WEBVTT - From the Vault: The Cauldron, Part 4

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<v Speaker 1>Hey, welcome to Stuff to Blow Your Mind. My name

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<v Speaker 1>is Robert Lamb.

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<v Speaker 2>And I'm Joe McCormick, and it's Part four of our

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<v Speaker 2>series on the Cauldron. In today's vault episode, this one

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<v Speaker 2>originally published June sixteenth, twenty twenty two. Is there any

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<v Speaker 2>reason to delay? I don't think there is. Let's go

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<v Speaker 2>straight to it.

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<v Speaker 1>Let's jump right in and see what happens.

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<v Speaker 3>Welcome to Stuff to Blow your Mind production of iHeartRadio.

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<v Speaker 1>Hey, welcome to Stuff to Blow your Mind. My name

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<v Speaker 1>is Robert Lamb.

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<v Speaker 4>And I'm Joe McCormick, and it's Cauldron's Part four. This

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<v Speaker 4>is really the last Cauldron's episode, right.

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<v Speaker 1>Yes, for now, but no, no, this is the last one.

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<v Speaker 1>Even my son when he asked what I was doing today,

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<v Speaker 1>I said, Oh, we're going to record a fourth Cauldron's episode.

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<v Speaker 1>He's like, really, y'all are still doing those Cauldron episodes?

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<v Speaker 1>So yeah, yeah, some more exciting stuff. And you know,

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<v Speaker 1>there's so much we're not even going to be able

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<v Speaker 1>to cover in these episodes, but this is an exciting

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<v Speaker 1>one because we're going to roll through a few more myths.

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<v Speaker 1>We have some more content about just how cauldrons factor

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<v Speaker 1>into our history and our beliefs, and you know we'll

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<v Speaker 1>get into the inferno a bit as well.

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<v Speaker 4>Rob, I am ready to be boiled.

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<v Speaker 1>All right, Well, let's basically we've alluded to this. We've

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<v Speaker 1>all along, we've mentioned that you have some strong Celtic

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<v Speaker 1>traditions that involve the cauldron, and they end up having

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<v Speaker 1>an influence over European traditions of the cauldron in general.

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<v Speaker 1>So let's roll through just a few of these different myths.

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<v Speaker 1>I'm not going to go into super detail on these,

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<v Speaker 1>though a number of these are the subject of epics

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<v Speaker 1>and longer tails and of course treatments and retreatments over

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<v Speaker 1>the years. So let's start with the Dogda's Cauldron. So

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<v Speaker 1>Dogdo or the Dogda was the most powful of all

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<v Speaker 1>the too apha to done. And you know these are

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<v Speaker 1>the magical folk, the ancestors of Ireland and so forth.

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<v Speaker 1>Docta was the master of the battle club, the magic harp,

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<v Speaker 1>and the cauldron. He was sometimes called the good God

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<v Speaker 1>because he was simply good at everything.

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<v Speaker 4>Today you'd call him a Mary Sue.

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<v Speaker 1>As Patricia Monaghan explains in the Encyclopedia of Celtic Mythology

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<v Speaker 1>and folklore, he was kind of a god of not

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<v Speaker 1>only fertility, but also kind of exaggerated male desire. So

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<v Speaker 1>he's round, you know, kind of a rotund individual. His

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<v Speaker 1>tunic is a bit too short to cover his genitals

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<v Speaker 1>in some depictions. Anyway, he wields a mallet that's so

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<v Speaker 1>huge that he has to drag it behind him in

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<v Speaker 1>a cart. So he's kind of this exaggerated cartoon character

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<v Speaker 1>in many respects.

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<v Speaker 4>I like him already.

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<v Speaker 1>He also has a pair of self replenishing pigs that

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<v Speaker 1>you can just keep eating. I'm not sure how the

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<v Speaker 1>details of that work. I'm assuming it's like you cook

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<v Speaker 1>them up, or I don't know if you're slicing pieces

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<v Speaker 1>off of them. I'm not sure, But any rate, I

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<v Speaker 1>don't know that the pigs really mind. They're magical, after all,

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<v Speaker 1>but even more magical than the pigs. He also has

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<v Speaker 1>a magic cauldron that can never be emptied. It overfloweth

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<v Speaker 1>with goodness, so he has many romantic adventures. He has

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<v Speaker 1>many children. He's eventually slain in battle by the ceph Leon,

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<v Speaker 1>a wife of the great Femorian king Baaler, and then

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<v Speaker 1>he goes on to party forever in the other world.

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<v Speaker 1>Sustained by his bottomless cauldron that he gets to bring

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<v Speaker 1>with him into the afterlife.

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<v Speaker 4>Oh that's lucky.

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<v Speaker 1>Yeah now, Bonagan, who also wrote the Encyclopedia of Goddesses

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<v Speaker 1>and Heroines, wrote that the Irish cauldron is of course

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<v Speaker 1>not only a mundane item for cooking and stewing, but

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<v Speaker 1>also quote a place where new life was brewed and stewed.

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<v Speaker 1>It was a symbol of great power for the Celts.

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<v Speaker 1>The Roman writer Strebo describes a great cauldron sent to

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<v Speaker 1>Caesar by Simbri and claims that the Celts ritually sliced

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<v Speaker 1>open the throats of prisoners over such a cauldron. And

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<v Speaker 1>these traditions, to whatever extent they are accurately reported here,

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<v Speaker 1>may connect to the Gunstrip cauldron that we talked about

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<v Speaker 1>in the last episode that was unearthed in Denmark, but

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<v Speaker 1>burying Celtic symbols, etc. Other cauldrons monagan rites have been

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<v Speaker 1>found in bogs and lakes and are suspected to have

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<v Speaker 1>been offerings to the other world.

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<v Speaker 4>Yeah, that'll actually connect to an archaeology paper I want

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<v Speaker 4>to talk about in a minute.

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<v Speaker 1>In general, though, she contends that the Irish cauldron means

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<v Speaker 1>fullness and abundance, and Dogda's cauldron is just a great

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<v Speaker 1>example of this, a never ending supply of good eats.

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<v Speaker 1>The Welsh goddess Sertowin also uses a cauldron to make

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<v Speaker 1>a bra that imbues one with great wisdom. So it's

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<v Speaker 1>interesting how we're getting into talking about just sustaining the self,

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<v Speaker 1>sustaining the body via the contents of the cauldron. But

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<v Speaker 1>then we kind of take that into another dimension as well,

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<v Speaker 1>sustaining the mind. And this will have ramifications on other

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<v Speaker 1>storytelling and mythic traditions. All right, we'll come back to

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<v Speaker 1>some of these ideas, but let's let's move on to

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<v Speaker 1>the next myth here. This is another one from Celtic traditions,

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<v Speaker 1>but it takes the idea of the cauldron as life

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<v Speaker 1>bringer and kind of puts a different spin on it.

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<v Speaker 1>This is the story of the pair Da Denni, the

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<v Speaker 1>cauldron of rebirth. Now, there are already some accounts that

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<v Speaker 1>indicate that the Dog's cauldron, in addition to overflowing with

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<v Speaker 1>great and miraculously healing foods, in some cases, could also

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<v Speaker 1>raise the dead if they were lowered into the cauldron.

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<v Speaker 1>And yeah, that leads us into what is perhaps the

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<v Speaker 1>most noteworthy necromantic cauldron. This is the cauldron of Rebirth

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<v Speaker 1>from Welsh mythology and literature, along with the Cauldron of Dogda.

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<v Speaker 1>It's a key mythic cauldron to understand the artifact's place

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<v Speaker 1>in European traditions. It's also the primary inspiration for the

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<v Speaker 1>black cauldron that shows up in the novels of Lloyd Alexander.

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<v Speaker 1>It factors into a few different tales, including Branwyn daughter

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<v Speaker 1>of Leir, a legendary tale from medieval Welsh literature, and

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<v Speaker 1>the second of four branches of the mobin Ogion collection

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<v Speaker 1>of tales. So this is a pretty interesting one, and

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<v Speaker 1>again I'm just giving you the broad strokes here. Again,

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<v Speaker 1>this one has received a much more expansive treatment in

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<v Speaker 1>works of literature, but it concerns the mythic conflict between

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<v Speaker 1>the Welsh and the Irish and involves the exploits of Ethnisian,

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<v Speaker 1>the half brother of Bron the Blessed, who has been

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<v Speaker 1>described as an easily offended troublemaker or even as a

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<v Speaker 1>psychotic anti hero. Oh okay, so this is a guy

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<v Speaker 1>who does things like mutilate horses inside wars, burn people alive.

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<v Speaker 1>So he's not presented as a good guy. It doesn't

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<v Speaker 1>even seem like it's one of these cases where you

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<v Speaker 1>can say, well, today we wouldn't like him, but we

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<v Speaker 1>have to put him look at him within the context

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<v Speaker 1>of the time. No, it seems like everyone seems to

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<v Speaker 1>think that he's supposed to be a crazy, dangerous fellow.

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<v Speaker 4>He's not Snake Pliskin. He's Darth Vader.

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<v Speaker 1>Yeah yeah, but like Darth Vader, he has a redemption

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<v Speaker 1>arc of sorts. He ends up engaging in a little

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<v Speaker 1>bit of self sacrifice to bring balance to things. So

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<v Speaker 1>it comes to light that the Irisher using the magical

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<v Speaker 1>cauldron of Rebirth to resurrect their dead warriors so that

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<v Speaker 1>they can keep on fighting. And so you know, the

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<v Speaker 1>Welsh forces are concerned about this. This is an unfair advantage,

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<v Speaker 1>right if you're bringing your own debt back to life

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<v Speaker 1>onto the battlefield. So what does Ethnician do Well, he

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<v Speaker 1>hides himself among the enemy Irish dead, and then the

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<v Speaker 1>Irish hall all those dead bodies back. They take them

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<v Speaker 1>to the cauldron of Rebirth and one by one they

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<v Speaker 1>throw them in the cauldron, and then one by one,

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<v Speaker 1>each warrior emerges once more to fight. Eventually they come

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<v Speaker 1>to Ethnician, who again is pretending to be a dead irishman.

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<v Speaker 1>They throw him into the cauldron alive, and this seems

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<v Speaker 1>to sort of short circuit everything. You know, the cauldron

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<v Speaker 1>is not designed or made, It does not exist to

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<v Speaker 1>resurrect the living. It totally just screws up everything. And

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<v Speaker 1>somehow Ethnician is then able to destroy the cauldron from within,

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<v Speaker 1>but in doing so, not only does he shatter the cauldron,

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<v Speaker 1>but he dies in the process. Oh and there's some

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<v Speaker 1>wonderful illustrations of this.

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<v Speaker 4>I want more detail here. Did like, did he know

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<v Speaker 4>that was going to happen to him or what did

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<v Speaker 4>he expect was going to? Like it just did it

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<v Speaker 4>not cross his mind that like, oh, yeah, I can't

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<v Speaker 4>be resurrected because I'm not dead yet.

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<v Speaker 1>I think he knew. I mean, otherwise it's not that

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<v Speaker 1>I mean, the self sacrifice is diminished if he doesn't

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<v Speaker 1>know that this is probably going to destroy him. So

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<v Speaker 1>I think the general vibe is the y he knows

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<v Speaker 1>that this will be the end, but it's the only

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<v Speaker 1>way to stop the Cauldron of rebirth.

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<v Speaker 4>Okay, he's not just being like dude, I'd love to

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<v Speaker 4>be resurrected from the dead.

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<v Speaker 1>No, no, no, all right, I'm going to run through

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<v Speaker 1>a few other cauldrons. Of note, there's the cauldron of Drenwich,

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<v Speaker 1>the Giant. In medieval Welsh tradition, there are thirteen treasures

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<v Speaker 1>of the Island of Britain, entailing various horns and chariots, knives, rings,

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<v Speaker 1>and more. But there's also a cauldron owned by the

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<v Speaker 1>giant Drenwich, which can tell brave men from cowards because

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<v Speaker 1>it will not boil meat for a coward, but will

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<v Speaker 1>quickly boil meat for a brave man. Now I'm not

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<v Speaker 1>sure if there was a vegetarian option, but basically it's

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<v Speaker 1>said to just be massive enough to cook an entire

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<v Speaker 1>wedding feast within It eventually falls into the possession of

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<v Speaker 1>King Arthur and some tellings. But yeah, I guess it's like,

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<v Speaker 1>if you're not sure if somebody is brave or cowardly,

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<v Speaker 1>you just have them bring forth their chicken Cutlets throw

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<v Speaker 1>them into the cauldron here and see what happens.

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<v Speaker 4>Here's another one where I wonder about the mechanics of

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<v Speaker 4>exactly what that means. So you put the meat in,

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<v Speaker 4>does it mean if you're a coward. The water won't

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<v Speaker 4>come to a boil. Or does it mean even if

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<v Speaker 4>it boils, the meat won't get tender.

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<v Speaker 1>I don't know. I'm just imagining it like, Okay, you

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<v Speaker 1>put the meat in and maybe the water looks like

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<v Speaker 1>it's boiling, but the meat's not cooking. You just got

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<v Speaker 1>some raw chicken cutlets in there, just bobbing around.

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<v Speaker 4>Well, it reminds me of those stories of people up

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<v Speaker 4>on mountaintops trying to cook food, like boiling potatoes in

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<v Speaker 4>a pot on Mount Everest, where your potatoes don't get

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<v Speaker 4>cooked because when you go higher and higher into the atmosphere,

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<v Speaker 4>the boiling point of water goes down. So you can

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<v Speaker 4>be there boiling a pot on the stove and it

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<v Speaker 4>is actually boiling, like it's bubbling and turning into steam,

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<v Speaker 4>but the boiling point is so low that the water

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<v Speaker 4>is actually not hot enough to cook your food. So

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<v Speaker 4>you can boil potatoes at the top of a mountain

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<v Speaker 4>for a long time, take them out, and they're basically

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<v Speaker 4>still raw.

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<v Speaker 1>Yeah. I don't have an answer for that, but it

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<v Speaker 1>does make me wonder to what extent experiences with different

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<v Speaker 1>altitudes and attempts to boil stuff in the cauldron. How

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<v Speaker 1>that might affect this because they would clearly notice, you

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<v Speaker 1>would know that, well, here it seems to take longer

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<v Speaker 1>to cook our food. Why might that be?

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<v Speaker 4>I haven't done the math. I don't know if there

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<v Speaker 4>are peaks in Britain high enough for that to happen.

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<v Speaker 4>I'm not sure.

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<v Speaker 1>Maybe though, perhaps word of this had traveled, who knows.

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<v Speaker 1>Let's see, here's another cauldron. This one comes from Norse mythology.

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<v Speaker 1>Heimer is a giant and the father of two Acera gods.

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<v Speaker 1>According to Carol Rose, he was said to live on

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<v Speaker 1>the eastern edge of the universe and had a brewing

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<v Speaker 1>pot or cauldron so large that the heavens could fit

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<v Speaker 1>inside it. So we mentally alluded to something like this

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<v Speaker 1>earlier in one of the other episodes about the cauldron

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<v Speaker 1>becomes kind of like a model, a technological model for

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<v Speaker 1>the cosmos itself, And here we have a cauldron so

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<v Speaker 1>vast that the universe itself fits inside it. Where's the cauldron?

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<v Speaker 1>While you're thinking too hard about this myth, or maybe

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<v Speaker 1>you're not, I mean, maybe that's ultimately kind of the

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<v Speaker 1>goal of one of these stories is to sort of

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<v Speaker 1>give you a real head spinner about the nature of

0:12:30.320 --> 0:12:33.200
<v Speaker 1>the universe. So that's the cauldron itself, but there are

0:12:33.200 --> 0:12:36.560
<v Speaker 1>some stories attached to it. So at one point, the

0:12:36.559 --> 0:12:39.120
<v Speaker 1>gods decide they're going to have a great feast, but

0:12:39.480 --> 0:12:42.400
<v Speaker 1>they need some sort of vessel to put all the

0:12:42.440 --> 0:12:45.000
<v Speaker 1>mead that they're going to drink. And they're the gods,

0:12:45.000 --> 0:12:46.839
<v Speaker 1>they can drink a lot of meat. So they send

0:12:46.880 --> 0:12:52.800
<v Speaker 1>Thor to borrow a Heimer's brewing cauldron. So Thor shows

0:12:52.880 --> 0:12:55.680
<v Speaker 1>up and Heimer says, no, you can't borrow this, but

0:12:56.400 --> 0:12:59.440
<v Speaker 1>they start discussing it and they agree, well, well, let's

0:12:59.440 --> 0:13:02.559
<v Speaker 1>settle this have a fishing contest, and there are apparently

0:13:02.559 --> 0:13:06.480
<v Speaker 1>many different versions of what follows next. In one version,

0:13:06.559 --> 0:13:09.960
<v Speaker 1>Heimer uses two bowls to as bait and then catches

0:13:10.000 --> 0:13:14.120
<v Speaker 1>two whales, but then Thor, not to be outdone, catches

0:13:14.240 --> 0:13:20.040
<v Speaker 1>the midguard storm itself, the world serpent. In some versions,

0:13:20.080 --> 0:13:23.319
<v Speaker 1>the results are inconclusive or they're disputed, so they move

0:13:23.360 --> 0:13:26.640
<v Speaker 1>on to a drinking contest after the fishing contest, and

0:13:26.679 --> 0:13:30.960
<v Speaker 1>in some tales, Thor wins and takes the vessel with him,

0:13:31.080 --> 0:13:34.600
<v Speaker 1>or finally just steals it and Heimer chases after him

0:13:34.600 --> 0:13:36.840
<v Speaker 1>with an army of giants. And Thor has to smite

0:13:36.880 --> 0:13:40.160
<v Speaker 1>all of them with his hammer, but at any rate,

0:13:40.240 --> 0:13:43.640
<v Speaker 1>Thor usually ends up with the cauldron. And the cauldron's

0:13:43.679 --> 0:13:46.200
<v Speaker 1>power again is that it's just super big.

0:13:53.440 --> 0:13:55.880
<v Speaker 4>So maybe this is a good place in the discussion

0:13:55.920 --> 0:13:58.320
<v Speaker 4>to talk about an interesting paper. I was reading an

0:13:58.360 --> 0:14:03.720
<v Speaker 4>archaeology paper. This was published by the Proceedings of the

0:14:03.760 --> 0:14:07.640
<v Speaker 4>Prehistoric Society, Cambridge University Press in twenty fourteen, and it's

0:14:07.679 --> 0:14:11.559
<v Speaker 4>called fire Burn and Cauldron, Bubble, Iron Age and Early

0:14:11.640 --> 0:14:15.760
<v Speaker 4>Roman Cauldrons of Britain and Ireland by Jody Joy. The

0:14:15.800 --> 0:14:18.720
<v Speaker 4>author of this paper, Jody Joy, is a senior curator

0:14:18.760 --> 0:14:21.960
<v Speaker 4>at the Museum of Archaeology and Anthropology at the University

0:14:22.000 --> 0:14:24.760
<v Speaker 4>of Cambridge. And the paper begins with a quote I

0:14:24.800 --> 0:14:28.400
<v Speaker 4>really like it says. It's an old Cosakh saying that

0:14:28.480 --> 0:14:31.040
<v Speaker 4>a man can live to fifty, but a cauldron will

0:14:31.040 --> 0:14:33.760
<v Speaker 4>live to one hundred. Oh wow, I think you go

0:14:33.960 --> 0:14:37.840
<v Speaker 4>compare yourself to a cauldron now. But anyway, so Joy

0:14:38.320 --> 0:14:42.080
<v Speaker 4>begins with some sections examining the archaeological record of cauldrons

0:14:42.160 --> 0:14:45.600
<v Speaker 4>in Britain and Ireland from the Iron Age and the

0:14:45.640 --> 0:14:48.600
<v Speaker 4>Early Roman period, and the early parts of this paper

0:14:48.640 --> 0:14:50.640
<v Speaker 4>go into a sort of catalog of all these different

0:14:51.040 --> 0:14:56.920
<v Speaker 4>cauldron artifacts and a discussion of their manufacture and physical characteristics.

0:14:57.160 --> 0:14:59.520
<v Speaker 4>One of the main things about the section is that

0:14:59.560 --> 0:15:02.600
<v Speaker 4>cauldron of the time took a lot of skill to produce.

0:15:03.200 --> 0:15:05.840
<v Speaker 4>But the part of this paper that really got my

0:15:05.920 --> 0:15:09.680
<v Speaker 4>attention was his section on the use and significance of

0:15:09.760 --> 0:15:13.320
<v Speaker 4>cauldrons from this period. Now, it's obvious from the prominent

0:15:13.440 --> 0:15:17.240
<v Speaker 4>role of cauldrons in myths and legends like the ones

0:15:17.240 --> 0:15:20.880
<v Speaker 4>we've just been talking about, and as magical items in

0:15:20.920 --> 0:15:25.040
<v Speaker 4>early medieval literature from Ireland and Wales, that these objects

0:15:25.040 --> 0:15:32.120
<v Speaker 4>were charged with mythical significance, particularly associated with resurrection and sacrifice.

0:15:33.040 --> 0:15:35.960
<v Speaker 4>But if you think about it, why would just a

0:15:36.000 --> 0:15:41.520
<v Speaker 4>big metal pot have any particular symbolic or mythic significance. Now,

0:15:41.600 --> 0:15:44.080
<v Speaker 4>Rob we've already talked about some ideas we've had on

0:15:44.120 --> 0:15:46.880
<v Speaker 4>that that maybe it has something to do with the

0:15:46.920 --> 0:15:51.160
<v Speaker 4>way that cauldrons transform foods when you cook them, though

0:15:51.160 --> 0:15:53.280
<v Speaker 4>of course that's strit of smaller pots as well. You know,

0:15:53.560 --> 0:15:57.640
<v Speaker 4>cooking transforms, and thus it may be is symbolic of

0:15:57.680 --> 0:16:01.280
<v Speaker 4>transformation in some way. But there are other ways that

0:16:01.320 --> 0:16:05.560
<v Speaker 4>they could acquire magical significance as well, and Joy argues

0:16:05.640 --> 0:16:08.800
<v Speaker 4>that some of the significance might be related to how

0:16:08.840 --> 0:16:11.440
<v Speaker 4>these objects were actually used and their role in the

0:16:11.480 --> 0:16:15.160
<v Speaker 4>culture of iron Age Britain in Ireland. So how were

0:16:15.200 --> 0:16:18.560
<v Speaker 4>they used? This is a good question because there are

0:16:18.600 --> 0:16:22.120
<v Speaker 4>several lines of evidence pointing to the conclusion that these

0:16:22.240 --> 0:16:26.480
<v Speaker 4>huge pots were primarily used to cook food, particularly soups

0:16:26.480 --> 0:16:29.280
<v Speaker 4>and stews containing meat. Now we've already sort of been

0:16:29.320 --> 0:16:33.520
<v Speaker 4>assuming the soup and stew connection, but technically, you know,

0:16:33.840 --> 0:16:35.440
<v Speaker 4>just a big metal pot could have been used for

0:16:35.480 --> 0:16:37.600
<v Speaker 4>all kinds of things, So it is good to examine

0:16:37.600 --> 0:16:40.080
<v Speaker 4>what the actual evidence is. And we know of examples

0:16:40.120 --> 0:16:44.080
<v Speaker 4>where large metal vessels were used for other things that

0:16:44.360 --> 0:16:46.160
<v Speaker 4>might have been just decorative, or they might have been

0:16:46.240 --> 0:16:48.520
<v Speaker 4>used to make burnt offerings to the gods or something

0:16:48.560 --> 0:16:51.040
<v Speaker 4>like that. But no. In the case of these cauldrons

0:16:51.840 --> 0:16:56.520
<v Speaker 4>from iron Age and early Roman Britain in Ireland, first

0:16:56.560 --> 0:16:59.960
<v Speaker 4>of all, it seems they were clearly designed to hold liquid,

0:17:00.080 --> 0:17:03.360
<v Speaker 4>and we can tell because almost all of the cauldrons

0:17:03.400 --> 0:17:07.159
<v Speaker 4>from this period in this place shows signs of having

0:17:07.359 --> 0:17:11.280
<v Speaker 4>been through repairs, which in itself is interesting because it

0:17:11.359 --> 0:17:15.560
<v Speaker 4>indicates a long social life for each individual cauldron, you know,

0:17:15.560 --> 0:17:17.760
<v Speaker 4>they're being used long enough that people have to like

0:17:17.840 --> 0:17:20.720
<v Speaker 4>go in and fix them up after they get damaged.

0:17:21.040 --> 0:17:23.280
<v Speaker 1>Yeah, it kind of takes us back to that quote. Right,

0:17:24.160 --> 0:17:26.160
<v Speaker 1>you may live to be fifty, but your cauldron will

0:17:26.160 --> 0:17:26.919
<v Speaker 1>live to be one hundred.

0:17:27.480 --> 0:17:27.640
<v Speaker 4>Right.

0:17:28.119 --> 0:17:30.399
<v Speaker 1>Nowadays humans may live to be a hundred, but like

0:17:30.440 --> 0:17:33.360
<v Speaker 1>these cauldrons, you'll probably have to have some holes patched.

0:17:33.040 --> 0:17:37.639
<v Speaker 4>Here and there. That's true. And so why do we

0:17:37.720 --> 0:17:40.400
<v Speaker 4>think that these cauldrons were designed to hold liquid. It's

0:17:40.440 --> 0:17:42.880
<v Speaker 4>because when you look at the repairs that were done

0:17:42.920 --> 0:17:46.040
<v Speaker 4>to them, we see that they're essentially repairs that would

0:17:46.080 --> 0:17:49.560
<v Speaker 4>function to keep the cauldron's water tight. And if these

0:17:49.600 --> 0:17:51.920
<v Speaker 4>were just decorative or if they were used for say

0:17:51.960 --> 0:17:54.560
<v Speaker 4>like making a burnt offering to the gods or something,

0:17:55.000 --> 0:17:57.919
<v Speaker 4>they wouldn't need to patch tiny holes and keep the

0:17:58.000 --> 0:18:01.920
<v Speaker 4>vessel water tight. It's obvious that they wanted to prevent leaks.

0:18:02.400 --> 0:18:04.959
<v Speaker 4>Second line of evidence, they were clearly designed to be

0:18:05.000 --> 0:18:10.440
<v Speaker 4>suspended over fires. So this can be seen from the presence.

0:18:10.119 --> 0:18:17.160
<v Speaker 5>Of supplemental materials like chains, handles, and frames that would

0:18:17.160 --> 0:18:20.240
<v Speaker 5>all serve to hang or suspend the cauldron over a hearth,

0:18:21.040 --> 0:18:24.359
<v Speaker 5>and also many cauldrons have layers of soot caked onto

0:18:24.359 --> 0:18:27.320
<v Speaker 5>the outside surface, showing that a fire was applied to

0:18:27.359 --> 0:18:28.520
<v Speaker 5>them from the outside.

0:18:29.480 --> 0:18:33.720
<v Speaker 4>Third, you've got organic residues. Few artifacts from this period,

0:18:33.800 --> 0:18:37.320
<v Speaker 4>for example, a group known as the Chiselden cauldrons have

0:18:37.480 --> 0:18:41.119
<v Speaker 4>been sampled for organic residues on the inner surfaces, and

0:18:41.320 --> 0:18:46.119
<v Speaker 4>chemical analyzes indicate the presence of animal fats, which points

0:18:46.160 --> 0:18:51.120
<v Speaker 4>to soups or stews containing meat. However, some cauldrons from

0:18:51.160 --> 0:18:55.600
<v Speaker 4>Northwest Europe also show traces of honey, probably indicating their

0:18:55.720 --> 0:18:58.919
<v Speaker 4>use in serving honey based meads, which would be an

0:18:58.920 --> 0:19:00.000
<v Speaker 4>alcoholic beverage.

0:19:00.760 --> 0:19:03.080
<v Speaker 1>Yeah, which brings us back to the myth of the

0:19:03.160 --> 0:19:05.399
<v Speaker 1>giant's brewing cauldron. Yeah.

0:19:05.680 --> 0:19:09.720
<v Speaker 4>Yeah, So these cauldrons were almost definitely used mostly for

0:19:09.840 --> 0:19:14.000
<v Speaker 4>cooking food, usually meat based soups and stews, but sometimes

0:19:14.040 --> 0:19:18.240
<v Speaker 4>alcoholic beverages as well. But can we infer anything else

0:19:18.240 --> 0:19:21.320
<v Speaker 4>about how they were used? Well, Joy argues yes we can,

0:19:22.000 --> 0:19:25.680
<v Speaker 4>and points specifically to the fact that these were big boys.

0:19:25.800 --> 0:19:30.600
<v Speaker 4>These cauldrons are huge. Quote, the cauldron from Hochdorf could

0:19:30.600 --> 0:19:34.320
<v Speaker 4>hold five hundred liters. The cauldrons examined here had more

0:19:34.359 --> 0:19:38.600
<v Speaker 4>modest capacities. Ranging from thirty to eighty leaders. Even taking

0:19:38.600 --> 0:19:41.560
<v Speaker 4>into account the fact that they are unlikely to have

0:19:41.640 --> 0:19:44.680
<v Speaker 4>been filled to the brim and probably only ever two

0:19:44.760 --> 0:19:49.320
<v Speaker 4>thirds full, even the smallest cauldrons still probably contained twenty liters.

0:19:49.920 --> 0:19:53.760
<v Speaker 4>This is a substantial quantity of food and drink. And

0:19:53.880 --> 0:19:56.359
<v Speaker 4>I agree, I don't think I could eat twenty liters

0:19:56.400 --> 0:19:58.000
<v Speaker 4>of soup in a single sitting.

0:19:58.040 --> 0:20:01.240
<v Speaker 1>But that alone that you can easily imagine this becoming

0:20:01.400 --> 0:20:05.440
<v Speaker 1>extrapolated into myths of cauldrons that are just so full

0:20:05.440 --> 0:20:08.400
<v Speaker 1>of goodness that you cannot empty it. You cannot possibly

0:20:08.720 --> 0:20:09.760
<v Speaker 1>eat all of this food.

0:20:10.119 --> 0:20:14.320
<v Speaker 4>Now combine the bigness of these boys with another factor,

0:20:14.359 --> 0:20:17.520
<v Speaker 4>which is that cauldrons are relatively scarce in the archaeological

0:20:17.560 --> 0:20:21.960
<v Speaker 4>record compared to other types of household items, even those

0:20:21.960 --> 0:20:26.200
<v Speaker 4>made of similar materials. And from these facts, Joy infers

0:20:26.240 --> 0:20:30.680
<v Speaker 4>that cauldrons were not used for everyday cooking, but instead

0:20:30.720 --> 0:20:35.200
<v Speaker 4>they were used for the community based practice of feasting.

0:20:36.200 --> 0:20:38.680
<v Speaker 4>And I believe the argument is that this is sort

0:20:38.720 --> 0:20:42.960
<v Speaker 4>of what gives cauldrons their special power, what makes them

0:20:43.600 --> 0:20:46.600
<v Speaker 4>fit for use as a recurring magical item in myths

0:20:46.600 --> 0:20:51.320
<v Speaker 4>and legends and literature. Joy writes as follows At their heart,

0:20:51.440 --> 0:20:55.399
<v Speaker 4>feasts involve the creation and maintenance of social relationships and

0:20:55.440 --> 0:20:59.840
<v Speaker 4>can be used to redistribute wealth, mobilized labor, create alliances

0:21:00.000 --> 0:21:04.800
<v Speaker 4>between or exclude different groups, celebrate marriages, commemorate deaths, and

0:21:04.920 --> 0:21:10.320
<v Speaker 4>compensate for transgressions. As objects used during feasts, cauldrons help

0:21:10.400 --> 0:21:13.640
<v Speaker 4>facilitate these activities, and that is where much of their

0:21:13.680 --> 0:21:19.080
<v Speaker 4>significance and value derives. So Joy is arguing that feasting

0:21:19.359 --> 0:21:22.800
<v Speaker 4>was this incredibly important tradition in the cultures of Iron

0:21:22.880 --> 0:21:26.960
<v Speaker 4>Age Europe, and it had this complex suite of social utilities.

0:21:27.359 --> 0:21:29.520
<v Speaker 4>And the paper invokes the work of a different scholar

0:21:29.600 --> 0:21:34.520
<v Speaker 4>named Michael Dietler, who has created three different categories of

0:21:34.920 --> 0:21:38.120
<v Speaker 4>sort of the social roles of feasting, which are empowering,

0:21:38.640 --> 0:21:44.520
<v Speaker 4>the patron role, and the diacritical. So empowering feasts quote

0:21:44.560 --> 0:21:49.639
<v Speaker 4>allow people or groups to acquire prestige without necessarily requiring

0:21:49.680 --> 0:21:54.200
<v Speaker 4>the existence of fixed social hierarchies. By hosting a feast,

0:21:54.720 --> 0:21:58.680
<v Speaker 4>debts or obligations are passed on to guests, thus making

0:21:58.760 --> 0:22:03.520
<v Speaker 4>feasts arenas for negotiations of social influence. But empowering feasts

0:22:03.520 --> 0:22:06.960
<v Speaker 4>can also be viewed as celebrations of community identity. So

0:22:07.040 --> 0:22:09.320
<v Speaker 4>there's a lot that's going on here in this first category,

0:22:09.400 --> 0:22:12.320
<v Speaker 4>Like you could host a feast and serve people out

0:22:12.359 --> 0:22:15.920
<v Speaker 4>of a cauldron, and this is this is a powerful

0:22:15.960 --> 0:22:19.800
<v Speaker 4>community activity and in one sense it maybe makes everybody

0:22:19.840 --> 0:22:22.679
<v Speaker 4>who's at the feast feel more united. It's, you know,

0:22:23.240 --> 0:22:26.440
<v Speaker 4>it cements this idea of community identity, but it also

0:22:26.560 --> 0:22:29.439
<v Speaker 4>sort of puts guests in your debt. It is, you know,

0:22:29.560 --> 0:22:33.680
<v Speaker 4>empowering to the host in terms of enhancing their perceived

0:22:33.760 --> 0:22:37.920
<v Speaker 4>social prestige, maybe even making them feel temporarily like some

0:22:38.040 --> 0:22:40.920
<v Speaker 4>kind of king or something. And then there are a

0:22:40.960 --> 0:22:43.280
<v Speaker 4>couple of other types of feasts, one of the patron

0:22:43.400 --> 0:22:47.600
<v Speaker 4>role feasts, where there is sort of an it's sort

0:22:47.640 --> 0:22:50.840
<v Speaker 4>of like without the strings attached. It's an expectation that

0:22:50.880 --> 0:22:55.360
<v Speaker 4>the social elite must host, but not necessarily the obligation

0:22:55.920 --> 0:22:59.639
<v Speaker 4>for reciprocation by the guests. And then finally, there's what

0:22:59.760 --> 0:23:03.080
<v Speaker 4>is called called a diacritical feast, and this is where

0:23:03.160 --> 0:23:06.320
<v Speaker 4>subgroups of a culture consume different types of food or

0:23:06.400 --> 0:23:09.119
<v Speaker 4>drink to emphasize their difference from other people.

0:23:09.640 --> 0:23:12.240
<v Speaker 1>Interesting. I mean, I don't know if this is a

0:23:13.119 --> 0:23:15.640
<v Speaker 1>useful exercise, but I can't help but try and take

0:23:15.680 --> 0:23:20.399
<v Speaker 1>these categories and apply them to modern communal feasting situations,

0:23:20.480 --> 0:23:23.280
<v Speaker 1>like I do feel like the patron role feast does

0:23:23.320 --> 0:23:26.199
<v Speaker 1>sound a lot like the office Christmas party, you know,

0:23:26.600 --> 0:23:31.199
<v Speaker 1>where you know, it's kind of expected that the boss

0:23:31.240 --> 0:23:34.359
<v Speaker 1>powers will provide you with some sort of a food

0:23:34.600 --> 0:23:37.119
<v Speaker 1>or you know, some sort of wine from plastic cups

0:23:37.160 --> 0:23:40.240
<v Speaker 1>at least, but there's no it doesn't mean that we

0:23:40.280 --> 0:23:42.880
<v Speaker 1>need to host the next feast for our prisses.

0:23:43.720 --> 0:23:46.840
<v Speaker 4>It doesn't put you any more in the boss's debt

0:23:46.960 --> 0:23:48.560
<v Speaker 4>or service than you were already.

0:23:48.960 --> 0:23:51.480
<v Speaker 1>Right, But then if they don't know the first category,

0:23:51.520 --> 0:23:54.520
<v Speaker 1>the empowering feast, if your CEO was to suddenly, out

0:23:54.520 --> 0:23:56.320
<v Speaker 1>of the blue, say hey, why don't you and your

0:23:56.359 --> 0:23:58.600
<v Speaker 1>family come over to my house for a little get together.

0:23:58.640 --> 0:24:01.600
<v Speaker 4>We're going to have you wonder what they're going to

0:24:01.680 --> 0:24:02.360
<v Speaker 4>hit you up for.

0:24:02.520 --> 0:24:04.440
<v Speaker 1>Yeah, yeah, that might be some sort of situation where

0:24:04.440 --> 0:24:05.400
<v Speaker 1>there are strings attached.

0:24:05.600 --> 0:24:08.320
<v Speaker 4>I'm not sure exactly how best to apply the diacritical

0:24:08.359 --> 0:24:10.920
<v Speaker 4>one because I don't know exactly like to what extent

0:24:10.920 --> 0:24:14.520
<v Speaker 4>that would apply to religious rituals, like say, like Christian

0:24:14.560 --> 0:24:18.439
<v Speaker 4>communion or things like that. I mean, that's where my

0:24:18.440 --> 0:24:20.680
<v Speaker 4>brain went, But maybe that doesn't really apply. I'm not sure.

0:24:21.680 --> 0:24:23.840
<v Speaker 4>It does make me wonder, like I don't know, you know,

0:24:24.440 --> 0:24:27.919
<v Speaker 4>you know, they're like eggnog people and non eggnog people,

0:24:27.960 --> 0:24:31.080
<v Speaker 4>and I wonder if oh, that's going nowhere.

0:24:31.800 --> 0:24:34.000
<v Speaker 1>Yeah, the only thing that comes to mind is pot

0:24:34.040 --> 0:24:36.639
<v Speaker 1>luck for some reason, like I'm imagining different people bringing

0:24:36.640 --> 0:24:42.320
<v Speaker 1>their different dishes and yeah, and maybe missing the mark

0:24:42.359 --> 0:24:42.720
<v Speaker 1>on this.

0:24:43.080 --> 0:24:45.200
<v Speaker 4>I don't know if that really serves to emphasize difference.

0:24:45.240 --> 0:24:47.280
<v Speaker 4>This may just be a sort of a category that

0:24:47.400 --> 0:24:49.480
<v Speaker 4>doesn't really show up in American culture today.

0:24:49.760 --> 0:24:51.680
<v Speaker 1>Maybe it will. Maybe it's the food court at them all,

0:24:52.359 --> 0:24:55.000
<v Speaker 1>celebration of differences. Everybody can get what they want. You

0:24:55.000 --> 0:24:56.600
<v Speaker 1>don't have to like the other person's food. It's just

0:24:56.600 --> 0:24:59.160
<v Speaker 1>about whatever you eat. Maybe not, Maybe.

0:24:58.960 --> 0:25:01.080
<v Speaker 4>Does that emphasize your difference? I don't know.

0:25:01.960 --> 0:25:05.040
<v Speaker 1>Is there anything more divisive than the mall food court?

0:25:05.760 --> 0:25:06.240
<v Speaker 1>I don't know.

0:25:06.640 --> 0:25:11.000
<v Speaker 4>I have vivid memories of walking through my mall food

0:25:11.040 --> 0:25:12.920
<v Speaker 4>court when I was a kid, because there was a

0:25:13.720 --> 0:25:16.399
<v Speaker 4>there was a Japanese place where they would have somebody

0:25:16.440 --> 0:25:19.400
<v Speaker 4>out with a tray handing out little bites of chicken taraaki,

0:25:19.440 --> 0:25:23.719
<v Speaker 4>and it was so delicious. They would oh, man, sometimes

0:25:23.760 --> 0:25:27.320
<v Speaker 4>I would walk by multiple times. Oh but anyway, So

0:25:27.359 --> 0:25:30.320
<v Speaker 4>to come back to the idea of like the magic

0:25:30.440 --> 0:25:33.760
<v Speaker 4>power infusing the cauldron as a symbol being in some

0:25:33.840 --> 0:25:37.040
<v Speaker 4>way related to the role of cauldrons in feasting traditions,

0:25:37.520 --> 0:25:39.680
<v Speaker 4>it strikes me that in many ways the cauldron could

0:25:39.680 --> 0:25:41.920
<v Speaker 4>be seen as a symbol kind of like a crown

0:25:42.240 --> 0:25:45.199
<v Speaker 4>with this view, because it's you know, it's symbolic of power,

0:25:45.560 --> 0:25:49.560
<v Speaker 4>of power over the social order, of like possessing the

0:25:49.640 --> 0:25:53.040
<v Speaker 4>kind of the wealth and abundance that you can freely

0:25:53.119 --> 0:25:56.640
<v Speaker 4>give out to others by hosting a feast, but also

0:25:56.720 --> 0:25:59.800
<v Speaker 4>being symbolic of the ties that bind a community. Another

0:25:59.840 --> 0:26:03.640
<v Speaker 4>thing that this paper highlights is the way that cauldrons

0:26:03.680 --> 0:26:10.240
<v Speaker 4>are often apparently deposited intact in some deliberate and perhaps

0:26:10.400 --> 0:26:13.720
<v Speaker 4>ritual manner in the ground or in the water. They're

0:26:13.760 --> 0:26:17.159
<v Speaker 4>sort of buried, seemingly given as offerings to gods or

0:26:17.160 --> 0:26:22.400
<v Speaker 4>to ancestors. This would be though it's sort of confusing

0:26:22.440 --> 0:26:24.800
<v Speaker 4>because there were some people saying it's not a cauldron.

0:26:24.880 --> 0:26:27.119
<v Speaker 4>But this was the case with the Gundestrup cauldron, right

0:26:27.160 --> 0:26:32.359
<v Speaker 4>that it was apparently deliberately deposited in the bog. This

0:26:32.440 --> 0:26:35.000
<v Speaker 4>also appears to be something that happens with things that

0:26:35.040 --> 0:26:38.960
<v Speaker 4>are definitely actually cauldrons used for cooking, and joy makes

0:26:38.960 --> 0:26:42.200
<v Speaker 4>a connection between this kind of ritual use and the

0:26:42.520 --> 0:26:45.440
<v Speaker 4>use of the cauldron in feasting, saying quote, the use

0:26:45.440 --> 0:26:49.879
<v Speaker 4>of cauldrons as receptacles for symbolic food stuffs is drawn

0:26:49.960 --> 0:26:53.199
<v Speaker 4>upon in deposition, and they are instead used as containers

0:26:53.280 --> 0:26:56.600
<v Speaker 4>for another kind of offering, this time to deities or

0:26:56.640 --> 0:27:01.399
<v Speaker 4>ancestors rather than attendees at feasts. So at the end,

0:27:01.640 --> 0:27:04.920
<v Speaker 4>Joyce summarizes and says, yeah, probably a major reason why

0:27:05.000 --> 0:27:09.639
<v Speaker 4>cauldrons are such a such a respected and fearsome magical

0:27:09.680 --> 0:27:13.560
<v Speaker 4>object in all these stories is that they are socially

0:27:13.680 --> 0:27:18.800
<v Speaker 4>powerful objects. They represent social power, and they're used in

0:27:18.920 --> 0:27:24.720
<v Speaker 4>powerful social customs, mainly feasting, because feasting is something that

0:27:24.880 --> 0:27:29.639
<v Speaker 4>establishes hierarchies, that is used as expressions of individual power

0:27:30.160 --> 0:27:32.840
<v Speaker 4>or used to strengthen the identity of a community.

0:27:33.240 --> 0:27:37.359
<v Speaker 1>And it's interesting how this seems to apply rather broadly,

0:27:37.440 --> 0:27:41.560
<v Speaker 1>like this could have been a quotation from any of

0:27:41.600 --> 0:27:44.960
<v Speaker 1>the papers we are looking at concerning the cauldrons in

0:27:45.000 --> 0:27:48.359
<v Speaker 1>Eastern traditions as well. The idea the cauldron is a

0:27:48.359 --> 0:27:51.560
<v Speaker 1>thing that can produce a massive quantity of food. It

0:27:51.560 --> 0:27:53.639
<v Speaker 1>can be made to use, to make a sacrifice. It

0:27:53.640 --> 0:27:56.480
<v Speaker 1>as a symbol of power those who possess the cauldron.

0:27:57.240 --> 0:27:59.119
<v Speaker 1>It means something, It stands for something.

0:27:59.320 --> 0:28:01.320
<v Speaker 4>I mean, I'm trying to think how this compares to

0:28:02.920 --> 0:28:06.840
<v Speaker 4>modern things, like what's a type of serving vessel or

0:28:06.880 --> 0:28:09.359
<v Speaker 4>some type of food related thing that you wouldn't really

0:28:09.520 --> 0:28:11.840
<v Speaker 4>use just for you and your own household. You only

0:28:11.880 --> 0:28:14.600
<v Speaker 4>break out to certain like when you're hosting a party.

0:28:14.640 --> 0:28:18.800
<v Speaker 4>I guess maybe a punch bowl, or maybe a fondue

0:28:18.840 --> 0:28:22.000
<v Speaker 4>set or something like that. These other things that would

0:28:22.000 --> 0:28:25.359
<v Speaker 4>serve a similar function. They're like an object that symbolizes

0:28:25.600 --> 0:28:28.160
<v Speaker 4>your your power to host.

0:28:28.880 --> 0:28:30.879
<v Speaker 1>Yeah. Yeah, I guess you could also get into the

0:28:30.880 --> 0:28:33.840
<v Speaker 1>whole realm of like the fine china, the good silverware,

0:28:33.880 --> 0:28:37.080
<v Speaker 1>and so forth, which is kind of the the cauldronization

0:28:37.720 --> 0:28:42.280
<v Speaker 1>of your entire dining room. I guess. I mean sometimes

0:28:42.280 --> 0:28:44.360
<v Speaker 1>that is part of it. It's like, it's not it's

0:28:44.360 --> 0:28:47.360
<v Speaker 1>the special dining room, the place where we don't normally

0:28:47.360 --> 0:28:48.040
<v Speaker 1>eat dinner, but.

0:28:48.320 --> 0:28:49.440
<v Speaker 4>This is a special event.

0:28:56.120 --> 0:28:58.480
<v Speaker 1>So at this point we're gonna finally come around to

0:28:58.560 --> 0:29:00.680
<v Speaker 1>something that a number of you may have been thinking about,

0:29:00.800 --> 0:29:03.880
<v Speaker 1>and that is the Holy Grail. So, given all of

0:29:03.920 --> 0:29:08.280
<v Speaker 1>these associations with cauldrons and rebirth, it's notable that connections

0:29:08.400 --> 0:29:12.040
<v Speaker 1>have certainly been made between pre Christian traditions of sacred

0:29:12.080 --> 0:29:18.520
<v Speaker 1>cauldrons and the medieval legacy of the literary concept of

0:29:18.560 --> 0:29:21.640
<v Speaker 1>the Holy Grail. The grail, after all, is not a

0:29:21.640 --> 0:29:25.720
<v Speaker 1>product of biblical texts, but rather emerges during the medieval period,

0:29:26.160 --> 0:29:28.560
<v Speaker 1>with our earliest mention of it coming from a work

0:29:28.600 --> 0:29:33.280
<v Speaker 1>by Crechian D'stois, a twelfth century French poet. It's thought

0:29:33.280 --> 0:29:36.360
<v Speaker 1>that the concept of the Holy Grail, the goblet which

0:29:36.400 --> 0:29:39.560
<v Speaker 1>collects the blood of Christ, is a combination of pre

0:29:39.640 --> 0:29:44.320
<v Speaker 1>existing cauldron traditions and the right of Eucharist. While generally

0:29:44.360 --> 0:29:48.240
<v Speaker 1>depicted as a cup, especially in more modern renditions, you know,

0:29:48.280 --> 0:29:50.840
<v Speaker 1>this is the thing you're going to see Indiana Jones holding,

0:29:51.160 --> 0:29:53.080
<v Speaker 1>this is the what you're going to see in the

0:29:53.120 --> 0:29:58.120
<v Speaker 1>clouds in Monty Python and the Holy Grail. Still other

0:29:58.200 --> 0:30:00.719
<v Speaker 1>times it seems to connect with the id. Certainly, when

0:30:00.720 --> 0:30:03.600
<v Speaker 1>you get into the etymology of the word, it connects

0:30:03.600 --> 0:30:07.760
<v Speaker 1>with this idea of a bowl or some other serving

0:30:07.880 --> 0:30:11.640
<v Speaker 1>vessel of varying materials, so it doesn't necessarily need to

0:30:11.640 --> 0:30:15.400
<v Speaker 1>be made of solid gold or whatnot. So very loosely speaking,

0:30:15.440 --> 0:30:18.960
<v Speaker 1>there seems to be a connection between Celtic legends involving cauldrons,

0:30:19.480 --> 0:30:25.160
<v Speaker 1>thirteenth century romances and that end up involving the Grail,

0:30:25.320 --> 0:30:29.000
<v Speaker 1>and then centuries worth of tails to follow. I also

0:30:29.000 --> 0:30:32.800
<v Speaker 1>think it's interesting that while the right of immersion baptism

0:30:32.920 --> 0:30:35.480
<v Speaker 1>and Christian traditions has its roots in the use of

0:30:35.560 --> 0:30:41.000
<v Speaker 1>rivers and streams, modern churches often use artificial baptism tanks

0:30:41.200 --> 0:30:43.560
<v Speaker 1>that wind up feeling more in line with some of

0:30:43.600 --> 0:30:47.640
<v Speaker 1>these ideas of immersion within a cauldron. Did you think

0:30:47.680 --> 0:30:49.959
<v Speaker 1>about any of that as we were rolling through this stuff.

0:30:50.200 --> 0:30:52.120
<v Speaker 4>No, I did not really make that connection, though. Yeah,

0:30:52.160 --> 0:30:55.840
<v Speaker 4>obviously it is a broader theme, the idea of immersion

0:30:55.920 --> 0:31:00.160
<v Speaker 4>in some kind of liquid being a transformative process, the

0:31:00.200 --> 0:31:03.200
<v Speaker 4>process of baptism, which, of course baptism actually you know,

0:31:03.240 --> 0:31:06.520
<v Speaker 4>predates Christianity even in the Bible. John the Baptist was

0:31:06.600 --> 0:31:11.040
<v Speaker 4>baptizing people in the River Jordan before Christianity was invented.

0:31:11.120 --> 0:31:13.400
<v Speaker 4>So you know, this is an idea that goes way

0:31:13.400 --> 0:31:16.000
<v Speaker 4>back and is applied in many different contexts. Yeah, and

0:31:16.000 --> 0:31:18.479
<v Speaker 4>so we see it. We see it again in the

0:31:18.520 --> 0:31:21.560
<v Speaker 4>imagery on the Gundestrup cauldron. There is something going on

0:31:21.600 --> 0:31:24.640
<v Speaker 4>there where there's some kind of baptism like event where

0:31:24.720 --> 0:31:29.920
<v Speaker 4>a god is like dunking slain warriors headfirst into a cauldron,

0:31:29.960 --> 0:31:33.320
<v Speaker 4>and this is somehow transforming them into some other state.

0:31:33.800 --> 0:31:37.480
<v Speaker 1>Yeah, all right, speaking of other states, it's time to

0:31:37.520 --> 0:31:42.120
<v Speaker 1>go to Hell once more. So, you know, we mentioned

0:31:42.160 --> 0:31:45.720
<v Speaker 1>in one of the previous Cauldron's episodes that Western connections

0:31:45.760 --> 0:31:49.280
<v Speaker 1>to divine cauldrons may have prevented their use in some

0:31:49.360 --> 0:31:53.640
<v Speaker 1>depictions of hell in later Christian traditions, and despite the

0:31:53.640 --> 0:31:56.280
<v Speaker 1>fact that certainly many of those myths involve people being

0:31:56.280 --> 0:31:59.320
<v Speaker 1>immersed in said cauldrons, and the fact that death by

0:31:59.360 --> 0:32:01.440
<v Speaker 1>cauldron was very much a thing in parts of Europe

0:32:01.480 --> 0:32:07.800
<v Speaker 1>as well. This in talking about European ideas and medieval

0:32:07.840 --> 0:32:10.400
<v Speaker 1>ideas of Hell, of course, there's one place we end

0:32:10.480 --> 0:32:12.720
<v Speaker 1>up having to go to, and that of course is

0:32:13.040 --> 0:32:15.360
<v Speaker 1>Dante's Inferno in the Divine Comedy.

0:32:15.720 --> 0:32:19.920
<v Speaker 4>A lot of modern ideas about the Christian Hell are

0:32:19.960 --> 0:32:22.440
<v Speaker 4>from Dante there. You know, you can't find them anywhere

0:32:22.480 --> 0:32:23.360
<v Speaker 4>in the Bible.

0:32:23.280 --> 0:32:25.560
<v Speaker 1>Right, right, And beyond hell. I mean you get into

0:32:25.600 --> 0:32:28.600
<v Speaker 1>the idea of purgatory, et cetera. I mean, Dante's work

0:32:28.720 --> 0:32:34.240
<v Speaker 1>was incredibly influential. And if you start looking around though

0:32:34.280 --> 0:32:39.040
<v Speaker 1>for examples of death by cauldron or cauldron immersion or

0:32:39.120 --> 0:32:43.080
<v Speaker 1>you know, cauldron torture in Dante's Inferno, you do find

0:32:43.200 --> 0:32:46.760
<v Speaker 1>a few interesting things. So in Canto twenty three, in

0:32:46.800 --> 0:32:51.360
<v Speaker 1>which it depicts the torment of hypocrites who wear cloaks

0:32:51.520 --> 0:32:56.360
<v Speaker 1>with hoods, bright colors and lead linings, yeah, we see

0:32:56.560 --> 0:32:59.600
<v Speaker 1>a reference to death by cauldron. This is in the

0:32:59.720 --> 0:33:03.120
<v Speaker 1>city trench of the Malibolga. I'm going to read from

0:33:03.280 --> 0:33:07.920
<v Speaker 1>a translation here. Outside these cloaks were gilded, and they dazzled,

0:33:07.960 --> 0:33:10.880
<v Speaker 1>but inside they were all of lead, so heavy that

0:33:11.000 --> 0:33:15.600
<v Speaker 1>Frederick's capes were straw compared to them, a tiring mantle

0:33:15.640 --> 0:33:18.800
<v Speaker 1>for eternity. We turned again, as always, to the left,

0:33:18.840 --> 0:33:22.040
<v Speaker 1>along with them, intent on their sad weeping. But with

0:33:22.160 --> 0:33:25.840
<v Speaker 1>their weights the wary people pace so slowly that we

0:33:25.920 --> 0:33:29.160
<v Speaker 1>found ourselves among new company each time we took a step.

0:33:29.800 --> 0:33:33.240
<v Speaker 1>And then the Dante comes back to this, and one

0:33:33.280 --> 0:33:36.440
<v Speaker 1>of them replied, the yellow cloaks are of a lead

0:33:36.560 --> 0:33:41.480
<v Speaker 1>so thick their heaviness makes us the balances beneath them creak. Now,

0:33:41.480 --> 0:33:45.200
<v Speaker 1>the illusion here apparently is to death by cauldron, and

0:33:45.520 --> 0:33:47.800
<v Speaker 1>I was looking into this in the notes to the

0:33:47.880 --> 0:33:51.440
<v Speaker 1>Durling and Martinez edition of Donte's Inferno that I have.

0:33:52.280 --> 0:33:57.040
<v Speaker 1>There was apparently a guelf propaganda campaign against Holy Roman

0:33:57.120 --> 0:34:01.000
<v Speaker 1>Emperor Frederick, who lived eleven ninety four through twelve fifty,

0:34:01.320 --> 0:34:05.680
<v Speaker 1>that charged him with him having punished traders by encasing

0:34:05.760 --> 0:34:09.040
<v Speaker 1>them in lead and then roasting them. At least in

0:34:09.160 --> 0:34:12.520
<v Speaker 1>some tellings, this was achieved by placing the lead cloaked

0:34:12.560 --> 0:34:15.759
<v Speaker 1>individual inside of a cauldron. Now, the Guelphs were a

0:34:15.960 --> 0:34:20.400
<v Speaker 1>political faction who supported the papacy against the Holy Roman Emperor,

0:34:20.560 --> 0:34:23.799
<v Speaker 1>and they were opposed by the Ghibelines, who basically had

0:34:23.800 --> 0:34:26.680
<v Speaker 1>the opposite values. Now, on top of this, there are

0:34:26.920 --> 0:34:30.520
<v Speaker 1>boilings in the Inferno. There are boilings of plenty. Most

0:34:30.760 --> 0:34:35.160
<v Speaker 1>notably there is the River of Plegathon, which is literally

0:34:35.200 --> 0:34:38.319
<v Speaker 1>a river of boiling blood in which the souls of

0:34:38.360 --> 0:34:42.520
<v Speaker 1>the damned writhe Here, those who perpetrated violence against other

0:34:42.600 --> 0:34:46.040
<v Speaker 1>humans are tormented. You have centaurs patrolling the banks of

0:34:46.080 --> 0:34:49.640
<v Speaker 1>the river, pelting anyone with arrows if they try to

0:34:49.760 --> 0:34:52.040
<v Speaker 1>rise above their station in the river.

0:34:52.400 --> 0:34:55.520
<v Speaker 4>I seem to recall Virgil and Dante end up talking

0:34:55.560 --> 0:34:56.839
<v Speaker 4>to these centaurs a good bit.

0:34:58.840 --> 0:35:01.560
<v Speaker 1>I've forgotten the kind of with the centaurs, but they

0:35:01.560 --> 0:35:06.080
<v Speaker 1>have so many wonderful conversations. Now elsewhere, at the back

0:35:06.080 --> 0:35:09.360
<v Speaker 1>of the Maliboga, the evil ditches of torment. The fifth

0:35:09.440 --> 0:35:12.640
<v Speaker 1>trench consists of a river of burning pitch, and here

0:35:12.760 --> 0:35:16.560
<v Speaker 1>the demons of the Malabraca use cruel skewers to make

0:35:16.600 --> 0:35:21.160
<v Speaker 1>sure the grafters punished here stay immersed and don't escape.

0:35:21.520 --> 0:35:26.080
<v Speaker 1>And Durling and Martinez translate part of this as follows

0:35:26.320 --> 0:35:30.400
<v Speaker 1>quote not otherwise do cooks have their servants push down

0:35:30.600 --> 0:35:33.239
<v Speaker 1>with hooks the meat cooking in a broth so that

0:35:33.320 --> 0:35:36.440
<v Speaker 1>it may float. So here once more we have cooking imagery,

0:35:36.560 --> 0:35:38.960
<v Speaker 1>and the authors discuss this at length. They have a

0:35:39.000 --> 0:35:41.920
<v Speaker 1>little bit in the back where they break this down

0:35:41.960 --> 0:35:45.960
<v Speaker 1>a bit more so. Dante was essentially building upon various

0:35:45.960 --> 0:35:50.160
<v Speaker 1>well established metaphors here, especially for frauds, counterfeits, and other

0:35:50.480 --> 0:35:53.880
<v Speaker 1>false individuals who are tormented in this particular portion of

0:35:53.920 --> 0:35:58.680
<v Speaker 1>the inferno. Various of the parts of the Maliboga feature

0:35:58.800 --> 0:36:03.719
<v Speaker 1>quote sharply focused parodies of cooking and digestion. So this

0:36:03.840 --> 0:36:05.960
<v Speaker 1>part of the Inferno is kind of like they say,

0:36:06.000 --> 0:36:08.759
<v Speaker 1>a great spider web, but also it is kind of

0:36:08.800 --> 0:36:12.640
<v Speaker 1>like the belly or the winding intestines of Hell. There's

0:36:12.719 --> 0:36:17.080
<v Speaker 1>a lot here about the consumer being consumed. Cooking metaphors

0:36:17.080 --> 0:36:20.560
<v Speaker 1>were often wound up in discussing the fraudulent, and we

0:36:20.600 --> 0:36:23.319
<v Speaker 1>see that today as well. Yeah, yeah, yeah, cooking the

0:36:23.360 --> 0:36:28.359
<v Speaker 1>books there also the scheme is cooked up if we're

0:36:28.400 --> 0:36:30.879
<v Speaker 1>tricked into following it, you know, we're eating it up,

0:36:31.080 --> 0:36:34.200
<v Speaker 1>or we're being fed a lie or a fedicon that

0:36:34.320 --> 0:36:34.839
<v Speaker 1>sort of thing.

0:36:35.080 --> 0:36:36.120
<v Speaker 4>M Yeah.

0:36:36.239 --> 0:36:38.600
<v Speaker 1>So Dante, as always is painting with a number of

0:36:38.680 --> 0:36:43.200
<v Speaker 1>paletts here, but touches on various elements that we've discussed

0:36:43.360 --> 0:36:48.480
<v Speaker 1>already in this series. Cooking is digestion, cooking as transformation,

0:36:48.920 --> 0:36:52.959
<v Speaker 1>cooking as torment. There are also various depictions of Hell

0:36:53.440 --> 0:36:56.560
<v Speaker 1>outside of Dante's work of Hell as a Cauldron, though,

0:36:56.560 --> 0:36:59.759
<v Speaker 1>of course Dante's layout for the Inferno is far more

0:36:59.760 --> 0:37:04.160
<v Speaker 1>common complex than that, not geared around a single technological metaphor,

0:37:04.600 --> 0:37:07.839
<v Speaker 1>but a larger mix of influences and illusions. You can't

0:37:08.120 --> 0:37:10.640
<v Speaker 1>you can't tie Dante down and just ask him to

0:37:10.680 --> 0:37:13.960
<v Speaker 1>compare all of hell to just one thing. That's that's

0:37:14.040 --> 0:37:16.879
<v Speaker 1>not the game he's playing. Though, of course Christian Hell

0:37:17.040 --> 0:37:20.680
<v Speaker 1>and Dante's version of it in Inferno, we have to

0:37:20.680 --> 0:37:24.080
<v Speaker 1>remind ourselves this is not a transformative realm like we

0:37:24.160 --> 0:37:28.960
<v Speaker 1>see in Eastern traditions of hell, where it's about the

0:37:29.000 --> 0:37:32.439
<v Speaker 1>soul being transformed into something else. No, it doesn't. Even

0:37:32.640 --> 0:37:38.359
<v Speaker 1>these versions of Hell don't even accomplish transformation via annihilation. Now,

0:37:38.560 --> 0:37:41.920
<v Speaker 1>certainly within the Divine Comedy you get into purgatory, and

0:37:42.000 --> 0:37:46.920
<v Speaker 1>that is about transformation, and certainly that concept, the concept

0:37:46.960 --> 0:37:50.080
<v Speaker 1>of purgatory that we see within the Divine Comedy has

0:37:50.120 --> 0:37:54.200
<v Speaker 1>more in common with Eastern traditions of the afterlife. Anyway.

0:37:54.200 --> 0:37:56.360
<v Speaker 1>There still, on top of this, there are certainly visual

0:37:56.360 --> 0:38:00.840
<v Speaker 1>and literary depictions of hell cauldrons in Christian and your traditions.

0:38:01.200 --> 0:38:03.399
<v Speaker 1>I don't imagine you could keep them out of Hell

0:38:03.560 --> 0:38:06.080
<v Speaker 1>if you wanted to, even if you have, you know,

0:38:06.160 --> 0:38:09.759
<v Speaker 1>say again like a Celtic tradition in the background, in

0:38:09.800 --> 0:38:13.160
<v Speaker 1>which the cauldron seems a little too holy and know,

0:38:13.239 --> 0:38:15.160
<v Speaker 1>a little too special to be a part of some

0:38:15.200 --> 0:38:19.759
<v Speaker 1>sort of delirious hell. Painting. Somebody is going to be like, oh,

0:38:19.800 --> 0:38:21.960
<v Speaker 1>but what if you were cooked in a soup? Or

0:38:22.120 --> 0:38:24.200
<v Speaker 1>how about that guy that we boiled last week for

0:38:25.080 --> 0:38:28.959
<v Speaker 1>making fraudulent coins. Like, the idea is going to worm

0:38:29.000 --> 0:38:31.239
<v Speaker 1>its way in there. There's no way you're going to

0:38:31.320 --> 0:38:34.160
<v Speaker 1>keep that image out of your imagined afterlife.

0:38:34.480 --> 0:38:36.720
<v Speaker 4>None of this hell imagery really seems to have anything

0:38:36.760 --> 0:38:39.040
<v Speaker 4>to do with with hosting or feasting, does it.

0:38:41.120 --> 0:38:43.920
<v Speaker 1>No? But but I mean it does have a lot

0:38:43.960 --> 0:38:48.040
<v Speaker 1>to do with with eating and digestion. So I mean

0:38:48.960 --> 0:38:51.200
<v Speaker 1>everything's seated at the same table one way or another.

0:38:51.239 --> 0:38:54.800
<v Speaker 4>Here, I'm still thinking about modern analogies for the cauldron

0:38:54.840 --> 0:38:58.799
<v Speaker 4>as a symbol of hosting power. So I said the

0:38:58.800 --> 0:39:01.400
<v Speaker 4>punch bowl earlier be the fun due said, if it

0:39:01.480 --> 0:39:03.560
<v Speaker 4>was the I don't know, the seventies or eighties whenever

0:39:03.560 --> 0:39:05.680
<v Speaker 4>that was. But the one that just came to me

0:39:05.760 --> 0:39:08.480
<v Speaker 4>is like the really nice smoker, you know.

0:39:08.800 --> 0:39:11.160
<v Speaker 1>Oh yeah, the green ones and so forth.

0:39:11.239 --> 0:39:13.919
<v Speaker 4>Yeah, yeah, I'm going to host a barbecue and look

0:39:13.960 --> 0:39:15.560
<v Speaker 4>all the look at all the meat I can make.

0:39:15.760 --> 0:39:16.439
<v Speaker 4>Oh yeah yeah.

0:39:16.440 --> 0:39:20.479
<v Speaker 1>Big grills in general, Yeah, I think totally. A really

0:39:20.560 --> 0:39:22.960
<v Speaker 1>nice charcoal grill or gas grill is very much in

0:39:23.040 --> 0:39:26.200
<v Speaker 1>keeping with the tradition of the cauldron, and I mean

0:39:26.760 --> 0:39:29.920
<v Speaker 1>the idea of a low country boil, or it's variations

0:39:31.200 --> 0:39:33.480
<v Speaker 1>of the low country boil, in which you know, essentially,

0:39:33.680 --> 0:39:36.680
<v Speaker 1>essentially you have a cauldron and you're going to cook

0:39:36.760 --> 0:39:39.360
<v Speaker 1>up a whole bunch of shrimp and a few veggies

0:39:39.400 --> 0:39:42.400
<v Speaker 1>and so forth. You know, that's very much in the tradition.

0:39:43.200 --> 0:39:45.600
<v Speaker 1>Spill it all out on the table and let's all

0:39:45.640 --> 0:39:47.719
<v Speaker 1>have a feast. I don't know that that would really

0:39:47.760 --> 0:39:50.239
<v Speaker 1>be a special pot, but I mean just sometimes when

0:39:50.239 --> 0:39:52.880
<v Speaker 1>we're talking about special, we could be talking about an

0:39:53.040 --> 0:39:55.200
<v Speaker 1>ornate vessel. But sometimes it's just the fact that it

0:39:55.280 --> 0:39:58.960
<v Speaker 1>is large. I have a pot large enough to create

0:39:59.000 --> 0:40:01.880
<v Speaker 1>a low country boiled. That's in and of itself is impressive.

0:40:02.120 --> 0:40:04.040
<v Speaker 4>You've got family in Louisiana, right, or.

0:40:04.040 --> 0:40:08.120
<v Speaker 1>Do you down in that area? Yes, southern Mississippi?

0:40:08.200 --> 0:40:11.440
<v Speaker 4>Yeah, okay, you do crawfish boils or have you done that?

0:40:11.480 --> 0:40:14.640
<v Speaker 1>Oh? Yeah? Yeah? So basically a big, a big metal

0:40:14.680 --> 0:40:18.839
<v Speaker 1>cauldron in the front yard with gas flame underneath it,

0:40:19.040 --> 0:40:20.240
<v Speaker 1>cooking up a bunch of shrump.

0:40:20.920 --> 0:40:23.880
<v Speaker 4>Some older man telling like scolding you for not sucking

0:40:23.880 --> 0:40:28.080
<v Speaker 4>the heads on you. You gotta suck the heads experience.

0:40:27.680 --> 0:40:29.960
<v Speaker 1>That's what they say. Yeah, with the with the crawl dads,

0:40:30.200 --> 0:40:30.920
<v Speaker 1>the mudbugs.

0:40:31.600 --> 0:40:33.200
<v Speaker 4>Okay, I think maybe we're done.

0:40:33.680 --> 0:40:35.839
<v Speaker 1>Yeah, but I mean, obviously we'd love to hear from

0:40:35.840 --> 0:40:38.719
<v Speaker 1>everyone out there about very certainly this question, like the

0:40:38.760 --> 0:40:41.759
<v Speaker 1>special thing in your household or a household you grew

0:40:41.840 --> 0:40:45.239
<v Speaker 1>up in, or or just you know, cultural tradition surrounding you,

0:40:45.520 --> 0:40:50.200
<v Speaker 1>like what is what is your version of the sacred cauldron,

0:40:50.280 --> 0:40:53.920
<v Speaker 1>the sacred vestival for feasts? What is the or or

0:40:53.960 --> 0:40:56.520
<v Speaker 1>what is the dish that is central to your experiences

0:40:56.560 --> 0:40:59.560
<v Speaker 1>that the matches up with all of this. We'd love

0:40:59.560 --> 0:41:02.359
<v Speaker 1>to hear thoughts on that, about anything we've discussed in

0:41:02.400 --> 0:41:05.399
<v Speaker 1>these four episodes on the Cauldron. So we'll be back

0:41:05.480 --> 0:41:10.239
<v Speaker 1>next time with something new, something non cauldron related. So

0:41:10.280 --> 0:41:12.520
<v Speaker 1>we hope you'll join us. Core episodes of Stuff to

0:41:12.520 --> 0:41:15.239
<v Speaker 1>Blow Your Mind air on Tuesdays and Thursdays in the

0:41:15.280 --> 0:41:18.560
<v Speaker 1>Stuff to Blow Your Mind podcast feed. On Mondays we

0:41:18.640 --> 0:41:21.479
<v Speaker 1>usually do a listener mail episode. On Wednesdays we usually

0:41:21.520 --> 0:41:24.279
<v Speaker 1>do a short form artifact or monster fact episode, and

0:41:24.360 --> 0:41:26.520
<v Speaker 1>on Fridays we do weird house Cinema. That's our time

0:41:26.560 --> 0:41:29.279
<v Speaker 1>to set aside most serious concerns and just talk about

0:41:29.320 --> 0:41:30.240
<v Speaker 1>a strange film.

0:41:30.480 --> 0:41:33.239
<v Speaker 4>Huge thanks, as always to our excellent audio producer Seth

0:41:33.320 --> 0:41:35.719
<v Speaker 4>Nicholas Johnson. If you would love to get in touch

0:41:35.760 --> 0:41:38.000
<v Speaker 4>with us with feedback on this episode or any other,

0:41:38.080 --> 0:41:40.239
<v Speaker 4>to suggest a topic for the future, or just to

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0:41:45.840 --> 0:41:55.239
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