor of the barrow in September eighteen oh

0:28:08.920 --> 0:28:12.520
<v Speaker 3>eight and they write, quote, we discovered the skeleton of

0:28:12.560 --> 0:28:15.919
<v Speaker 3>a stout and tall man lying from south to north.

0:28:16.400 --> 0:28:19.680
<v Speaker 3>The extreme length of his thigh bone was twenty inches.

0:28:20.280 --> 0:28:23.280
<v Speaker 3>Immediately over the breast of the skeleton was a large

0:28:23.359 --> 0:28:27.840
<v Speaker 3>plate of gold Tumuli plate twenty six, in the form

0:28:27.960 --> 0:28:31.640
<v Speaker 3>of a lozenge and measuring seven by six inches. It

0:28:31.680 --> 0:28:34.119
<v Speaker 3>was fixed to a thin piece of wood over the

0:28:34.240 --> 0:28:37.720
<v Speaker 3>edges of which the gold was lapped. It is perforated

0:28:37.760 --> 0:28:41.280
<v Speaker 3>at top and bottom for the purpose probably of fastening

0:28:41.320 --> 0:28:44.600
<v Speaker 3>it to the dress as a breastplate. The even surface

0:28:44.640 --> 0:28:48.760
<v Speaker 3>of this noble ornament is relieved by indented lines, checks

0:28:48.800 --> 0:28:52.480
<v Speaker 3>and zigzags, following the shape of the outline and forming

0:28:52.600 --> 0:28:58.920
<v Speaker 3>lozenge within lozenge, diminishing gradually towards the center. Rob I

0:28:58.960 --> 0:29:00.880
<v Speaker 3>included a picture for you to look at here, and

0:29:00.920 --> 0:29:02.800
<v Speaker 3>I think if you zoom in you can see some

0:29:02.880 --> 0:29:07.680
<v Speaker 3>of these interesting geometric etchings where you see lozenge within lozenge,

0:29:07.760 --> 0:29:10.240
<v Speaker 3>like the vision of Ezekiel, but with sharp angles.

0:29:10.840 --> 0:29:13.479
<v Speaker 1>Wow, I just have to say, especially in these images,

0:29:13.520 --> 0:29:16.800
<v Speaker 1>which again there's no like reconstruction of the clothing. It's

0:29:16.840 --> 0:29:19.160
<v Speaker 1>not placed on a human body or anything, is just

0:29:19.200 --> 0:29:22.640
<v Speaker 1>set against a field of black. I mean this, I

0:29:22.640 --> 0:29:26.280
<v Speaker 1>would mistake this for something like a solar sail or.

0:29:28.040 --> 0:29:32.400
<v Speaker 1>It feels cosmic. You know. There are no etchings that

0:29:32.480 --> 0:29:34.560
<v Speaker 1>I can see of anything like an animal or a

0:29:34.640 --> 0:29:37.040
<v Speaker 1>human on them. It really feels kind of alien.

0:29:37.120 --> 0:29:39.360
<v Speaker 3>Much like a solar sale. It is made to catch

0:29:39.440 --> 0:29:42.200
<v Speaker 3>the light. And here's another way may relate to a

0:29:42.200 --> 0:29:47.000
<v Speaker 3>solar sale. It may have an astronomical orientation. So speaking

0:29:47.040 --> 0:29:50.880
<v Speaker 3>of those angles, the angles within angles, one really interesting

0:29:50.960 --> 0:29:53.840
<v Speaker 3>thing about this gold lozenge is that at the two

0:29:54.280 --> 0:29:57.160
<v Speaker 3>sharper points of the diamond shape, the points on the

0:29:57.200 --> 0:30:02.200
<v Speaker 3>longer side, the meeting angle of the outline is eighty

0:30:02.240 --> 0:30:07.040
<v Speaker 3>one degrees, which also happens to be at the latitude

0:30:07.040 --> 0:30:10.479
<v Speaker 3>of Stone Hinge, the same as the angle between the

0:30:10.520 --> 0:30:13.440
<v Speaker 3>sunrise at the winter solstice and the sunrise at the

0:30:13.480 --> 0:30:18.880
<v Speaker 3>summer solstice. That, among other features, including the association with

0:30:18.960 --> 0:30:23.240
<v Speaker 3>Stone Hinge through the burial, has led some experts to

0:30:23.320 --> 0:30:27.200
<v Speaker 3>speculate that the bush Barrow lozenge is maybe not just

0:30:27.400 --> 0:30:30.720
<v Speaker 3>a decoration that happens to have these angles, but it

0:30:30.840 --> 0:30:35.120
<v Speaker 3>has some kind of relationship to astronomy or to the

0:30:36.360 --> 0:30:39.680
<v Speaker 3>movement of the heavens. At least of the sun. Maybe

0:30:39.760 --> 0:30:43.720
<v Speaker 3>it could be used as some kind of astronomical orienting

0:30:43.840 --> 0:30:48.000
<v Speaker 3>or calculator tool, perhaps in conjunction with other tools or infrastructure,

0:30:48.080 --> 0:30:51.200
<v Speaker 3>such as the alignment of stone hinge itself. We don't know.

0:30:51.280 --> 0:30:55.040
<v Speaker 3>That's interesting possibility to think about. And even if it

0:30:55.080 --> 0:30:58.480
<v Speaker 3>is not actually an astronomical tool of any kind, then

0:30:58.520 --> 0:31:02.240
<v Speaker 3>this is just a decorative motif. It's interesting to imagine

0:31:02.240 --> 0:31:07.640
<v Speaker 3>that maybe there would be esthetic reasons for making jewelry

0:31:07.960 --> 0:31:12.680
<v Speaker 3>intentionally with the exact angle between the soulsticial dawns. It

0:31:12.760 --> 0:31:15.040
<v Speaker 3>seems to me if so, this would imply a kind

0:31:15.040 --> 0:31:19.120
<v Speaker 3>of sacred attitude towards certain mathematical ratios relating to the

0:31:19.160 --> 0:31:24.680
<v Speaker 3>heavenly bodies. In any case, the precise and complex geometrical

0:31:24.720 --> 0:31:29.160
<v Speaker 3>design of the lozenge indicates a really sophisticated understanding of

0:31:29.320 --> 0:31:32.720
<v Speaker 3>mathematics and probably astronomy. Wow.

0:31:32.800 --> 0:31:36.160
<v Speaker 1>Yeah, and I mean again, you can kind of you

0:31:36.160 --> 0:31:39.280
<v Speaker 1>can see that when you look at this artifact, it

0:31:39.440 --> 0:31:41.680
<v Speaker 1>feels precise.

0:31:41.720 --> 0:31:43.200
<v Speaker 3>You know, it has their size.

0:31:43.280 --> 0:31:46.880
<v Speaker 1>Yeah yeah, but just you know, without actually busting out

0:31:46.880 --> 0:31:49.480
<v Speaker 1>a ruler like it just reads in the mind as such, you.

0:31:49.440 --> 0:31:53.160
<v Speaker 3>Know, yeah. Yeah. Other things from this grave include a

0:31:53.360 --> 0:31:56.120
<v Speaker 3>gold belt hook, which I think would be used to

0:31:56.160 --> 0:31:59.720
<v Speaker 3>hold a dagger in place. There was a ceremonial mace

0:31:59.800 --> 0:32:03.320
<v Speaker 3>where the haft is banded with decorative bones and the

0:32:03.320 --> 0:32:07.880
<v Speaker 3>club head is made from a fossil sponge that has

0:32:07.920 --> 0:32:12.000
<v Speaker 3>been polished smooth. There are a pair of daggers also

0:32:12.200 --> 0:32:14.840
<v Speaker 3>and an axe. So let's look at one of those

0:32:14.880 --> 0:32:17.960
<v Speaker 3>two daggers, the more famous one, the one known as

0:32:17.960 --> 0:32:21.040
<v Speaker 3>the bush barrow dagger. Now in this case is sort

0:32:21.080 --> 0:32:23.040
<v Speaker 3>of the opposite of the rock crystal dagger of the

0:32:23.040 --> 0:32:26.720
<v Speaker 3>Ivory Lady. In the blade I think is the least

0:32:26.760 --> 0:32:32.520
<v Speaker 3>interesting part. The blade is made of bronze. There are

0:32:32.720 --> 0:32:34.920
<v Speaker 3>notes by a few sources that the dagger may have

0:32:34.960 --> 0:32:37.600
<v Speaker 3>been made or forged in Brittany, which is now in

0:32:37.680 --> 0:32:43.600
<v Speaker 3>northern France. The original wooden handle is mostly gone disintegrated,

0:32:44.200 --> 0:32:48.120
<v Speaker 3>but it has been replaced in display at the museum,

0:32:48.120 --> 0:32:51.560
<v Speaker 3>where it's now held with a modern wooden handle reconstruction,

0:32:52.280 --> 0:32:56.040
<v Speaker 3>on which are mounted the few pieces of the handle

0:32:56.280 --> 0:32:59.760
<v Speaker 3>that are still intact. And it's those pieces of the

0:32:59.800 --> 0:33:03.400
<v Speaker 3>hand that have attracted the most attention and make the

0:33:03.400 --> 0:33:07.560
<v Speaker 3>bush barrow dagger so extraordinary. So what's the deal? In

0:33:07.600 --> 0:33:11.520
<v Speaker 3>its original form? The wooden handle of the stagger was

0:33:11.600 --> 0:33:19.120
<v Speaker 3>decorated with tens of thousands of microscopically tiny gold studs,

0:33:19.680 --> 0:33:22.760
<v Speaker 3>so not coated, not made of gold. It wasn't a

0:33:22.760 --> 0:33:25.080
<v Speaker 3>handle that was solid gold. It wasn't coated in a

0:33:25.120 --> 0:33:28.400
<v Speaker 3>single flat piece of gold leaf. It was a wooden

0:33:28.440 --> 0:33:32.680
<v Speaker 3>handle that had these tiny tiny holes in it, bored

0:33:32.720 --> 0:33:36.360
<v Speaker 3>with a tight with a little bronze all probably, and

0:33:36.400 --> 0:33:38.840
<v Speaker 3>then it had been coated in some kind of resin,

0:33:39.400 --> 0:33:44.920
<v Speaker 3>and into those tiny microscopic holes, thousands and thousands of

0:33:45.160 --> 0:33:50.000
<v Speaker 3>gold pins had been mounted individually into the wood. Each

0:33:50.040 --> 0:33:53.080
<v Speaker 3>of these pins about the thickness of a human hair.

0:33:53.320 --> 0:33:56.240
<v Speaker 3>A human hair, of course, convary in thickness. People often

0:33:56.280 --> 0:34:00.240
<v Speaker 3>say that the pins are like one fifth of a

0:34:00.240 --> 0:34:04.400
<v Speaker 3>millimeter wide. They're usually less than a millimeter long, stuck

0:34:04.520 --> 0:34:08.160
<v Speaker 3>vertically into the handle with their heads. The flat ends

0:34:08.280 --> 0:34:12.239
<v Speaker 3>overlapping like scales, like the scales of a fish. And

0:34:12.280 --> 0:34:15.040
<v Speaker 3>they're packed in so tight that there are more than

0:34:15.080 --> 0:34:19.680
<v Speaker 3>a thousand for each square centimeter. Rob I've got some

0:34:19.760 --> 0:34:21.719
<v Speaker 3>pictures for you to look at in the outline here,

0:34:21.760 --> 0:34:24.120
<v Speaker 3>so you can get an idea of the texture of

0:34:24.200 --> 0:34:26.080
<v Speaker 3>these pins all crowded together.

0:34:26.920 --> 0:34:30.800
<v Speaker 1>Oh wow, This is incredible. It reminds me of that

0:34:30.920 --> 0:34:32.840
<v Speaker 1>what is the little device with the pins in it

0:34:32.920 --> 0:34:34.960
<v Speaker 1>that you stick your hand on. It makes an impression

0:34:34.960 --> 0:34:38.040
<v Speaker 1>of your hand the little yeah yeah, yeah, like imagine that,

0:34:38.160 --> 0:34:41.360
<v Speaker 1>but with but much smaller and little little gold pins

0:34:41.400 --> 0:34:43.319
<v Speaker 1>instead of you know, some other metal.

0:34:43.200 --> 0:34:46.120
<v Speaker 3>Yeah hair with pins. And they're all crowded right up

0:34:46.160 --> 0:34:50.000
<v Speaker 3>against each other, in fact, overlapping at the at the ends. Wow.

0:34:50.360 --> 0:34:52.520
<v Speaker 3>And even though I just gave the dimensions, I am

0:34:52.560 --> 0:34:55.120
<v Speaker 3>afraid that some of you hearing this might not be

0:34:55.280 --> 0:35:01.560
<v Speaker 3>understanding how tiny these pins are, how incredible small so

0:35:02.000 --> 0:35:04.480
<v Speaker 3>rob At least I can show you the third picture

0:35:04.480 --> 0:35:06.560
<v Speaker 3>I've got here in the outline shows a bunch of

0:35:06.560 --> 0:35:09.400
<v Speaker 3>the pins that have been separated from their original mounting

0:35:09.440 --> 0:35:11.759
<v Speaker 3>on the wood of the handle. They're just kind of

0:35:11.800 --> 0:35:15.959
<v Speaker 3>scattered as dust in this little dish. They're they're they're

0:35:16.120 --> 0:35:18.960
<v Speaker 3>so tiny you can barely pick out that they're made

0:35:19.000 --> 0:35:21.160
<v Speaker 3>of gold. But of course the gold surfaces when all

0:35:21.200 --> 0:35:26.440
<v Speaker 3>the pins are crowded together, takes on this composite gold appearance.

0:35:27.440 --> 0:35:30.399
<v Speaker 3>But individually they're so small it's hard to read them

0:35:30.440 --> 0:35:30.880
<v Speaker 3>as gold.

0:35:31.480 --> 0:35:33.160
<v Speaker 1>Yeah, this picture that you have of them and the

0:35:33.760 --> 0:35:37.160
<v Speaker 1>little dish. It looks it looks like it's crushed up

0:35:37.160 --> 0:35:40.359
<v Speaker 1>straw or something like. That's how tiny it is. It

0:35:40.360 --> 0:35:42.960
<v Speaker 1>doesn't even read as gold particles necessarily.

0:35:43.080 --> 0:35:45.480
<v Speaker 3>It looks like I've been grinding human to put in food.

0:35:45.560 --> 0:35:47.399
<v Speaker 1>Yeah, exactly, it looks like some sort of a herb.

0:35:47.680 --> 0:35:51.680
<v Speaker 3>Yeah. So by looking at the parts of the handle

0:35:51.840 --> 0:35:55.880
<v Speaker 3>that are preserved and seeing how tightly the studs are packed,

0:35:56.360 --> 0:36:00.520
<v Speaker 3>and then multiplying that density across the total surface area

0:36:00.600 --> 0:36:04.719
<v Speaker 3>of the decorated part of the original handle, experts have

0:36:04.800 --> 0:36:08.200
<v Speaker 3>been able to estimate that the intact dagger would have

0:36:08.239 --> 0:36:13.600
<v Speaker 3>had about one hundred and forty thousand gold pins. In

0:36:13.800 --> 0:36:15.920
<v Speaker 3>one of those videos I mentioned put up by the

0:36:15.960 --> 0:36:20.080
<v Speaker 3>Wheelchair Museum, the curator who's presenting it says, this means

0:36:20.080 --> 0:36:23.200
<v Speaker 3>if you could place one pin per minute, that would

0:36:23.200 --> 0:36:25.960
<v Speaker 3>be nine months of work to work on the handle.

0:36:27.040 --> 0:36:30.400
<v Speaker 3>And indeed, it is hard for me to imagine shaping

0:36:30.400 --> 0:36:34.560
<v Speaker 3>and mounting one of these microscopic pins, much less one

0:36:34.640 --> 0:36:37.839
<v Speaker 3>hundred and forty thousand of them packed so close that

0:36:37.880 --> 0:36:42.080
<v Speaker 3>their ends are overlapping. It really is amazing. And so

0:36:43.120 --> 0:36:45.640
<v Speaker 3>there's also I wanted to mention this a tragic story

0:36:46.080 --> 0:36:49.960
<v Speaker 3>of the original find as told by William Cunnington, quoted

0:36:50.000 --> 0:36:54.000
<v Speaker 3>on the Wessex Museum's exhibit. So this is from his

0:36:54.120 --> 0:36:56.520
<v Speaker 3>text about the dig and he's talking about the discovery

0:36:56.560 --> 0:36:59.759
<v Speaker 3>of the handle and talking about he was doing the

0:37:00.000 --> 0:37:03.880
<v Speaker 3>excavation with a father and son digging team named Stephen

0:37:04.040 --> 0:37:07.840
<v Speaker 3>and John Parker, and he says, quote, the handle of

0:37:07.880 --> 0:37:10.680
<v Speaker 3>wood belonging to the dagger had been richly and most

0:37:10.840 --> 0:37:15.000
<v Speaker 3>singularly ornamented by an immense quantity of minute gold rivets,

0:37:15.080 --> 0:37:18.000
<v Speaker 3>no thicker than the smallest pin. The end of the

0:37:18.040 --> 0:37:21.000
<v Speaker 3>handle had been filled with these small points of gold,

0:37:21.400 --> 0:37:23.640
<v Speaker 3>but in the flat part of the handle these rivets

0:37:23.640 --> 0:37:26.720
<v Speaker 3>had been most elegantly arranged in a Van Dyke pattern,

0:37:26.800 --> 0:37:29.560
<v Speaker 3>so as to procure a novel and most pleasing effect.

0:37:29.920 --> 0:37:34.719
<v Speaker 3>Mister Crocker, talking about their illustrator, who did watercolors of

0:37:34.760 --> 0:37:37.520
<v Speaker 3>the stuff they discovered, has drawn part of the end

0:37:37.520 --> 0:37:39.360
<v Speaker 3>of the handle, which may give you a better idea

0:37:39.360 --> 0:37:42.720
<v Speaker 3>of the whole. When we first discovered these shining points

0:37:42.719 --> 0:37:46.360
<v Speaker 3>of gold, we had no concept of their nature. Otherwise

0:37:46.440 --> 0:37:51.000
<v Speaker 3>we might perhaps have preserved thousands of them, But unfortunately John,

0:37:51.160 --> 0:37:54.760
<v Speaker 3>with his trowel, had scattered them in every direction before

0:37:54.800 --> 0:37:57.839
<v Speaker 3>I had examined them with a glass. Oh no, And

0:37:57.960 --> 0:38:03.080
<v Speaker 3>I've read elsewhere of this event that when they found

0:38:03.160 --> 0:38:06.040
<v Speaker 3>the dagger, the wayver Edit described is that the dagger

0:38:06.120 --> 0:38:10.400
<v Speaker 3>was positioned facing up when it was uncovered, and the

0:38:10.440 --> 0:38:14.640
<v Speaker 3>excavators mistakenly believed that they had come across the blade

0:38:14.680 --> 0:38:17.439
<v Speaker 3>of a spear, and so they were trying to dig

0:38:17.520 --> 0:38:21.560
<v Speaker 3>down deeper to dig out the handle, and apparently Parker's

0:38:21.600 --> 0:38:25.200
<v Speaker 3>trowel just smashed on in there and caused quote a

0:38:25.920 --> 0:38:29.360
<v Speaker 3>scatter of shining points of gold, and so he severely

0:38:29.440 --> 0:38:31.560
<v Speaker 3>damaged the handle by accident.

0:38:32.880 --> 0:38:35.800
<v Speaker 1>Oh wow, yeah, that is tragic. By the way, I

0:38:35.840 --> 0:38:37.480
<v Speaker 1>had to look this up. I did not know what

0:38:37.480 --> 0:38:39.680
<v Speaker 1>a Van Dyke pattern is. Maybe I should know what

0:38:39.760 --> 0:38:42.120
<v Speaker 1>that is, but this is like this would be like

0:38:42.160 --> 0:38:43.720
<v Speaker 1>little arrows or points.

0:38:44.200 --> 0:38:47.239
<v Speaker 3>Yeah, like a I think of it as like sort

0:38:47.239 --> 0:38:48.719
<v Speaker 3>of like Chevron's I think.

0:38:48.760 --> 0:38:51.239
<v Speaker 1>Yeah, yeah, yeah, it's one of those. If you look

0:38:51.280 --> 0:38:53.400
<v Speaker 1>up Van Dyke pattern, you're like, you know what it is.

0:38:53.400 --> 0:38:56.399
<v Speaker 1>You see it all the time, especially in like knitted wear,

0:38:58.040 --> 0:39:09.720
<v Speaker 1>not so much in ornamental daggers, at least not today.

0:39:11.280 --> 0:39:15.879
<v Speaker 3>So back to the question, how on earth would bronze

0:39:16.000 --> 0:39:22.160
<v Speaker 3>age crafts people do such delicate work with almost microscopic

0:39:22.360 --> 0:39:26.320
<v Speaker 3>pieces of gold. This would have been again four thousand

0:39:26.400 --> 0:39:30.800
<v Speaker 3>years ago, long before the invention of the magnifying glass.

0:39:31.520 --> 0:39:35.960
<v Speaker 3>How would they do it well? One hypothesis suggested by

0:39:36.000 --> 0:39:38.759
<v Speaker 3>some experts, this is not proven or like the full

0:39:38.840 --> 0:39:43.200
<v Speaker 3>consensus of experts, but it's an idea that is taken seriously,

0:39:44.040 --> 0:39:48.960
<v Speaker 3>is that the craft work was done by children. Oh

0:39:49.000 --> 0:39:51.120
<v Speaker 3>so what's the reasoning here? Well, I was reading a

0:39:51.120 --> 0:39:54.879
<v Speaker 3>few articles talking about this idea. These came out around

0:39:54.920 --> 0:39:57.160
<v Speaker 3>twenty fourteen and when there was some work on this

0:39:57.840 --> 0:40:00.799
<v Speaker 3>being released, and so there was one article I read

0:40:00.800 --> 0:40:03.160
<v Speaker 3>in The Guardian by may of Kennedy, another one in

0:40:03.320 --> 0:40:07.719
<v Speaker 3>The Independent by David Keyes. One thing worth noting is

0:40:07.760 --> 0:40:10.680
<v Speaker 3>that this is not the only dagger ever found with

0:40:10.800 --> 0:40:15.000
<v Speaker 3>these microscopically tiny gold studs. It's just, i think, considered

0:40:15.080 --> 0:40:18.759
<v Speaker 3>the best one or one of the best. And scientists

0:40:18.840 --> 0:40:22.200
<v Speaker 3>have proposed that there may have been an industry producing

0:40:22.280 --> 0:40:26.680
<v Speaker 3>artifacts of this type in Bronze Age Brittany, because that's

0:40:26.840 --> 0:40:29.239
<v Speaker 3>where the greatest number of the gold pin daggers have

0:40:29.320 --> 0:40:31.760
<v Speaker 3>been found. So again that would be you know, across

0:40:31.840 --> 0:40:35.800
<v Speaker 3>the English Channel from England in northern France. The crafts

0:40:35.800 --> 0:40:39.680
<v Speaker 3>people would likely have required special tools to craft the pins,

0:40:39.719 --> 0:40:42.840
<v Speaker 3>to cut them and roll them out into these tiny shapes,

0:40:43.200 --> 0:40:46.520
<v Speaker 3>and then to set them in place. I've read speculation

0:40:46.640 --> 0:40:48.759
<v Speaker 3>that for the latter job for setting them, they might

0:40:48.800 --> 0:40:51.960
<v Speaker 3>have done it with like delicate bone or wooden tweezers.

0:40:52.520 --> 0:40:54.719
<v Speaker 3>But the real question is how do you see what

0:40:54.760 --> 0:40:57.839
<v Speaker 3>you're doing? Again, it's hard to communicate if you haven't

0:40:57.840 --> 0:41:01.440
<v Speaker 3>looked up these magnified pictures. How how tiny these things are.

0:41:02.960 --> 0:41:07.120
<v Speaker 3>The Guardian piece by may If Kennedy describes this child

0:41:07.200 --> 0:41:13.280
<v Speaker 3>goldsmith hypothesis, citing an amusingly named British optician named Ronald B. Rabbits,

0:41:13.600 --> 0:41:18.640
<v Speaker 3>who argues that he says only children, really children and

0:41:18.719 --> 0:41:22.719
<v Speaker 3>young teenagers would naturally have eyesight sharp enough to do

0:41:22.800 --> 0:41:26.120
<v Speaker 3>craft work like this. So if you imagine they started

0:41:26.280 --> 0:41:30.560
<v Speaker 3>working on these crafts around age ten, he said that

0:41:30.680 --> 0:41:34.279
<v Speaker 3>steady work focused on these extremely tiny objects, if you're

0:41:34.320 --> 0:41:36.839
<v Speaker 3>doing this all the time, would leave probably a lot

0:41:36.840 --> 0:41:40.759
<v Speaker 3>of them shortsighted by age fifteen and partially blind by

0:41:40.800 --> 0:41:45.560
<v Speaker 3>twenty hikes. Yeah, and so Rabbits argued that this would,

0:41:45.640 --> 0:41:48.399
<v Speaker 3>you know, leave the young goldsmith's unfit to do many

0:41:48.440 --> 0:41:51.120
<v Speaker 3>other tasks, because if you're, you know, getting to age

0:41:51.160 --> 0:41:53.520
<v Speaker 3>twenty and you're having a hard time seeing things one

0:41:53.600 --> 0:41:56.640
<v Speaker 3>meter in front of you, you would need to be

0:41:56.719 --> 0:42:00.399
<v Speaker 3>cared for in some way. But that maybe these people

0:42:00.400 --> 0:42:02.399
<v Speaker 3>would be taken care of by the community for their

0:42:02.440 --> 0:42:05.680
<v Speaker 3>service as specialists in this valuable trade of gold crafting.

0:42:06.080 --> 0:42:07.880
<v Speaker 1>Yeah, are you better make me a part of the

0:42:07.920 --> 0:42:10.120
<v Speaker 1>special priest class if you have one? If I just

0:42:10.680 --> 0:42:13.200
<v Speaker 1>burned up my eyesight to make your fancy dagger.

0:42:13.000 --> 0:42:15.920
<v Speaker 3>Yelts Reading from that article in the Independent quote, by

0:42:15.920 --> 0:42:19.320
<v Speaker 3>their early twenties, many would have perceived people and objects

0:42:19.360 --> 0:42:22.640
<v Speaker 3>more than a meter away as just blurred impressions. In

0:42:22.680 --> 0:42:25.400
<v Speaker 3>a world without spectacles, it would have been impossible for

0:42:25.440 --> 0:42:28.520
<v Speaker 3>them to operate normally within society, and they would have

0:42:28.520 --> 0:42:31.640
<v Speaker 3>had no alternative but to continue with and develop their

0:42:31.760 --> 0:42:36.120
<v Speaker 3>microworking crafts. But ironically, that would have made them valuable

0:42:36.160 --> 0:42:40.799
<v Speaker 3>economic assets despite their poor site. You know, I don't think.

0:42:40.800 --> 0:42:45.160
<v Speaker 3>I guess I was aware that people's eyesight often deteriorates

0:42:45.200 --> 0:42:48.439
<v Speaker 3>throughout life, but I guess I wasn't aware how much

0:42:48.760 --> 0:42:52.040
<v Speaker 3>better on average, the eyesight of children and young teenagers

0:42:52.200 --> 0:42:55.560
<v Speaker 3>is even from you know, that of you, that of adults,

0:42:55.560 --> 0:42:58.839
<v Speaker 3>people in their twenties who, again, according to this one

0:42:58.880 --> 0:43:01.040
<v Speaker 3>optician at least, and some other people who have talked

0:43:01.040 --> 0:43:04.279
<v Speaker 3>about this idea, by that point we probably age out

0:43:04.280 --> 0:43:06.120
<v Speaker 3>of being able to do work this small.

0:43:06.800 --> 0:43:11.600
<v Speaker 1>I mean, I have definitely reached and passed the threshold

0:43:11.800 --> 0:43:15.560
<v Speaker 1>in my life where I found myself passing things with small,

0:43:15.680 --> 0:43:19.439
<v Speaker 1>small script to children and saying, hey, can you read

0:43:19.440 --> 0:43:19.920
<v Speaker 1>this for me?

0:43:20.200 --> 0:43:20.399
<v Speaker 3>Yeah?

0:43:20.760 --> 0:43:23.280
<v Speaker 1>And then, of course, you know, turning increasingly to various

0:43:23.360 --> 0:43:28.359
<v Speaker 1>lenses and devices that allow me to to either read

0:43:28.960 --> 0:43:31.759
<v Speaker 1>text or if I'm working on like a miniature painting

0:43:31.760 --> 0:43:34.920
<v Speaker 1>on the shirt, it's like I'm wearing multiple magnifying lenses.

0:43:35.480 --> 0:43:38.160
<v Speaker 1>And then and then I'm I'm left with a rather

0:43:38.200 --> 0:43:41.319
<v Speaker 1>curious situation where I've been painting on a figure that

0:43:41.400 --> 0:43:45.200
<v Speaker 1>is going to be used by fellow adults who also

0:43:45.239 --> 0:43:47.719
<v Speaker 1>have deteriorated vision. Nobody's going to see any of the

0:43:47.760 --> 0:43:51.719
<v Speaker 1>details I've been slaving over, and I cannot see them

0:43:51.760 --> 0:43:54.800
<v Speaker 1>myself without the aid of various lenses.

0:43:54.840 --> 0:43:56.120
<v Speaker 3>But it helps to know they're there.

0:43:56.239 --> 0:43:57.480
<v Speaker 1>Yeah, I mean, that's the fun of it.

0:43:58.000 --> 0:44:00.160
<v Speaker 3>Until you started talking there, I had forgotten, by the

0:44:00.160 --> 0:44:02.880
<v Speaker 3>fact that you paint miniatures, and so yeah, that's so

0:44:02.920 --> 0:44:05.720
<v Speaker 3>you have more experience with this kind of very tiny,

0:44:05.800 --> 0:44:07.880
<v Speaker 3>delicate work using the help of lenses.

0:44:08.520 --> 0:44:13.440
<v Speaker 1>Yeah yeah, without lenses, like yeah, would would many painters

0:44:13.440 --> 0:44:14.680
<v Speaker 1>be able to I mean, they would be able to

0:44:14.760 --> 0:44:16.480
<v Speaker 1>do something, but you just wouldn't be able to see

0:44:16.520 --> 0:44:20.000
<v Speaker 1>what you were doing. And so I guess yeah that,

0:44:20.200 --> 0:44:23.160
<v Speaker 1>I mean, it does seem like such a tragedy. Well,

0:44:23.280 --> 0:44:26.920
<v Speaker 1>one wonders, though, again you alluded to this, like how

0:44:27.000 --> 0:44:29.640
<v Speaker 1>these skills that they had developed would still be appliable

0:44:29.680 --> 0:44:34.319
<v Speaker 1>to other crafts. You know, maybe maybe maybe not the

0:44:34.440 --> 0:44:37.000
<v Speaker 1>these precise gold work that they were doing obviously when

0:44:37.040 --> 0:44:40.480
<v Speaker 1>they were younger, but maybe there there are other crafting

0:44:40.520 --> 0:44:42.960
<v Speaker 1>skills that they can still utilize at that point in

0:44:43.000 --> 0:44:48.160
<v Speaker 1>their life. I'm thinking especially of fiber arts, baskets and

0:44:48.200 --> 0:44:48.840
<v Speaker 1>so forth, you.

0:44:48.880 --> 0:44:52.400
<v Speaker 3>Know, yeah, yeah, you know. One of these articles I

0:44:52.480 --> 0:44:56.840
<v Speaker 3>just mentioned also quote a museum curator I guess this

0:44:56.840 --> 0:44:59.719
<v Speaker 3>would be at the Wheelchair Museum where these artifacts are

0:44:59.760 --> 0:45:03.560
<v Speaker 3>kept to named David Dawson, who's talking about just being

0:45:03.600 --> 0:45:07.560
<v Speaker 3>astonished at how an artifact with gold work this tiny

0:45:07.600 --> 0:45:13.359
<v Speaker 3>could have been produced and comparing the work done by

0:45:13.400 --> 0:45:15.719
<v Speaker 3>these ancient people in Bronze Age Britain, or maybe not

0:45:15.760 --> 0:45:17.880
<v Speaker 3>in Britain, and you know, in the Bronze Age wherever

0:45:17.920 --> 0:45:21.920
<v Speaker 3>this was made to things done by modern metal workers

0:45:22.200 --> 0:45:26.000
<v Speaker 3>and micro artists who you know, make replica pieces, but

0:45:26.040 --> 0:45:28.080
<v Speaker 3>they are able to work with modern tools, and so

0:45:28.120 --> 0:45:31.360
<v Speaker 3>he cites their official metal worker that they work with

0:45:31.400 --> 0:45:35.080
<v Speaker 3>at the museum, a guy named Neil Burridge, who makes replicas,

0:45:35.719 --> 0:45:39.120
<v Speaker 3>but has called this dagger quote the work of the gods.

0:45:39.400 --> 0:45:42.200
<v Speaker 3>And it's interesting to think that, you know, the thing

0:45:42.239 --> 0:45:44.240
<v Speaker 3>that's so hard to explain the work of the gods

0:45:44.239 --> 0:45:47.200
<v Speaker 3>we don't know, but may well, based on some clues,

0:45:47.239 --> 0:45:49.120
<v Speaker 3>have actually been the work of children.

0:45:49.520 --> 0:45:53.759
<v Speaker 1>Yeah, it's like a divine force, ancient aliens. No, just

0:45:53.800 --> 0:45:55.400
<v Speaker 1>good old fashioned child labor.

0:45:56.680 --> 0:45:58.960
<v Speaker 3>But I think this also really drives home what we

0:45:58.960 --> 0:46:02.839
<v Speaker 3>were saying earlier about well the often symbolic nature of

0:46:03.000 --> 0:46:06.560
<v Speaker 3>the dagger design, because I don't you know it with

0:46:06.719 --> 0:46:12.319
<v Speaker 3>something like this, something so intricate and obviously expensive. You know,

0:46:12.360 --> 0:46:14.640
<v Speaker 3>this would have been one of the most probably most

0:46:14.680 --> 0:46:17.600
<v Speaker 3>expensive types of items you could possibly get at this

0:46:17.760 --> 0:46:21.480
<v Speaker 3>time in history. It can't be that this is for

0:46:21.520 --> 0:46:24.400
<v Speaker 3>some functional reason. You know, this is a status item.

0:46:24.520 --> 0:46:27.320
<v Speaker 3>This means something. It doesn't have all these gold pins

0:46:27.360 --> 0:46:30.160
<v Speaker 3>because it's like, oh, yeah, it makes the grip feel better. Yeah,

0:46:30.200 --> 0:46:32.360
<v Speaker 3>maybe it does, but I doubt it. It seems like

0:46:32.360 --> 0:46:36.280
<v Speaker 3>it's got to be that this is for symbolizing power

0:46:36.360 --> 0:46:38.960
<v Speaker 3>and prestige and maybe something else.

0:46:39.600 --> 0:46:42.279
<v Speaker 1>Yeah. Absolutely, And it's so fascinating again to think about

0:46:42.280 --> 0:46:44.040
<v Speaker 1>the fact that it is the form of the dagger,

0:46:44.320 --> 0:46:46.960
<v Speaker 1>something that at a very base level is again just

0:46:47.320 --> 0:46:51.359
<v Speaker 1>a tool that we invented, that we created that gives

0:46:51.440 --> 0:46:54.920
<v Speaker 1>us the powers of having talents or something, you know,

0:46:55.000 --> 0:46:58.440
<v Speaker 1>making up for the biological limitations of the human body

0:46:58.760 --> 0:47:02.759
<v Speaker 1>and giving us the sharp edge. Uh and uh yeah,

0:47:02.800 --> 0:47:06.120
<v Speaker 1>and here we see like the function of it, uh,

0:47:07.760 --> 0:47:12.319
<v Speaker 1>you know, transformed into the symbolic. So yeah, it's fascinating

0:47:12.360 --> 0:47:14.840
<v Speaker 1>to think about these objects and try and imagine, well,

0:47:14.960 --> 0:47:17.600
<v Speaker 1>especially in these cases again where we don't really we

0:47:17.640 --> 0:47:19.719
<v Speaker 1>don't know all the ins and outs of what it

0:47:19.840 --> 0:47:23.719
<v Speaker 1>symbolized exactly and what was said about the blade, what

0:47:23.760 --> 0:47:26.520
<v Speaker 1>it was even called. Uh, but we know that it

0:47:26.560 --> 0:47:29.919
<v Speaker 1>was important because we can see how much work went

0:47:29.960 --> 0:47:33.200
<v Speaker 1>into it. All Right, we're gonna go ahead and close

0:47:33.280 --> 0:47:35.319
<v Speaker 1>up part one here, but we'll be back in the

0:47:35.360 --> 0:47:37.840
<v Speaker 1>next episode of Stuff to Blow Your Mind. I'm not

0:47:37.840 --> 0:47:40.600
<v Speaker 1>sure exactly which daggers we're going to discuss, but we

0:47:40.640 --> 0:47:43.080
<v Speaker 1>have a we have a short list of possibilities we're

0:47:43.120 --> 0:47:45.560
<v Speaker 1>going to We're gonna pick each one up. We're gonna

0:47:45.760 --> 0:47:49.440
<v Speaker 1>test its heft and see which ones are gonna be

0:47:49.440 --> 0:47:51.880
<v Speaker 1>the most interesting to talk about. Uh and if you

0:47:51.920 --> 0:47:53.840
<v Speaker 1>catch us in time, Hey, if you have a favorite

0:47:53.880 --> 0:47:56.680
<v Speaker 1>dagger right in, we'd love to hear from you. Likewise,

0:47:57.440 --> 0:48:00.440
<v Speaker 1>do you have a dagger or something like it that

0:48:00.520 --> 0:48:04.439
<v Speaker 1>is important to you culturally historically? Is it a piece

0:48:04.480 --> 0:48:07.960
<v Speaker 1>of sci fi memorabilia? Write in, send some pictures. We'd

0:48:08.000 --> 0:48:08.920
<v Speaker 1>love to know more about.

0:48:09.200 --> 0:48:13.320
<v Speaker 3>Huge Thanks as always to our excellent audio producer, JJ Possway.

0:48:13.680 --> 0:48:15.319
<v Speaker 3>If you would like to get in touch with us

0:48:15.320 --> 0:48:18.000
<v Speaker 3>with feedback on this episode or any other, to suggest

0:48:18.120 --> 0:48:20.480
<v Speaker 3>topic for the future, or just to say hello, you

0:48:20.480 --> 0:48:23.040
<v Speaker 3>can email us at contact at stuff to Blow your

0:48:23.080 --> 0:48:30.880
<v Speaker 3>Mind dot com.

0:48:31.000 --> 0:48:33.960
<v Speaker 2>Stuff to Blow Your Mind is production of iHeartRadio. For

0:48:34.040 --> 0:48:36.840
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0:48:37.000 --> 0:48:54.400
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