1 00:00:03,360 --> 00:00:06,439 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 2 00:00:08,840 --> 00:00:12,560 Speaker 2: Hi everyone, this is Robert Lamb. We are skipping listener 3 00:00:12,560 --> 00:00:15,680 Speaker 2: mail this week, which normally publishes in this space, in 4 00:00:15,800 --> 00:00:20,400 Speaker 2: order to build up our reserves, so keep those emails coming. Instead, 5 00:00:20,840 --> 00:00:25,520 Speaker 2: we're presenting a special Monster Fact omnibus episode for you 6 00:00:25,640 --> 00:00:29,319 Speaker 2: this week that collect six previously published entries in a 7 00:00:29,360 --> 00:00:33,080 Speaker 2: single episode. I know some of you prefer to listen 8 00:00:33,440 --> 00:00:36,680 Speaker 2: to these short form episodes in this format, so I'm 9 00:00:36,720 --> 00:00:40,159 Speaker 2: going to continue to try and roll these out periodically 10 00:00:40,240 --> 00:00:43,600 Speaker 2: over the course of the year, generally when I've built 11 00:00:43,640 --> 00:00:45,720 Speaker 2: up enough to fit a particular theme. But this one 12 00:00:45,760 --> 00:00:48,520 Speaker 2: is kind of a grab bag, so without further ado, 13 00:00:48,600 --> 00:00:51,599 Speaker 2: let's jump right in. First of all, we will consider 14 00:00:52,080 --> 00:00:56,800 Speaker 2: the Mummy in this episode. I like to discuss one 15 00:00:56,840 --> 00:01:00,720 Speaker 2: of the classic monster icons of twentieth century heart cinema, 16 00:01:01,200 --> 00:01:05,959 Speaker 2: the Undead Mummy. You've all encountered some variation on this 17 00:01:06,080 --> 00:01:09,319 Speaker 2: monster before, if not in the original six part Universal 18 00:01:09,319 --> 00:01:12,800 Speaker 2: Pictures Mummy franchised, then perhaps in nineteen eighty seven's The 19 00:01:12,840 --> 00:01:16,160 Speaker 2: Monster Squad or nineteen nineties Tales from the Dark Side, 20 00:01:16,200 --> 00:01:19,920 Speaker 2: the movie, which has a very memorable adaptation of Sir 21 00:01:20,000 --> 00:01:23,440 Speaker 2: Arthur Conan Doyle's Lot two forty nine, which I'll touch 22 00:01:23,440 --> 00:01:25,720 Speaker 2: on again in a bit. For my own part, I 23 00:01:25,800 --> 00:01:28,800 Speaker 2: fondly remember reading a pair of kids books from the 24 00:01:28,880 --> 00:01:31,959 Speaker 2: late eighties and nineties when I was a child, by 25 00:01:32,400 --> 00:01:35,800 Speaker 2: Alita E. Young, Terror in the Tomb of Death and 26 00:01:35,959 --> 00:01:38,640 Speaker 2: Return to the Tomb of Death, both of which featured 27 00:01:38,760 --> 00:01:44,440 Speaker 2: undead mummies and ancient Egyptian curses. Now, to properly understand 28 00:01:44,600 --> 00:01:47,960 Speaker 2: mummy horror fiction in general, we have to recognize its 29 00:01:48,120 --> 00:01:53,080 Speaker 2: place within the larger world of Egyptomania. The term Egyptomania 30 00:01:53,160 --> 00:01:57,040 Speaker 2: is more often used to refer specifically to nineteenth century 31 00:01:57,080 --> 00:02:00,240 Speaker 2: European fascination with all things Egypt in the way of 32 00:02:00,320 --> 00:02:03,919 Speaker 2: Napoleon's Egyptian Campaign, but it can also generally be leveled 33 00:02:03,920 --> 00:02:07,000 Speaker 2: at different points in time when various cultures have pursued 34 00:02:07,000 --> 00:02:11,560 Speaker 2: an interest in ancient Egyptian civilization and culture. In the 35 00:02:11,600 --> 00:02:17,519 Speaker 2: excellent book Egyptomania, author Ronald H. Fritz discusses various forms 36 00:02:17,520 --> 00:02:21,120 Speaker 2: of Egyptomania over the ages, from the ancient Hebrews, Greeks, 37 00:02:21,120 --> 00:02:25,600 Speaker 2: and Romans to Europeans and afrocentrist movements. He also devotes 38 00:02:25,639 --> 00:02:29,320 Speaker 2: a chapter to Hollywood movies and literature. He writes that 39 00:02:29,400 --> 00:02:33,400 Speaker 2: Egyptian themed fiction in its current forms emerged during the 40 00:02:33,480 --> 00:02:37,800 Speaker 2: nineteenth century, again after Napoleon's campaign in Egypt inspired a 41 00:02:37,840 --> 00:02:42,680 Speaker 2: new surge in European Egyptomania, surplanting Egypt's smaller place in 42 00:02:42,960 --> 00:02:45,639 Speaker 2: the European culture of the time period, where it was 43 00:02:45,680 --> 00:02:49,720 Speaker 2: mostly relegated to its role in Shakespearean theatre, freemasonry, and 44 00:02:49,760 --> 00:02:55,239 Speaker 2: sporadic fictional treatments. Fritz writes that Egyptian themed fiction basically 45 00:02:55,280 --> 00:03:00,440 Speaker 2: falls into a number of subgenres theirs historical fiction, biblical fis, 46 00:03:00,600 --> 00:03:04,280 Speaker 2: mysteries and thrillers, occult fiction, and yes, there is the 47 00:03:04,360 --> 00:03:08,800 Speaker 2: Mummy fiction. But where does the idea of undead mummified 48 00:03:08,800 --> 00:03:12,800 Speaker 2: ancient Egyptians come from in all of this? Well, the 49 00:03:12,880 --> 00:03:16,280 Speaker 2: nineteen thirty two universal horror movie The Mummy might seem 50 00:03:16,320 --> 00:03:18,119 Speaker 2: like a good place to start, after all, it kicked 51 00:03:18,120 --> 00:03:22,040 Speaker 2: off a rather influential franchise, but Fritz shares that early 52 00:03:22,160 --> 00:03:24,880 Speaker 2: versions of the script didn't feature an undead mummy at all. 53 00:03:25,000 --> 00:03:28,919 Speaker 2: This element was only added later in subsequent rewrites. Unlike 54 00:03:29,000 --> 00:03:33,000 Speaker 2: Dracula and Frankenstein, the Mummy franchise was not rooted in 55 00:03:33,040 --> 00:03:37,200 Speaker 2: a particular work of literature, though there are clear literary 56 00:03:37,280 --> 00:03:41,280 Speaker 2: forbears nineteen thirty twos, The Mummy wasn't even the first 57 00:03:41,480 --> 00:03:44,840 Speaker 2: mummy motion picture. Consider instead that the likes of nineteen 58 00:03:44,920 --> 00:03:48,840 Speaker 2: eleven's The Mummy, in which a scientist revives an Egyptian 59 00:03:48,920 --> 00:03:52,240 Speaker 2: mummy with electricity and then falls in love with her 60 00:03:52,720 --> 00:03:55,920 Speaker 2: sadly lost, is just one of a flurry of silent 61 00:03:56,080 --> 00:04:01,560 Speaker 2: mummy movies from the nineteen tens. As for literary sources, 62 00:04:02,000 --> 00:04:05,040 Speaker 2: Sir Arthur Conan Doyle's short stories The Ring of Thoth 63 00:04:05,120 --> 00:04:08,480 Speaker 2: eighteen ninety and Lot Number two forty nine in eighteen 64 00:04:08,560 --> 00:04:12,400 Speaker 2: ninety two are important to note, as is Brahm Stoker's 65 00:04:12,480 --> 00:04:15,320 Speaker 2: The Jewel of the Seven Stars from nineteen oh three. 66 00:04:15,760 --> 00:04:18,680 Speaker 2: Fritz singles out The Mummy or a Tale of the 67 00:04:18,680 --> 00:04:23,080 Speaker 2: twenty second Century by Jane C. Loudum from eighteen twenty 68 00:04:23,160 --> 00:04:27,720 Speaker 2: seven as the earliest long work concerning a reanimated mummy. 69 00:04:28,640 --> 00:04:33,880 Speaker 2: Other early examples of reanimated mummy stories include Theophile Gottner's 70 00:04:33,920 --> 00:04:37,160 Speaker 2: The Mummy's Foot and Edgar Allen Poe's eighteen forty five 71 00:04:37,240 --> 00:04:40,760 Speaker 2: story Some Words with a Mummy. These stories, according to 72 00:04:40,760 --> 00:04:44,640 Speaker 2: Fritz arise in general, again out of nineteenth century Egyptomania, 73 00:04:44,680 --> 00:04:48,200 Speaker 2: but also out of European and American fascination with mummies 74 00:04:48,240 --> 00:04:52,880 Speaker 2: and mummy unwrapping parties. In particular, he also writes that 75 00:04:52,920 --> 00:04:57,440 Speaker 2: we can't underestimate Victorian colonial guilt and misgivings about the 76 00:04:57,440 --> 00:05:01,000 Speaker 2: desecration of Egyptian tombs and artifacts as a strong motivation 77 00:05:01,520 --> 00:05:05,480 Speaker 2: for summoning so many tales in which over eager American 78 00:05:05,520 --> 00:05:10,240 Speaker 2: and European archaeologists on Earth ancient tombs, ancient curses and 79 00:05:10,360 --> 00:05:13,920 Speaker 2: invoked the wrath of the Untead. In fact, he points 80 00:05:13,960 --> 00:05:17,760 Speaker 2: out that initially mummy stories cast archaeologists firmly in the 81 00:05:17,839 --> 00:05:20,919 Speaker 2: role of villains, but then the needle moved in the 82 00:05:20,960 --> 00:05:25,800 Speaker 2: opposite direction quote after the discovery of Tutenkammen's tomb nineteen 83 00:05:25,800 --> 00:05:29,719 Speaker 2: twenty two. Thanks to the film industry, archaeologists were portrayed 84 00:05:29,760 --> 00:05:34,400 Speaker 2: as heroic, scholarly adventurers, while angry mummies were not avengers 85 00:05:34,640 --> 00:05:38,680 Speaker 2: but the revived, corporeal forms of a mindless ancient evil. 86 00:05:39,080 --> 00:05:43,320 Speaker 2: This shift is in effect an affirmation or vindication of 87 00:05:43,360 --> 00:05:48,680 Speaker 2: imperialism and colonialism. On top of all of this, there's, 88 00:05:48,720 --> 00:05:51,880 Speaker 2: of course, the influence of pre existing tales of cursed 89 00:05:51,920 --> 00:05:55,479 Speaker 2: objects and the unsettled dead, which would have found new 90 00:05:55,560 --> 00:06:01,200 Speaker 2: life in Egyptomania fueled creations. These very elements all would 91 00:06:01,200 --> 00:06:05,120 Speaker 2: seem to have contributed to the undead Mummy's place in 92 00:06:05,200 --> 00:06:11,440 Speaker 2: our horror fiction. All right, Next, let's consider the curious 93 00:06:11,440 --> 00:06:18,320 Speaker 2: relationship between knots and monsters. Yesterday's core episode of Stuff 94 00:06:18,320 --> 00:06:21,279 Speaker 2: to Blow Your Mind concerned the fabled rat King, in 95 00:06:21,320 --> 00:06:24,320 Speaker 2: which it is said the tales of rats become intertwined 96 00:06:24,360 --> 00:06:28,479 Speaker 2: and knotted, a dire omen of impending doom. But what 97 00:06:28,560 --> 00:06:32,960 Speaker 2: about elsewhere in the natural and unnatural worlds? To begin with, 98 00:06:33,120 --> 00:06:37,360 Speaker 2: folklore is rife with magical knots, is Cyrus l. Day 99 00:06:37,480 --> 00:06:41,200 Speaker 2: pointed out in Knots and Not Lore back in nineteen fifty. 100 00:06:41,480 --> 00:06:44,280 Speaker 2: Just as the use of knots extends back through prehistoric 101 00:06:44,360 --> 00:06:47,720 Speaker 2: human times, so too does the idea that we might 102 00:06:47,800 --> 00:06:52,080 Speaker 2: work magic with the various intricate knots that we tie. 103 00:06:52,160 --> 00:06:57,440 Speaker 2: They observe that ancient people's attempted to control the weather, biology, reproduction, death, 104 00:06:57,720 --> 00:07:02,279 Speaker 2: and various supernatural entities via the working of knots not 105 00:07:02,440 --> 00:07:06,760 Speaker 2: magic was sometimes maleficent and other times beneficial. It could 106 00:07:06,760 --> 00:07:10,040 Speaker 2: be an intentional magical effect, or something invoked by accident. 107 00:07:10,440 --> 00:07:12,680 Speaker 2: It might be said to work at close range, across 108 00:07:12,800 --> 00:07:17,600 Speaker 2: vast distances and across various stretches of time. After all, 109 00:07:17,880 --> 00:07:20,720 Speaker 2: what is the knot but the joining and the binding 110 00:07:20,800 --> 00:07:24,120 Speaker 2: of things, the creation of something, the creation of a 111 00:07:24,200 --> 00:07:28,160 Speaker 2: new complexity in the process. And of course the topic 112 00:07:28,200 --> 00:07:30,720 Speaker 2: is closely aligned with all manner of fabric arts and 113 00:07:30,760 --> 00:07:34,800 Speaker 2: even hair braids. As not so easily become the subject 114 00:07:34,800 --> 00:07:37,960 Speaker 2: of magical thinking, they inevitably touch the world of monsters. 115 00:07:38,640 --> 00:07:41,760 Speaker 2: Among the many anti vampire traditions we find the notion 116 00:07:41,840 --> 00:07:44,760 Speaker 2: that one may leave a complex array of knots out 117 00:07:44,800 --> 00:07:48,440 Speaker 2: for the creature, which will then occupy its time trying 118 00:07:48,480 --> 00:07:50,640 Speaker 2: to unravel them and figure them out till the sun 119 00:07:50,760 --> 00:07:53,960 Speaker 2: rises once again. There are also other related tactics that 120 00:07:54,000 --> 00:07:56,360 Speaker 2: don't involve knots at all, such as leaving out poppy 121 00:07:56,400 --> 00:08:00,280 Speaker 2: seeds that the vampire will feel compelled to count. Vitural 122 00:08:00,320 --> 00:08:05,480 Speaker 2: complexity overpowers the undead senses, it would seem, but as 123 00:08:05,520 --> 00:08:07,880 Speaker 2: with the fabled rat king, there are also some myths 124 00:08:07,880 --> 00:08:11,720 Speaker 2: and legends of knotted creatures. The account of Heracles and 125 00:08:11,800 --> 00:08:15,520 Speaker 2: Coccus is notable. While in some depictions Coccus is merely 126 00:08:15,560 --> 00:08:17,800 Speaker 2: presented as a fire breathing giant, or even just a 127 00:08:17,880 --> 00:08:21,520 Speaker 2: large muscular man that Heracles wrestles, other times he is 128 00:08:21,600 --> 00:08:24,680 Speaker 2: described as a sort of giant spider, except with three 129 00:08:24,840 --> 00:08:28,440 Speaker 2: fire breathing human heads atop a long neck. In order 130 00:08:28,480 --> 00:08:32,560 Speaker 2: to slay the monster, Heracles ties its neck in a knot. 131 00:08:33,800 --> 00:08:38,600 Speaker 2: Dragon iconography often involves knots, as does serpentine iconography, and 132 00:08:38,679 --> 00:08:41,320 Speaker 2: the knotting of tail or neck may be presented as 133 00:08:41,320 --> 00:08:44,360 Speaker 2: a means of defeating the creature or as a self 134 00:08:44,520 --> 00:08:48,880 Speaker 2: coiling behavior. In the natural world, climbing snakes have been 135 00:08:48,920 --> 00:08:52,920 Speaker 2: observed to use lasso locomotion to scale trees and poles 136 00:08:52,960 --> 00:08:56,120 Speaker 2: in search of prey, a configuration that indeed appears to 137 00:08:56,160 --> 00:09:00,520 Speaker 2: be a simple knot. Elsewhere, hagfish, when agitated, will twist 138 00:09:00,559 --> 00:09:05,560 Speaker 2: themselves into a traveling overhand knot to squeeze off excess slime. 139 00:09:07,280 --> 00:09:10,760 Speaker 2: All right, now, it is time to consider the salamander. 140 00:09:12,960 --> 00:09:16,600 Speaker 2: As mentioned in yesterday's Core episode The Nature of Diamonds, 141 00:09:16,679 --> 00:09:20,560 Speaker 2: Part One, I'd like to discuss the fantastic salamander in 142 00:09:20,600 --> 00:09:24,760 Speaker 2: today's Monster Fact Now Dungeons and Dragons players have long 143 00:09:24,920 --> 00:09:29,239 Speaker 2: noticed the startling difference between salamanders of the natural world 144 00:09:29,320 --> 00:09:31,640 Speaker 2: and salamanders as they appear in the D and D 145 00:09:31,800 --> 00:09:35,960 Speaker 2: Monster Manual, where they are described as flaming snakes and 146 00:09:36,080 --> 00:09:39,640 Speaker 2: snake like beings that quote slither across the sea of 147 00:09:39,760 --> 00:09:44,079 Speaker 2: ash on the elemental plane of fire. Meanwhile, real life 148 00:09:44,120 --> 00:09:48,960 Speaker 2: salamanders are quite remarkable but are decidedly not on fire. 149 00:09:49,559 --> 00:09:53,000 Speaker 2: Ancient and medieval bestieries are full of strange and often 150 00:09:53,080 --> 00:09:56,480 Speaker 2: fiery tales of the salamander. I turned to the writings 151 00:09:56,480 --> 00:09:59,800 Speaker 2: of Fulk historian Carol Rose in her book Monsters, Giants 152 00:09:59,840 --> 00:10:03,280 Speaker 2: and Dragons, as well as poorge Luis Borges the Book 153 00:10:03,360 --> 00:10:07,800 Speaker 2: of Imaginary Beings to piece together the different attributed features 154 00:10:08,120 --> 00:10:11,520 Speaker 2: of the mythic salamander. The creature pops up in various 155 00:10:11,600 --> 00:10:14,679 Speaker 2: works from the ancient Greco Roman world, most notably the 156 00:10:14,760 --> 00:10:19,000 Speaker 2: writings of Roman historian Plenty the Elder in seventy seven CE. 157 00:10:19,880 --> 00:10:23,760 Speaker 2: He describes the salamander as a monstrous lizard that poisons 158 00:10:23,880 --> 00:10:26,679 Speaker 2: anything it touches, known to live on the slopes of 159 00:10:26,760 --> 00:10:30,480 Speaker 2: volcanoes as well as within the heart of a fire 160 00:10:31,520 --> 00:10:35,439 Speaker 2: as borhes points out, Plenty highlights the creature's natural coldness 161 00:10:35,840 --> 00:10:38,800 Speaker 2: as a reason for this. It's so cold it simply 162 00:10:38,920 --> 00:10:42,920 Speaker 2: resists the fire and even extinguishes it. But Plenty also 163 00:10:43,040 --> 00:10:47,079 Speaker 2: writes of another creature, the pyrosta, that lives within the 164 00:10:47,160 --> 00:10:51,319 Speaker 2: copper smelting furnaces of Cyprus, and the creature, he says, 165 00:10:51,720 --> 00:10:55,480 Speaker 2: dies if they leave the flames. Borhes points out that 166 00:10:55,559 --> 00:10:59,319 Speaker 2: the later traditions would take these attributes and apply them 167 00:10:59,640 --> 00:11:02,960 Speaker 2: to the salamander. It's also worth noting, though, that as 168 00:11:03,040 --> 00:11:07,240 Speaker 2: a creature of fire, the mythic salamander was, by some standards, 169 00:11:07,320 --> 00:11:12,480 Speaker 2: a necessary part of classical elemental theory. If earth, water, air, 170 00:11:12,600 --> 00:11:15,959 Speaker 2: and fire are the prime building blocks of nature, then 171 00:11:15,960 --> 00:11:18,679 Speaker 2: there have to be animals of each element, and that 172 00:11:18,960 --> 00:11:23,959 Speaker 2: includes creatures of fire. As we discussed in yesterday's episode, 173 00:11:24,040 --> 00:11:29,160 Speaker 2: sixteenth century Italian sculptor Benvenuto Cellini claimed in his autobiography 174 00:11:29,280 --> 00:11:32,640 Speaker 2: to have seen a salamander in the fire as a child. 175 00:11:33,040 --> 00:11:35,599 Speaker 2: As Matt Simon discussed in a twenty fourteen article for 176 00:11:35,679 --> 00:11:39,960 Speaker 2: Wired Magazine, Fantastically Wrong, the legend of the homicidal fire 177 00:11:40,040 --> 00:11:43,520 Speaker 2: Bruce salamander. This common bit of lare likely came about 178 00:11:43,640 --> 00:11:48,000 Speaker 2: as ancient people occasionally threw damp logs on their fires, 179 00:11:48,440 --> 00:11:52,760 Speaker 2: damp logs that may have had tiny, unfortunate salamanders clinging 180 00:11:52,880 --> 00:11:56,319 Speaker 2: to their underside. But as Borges stressed, the notion of 181 00:11:56,400 --> 00:11:59,960 Speaker 2: a creature that lives in fire was a theologically useful 182 00:12:00,160 --> 00:12:03,080 Speaker 2: bit of lore as well. Saint Augustine, in his fifth 183 00:12:03,160 --> 00:12:06,600 Speaker 2: century CE work The City of God, used the salamander 184 00:12:06,640 --> 00:12:10,319 Speaker 2: as proof that fiery living torment in the afterlife was 185 00:12:10,440 --> 00:12:13,439 Speaker 2: not that far fetched, a notion. Bor Has notes that 186 00:12:13,559 --> 00:12:17,520 Speaker 2: the mythical phoenix, another mythical creature of fire, was often 187 00:12:17,640 --> 00:12:21,520 Speaker 2: cited by theologians to support the idea of a bodily resurrection. 188 00:12:22,280 --> 00:12:25,280 Speaker 2: During the Middle Ages, salamanders continued to tear it up. 189 00:12:25,320 --> 00:12:28,600 Speaker 2: In the bestiaries. Writers of the day described their abilities 190 00:12:28,640 --> 00:12:32,280 Speaker 2: to poison the fruit of trees, they entwined, to stop 191 00:12:32,400 --> 00:12:35,560 Speaker 2: up the mouths of lions, and of course, extinguish fires. 192 00:12:36,120 --> 00:12:40,079 Speaker 2: The creature also became associated with fibrous minerals classified today 193 00:12:40,120 --> 00:12:44,240 Speaker 2: as asbestos, which are highly fire resistant. Of course, natural 194 00:12:44,320 --> 00:12:47,679 Speaker 2: salamanders do not live in or tolerate fire any more 195 00:12:47,720 --> 00:12:50,080 Speaker 2: than the rest of the animal kingdom. In fact, they 196 00:12:50,120 --> 00:12:54,520 Speaker 2: are decidedly moist creatures. The truth of experience and experimentation 197 00:12:55,040 --> 00:13:00,120 Speaker 2: easily extinguished the fantastic idea of a literal salamander of 198 00:13:00,200 --> 00:13:05,559 Speaker 2: the flames, but the creature lived on in heraldry, alchemical symbolism, 199 00:13:05,880 --> 00:13:14,880 Speaker 2: and of course fantasy. For this next one, let us 200 00:13:14,920 --> 00:13:21,800 Speaker 2: consider the horror of the one who drills. In this episode, 201 00:13:21,800 --> 00:13:24,000 Speaker 2: I'd like to turn to the traditions of the Inuit, 202 00:13:24,600 --> 00:13:27,480 Speaker 2: specifically the Inuit of the eastern Hudson Bay region of 203 00:13:27,520 --> 00:13:31,720 Speaker 2: what is now Canada. In the Dictionary of Native American Mythology, 204 00:13:32,240 --> 00:13:35,920 Speaker 2: Sam D. Gill and Irene F. Sullivan relate the story 205 00:13:36,080 --> 00:13:40,000 Speaker 2: of a pair of killers. In other tellings, monsters who 206 00:13:40,200 --> 00:13:45,280 Speaker 2: terrorized the people. Ikutuyuk, whose name means one who drills 207 00:13:45,720 --> 00:13:48,640 Speaker 2: and his brother would capture people, pin them down on 208 00:13:48,720 --> 00:13:51,640 Speaker 2: their backs, and then murder them by drilling holes in 209 00:13:51,720 --> 00:13:55,120 Speaker 2: their bodies. Afterwards, they would cover a corpse with piles 210 00:13:55,120 --> 00:13:59,119 Speaker 2: of rocks like kerns or to the Inuit in nuksuk 211 00:13:59,559 --> 00:14:02,840 Speaker 2: in Nuxiok, were largely used to aid navigation, but were 212 00:14:02,880 --> 00:14:07,680 Speaker 2: sometimes used as warnings of dangerous grounds. According to the myth, 213 00:14:07,880 --> 00:14:11,120 Speaker 2: the brothers continued their horrible crimes until a two Nit 214 00:14:11,280 --> 00:14:14,280 Speaker 2: set out to stop them. The Tunit were a legendary 215 00:14:14,320 --> 00:14:17,600 Speaker 2: people said to live long ago, possibly connected to an 216 00:14:17,600 --> 00:14:22,080 Speaker 2: actual Paleo Eskimo culture. They were tall giants even and 217 00:14:22,160 --> 00:14:26,480 Speaker 2: possessed a fierce energy and competition. Gill and Sullivans share 218 00:14:26,560 --> 00:14:29,040 Speaker 2: that tu Nit were said to die of exhaustion from 219 00:14:29,120 --> 00:14:32,680 Speaker 2: fierce competitions and feats of hunting and archery, And so 220 00:14:32,880 --> 00:14:35,760 Speaker 2: one brave Tunit took it on himself to rid the 221 00:14:35,840 --> 00:14:40,760 Speaker 2: people of the Kutuyuk and his brother. He challenged Akutuyuk 222 00:14:40,800 --> 00:14:43,640 Speaker 2: to a fight, and they battled while tied together with 223 00:14:43,760 --> 00:14:47,160 Speaker 2: a rope. The Canadian Museum of History features a nineteen 224 00:14:47,200 --> 00:14:52,640 Speaker 2: sixty carving by Inuit artist Issa Kupirowala a la Usa 225 00:14:52,920 --> 00:14:55,720 Speaker 2: depicting the back, which you can view on their website. 226 00:14:56,560 --> 00:15:00,480 Speaker 2: In the end, the Tunit heroes succeeded in killing a 227 00:15:00,560 --> 00:15:03,840 Speaker 2: kudu Yuk, and the remaining brother fled into the wilderness. 228 00:15:04,560 --> 00:15:07,080 Speaker 2: The story of a kudu Yuk was also related by 229 00:15:07,240 --> 00:15:11,760 Speaker 2: Inuit author Jonasi Kuinurayak, who lived eighteen ninety five through 230 00:15:11,840 --> 00:15:15,480 Speaker 2: nineteen sixty four. Now you might wonder what manner of 231 00:15:15,600 --> 00:15:19,640 Speaker 2: drill this monstrous killer would have used. The Inuit traditionally 232 00:15:19,720 --> 00:15:22,880 Speaker 2: made use of the pump drill, an ancient hand powered 233 00:15:22,920 --> 00:15:25,760 Speaker 2: tool used in fire making as well as for drilling 234 00:15:25,880 --> 00:15:29,240 Speaker 2: small holes and objects for jewelry and the like. It's 235 00:15:29,240 --> 00:15:33,520 Speaker 2: a simple hand powered flywheel tool. The craftsperson revolves the 236 00:15:33,600 --> 00:15:37,840 Speaker 2: drill shaft by vertically working a bow or bar carrying 237 00:15:37,920 --> 00:15:40,640 Speaker 2: a cord attached at the center to the upper end 238 00:15:40,680 --> 00:15:43,080 Speaker 2: of the shaft. I realize this is hard to picture, 239 00:15:43,120 --> 00:15:46,320 Speaker 2: so I recommend looking up an image or video. Materially, 240 00:15:46,440 --> 00:15:50,840 Speaker 2: the pump typically involves some combination of wood, ivory, rawhide, 241 00:15:51,320 --> 00:15:55,720 Speaker 2: metal stone, sometimes jadite. According to the Pin Museum, there's 242 00:15:55,760 --> 00:15:58,520 Speaker 2: also the Inuit mouth drill. This was essentially a small 243 00:15:58,600 --> 00:16:01,480 Speaker 2: bow drill used for firing making, and the user would 244 00:16:01,520 --> 00:16:05,640 Speaker 2: brace the tool and provide downward pressure with the head 245 00:16:06,080 --> 00:16:09,120 Speaker 2: via a mouth or chin block. Now to be clear, 246 00:16:09,280 --> 00:16:12,200 Speaker 2: neither of these tools was a weapon. But according to 247 00:16:12,400 --> 00:16:15,520 Speaker 2: Robert Fortune in his nineteen eighty five article Lancets of 248 00:16:15,600 --> 00:16:19,320 Speaker 2: Stone Traditional Methods of surgery among the Alaska Natives, there 249 00:16:19,400 --> 00:16:21,600 Speaker 2: is reason to believe that dental drilling may have been 250 00:16:21,680 --> 00:16:25,160 Speaker 2: practiced to alleviate tooth pain, and that cranial drilling may 251 00:16:25,200 --> 00:16:28,120 Speaker 2: also have been practiced in some cases for either medical 252 00:16:28,600 --> 00:16:33,000 Speaker 2: or magico religious purposes, known as trepanation. This practice is 253 00:16:33,040 --> 00:16:36,200 Speaker 2: found in cultures around the world dating back to prehistoric times, 254 00:16:36,800 --> 00:16:39,640 Speaker 2: with some rare modern proponents of the procedure as well. 255 00:16:40,280 --> 00:16:43,680 Speaker 2: So one can imagine how the idea of murderous drillers 256 00:16:43,800 --> 00:16:47,440 Speaker 2: might have emerged in Inuit mythology and storytelling based on 257 00:16:47,520 --> 00:16:51,360 Speaker 2: everyday technology and or painful surgical procedures that had been 258 00:16:51,400 --> 00:16:55,920 Speaker 2: experienced or witnessed, though the possibility of actual isolated drill 259 00:16:56,000 --> 00:17:01,040 Speaker 2: based torture is I suppose not impossible across one reference 260 00:17:01,080 --> 00:17:04,320 Speaker 2: to isolated drill marks on Inuit remains a nineteen ninety 261 00:17:04,359 --> 00:17:08,280 Speaker 2: three article by Melby in Fairgrief titled a Massacre and 262 00:17:08,359 --> 00:17:11,600 Speaker 2: Possible Cannibalism in the Canadian Arctic, but the consensus would 263 00:17:11,640 --> 00:17:14,240 Speaker 2: seem to be that the evidence in question suggested a 264 00:17:14,359 --> 00:17:18,000 Speaker 2: mortuary practice, with drill holes being just one of the 265 00:17:18,080 --> 00:17:22,240 Speaker 2: classifications of cuts found to the bone. Ykudu Yuk and 266 00:17:22,320 --> 00:17:25,760 Speaker 2: his brother are haunting figures to consider, and yet another 267 00:17:25,880 --> 00:17:30,480 Speaker 2: fascinating aspect of Inuit culture. Ah, what is that in 268 00:17:30,560 --> 00:17:34,400 Speaker 2: the night sky? Why it's the moon? Rabbit? Let's find 269 00:17:34,440 --> 00:17:39,800 Speaker 2: out more. In celebration of the lunar New Year, I 270 00:17:39,880 --> 00:17:41,879 Speaker 2: thought today would be a great time to consider the 271 00:17:41,960 --> 00:17:45,720 Speaker 2: lunar rabbit. Now, exactly what you see in the dark 272 00:17:45,800 --> 00:17:49,560 Speaker 2: splotches of the full moon will depend on your individual 273 00:17:49,880 --> 00:17:53,480 Speaker 2: and or cultural priming. You may see a face, a 274 00:17:53,680 --> 00:17:57,320 Speaker 2: man with a cane or a fork, a frog or toad, 275 00:17:57,880 --> 00:18:01,200 Speaker 2: or some other animal reel or imagine. But the rabbit 276 00:18:01,600 --> 00:18:04,320 Speaker 2: has been a popular choice since time out of mind, 277 00:18:04,960 --> 00:18:08,960 Speaker 2: and why not. Indigenous rabbit or hair species exist on 278 00:18:09,080 --> 00:18:13,600 Speaker 2: every continent except Australia and Antarctica. The rabbit also boaths 279 00:18:13,640 --> 00:18:16,840 Speaker 2: a great deal of character, inspiring numerous and varied tales 280 00:18:16,880 --> 00:18:19,760 Speaker 2: that detail just how that rabbit made it to the Moon, 281 00:18:20,400 --> 00:18:23,040 Speaker 2: or from the Moon to the Earth in the first place. 282 00:18:24,760 --> 00:18:28,480 Speaker 2: Author Randolph S. Albright recounts several of these in his 283 00:18:28,640 --> 00:18:32,880 Speaker 2: twenty twenty book House of the Three Rabbits. According to Albright, 284 00:18:33,320 --> 00:18:36,680 Speaker 2: the Yoruba people of Nigeria and the Woloff people of 285 00:18:36,760 --> 00:18:40,080 Speaker 2: Senegal recount legends of a rabbit sent down from the 286 00:18:40,200 --> 00:18:44,720 Speaker 2: Moon with the secret of immortality, but the rabbit got 287 00:18:44,760 --> 00:18:48,000 Speaker 2: the message backwards or mangoled in one form or another, 288 00:18:48,119 --> 00:18:53,840 Speaker 2: and instead bestowed mortality upon human beings. Oops the moon 289 00:18:54,040 --> 00:18:57,200 Speaker 2: punished the rabbit by splitting its nose and forcing it 290 00:18:57,320 --> 00:19:02,240 Speaker 2: to accompany each dying mortal into the afterlife. The Siberian 291 00:19:02,359 --> 00:19:07,240 Speaker 2: moon goddess kaltez Uku sometimes takes the form of a rabbit. 292 00:19:08,040 --> 00:19:12,680 Speaker 2: The Mayan moon goddess Ixceel often carries a rabbit. The 293 00:19:12,800 --> 00:19:15,359 Speaker 2: Cree people of North America tell of a rabbit who 294 00:19:15,400 --> 00:19:17,600 Speaker 2: traveled up to the moon with the help of a 295 00:19:17,680 --> 00:19:21,879 Speaker 2: passing crane, and the Celtic goddess Ostra took on the 296 00:19:22,040 --> 00:19:26,800 Speaker 2: form of a hare during the full moon. In Buddhist teachings, 297 00:19:26,840 --> 00:19:30,560 Speaker 2: Albright shares the rabbit's image appears on the moon because 298 00:19:30,640 --> 00:19:32,760 Speaker 2: the rabbit offered up its own body to feed a 299 00:19:32,800 --> 00:19:37,320 Speaker 2: starving beggar who was actually Sacra, lord of Davas in disguise. 300 00:19:38,240 --> 00:19:42,960 Speaker 2: The Aztecs told a similar tale concerning the god Quetzalkotl. 301 00:19:43,440 --> 00:19:46,080 Speaker 2: As Victoria Dickinson explores in her book Rabbit from the 302 00:19:46,119 --> 00:19:50,520 Speaker 2: Excellent Rakotan Animals series, the Aztecs associated the rabbit with 303 00:19:50,640 --> 00:19:53,240 Speaker 2: drunkenness as well as the moon, and held that the 304 00:19:53,359 --> 00:19:56,840 Speaker 2: rabbit must first pass through fire on its way to 305 00:19:56,960 --> 00:20:00,800 Speaker 2: the lunar surface, and of course, the luner rabbit has 306 00:20:00,800 --> 00:20:04,159 Speaker 2: an important place in many East Asian traditions, often as 307 00:20:04,200 --> 00:20:08,159 Speaker 2: a lunar zodiac animal, and Chinese traditions invoke the creature 308 00:20:08,320 --> 00:20:12,080 Speaker 2: in the myth of Chenga. We discussed various versions of 309 00:20:12,119 --> 00:20:14,200 Speaker 2: this myth in great detail in our stuffed to Bow 310 00:20:14,240 --> 00:20:17,200 Speaker 2: your Mind episode Chinese Mortality, which you can find in 311 00:20:17,280 --> 00:20:21,600 Speaker 2: our archives. But the simple version is as follows. The 312 00:20:21,720 --> 00:20:25,120 Speaker 2: hero Ye the archer, receives the elixir of immortality from 313 00:20:25,160 --> 00:20:27,840 Speaker 2: the Queen Mother of the West, and then, while her 314 00:20:27,960 --> 00:20:31,040 Speaker 2: reasoning varies depending on the telling. Sometimes it's to protect 315 00:20:31,080 --> 00:20:34,280 Speaker 2: the potion from theft by an enemy, Yi's wife Changa 316 00:20:34,760 --> 00:20:38,040 Speaker 2: drank it instead and was instantly transported to the moon. 317 00:20:38,960 --> 00:20:41,560 Speaker 2: In some earlier tellings, she is then transformed into a 318 00:20:41,680 --> 00:20:45,000 Speaker 2: toad who pounds the elixir of immortality there, and it's 319 00:20:45,040 --> 00:20:47,480 Speaker 2: of course the very toad we might see when we 320 00:20:47,600 --> 00:20:50,919 Speaker 2: gaze up at the full moon. Other times, and certainly 321 00:20:51,080 --> 00:20:54,399 Speaker 2: in later tellings, she retains her human form and is 322 00:20:54,400 --> 00:20:57,480 Speaker 2: accompanied by the jade rabbit, who pounds the elixir of 323 00:20:57,560 --> 00:21:01,640 Speaker 2: immortality instead. Thus we see the rabbit on the moon. 324 00:21:02,640 --> 00:21:06,240 Speaker 2: Dickinson writes quote to Chinese alchemists, the pale jade moon 325 00:21:06,359 --> 00:21:10,160 Speaker 2: rabbit embodied the yin or female principle that was associated 326 00:21:10,200 --> 00:21:12,520 Speaker 2: with the moon, not only in Asia, but in the West, 327 00:21:12,880 --> 00:21:16,280 Speaker 2: where the moon is often referred to as feminine. She 328 00:21:16,400 --> 00:21:20,560 Speaker 2: also pointed out that in Japanese traditions, the rabbit doesn't 329 00:21:20,640 --> 00:21:24,240 Speaker 2: pound the elixir of immortality, but instead pounds the rice 330 00:21:24,320 --> 00:21:40,879 Speaker 2: that will be used in lunar new year mochikekes. And finally, 331 00:21:41,040 --> 00:21:45,720 Speaker 2: let's consider the multi armed, multi headed madness of the Hekatonkis. 332 00:21:48,560 --> 00:21:51,159 Speaker 2: And the gods, givers of good things, applauded when they 333 00:21:51,240 --> 00:21:54,879 Speaker 2: heard his word, and their spirit longed for war even 334 00:21:55,000 --> 00:21:58,280 Speaker 2: more than before, and they all both male and female, 335 00:21:58,359 --> 00:22:02,239 Speaker 2: stirred up hated battle. That the Titan gods and all 336 00:22:02,320 --> 00:22:05,119 Speaker 2: that were born of Kronos, together with those dread mighty 337 00:22:05,200 --> 00:22:08,280 Speaker 2: ones of overwhelming strength, whom Zeus brought up to the 338 00:22:08,400 --> 00:22:11,760 Speaker 2: light from Erebus beneath the earth, one hundred arms sprang 339 00:22:11,880 --> 00:22:14,679 Speaker 2: from the shoulders of all alike, and each had fifty 340 00:22:14,760 --> 00:22:18,800 Speaker 2: heads growing upon his shoulders upon stout limbs. These then 341 00:22:18,960 --> 00:22:23,439 Speaker 2: stood against the Titans in grim strife, holding huge rocks 342 00:22:23,520 --> 00:22:27,560 Speaker 2: in their strong hands. These are the words of Hesiod 343 00:22:27,600 --> 00:22:31,480 Speaker 2: from his eighth century BCE text Theogony here in translation 344 00:22:31,600 --> 00:22:35,159 Speaker 2: by Evelyn White, describing the one hundred handed warriors, the 345 00:22:35,240 --> 00:22:41,359 Speaker 2: Hecatonkyries of Greek mythology. Naturally, the poet Hesiod compiled various 346 00:22:41,440 --> 00:22:43,800 Speaker 2: tellings and traditions in his poetry, and in doing so 347 00:22:44,240 --> 00:22:48,520 Speaker 2: solidified a number of characters, relationships, and tales concerning the 348 00:22:48,560 --> 00:22:52,119 Speaker 2: Greek pantheon of deities. So what we read here is 349 00:22:52,200 --> 00:22:56,639 Speaker 2: effectively the most popular understanding of the Hecatonkyres. They were 350 00:22:56,680 --> 00:23:00,680 Speaker 2: a very ancient race of multi headed and multi handed giants, 351 00:23:01,160 --> 00:23:03,800 Speaker 2: and they stood among the various children of the primordial 352 00:23:03,880 --> 00:23:09,080 Speaker 2: sky god Urunas. But Uruanas hated these monstrosities from the 353 00:23:09,200 --> 00:23:13,760 Speaker 2: first and imprisoned them, locking them away out of sight. Eventually, 354 00:23:14,080 --> 00:23:19,600 Speaker 2: Urunas's offspring, Cronos, rises against his father, overthrows him, but 355 00:23:19,720 --> 00:23:24,200 Speaker 2: seemingly keeps these earlier unsightly offspring locked away. It is 356 00:23:24,280 --> 00:23:28,159 Speaker 2: not until Zeus, the child of Cronos, rises up with 357 00:23:28,480 --> 00:23:33,000 Speaker 2: his fellow Olympian gods, rebels against the Titans. They free 358 00:23:33,160 --> 00:23:37,320 Speaker 2: and recruit the Hecatonkyries, as well as their kin, the Cyclopses, 359 00:23:37,760 --> 00:23:43,080 Speaker 2: into their ensuing war for control of the cosmos. This 360 00:23:43,320 --> 00:23:47,920 Speaker 2: was the Titanomachi, and Hesiod describes their role in its battles, 361 00:23:48,359 --> 00:23:51,600 Speaker 2: naming the three most prominent of the one hundred handed 362 00:23:51,640 --> 00:23:57,720 Speaker 2: warriors in surviving traditions, and amongst the foremost Cootus and Bryarias, 363 00:23:57,960 --> 00:24:03,240 Speaker 2: and guys insatiate for war, raised fierce, fighting three hundred 364 00:24:03,359 --> 00:24:07,080 Speaker 2: rocks one upon another. They launched from their strong hands 365 00:24:07,160 --> 00:24:10,719 Speaker 2: and overshadowed the Titans with their missiles, and buried them 366 00:24:10,800 --> 00:24:14,400 Speaker 2: beneath the wide pathed earth, and bound them in bitter chains. 367 00:24:14,640 --> 00:24:17,760 Speaker 2: When they had conquered them by their strength, for all 368 00:24:17,840 --> 00:24:21,280 Speaker 2: their great spirit, as far beneath the earth to Tartarus. 369 00:24:22,240 --> 00:24:26,119 Speaker 2: The Hecatonkyres, according to Hesiod, are much more than allies 370 00:24:26,200 --> 00:24:28,960 Speaker 2: of the gods. In their war against the Titans, the 371 00:24:29,040 --> 00:24:33,760 Speaker 2: Hecatonkreis strike the final blow. They chain the Titans. They 372 00:24:33,960 --> 00:24:37,240 Speaker 2: become the wardens of the Titans, and are quite ironically 373 00:24:37,600 --> 00:24:41,480 Speaker 2: imprisoned once more in the process. Now it should be 374 00:24:41,640 --> 00:24:45,320 Speaker 2: noted that in some traditions the Hecatonkyres may have fought 375 00:24:45,880 --> 00:24:49,760 Speaker 2: instead on the side of the Titans, and in some compilations, 376 00:24:49,800 --> 00:24:53,080 Speaker 2: such as Brewer's Dictionary, of phrase and fable. The authors 377 00:24:53,160 --> 00:24:56,880 Speaker 2: go so far as to describe individuals, specifically Bryarius as 378 00:24:56,960 --> 00:24:59,840 Speaker 2: a titan, so it gets a bit confusing at times. 379 00:25:00,800 --> 00:25:03,200 Speaker 2: And I suppose that's how I have always felt about 380 00:25:03,240 --> 00:25:06,080 Speaker 2: the hecatonqures since I was a child and read about 381 00:25:06,119 --> 00:25:11,280 Speaker 2: them and various books. Somewhat confused because the morphologies of 382 00:25:11,320 --> 00:25:14,399 Speaker 2: so many other Greek monsters are just so well defined. 383 00:25:14,680 --> 00:25:17,160 Speaker 2: There's so many illustrations of them, and as a child, 384 00:25:17,320 --> 00:25:19,920 Speaker 2: you can draw them, you can roughly sketch them yourself, 385 00:25:20,359 --> 00:25:22,960 Speaker 2: and it's a lot of fun. But the hecatonqures always 386 00:25:22,960 --> 00:25:26,119 Speaker 2: seem to defy logic. Their name feels more like a 387 00:25:26,200 --> 00:25:30,040 Speaker 2: literary concept describing a force of nature as opposed to 388 00:25:30,080 --> 00:25:33,119 Speaker 2: a codified creature, and indeed this is often how they 389 00:25:33,200 --> 00:25:37,639 Speaker 2: are interpreted. They are difficult to envision or to reproduce visually, 390 00:25:38,240 --> 00:25:40,520 Speaker 2: and certainly there are plenty of contemporary artists who have 391 00:25:40,600 --> 00:25:43,240 Speaker 2: had a lot of fun producing various, surreal and just 392 00:25:43,440 --> 00:25:47,680 Speaker 2: horrifying interpretations of the hecatonqures, but one is generally hard 393 00:25:47,760 --> 00:25:51,679 Speaker 2: pressed to find representations of these creatures in art history. 394 00:25:52,280 --> 00:25:54,760 Speaker 2: Now I invite correction on this front, because I would 395 00:25:54,840 --> 00:25:57,080 Speaker 2: very much love to see such images, to see like 396 00:25:57,200 --> 00:26:01,720 Speaker 2: classical illustrations, medieval illustrations and so forth of the hecatonqureis. 397 00:26:02,520 --> 00:26:05,800 Speaker 2: But my searches have generally come up well empty handed. 398 00:26:06,200 --> 00:26:09,320 Speaker 2: Perhaps we've simply lost ancient Greek depictions of these creatures. 399 00:26:09,880 --> 00:26:12,600 Speaker 2: I can only assume that they were too far removed 400 00:26:12,640 --> 00:26:16,080 Speaker 2: from actual human physiology to interest many sculptors. You know, 401 00:26:16,200 --> 00:26:19,000 Speaker 2: I mean, if you're interested in capturing the reality of 402 00:26:19,080 --> 00:26:22,840 Speaker 2: the human form, even in the telling of stories and 403 00:26:23,240 --> 00:26:26,840 Speaker 2: the presentation of information about deities, then this might not 404 00:26:26,960 --> 00:26:30,040 Speaker 2: be your first stop, right. Perhaps they were creatures best 405 00:26:30,160 --> 00:26:33,000 Speaker 2: left for depiction in the ages of surrealism and cosmic 406 00:26:33,080 --> 00:26:37,320 Speaker 2: horror to come. Indeed, outside of their role in the 407 00:26:37,400 --> 00:26:41,200 Speaker 2: struggle against the Titans, little seems to have survived about 408 00:26:41,240 --> 00:26:46,280 Speaker 2: the Hecatonqures in general, aside from some tangents concerning Bryarias. Again, 409 00:26:46,359 --> 00:26:51,000 Speaker 2: the Hecatonqures are perhaps best interpreted as embodiments of natural forces. 410 00:26:51,920 --> 00:26:55,159 Speaker 2: Given their hundred hands and heads, they are like armies 411 00:26:55,200 --> 00:26:58,320 Speaker 2: of men compiled into a single great entity, like a 412 00:26:58,440 --> 00:27:02,440 Speaker 2: storm or earthquake, with the power of an army. As such, 413 00:27:02,880 --> 00:27:05,960 Speaker 2: turning to the natural world of biology. Our best example 414 00:27:06,040 --> 00:27:09,639 Speaker 2: of one hundred headed entities are actually large groups working together, 415 00:27:09,800 --> 00:27:12,720 Speaker 2: such as humans or use social insects. Now, some of 416 00:27:12,800 --> 00:27:14,320 Speaker 2: you out there might be thinking to yourself, well, I 417 00:27:14,440 --> 00:27:18,200 Speaker 2: know what as one hundred appendages. Well, even centipedes, despite 418 00:27:18,240 --> 00:27:22,200 Speaker 2: their name which means one hundred footed, never have exactly 419 00:27:22,240 --> 00:27:24,880 Speaker 2: one hundred limbs. They may have as few as something 420 00:27:24,960 --> 00:27:28,080 Speaker 2: like twenty three leg bearing segments, or as many as 421 00:27:28,080 --> 00:27:30,200 Speaker 2: I think one hundred and ninety one, but there is 422 00:27:30,280 --> 00:27:33,960 Speaker 2: always an odd number of leg bearing segments, never the 423 00:27:34,080 --> 00:27:36,840 Speaker 2: even fifty segments that would produce a total of one 424 00:27:36,960 --> 00:27:40,679 Speaker 2: hundred legs. By the way, the first millipede with more 425 00:27:40,760 --> 00:27:45,399 Speaker 2: than a thousand legs wasn't discovered till twenty twenty one. Now, 426 00:27:45,440 --> 00:27:49,600 Speaker 2: despite this disappointment, scientists have fouled room to invoke the 427 00:27:49,680 --> 00:27:54,520 Speaker 2: hecatonkreis in the naming of various organisms. Specifically, the name 428 00:27:54,640 --> 00:27:59,320 Speaker 2: Bryarius is invoked in the scientific name for various organisms, including, 429 00:27:59,400 --> 00:28:02,879 Speaker 2: but not limited to, the Caribbean reef octopus, the hairy 430 00:28:02,960 --> 00:28:06,520 Speaker 2: sea cucumber, at least one species of seastar, the qirky 431 00:28:06,640 --> 00:28:10,760 Speaker 2: seafinger coral, a sea slug, an extinct trilabite and a 432 00:28:10,880 --> 00:28:16,240 Speaker 2: Central American moth as for their mythic namesake, the hecatoncaries. Well, 433 00:28:16,359 --> 00:28:20,240 Speaker 2: maybe we should heed the words ohesiate once more. Perhaps 434 00:28:20,320 --> 00:28:23,639 Speaker 2: we lack for older depictions of the creature because they 435 00:28:23,680 --> 00:28:25,639 Speaker 2: are not to be approached, They are not to be 436 00:28:25,720 --> 00:28:31,520 Speaker 2: looked upon. Even Uruanas chose not to do so, And 437 00:28:31,680 --> 00:28:34,240 Speaker 2: he used to hide them all away in a secret 438 00:28:34,320 --> 00:28:37,159 Speaker 2: place of Earth so soon as each was born, and 439 00:28:37,240 --> 00:28:39,600 Speaker 2: would not suffer them to come up into the light. 440 00:28:40,120 --> 00:28:44,240 Speaker 2: And Heaven rejoiced in his evil doing, but vast earth 441 00:28:44,520 --> 00:28:50,480 Speaker 2: groaned within. Tune in for additional episodes of The Monster Fact, 442 00:28:50,720 --> 00:28:54,760 Speaker 2: The Artifact, or Anamalius to Pendium each week on Wednesdays. 443 00:28:55,000 --> 00:28:58,320 Speaker 2: As always, you can email us at contact at stuff 444 00:28:58,320 --> 00:28:59,840 Speaker 2: to Blow your Mind dot com. 445 00:29:08,960 --> 00:29:11,880 Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For 446 00:29:12,000 --> 00:29:15,800 Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, 447 00:29:15,920 --> 00:29:17,680 Speaker 1: or wherever you listen to your favorite shows.