WEBVTT - Theseus and the Slashers from Hell

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. Hey,

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<v Speaker 1>welcome to Stuff to Blow Your Mind. My name is

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<v Speaker 1>Robert Lamb.

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<v Speaker 2>And I am Joe McCormick. And today our Halloween offerings continue.

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<v Speaker 2>We're going to be talking about a story from Greek legend,

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<v Speaker 2>that has some surprising flavor of Camp Crystal Lake about it,

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<v Speaker 2>a little bit of Haddonfield action here. The story is

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<v Speaker 2>commonly known as The Six Labors of Theseus, but we've

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<v Speaker 2>been thinking about it as Theseus versus the Slashers from Hell.

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<v Speaker 2>There's a bit more slasheriness to this than you would expect.

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<v Speaker 1>That's right. Yeah, we're kind of giving it the grindhouse

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<v Speaker 1>treatment here with the title Theseus and the Slashers from Hell.

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<v Speaker 1>The hero is, of course, Theseus, perhaps best known certainly

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<v Speaker 1>to many of you, and I think widely in today's world,

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<v Speaker 1>as the slayer of the Minotaur. I think that's the

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<v Speaker 1>most famous tale involving this hero. But here he's going

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<v Speaker 1>up against six evildoers who are either mortals or largely

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<v Speaker 1>mortal in form, with a few caveats we'll get into.

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<v Speaker 1>We may loosely frame them as slashers, as sadistic warlords,

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<v Speaker 1>as bandits, as serial killers of antiquity, And yes, if

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<v Speaker 1>we're daring, individuals loosely associated with the underworld, because he's

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<v Speaker 1>going to be going up against the six different killers

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<v Speaker 1>of the Saronic Gulf, which is formed between the peninsulas

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<v Speaker 1>of Attica and Argolis and forms part of the Aegean Sea.

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<v Speaker 1>The sites of these killers snake around the Gulf on

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<v Speaker 1>the land road between the cities of Treason and Athens,

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<v Speaker 1>an area that is also riddled with caves and vents.

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<v Speaker 1>connected in some sources and works of scholarship to openings

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<v Speaker 1>to the underworld. So by some measures, yeah, we might

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<v Speaker 1>think of these six killers as manifestations of these adjacent

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<v Speaker 1>thresholds to another world. It's all a bit more nuanced

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<v Speaker 1>than this, as we'll get into. But yeah, I think

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<v Speaker 1>we can more or less embrace the grindhouse title of

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<v Speaker 1>Theseus and the Slashers from Hell.

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<v Speaker 2>Do you remember the Peplum movie we watched? I think

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<v Speaker 2>it was called Hercules in the Haunted World, the one

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<v Speaker 2>with Reg Park in it. As him playing Hercules in

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<v Speaker 2>this movie, it had a grossly misused Christopher Lee where

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<v Speaker 2>they dubbed his voice, but directed by Mario Bava, where

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<v Speaker 2>Hercules fights through the underworld and In that movie, they

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<v Speaker 2>put one of the villains from this legend just randomly

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<v Speaker 2>in hell. They take Procrustes, the guy, the bedtime mutilator,

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<v Speaker 2>who we'll talk about later, and they put him as

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<v Speaker 2>one of the villains that Hercules has to fight down

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<v Speaker 2>in the underworld.

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<v Speaker 1>I forgot about that entirely. I don't remember him being

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<v Speaker 1>measured for a bed at all.

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<v Speaker 2>Yeah, they don't really... I don't remember how that scene

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<v Speaker 2>plays out. And I remember the Procrustes in the movie

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<v Speaker 2>is sort of this rock monster type thing. It seems

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<v Speaker 2>a little bit less human. I don't know if there's

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<v Speaker 2>any legendary or ancient text-based precedent for putting Procrustes in hell.

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<v Speaker 2>I somewhat doubt it. I think this is an earth-dwelling

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<v Speaker 2>killer in the stories that I know.

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<v Speaker 1>Yeah, I'm not aware of any particular film treatment that

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<v Speaker 1>really gets into Theseus and these six evildoers. But I

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<v Speaker 1>think there's room there for exploration. If anyone out there

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<v Speaker 1>is looking to cash in on the post-Odyssey enthusiasm for

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<v Speaker 1>Greek mythology, yeah, dig into it. There's a lot of

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<v Speaker 1>stuff like this that hasn't received as much attention.

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<v Speaker 2>I can imagine a really good Robert Eggers take on

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<v Speaker 2>the Theseus tale, or, you know, the kind of dusty, nasty,

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<v Speaker 2>old-world look at Theseus going out to fight all the

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<v Speaker 2>blood spillers. But anyway, I wanted to talk for a

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<v Speaker 2>minute about source material. Uh, so as you can imagine, the,

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<v Speaker 2>the story of Theseus and his early six labors is

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<v Speaker 2>one that has featured in many different ancient texts. There

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<v Speaker 2>are many tellings of and references to this story or

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<v Speaker 2>parts of the story throughout the ancient world. Uh, and

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<v Speaker 2>there are a lot of differences between those tellings. So

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<v Speaker 2>we're going to feature different texts and quote from different

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<v Speaker 2>texts in this episode. I think, uh, One of our

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<v Speaker 2>major sources is going to be Plutarch's Life of Theseus,

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<v Speaker 2>especially for the prologue to the slasher part. But we

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<v Speaker 2>can pull details from other ancient texts as needed. And

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<v Speaker 2>when quoting from Plutarch, I'm actually going to use a

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<v Speaker 2>couple of different translations. The older John Dryden translation is

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<v Speaker 2>really great for how he phrases some things. But I'm

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<v Speaker 2>also going to feature the Bernadotte Perrin translation, which is

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<v Speaker 2>an earlier 20th century translation.

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<v Speaker 1>Excellent. And a source I'll be referring to a fair

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<v Speaker 1>amount here is Monsters and Monarchs, Serial Killers in Classic

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<v Speaker 1>Myth and History by Debbie Felton, the professor of classics

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<v Speaker 1>at the University of Massachusetts Amherst, whose work we also

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<v Speaker 1>referenced in our series on Haunted Houses of the Ancient World.

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<v Speaker 1>It's a really cool book, and it goes into a

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<v Speaker 1>lot more than just what we're talking about here today.

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<v Speaker 1>So if your pyramid of interests includes both Greek mythology

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<v Speaker 1>and true crime, definitely pick up that book. Totally.

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<v Speaker 2>I haven't read this one, but based on your references

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<v Speaker 2>to it in our notes and stuff, it seems like

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<v Speaker 2>a really great source. I do want to mention one

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<v Speaker 2>thing to avoid any confusion. So I know there's going

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<v Speaker 2>to be some true crime of the ancient world in

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<v Speaker 2>that book, but the stories we're talking about today are

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<v Speaker 2>not true crime. They are myth crime. So Theseus is

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<v Speaker 2>considered a legendary figure. He's Probably not a person who

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<v Speaker 2>really lived in history, but sort of interlocks with the

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<v Speaker 2>legendary history of Greece. And so we get references to

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<v Speaker 2>Theseus that have different levels of magical integration in them.

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<v Speaker 2>Like there are tellings of the Theseus story that are

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<v Speaker 2>more just like mythology. They're like any other myth you

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<v Speaker 2>would read about gods and monsters and stuff like that.

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<v Speaker 2>And then there are tellings of the Theseus story that

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<v Speaker 2>are more on the rationalistic history side of things. And

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<v Speaker 2>I think that's more what you get with Plutarch. Plutarch

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<v Speaker 2>was offering a kind of, I'm going to try to

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<v Speaker 2>strip down the story and tell it as if like

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<v Speaker 2>what I think probably really happened in the life of

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<v Speaker 2>this person.

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<v Speaker 1>So, yeah, there's definitely none of that, you know, the

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<v Speaker 1>flavor of portals to the underworld or anything. with Plutarch.

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<v Speaker 1>I mean, we are dealing with characters that when you

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<v Speaker 1>get into other sources, like, yeah, technically they're demigods. In

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<v Speaker 1>some cases, they are siblings or half-siblings to Theseus himself,

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<v Speaker 1>who is also the son of a god. But Plutarch's

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<v Speaker 1>approach to it, yeah, is more down to earth, maybe

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<v Speaker 1>stripped down budget-wise, if we're thinking of it as a

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<v Speaker 1>motion picture here, you know, relying less on spectacular special

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<v Speaker 1>effects and more on gritty, believable, like, touchable, practical effects.

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<v Speaker 2>Like, the references to mythical animals will mostly come from

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<v Speaker 2>the other sources. And Plutarch is going to try to

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<v Speaker 2>be like, eh, this monster pig, I think it was

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<v Speaker 2>really just a lady people didn't like.

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<v Speaker 1>Yeah.

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<v Speaker 2>Yeah.

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<v Speaker 1>For the most part, we have just a hero, a

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<v Speaker 1>man with a great future ahead of him, who decides that, hey,

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<v Speaker 1>he's going to go out and challenge himself by taking

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<v Speaker 1>out some outlaws. So, yeah, almost like a Western in

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<v Speaker 1>some respects, I guess. Right. I also think of it

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<v Speaker 1>as kind of like a biker movie, you know.

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<v Speaker 2>Biker.

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<v Speaker 1>Yeah.

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<v Speaker 2>Like one good biker versus a lot of bad bikers.

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<v Speaker 1>Yeah.

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<v Speaker 2>Yeah.

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<v Speaker 1>Yeah. On the road from one town to the next

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<v Speaker 1>and the lawless highway.

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<v Speaker 2>Oh, that's it. That's a theme I want to come

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<v Speaker 2>back to later. So when we I guess actually we

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<v Speaker 2>should start with some background. Talk about like who was

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<v Speaker 2>the CS according to these storytellers and get into the

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<v Speaker 2>background of the six laborers. And so, Rob, I'm going

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<v Speaker 2>to work from my notes here, but I know you've

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<v Speaker 2>got some stuff on this same part of the story.

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<v Speaker 2>So please stop me anywhere here and add whatever you've got.

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<v Speaker 2>So the action begins in a city called Treason, which

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<v Speaker 2>is on the Peloponnese southwest of Athens. And the king

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<v Speaker 2>and founder of Treason in this story is a guy

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<v Speaker 2>named Pythias. Pythias has a daughter named Aethra. And Aethra

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<v Speaker 2>conceives a child with a man named Aegis, who is

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<v Speaker 2>king of Athens. Plutarch writes, this is the Bernadotte Perrin translation, quote,

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<v Speaker 2>Learning that it was the daughter of Pythias with whom

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<v Speaker 2>he had consorted, and suspecting that she was with child

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<v Speaker 2>by him, he, meaning Aegis, left a sword and a

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<v Speaker 2>pair of sandals hidden under a great rock, which had

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<v Speaker 2>a hollow in it just large enough to receive these objects.

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<v Speaker 2>Doesn't say how he got them under the rock. I

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<v Speaker 2>assume he's got a bunch of people working for him.

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<v Speaker 2>But then Aegis tells Aethra that if she ever has

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<v Speaker 2>a son and if her son is able to lift

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<v Speaker 2>the rock and take the treasures from underneath it, that

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<v Speaker 2>her son should come see him in Athens to receive

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<v Speaker 2>his birthright as son of a king. But he also

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<v Speaker 2>says he should come in secret because he's going to

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<v Speaker 2>have many jealous enemies.

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<v Speaker 1>Hmm.

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<v Speaker 2>So later, Aethra does give birth to a son, and

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<v Speaker 2>she names her son Theseus. Theseus is raised by Pythias

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<v Speaker 2>and instructed by a tutor. It names the tutor, says

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<v Speaker 2>it's this guy named Conadus. And I think that's to

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<v Speaker 2>give us the idea that he's brought up right, like

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<v Speaker 2>he gets a proper education. He probably learns philosophy and

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<v Speaker 2>rhetoric and, you know, the kingly arts and all those things.

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<v Speaker 2>And it says he observes the proper rituals of a

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<v Speaker 2>young man, a martial young man, a man of war.

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<v Speaker 2>He goes to Delphi and he sacrifices some of his hair. Now,

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<v Speaker 2>all the time he's growing up, Aethra keeps the secret

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<v Speaker 2>of his father's identity from Theseus. Plutarch says that Pythias

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<v Speaker 2>intentionally spreads a rumor that his grandson was begotten not

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<v Speaker 2>by a king from some other city, not by the

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<v Speaker 2>king of Athens, but by Poseidon, god of the sea. Quote,

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<v Speaker 2>for Poseidon is highly honored by the people of treason,

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<v Speaker 2>and he is the patron god of their city. To

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<v Speaker 2>him they offer firstfruits in sacrifice, and they have his

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<v Speaker 2>trident as an emblem on their coinage. So Plutarch is

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<v Speaker 2>giving a rationalization. I think he may be kind of

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<v Speaker 2>explaining away other versions of the story of Theseus saying like, oh,

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<v Speaker 2>if you've heard that his father was Poseidon, that's because

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<v Speaker 2>King Pythias spread this rumor about him because everybody around

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<v Speaker 2>there liked Poseidon. So that's like a good thing to

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<v Speaker 2>be in treason. Because there are other versions of the

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<v Speaker 2>story in which Theseus has different fathers, right?

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<v Speaker 1>Right, right. Yeah, definitely this idea that Theseus is himself

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<v Speaker 1>a demigod, is a son of Poseidon, much in the

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<v Speaker 1>same way that Hercules is, of course, a son of Zeus.

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<v Speaker 1>And one of the things that Felton stresses that, you know,

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<v Speaker 1>we should keep in mind with all things Theseus is

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<v Speaker 1>that he was for the longest kind of a regional

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<v Speaker 1>hero with popularity centered in his home city of Athens. And,

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<v Speaker 1>you know, certainly from our standpoint, you know, via the

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<v Speaker 1>tale of Theseus and the Minotaur, You know, he is

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<v Speaker 1>canonized in our understanding of Greek mythology and antiquity. And

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<v Speaker 1>we kind of see him more or less having equal

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<v Speaker 1>stature with Hercules. I was thinking about this. Like, if

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<v Speaker 1>you ask an average person on the street, name one

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<v Speaker 1>Greek hero, they're probably going to say Heracles or Hercules,

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<v Speaker 1>you know. But if you ask them, well, tell me

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<v Speaker 1>what Theseus slayed and tell me what Heracles slayed. they're probably,

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<v Speaker 1>if they're going to name any kind of monster, they're

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<v Speaker 1>going to name the Minotaur. Or at least that's my

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<v Speaker 1>guess anyway. I feel like Theseus and the Minotaur is,

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<v Speaker 1>you know, certainly together, they have this iconic stature that's

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<v Speaker 1>up there with anything else in Greek mythology.

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<v Speaker 2>With Heracles, you got so many slayings, they kind of

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<v Speaker 2>blur together. People remember maybe the Hydra.

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<v Speaker 1>Yeah. But then he has his cousin's help on that. But,

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<v Speaker 1>you know, in any story, there's going to be a

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<v Speaker 1>little bit of help, right? But yeah, it's kind of like,

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<v Speaker 1>We have Heracles at home, if home is Athens. That's

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<v Speaker 1>basically what's going on here. And so for the longest,

0:12:42.770 --> 0:12:47.500
<v Speaker 1>like Theseus' fandom was tied to Athens, to the city-state

0:12:47.520 --> 0:12:51.839
<v Speaker 1>of Athens, and is tied up as well with propaganda

0:12:52.660 --> 0:12:56.179
<v Speaker 1>about Athens and against the enemies of Athens. So we're

0:12:56.200 --> 0:12:58.660
<v Speaker 1>going to come back to elements of that as this

0:12:58.740 --> 0:13:02.340
<v Speaker 1>all plays out. But yeah, Heracles was widely popular throughout

0:13:02.380 --> 0:13:04.860
<v Speaker 1>the Greek world, while Theseus was, again, more of a

0:13:04.900 --> 0:13:09.840
<v Speaker 1>regional city-state Heracles. Both are mentioned in the writings of Homer, roughly,

0:13:09.860 --> 0:13:12.980
<v Speaker 1>you know, 8th century BCE. But Theseus wasn't really all

0:13:13.020 --> 0:13:17.559
<v Speaker 1>that popular in Athens till after 510 BCE. And the

0:13:17.600 --> 0:13:20.500
<v Speaker 1>sorts of things that we're seeing Theseus do in this story,

0:13:20.809 --> 0:13:23.550
<v Speaker 1>it's exactly the same sort of things that Heracles was

0:13:23.610 --> 0:13:27.170
<v Speaker 1>also up to. Heracles also slayed a whole bunch of

0:13:27.230 --> 0:13:32.890
<v Speaker 1>bandits and headhunters and skull crushers and so forth. So

0:13:34.170 --> 0:13:35.980
<v Speaker 1>there is a lot to this that is kind of like,

0:13:36.190 --> 0:13:41.010
<v Speaker 1>you know, generic Heracles adventure, but tied to a different city, um,

0:13:41.250 --> 0:13:44.450
<v Speaker 1>that eventually has equal stature with it. And I believe

0:13:44.510 --> 0:13:46.750
<v Speaker 1>Plutarch even kind of, you know, more or less alludes

0:13:46.830 --> 0:13:48.530
<v Speaker 1>to this as, uh, to some of this as well,

0:13:48.570 --> 0:13:50.910
<v Speaker 1>like pointing out, I was like, look, Heracles is great.

0:13:50.929 --> 0:13:53.200
<v Speaker 1>And he killed a lot of bandits, but he couldn't

0:13:53.220 --> 0:13:56.120
<v Speaker 1>kill all of them. There's some clever bandits, some clever

0:13:56.220 --> 0:13:59.420
<v Speaker 1>evildoers out there. Uh, you know, one hero can only

0:13:59.460 --> 0:14:02.920
<v Speaker 1>do some so much. Some of them hid from Heracles. Uh,

0:14:02.980 --> 0:14:05.770
<v Speaker 1>there are plenty of villains out there for, uh, You know,

0:14:05.910 --> 0:14:08.370
<v Speaker 1>lesser heroes like Theseus to deal with.

0:14:09.190 --> 0:14:13.550
<v Speaker 2>Totally. And the comparison between Theseus and Heracles is not

0:14:13.590 --> 0:14:19.300
<v Speaker 2>just something we're observing retrospectively. Like, it's there in the text. Like,

0:14:19.340 --> 0:14:24.140
<v Speaker 2>Plutarch says that Theseus is obsessed with Heracles. He's, you know,

0:14:24.180 --> 0:14:25.940
<v Speaker 2>he's all about him. I'll get to a quote about

0:14:25.980 --> 0:14:38.080
<v Speaker 2>that in just a minute. But anyway, just to continue

0:14:38.100 --> 0:14:40.250
<v Speaker 2>the story up to the beginning of the six labors.

0:14:40.970 --> 0:14:43.470
<v Speaker 2>So Theseus, yeah, he grows up to be a young man.

0:14:43.490 --> 0:14:46.610
<v Speaker 2>It says of strength and many virtues. He is strong

0:14:46.630 --> 0:14:49.770
<v Speaker 2>of body. He has skill and prowess. It says he

0:14:49.810 --> 0:14:54.840
<v Speaker 2>has firm spirit, intelligence and wisdom. So one day, Aethra

0:14:55.040 --> 0:14:58.740
<v Speaker 2>reveals the truth to Theseus about his father, that his

0:14:58.800 --> 0:15:02.300
<v Speaker 2>father is Aegis, the king of Athens. and about the

0:15:02.380 --> 0:15:05.560
<v Speaker 2>treasures that are waiting for him hidden under the rock. Remember,

0:15:05.580 --> 0:15:08.020
<v Speaker 2>he left those in the hollow under the rock. Theseus

0:15:08.060 --> 0:15:10.420
<v Speaker 2>goes to the rock. It says he easily lifts it up,

0:15:10.480 --> 0:15:13.120
<v Speaker 2>puts his shoulder to it. No problem. Just lifts that

0:15:13.180 --> 0:15:16.230
<v Speaker 2>rock right up there and retrieves the sword and the

0:15:16.280 --> 0:15:20.270
<v Speaker 2>sandals that were put there for him. And now Pythias

0:15:20.410 --> 0:15:23.910
<v Speaker 2>instructs Theseus to travel to Athens by sea. So we're

0:15:23.950 --> 0:15:26.540
<v Speaker 2>again talking about how even though the action of the

0:15:26.560 --> 0:15:28.940
<v Speaker 2>story does not begin in Athens, Theseus is going to

0:15:29.040 --> 0:15:31.980
<v Speaker 2>go on to become associated with the city of Athens.

0:15:32.020 --> 0:15:35.720
<v Speaker 2>He's sort of the natural, the national hero of Athens.

0:15:36.040 --> 0:15:38.180
<v Speaker 2>And he's got to get there before he can, can

0:15:38.220 --> 0:15:39.780
<v Speaker 2>become the patron of Athens.

0:15:40.420 --> 0:15:42.960
<v Speaker 1>Yeah. But how are you going to get there? Right.

0:15:43.080 --> 0:15:45.970
<v Speaker 1>And in fact, he advises him. He's like, look, The

0:15:46.030 --> 0:15:50.610
<v Speaker 1>land road to Athens is, of course, famously dangerous. It's

0:15:50.710 --> 0:15:55.359
<v Speaker 1>just a death trap. There are these six different evildoers,

0:15:55.480 --> 0:15:57.620
<v Speaker 1>bandits or warlords, however you want to think of them.

0:15:57.640 --> 0:16:00.420
<v Speaker 1>We'll get into the terminology here in a minute. But yeah,

0:16:00.460 --> 0:16:04.280
<v Speaker 1>they rule the land route. If you take the highway

0:16:04.700 --> 0:16:08.060
<v Speaker 1>to Athens, that's just a death sentence. So don't do that.

0:16:08.320 --> 0:16:11.800
<v Speaker 1>You want to just shoot straight across the Saronic Gulf.

0:16:11.820 --> 0:16:15.690
<v Speaker 1>You want to travel to Athens by boat. And you'll

0:16:16.010 --> 0:16:17.820
<v Speaker 1>get there faster and more to the point you'll get

0:16:17.840 --> 0:16:18.480
<v Speaker 1>there alive.

0:16:19.200 --> 0:16:23.360
<v Speaker 2>Now, it's funny that Plutarch explains the problem with overland

0:16:23.480 --> 0:16:27.780
<v Speaker 2>travel as not something just specific to Theseus, but like

0:16:27.840 --> 0:16:31.080
<v Speaker 2>a general problem. So I'm going to read from Plutarch here.

0:16:31.140 --> 0:16:35.270
<v Speaker 2>This is the Perrin translation. Quote, For verily that age

0:16:35.350 --> 0:16:39.090
<v Speaker 2>produced men who in work of hand and speed of

0:16:39.210 --> 0:16:43.740
<v Speaker 2>foot and vigor of body were extraordinary and indefatigable men.

0:16:44.150 --> 0:16:46.810
<v Speaker 2>But they applied their powers to nothing that was fitting

0:16:46.870 --> 0:16:51.490
<v Speaker 2>or useful. Nay, rather, they exulted in monstrous insolence and

0:16:51.630 --> 0:16:54.960
<v Speaker 2>reaped from their strength the harvest of cruelty and bitterness,

0:16:55.520 --> 0:16:59.540
<v Speaker 2>mastering and forcing and destroying everything that came in their path.

0:17:00.120 --> 0:17:04.520
<v Speaker 2>And as for reverence and righteousness, justice and humanity, they

0:17:04.560 --> 0:17:07.850
<v Speaker 2>thought that most men praised these qualities for lack of

0:17:08.010 --> 0:17:11.330
<v Speaker 2>courage to do wrong and for fear of being wronged.

0:17:11.770 --> 0:17:14.970
<v Speaker 2>and considered them no concern of men who were strong

0:17:15.040 --> 0:17:17.480
<v Speaker 2>enough to get the upper hand. It's like, oh yeah,

0:17:17.520 --> 0:17:21.440
<v Speaker 2>people only do right because they're weak. You know, real

0:17:21.500 --> 0:17:26.300
<v Speaker 2>tough guys, they just take what they want. Anyway, continuing

0:17:26.460 --> 0:17:30.180
<v Speaker 2>from Plutarch, quote, some of these creatures Heracles cut off

0:17:30.240 --> 0:17:33.340
<v Speaker 2>and destroyed as he went about, but some escaped his

0:17:33.440 --> 0:17:37.100
<v Speaker 2>notice as he passed by, crouching down and shrinking back

0:17:37.460 --> 0:17:41.480
<v Speaker 2>and were overlooked in their abjectness. And when Heracles met

0:17:41.540 --> 0:17:46.230
<v Speaker 2>with calamity, and after the slaying of Iphidus, removed into Lydia,

0:17:46.350 --> 0:17:49.050
<v Speaker 2>and for a long time did slave service there in

0:17:49.070 --> 0:17:53.330
<v Speaker 2>the house of Umphali, then Lydia indeed obtained great peace

0:17:53.430 --> 0:17:56.770
<v Speaker 2>and security. But in the regions of Hellas the old

0:17:56.910 --> 0:18:00.760
<v Speaker 2>villainies burst forth and broke out anew, there being none

0:18:00.840 --> 0:18:04.899
<v Speaker 2>to rebuke and none to restrain them. Wow. So killers

0:18:04.920 --> 0:18:08.260
<v Speaker 2>are just everywhere. The old villainy broke forth. It's like

0:18:08.280 --> 0:18:11.159
<v Speaker 2>a flood spilling out. It had once been dammed up

0:18:11.220 --> 0:18:13.960
<v Speaker 2>by Hercules, but Hercules missed a few. And then they

0:18:14.109 --> 0:18:18.270
<v Speaker 2>just multiplied like cockroaches. Now they're just villains everywhere. And

0:18:18.290 --> 0:18:20.230
<v Speaker 2>so you can't take the land roads.

0:18:20.550 --> 0:18:25.270
<v Speaker 1>Yeah, it sounds kind of like a sequel spinoff. Like

0:18:25.290 --> 0:18:27.109
<v Speaker 1>he didn't get all the bad guys. There's some left

0:18:27.150 --> 0:18:30.430
<v Speaker 1>and we have this new character just as exciting as Heracles.

0:18:30.810 --> 0:18:33.369
<v Speaker 1>I think you guys in Athens are especially going to

0:18:33.390 --> 0:18:34.330
<v Speaker 1>like Yeah.

0:18:34.690 --> 0:18:38.550
<v Speaker 2>So Pythias tells Theseus to go by sea, but Theseus says, no,

0:18:39.170 --> 0:18:41.750
<v Speaker 2>I'm not going to do that. Instead, he says he's

0:18:41.790 --> 0:18:43.869
<v Speaker 2>going to travel by land and he's going to face

0:18:44.010 --> 0:18:47.090
<v Speaker 2>all of these bandits by himself in order to prove

0:18:47.150 --> 0:18:50.680
<v Speaker 2>his worth. And Plutarch says there are two reasons for this.

0:18:51.300 --> 0:18:54.300
<v Speaker 2>One is, again, that he is obsessed with Heracles, who

0:18:54.420 --> 0:18:57.120
<v Speaker 2>is a distant cousin of his. I think maybe they're

0:18:57.380 --> 0:19:01.540
<v Speaker 2>second cousins or something. or first cousins once removed. I

0:19:01.680 --> 0:19:04.879
<v Speaker 2>don't remember how that works out, but he's somehow cousins

0:19:04.920 --> 0:19:08.440
<v Speaker 2>with Heracles, and he wants to be a vanquisher of

0:19:08.550 --> 0:19:13.150
<v Speaker 2>evildoers just like his cousin. But also, he does not

0:19:13.210 --> 0:19:16.690
<v Speaker 2>want to appear before his father as a boy with

0:19:16.770 --> 0:19:19.350
<v Speaker 2>no great deeds to his name. There's a line about

0:19:19.390 --> 0:19:22.780
<v Speaker 2>how he doesn't want to show up with an unstained sword,

0:19:22.900 --> 0:19:24.359
<v Speaker 2>like this sword needs blood on.

0:19:24.830 --> 0:19:28.470
<v Speaker 1>Yeah, because he's grown up outside of Athens, but with, again,

0:19:28.530 --> 0:19:31.230
<v Speaker 1>kind of like an Athenian upbringing. He's been given all

0:19:31.260 --> 0:19:35.459
<v Speaker 1>of the educational and cultural advantages, but he is untested.

0:19:36.020 --> 0:19:37.700
<v Speaker 1>And so he wants to test himself.

0:19:38.460 --> 0:19:41.400
<v Speaker 2>Quote, in such a spirit and with such thoughts, he

0:19:41.440 --> 0:19:44.730
<v Speaker 2>set out determined to do no man any wrong, but

0:19:44.770 --> 0:19:49.370
<v Speaker 2>to punish those who offered him violence. So he's been warned.

0:19:49.570 --> 0:19:52.200
<v Speaker 2>It's dangerous. out there. You shouldn't do it. But he's

0:19:52.240 --> 0:19:55.080
<v Speaker 2>going anyway, and he's going to slash the slashers.

0:19:55.520 --> 0:20:00.179
<v Speaker 1>Yeah, yeah. Now, you know, we're using different terms for

0:20:00.220 --> 0:20:03.530
<v Speaker 1>these guys. Slashers, that's more what we're calling them. But

0:20:03.830 --> 0:20:07.629
<v Speaker 1>you also see them called just villains, robbers, bandits. As

0:20:07.710 --> 0:20:11.100
<v Speaker 1>Felton points out, Yeah, a lot of modern translations and

0:20:11.140 --> 0:20:13.380
<v Speaker 1>retellings are going to use words like robbers and bandits,

0:20:13.920 --> 0:20:17.380
<v Speaker 1>but most of the ancient Greek literary sources do not.

0:20:17.840 --> 0:20:20.639
<v Speaker 1>And in fact, they don't categorize them as anything on

0:20:20.680 --> 0:20:23.220
<v Speaker 1>the whole, often just referring to each individual by their

0:20:23.260 --> 0:20:28.640
<v Speaker 1>given name. There is a term that is frequently, that

0:20:28.680 --> 0:20:31.010
<v Speaker 1>is at least sometimes used in the ancient texts. She

0:20:31.050 --> 0:20:35.850
<v Speaker 1>points out kakorgos, which apparently means evildoer. So I think

0:20:35.890 --> 0:20:38.619
<v Speaker 1>if you're going to call them anything, as a group,

0:20:38.670 --> 0:20:44.080
<v Speaker 1>they are evildoers. And this is important when you get

0:20:44.119 --> 0:20:47.700
<v Speaker 1>into the details of, the overarching details of who they

0:20:47.900 --> 0:20:51.560
<v Speaker 1>are and what they do. Felton stresses that in each case,

0:20:51.580 --> 0:20:55.880
<v Speaker 1>you know, loot is not the primary motivation for these

0:20:55.920 --> 0:20:59.340
<v Speaker 1>different killers. You know, they are engaging, at least some

0:20:59.380 --> 0:21:02.340
<v Speaker 1>of them are engaging in some form of banditry as well.

0:21:02.940 --> 0:21:06.480
<v Speaker 1>But it seems that the cruelty, the murder, the mutilation

0:21:06.520 --> 0:21:10.570
<v Speaker 1>itself targeting innocent individuals on the whole, that is the

0:21:10.609 --> 0:21:12.989
<v Speaker 1>whole point of what they're up to. Uh, they're out

0:21:13.030 --> 0:21:17.629
<v Speaker 1>there in the wilds, um, you know, ungoverned, ungovernable, and

0:21:17.810 --> 0:21:20.090
<v Speaker 1>all they want to do is cause misery and mayhem.

0:21:20.710 --> 0:21:22.850
<v Speaker 2>With a couple of them, it feels like they're trying

0:21:22.890 --> 0:21:26.560
<v Speaker 2>to exert a kind of dominance or superiority over people

0:21:26.600 --> 0:21:29.460
<v Speaker 2>who travel through by, by beating them up or killing them.

0:21:29.560 --> 0:21:32.700
<v Speaker 2>I think you get that with paraffinities and something somewhat

0:21:32.720 --> 0:21:37.000
<v Speaker 2>with Circe on, um, And then with others, you get

0:21:37.080 --> 0:21:42.120
<v Speaker 2>more of a flavor of just criminal insanity. People doing

0:21:42.140 --> 0:21:44.300
<v Speaker 2>things that don't make any sense, but they just kill.

0:21:44.740 --> 0:21:48.439
<v Speaker 1>Yeah. And so one of Felton's main focuses is to

0:21:48.570 --> 0:21:51.890
<v Speaker 1>compare them to serial killers. And she writes, quote, they

0:21:51.910 --> 0:21:55.469
<v Speaker 1>resemble modern serial killers in many ways. They kill primarily

0:21:55.530 --> 0:21:58.730
<v Speaker 1>for the pleasure they derive from it and only secondarily

0:21:59.090 --> 0:22:02.600
<v Speaker 1>for profit. They exhibited sadism and a consistent pattern in

0:22:02.619 --> 0:22:06.419
<v Speaker 1>the methods of killing. Their brutality far surpassed that of

0:22:06.460 --> 0:22:10.060
<v Speaker 1>the typical highway marauder. They not only robbed and killed,

0:22:10.160 --> 0:22:14.460
<v Speaker 1>but tortured and mutilated their victims. And as we'll see,

0:22:14.500 --> 0:22:16.740
<v Speaker 1>I think, yeah, I think the serial killer comparison is

0:22:16.820 --> 0:22:19.620
<v Speaker 1>right on, especially if we compare it not so much

0:22:19.700 --> 0:22:23.480
<v Speaker 1>to real world serial killers, but the sort of sensational

0:22:23.600 --> 0:22:27.159
<v Speaker 1>fictional serial killers that you see in modern media, you know,

0:22:27.180 --> 0:22:31.400
<v Speaker 1>TV shows like Hannibal and so forth. As we've already

0:22:31.440 --> 0:22:33.540
<v Speaker 1>teased out, I think there's More than a little bit

0:22:33.580 --> 0:22:35.740
<v Speaker 1>of the slasher from the horror movie to be found

0:22:35.780 --> 0:22:39.940
<v Speaker 1>in many of these examples. And also just any kind

0:22:40.000 --> 0:22:42.820
<v Speaker 1>of modern media where you have kind of a no

0:22:42.840 --> 0:22:46.310
<v Speaker 1>man's land and some sort of like deranged individuals that

0:22:46.350 --> 0:22:49.730
<v Speaker 1>are enjoying the lawlessness. Like, again, my mind comes back

0:22:49.770 --> 0:22:54.190
<v Speaker 1>to 70s outlaw biker films about, you know, deranged anti

0:22:54.250 --> 0:22:56.280
<v Speaker 1>hippies who are killing people just for kicks.

0:22:56.900 --> 0:23:00.380
<v Speaker 2>Yeah, I absolutely see that. Strangely, I kept thinking about

0:23:00.780 --> 0:23:06.020
<v Speaker 2>what slasher movies these stories most remind me of. And

0:23:06.680 --> 0:23:09.660
<v Speaker 2>more than anything, I was thinking of the Texas Chainsaw Massacre.

0:23:09.680 --> 0:23:13.660
<v Speaker 2>These get closer to TCM than any other slasher franchise

0:23:13.770 --> 0:23:14.480
<v Speaker 2>I could think of.

0:23:14.830 --> 0:23:20.570
<v Speaker 1>Yeah, the lawless rural spaces between the big cities. I

0:23:20.590 --> 0:23:23.890
<v Speaker 1>think they're both feeding on similar energy and similar anxieties.

0:23:25.270 --> 0:23:28.630
<v Speaker 1>Because A question inevitably arises in all of this. Okay,

0:23:28.650 --> 0:23:33.690
<v Speaker 1>we're reading these stories of these different warlords, these different

0:23:33.750 --> 0:23:38.890
<v Speaker 1>bandits or evildoers, and the dangers of traveling by road

0:23:39.350 --> 0:23:42.160
<v Speaker 1>from treason to Athens. And you have to ask, well,

0:23:42.560 --> 0:23:45.340
<v Speaker 1>was this for real? Was this, like, on any level true?

0:23:46.220 --> 0:23:49.939
<v Speaker 1>And Felton, you know, agrees that, yeah, this is one

0:23:49.960 --> 0:23:52.300
<v Speaker 1>of those places in myth where we're not supposed to

0:23:52.340 --> 0:23:55.410
<v Speaker 1>take things too literally. Because obviously, if the roads were

0:23:55.430 --> 0:24:01.220
<v Speaker 1>this dangerous, nobody would dare to travel them. Rather, these

0:24:01.280 --> 0:24:06.340
<v Speaker 1>are likely best understood as representing societal concerns on the whole.

0:24:07.359 --> 0:24:07.699
<v Speaker 2>Okay.

0:24:08.380 --> 0:24:10.420
<v Speaker 1>However, she does stress that at this point in time,

0:24:10.480 --> 0:24:13.770
<v Speaker 1>this is like 6th century BCE, the Greek city-states are

0:24:13.790 --> 0:24:16.810
<v Speaker 1>still very much countries unto themselves. They're only really beginning

0:24:16.910 --> 0:24:20.830
<v Speaker 1>to communicate regularly with one another. And therefore, the highways

0:24:20.890 --> 0:24:24.850
<v Speaker 1>between these city-states were connected. well known to be dangerous

0:24:24.869 --> 0:24:29.810
<v Speaker 1>and unpatrolled. They were frequented by bandits. There were dangers

0:24:29.869 --> 0:24:32.950
<v Speaker 1>out there. And she says that some of the villains

0:24:33.030 --> 0:24:36.550
<v Speaker 1>that Theseus tangles with may have been based on real

0:24:36.590 --> 0:24:39.400
<v Speaker 1>bandits or real people. We'll get into some specifics on that.

0:24:39.480 --> 0:24:43.540
<v Speaker 1>But they might have, in other cases, been creations of

0:24:43.619 --> 0:24:47.220
<v Speaker 1>political propaganda, as we'll get into. But by and large,

0:24:47.280 --> 0:24:50.739
<v Speaker 1>she stresses, they likely manifested the fears of They were

0:24:50.760 --> 0:24:53.700
<v Speaker 1>considered by anyone who was even considering a journey by

0:24:53.780 --> 0:24:59.080
<v Speaker 1>land instead of taking the costlier sea road, particularly if

0:24:59.119 --> 0:25:01.900
<v Speaker 1>you were going to travel to Athens, you know, across

0:25:02.180 --> 0:25:06.149
<v Speaker 1>the Gulf here. So I think that's worth keeping in mind.

0:25:06.230 --> 0:25:08.890
<v Speaker 1>And again, coming back to like TCM and everything else,

0:25:09.310 --> 0:25:12.130
<v Speaker 1>roads and highways have long had this flavor. You know,

0:25:12.170 --> 0:25:16.270
<v Speaker 1>you find this in folk traditions and mythology, horror stories

0:25:16.730 --> 0:25:20.300
<v Speaker 1>and also real accounts of crime and mayhem. all over

0:25:20.340 --> 0:25:23.920
<v Speaker 1>the world. When you have roads connecting places, those roads

0:25:23.960 --> 0:25:26.540
<v Speaker 1>are not always well patrolled. They are the sorts of

0:25:26.600 --> 0:25:31.250
<v Speaker 1>spaces where horrors and terrors can occur. And even in

0:25:31.310 --> 0:25:34.730
<v Speaker 1>our modern day, like, you know, these are places where

0:25:34.770 --> 0:25:36.970
<v Speaker 1>we often have our horror stories take place.

0:25:37.590 --> 0:25:41.170
<v Speaker 2>Yeah, absolutely. Though I will say, there is a more

0:25:41.310 --> 0:25:45.590
<v Speaker 2>palpable sense of the danger of overland travel. Um, and

0:25:45.670 --> 0:25:47.410
<v Speaker 2>in fact, I would say travel by sea as well,

0:25:47.530 --> 0:25:51.320
<v Speaker 2>actually in the ancient, in ancient sources, um, then you

0:25:51.359 --> 0:25:53.960
<v Speaker 2>would normally have and say people just talking about traveling

0:25:54.000 --> 0:25:56.879
<v Speaker 2>between cities in the United States, you know, in, in

0:25:56.940 --> 0:25:59.840
<v Speaker 2>our context, there is more of a feeling of order

0:25:59.920 --> 0:26:04.609
<v Speaker 2>imposed in the spaces between, but actually this connected, uh,

0:26:05.230 --> 0:26:07.010
<v Speaker 2>to something I wanted to talk about later in the

0:26:07.050 --> 0:26:08.869
<v Speaker 2>episodes as we're talking about it. Now I figure it,

0:26:09.240 --> 0:26:11.679
<v Speaker 2>We can go ahead and open it up. So later

0:26:11.700 --> 0:26:16.040
<v Speaker 2>I wanted to discuss ways in which the story of

0:26:16.140 --> 0:26:20.530
<v Speaker 2>the labors of Theseus does or does not connect to

0:26:21.450 --> 0:26:25.270
<v Speaker 2>tropes you actually see in slasher movies. One of those

0:26:25.330 --> 0:26:30.590
<v Speaker 2>tropes is a general idea of spatial transgression, going where

0:26:30.770 --> 0:26:34.040
<v Speaker 2>one should not. So in a lot of slasher movies,

0:26:34.340 --> 0:26:39.360
<v Speaker 2>the victim... either actually trespasses, like goes onto a property

0:26:39.420 --> 0:26:41.960
<v Speaker 2>or into a house that is forbidden. You're not supposed

0:26:42.000 --> 0:26:44.260
<v Speaker 2>to go there, and then they get in trouble. That

0:26:44.300 --> 0:26:45.940
<v Speaker 2>happens in Texas Chainsaw Massacre.

0:26:45.980 --> 0:26:48.140
<v Speaker 1>You don't want to go messing around other folks' properties.

0:26:48.160 --> 0:26:50.250
<v Speaker 1>Some folks don't like that, and they don't mind showing you.

0:26:51.390 --> 0:26:56.490
<v Speaker 2>That's right. Or it might not be specific trespassing. Maybe

0:26:56.510 --> 0:26:59.730
<v Speaker 2>you're going to a place you're technically allowed to go,

0:27:00.109 --> 0:27:02.400
<v Speaker 2>but you have been warned it is dangerous.

0:27:02.420 --> 0:27:02.660
<v Speaker 1>Mm-hmm.

0:27:03.330 --> 0:27:06.310
<v Speaker 2>And you go, anyway, you, you disobey, do not heed

0:27:06.350 --> 0:27:09.490
<v Speaker 2>the warnings. You get this in say the, uh, Friday

0:27:09.510 --> 0:27:12.970
<v Speaker 2>the 13th franchise with a crazy Ralph saying you can't

0:27:13.040 --> 0:27:14.919
<v Speaker 2>go to that camp. It's got a death curse.

0:27:15.100 --> 0:27:17.240
<v Speaker 1>Yeah. Yeah. I just rewatched the first one. Yeah.

0:27:17.540 --> 0:27:21.000
<v Speaker 2>Yeah. Uh, and so there can be. Actually, I was

0:27:21.020 --> 0:27:23.900
<v Speaker 2>thinking about it in there, two different versions of spatial

0:27:23.960 --> 0:27:26.760
<v Speaker 2>transgression and slasher movies. I was thinking about it as

0:27:27.040 --> 0:27:32.010
<v Speaker 2>going out and going in. So. Going in is entering

0:27:32.070 --> 0:27:34.889
<v Speaker 2>a place of danger. This place has a death curse

0:27:34.950 --> 0:27:39.050
<v Speaker 2>and you go there anyway versus going out like you're

0:27:39.170 --> 0:27:42.939
<v Speaker 2>leaving a place of safety. Maybe you leave the city

0:27:42.960 --> 0:27:45.540
<v Speaker 2>or you leave civilization and you go out into the

0:27:45.580 --> 0:27:49.379
<v Speaker 2>wilderness or you go out into rural America, you know,

0:27:49.460 --> 0:27:52.109
<v Speaker 2>and there's like rural weirdness. Who knows what's going on

0:27:52.170 --> 0:27:56.250
<v Speaker 2>out there? And while I had trouble finding real evidence

0:27:56.290 --> 0:28:00.669
<v Speaker 2>of the other slasher movie tropes prefigured by the story

0:28:00.710 --> 0:28:03.530
<v Speaker 2>of Theseus, this one I really did say, this kind

0:28:03.690 --> 0:28:07.140
<v Speaker 2>of lines up. Theseus is warned of the danger. Again,

0:28:07.180 --> 0:28:10.780
<v Speaker 2>according to Plutarch, his grandfather's like, you don't go by road.

0:28:10.880 --> 0:28:13.440
<v Speaker 2>I'm going to tell you about the six different slashers

0:28:13.480 --> 0:28:16.600
<v Speaker 2>that are on the road. And he doesn't pay any mind.

0:28:16.680 --> 0:28:20.260
<v Speaker 2>He's like, I'm young. I'm brave. I can do it. Yeah. Uh,

0:28:20.540 --> 0:28:23.100
<v Speaker 2>and I was also thinking, is this a going in

0:28:23.180 --> 0:28:26.240
<v Speaker 2>or going out danger? I guess it's kind of both,

0:28:26.260 --> 0:28:29.940
<v Speaker 2>but it's more going out, right? Like in the context

0:28:30.060 --> 0:28:34.040
<v Speaker 2>of the. Both to some degree in real ancient history

0:28:34.480 --> 0:28:38.560
<v Speaker 2>and certainly in the mythic context of the story, the

0:28:38.880 --> 0:28:42.480
<v Speaker 2>population centers, the ancient city states are a, are a

0:28:42.520 --> 0:28:46.090
<v Speaker 2>place of safety and civilization. When you go out, you

0:28:46.130 --> 0:28:49.920
<v Speaker 2>go outside of those populated areas where there is authority

0:28:50.000 --> 0:28:54.100
<v Speaker 2>and structure and protection, you go into places of danger

0:28:54.200 --> 0:28:57.270
<v Speaker 2>and murder. And that does have some significance because I

0:28:57.310 --> 0:29:01.070
<v Speaker 2>think the going in transgression horror movies versus the going

0:29:01.190 --> 0:29:05.330
<v Speaker 2>out transgression movies is are somewhat different. Like the ones

0:29:05.430 --> 0:29:07.990
<v Speaker 2>that are about the dangers of going out, I think

0:29:08.050 --> 0:29:11.620
<v Speaker 2>are more generally paranoid. They have more of a view

0:29:11.670 --> 0:29:16.000
<v Speaker 2>of a dangerous world. And that's the version we're getting here.

0:29:16.060 --> 0:29:21.000
<v Speaker 2>We're getting the more paranoid, generalized danger view of the world. Yeah.

0:29:21.120 --> 0:29:24.320
<v Speaker 1>Don't go into the rural countryside. Don't go into the

0:29:24.400 --> 0:29:26.020
<v Speaker 1>outback and so forth.

0:29:26.060 --> 0:29:26.180
<v Speaker 2>Yeah.

0:29:26.220 --> 0:29:27.180
<v Speaker 1>Don't go into the jungle.

0:29:28.140 --> 0:29:30.550
<v Speaker 2>Another thing I wanted to pick up on is something

0:29:30.620 --> 0:29:33.220
<v Speaker 2>that you were saying a minute ago. about the real

0:29:33.280 --> 0:29:35.900
<v Speaker 2>dangers of travel in the ancient world. I was looking

0:29:35.920 --> 0:29:38.590
<v Speaker 2>for statistics on this and I couldn't find anything very

0:29:38.630 --> 0:29:42.440
<v Speaker 2>good about what are the real probabilities of danger in,

0:29:43.170 --> 0:29:45.480
<v Speaker 2>you know, traveling over land in the ancient world. I

0:29:45.500 --> 0:29:47.600
<v Speaker 2>don't know if there's really any way to calculate that.

0:29:48.740 --> 0:29:52.120
<v Speaker 2>But I'll at least say it's true based on my

0:29:52.240 --> 0:29:57.110
<v Speaker 2>general reading about ancient Greece that that traveling between population

0:29:57.170 --> 0:30:01.810
<v Speaker 2>centers by yourself was considered dangerous. Like this, like multiple

0:30:01.990 --> 0:30:07.530
<v Speaker 2>ancient authors talk about banditry on isolated roads and that,

0:30:07.610 --> 0:30:11.420
<v Speaker 2>that going between inhabited areas was a recognized danger. Uh,

0:30:12.220 --> 0:30:15.340
<v Speaker 2>they mentioned risks of being robbed, of being killed or

0:30:15.420 --> 0:30:20.820
<v Speaker 2>abducted on often like mountain passes and stuff. Um, And

0:30:21.220 --> 0:30:22.880
<v Speaker 2>I think there are a couple of different ways to

0:30:22.920 --> 0:30:25.440
<v Speaker 2>think about this. One is, like, you were talking about, like,

0:30:25.460 --> 0:30:28.510
<v Speaker 2>the absence of authority. In some places that are far

0:30:28.590 --> 0:30:32.770
<v Speaker 2>away from authorities, there was little that could or would

0:30:32.830 --> 0:30:36.590
<v Speaker 2>be done about it. Like, maybe there's nobody in particular

0:30:36.710 --> 0:30:39.630
<v Speaker 2>whose job it is to make sure this long stretch

0:30:39.670 --> 0:30:43.120
<v Speaker 2>of uninhabited country is safe. So, you know, a bandit

0:30:43.140 --> 0:30:45.380
<v Speaker 2>wants to post up there, who's going to do anything

0:30:45.420 --> 0:30:45.700
<v Speaker 2>about it?

0:30:46.280 --> 0:30:49.060
<v Speaker 1>Right, right. Like a city-state may lay claim to that land,

0:30:49.100 --> 0:30:50.960
<v Speaker 1>but that doesn't mean they have a presence there.

0:30:51.340 --> 0:30:54.660
<v Speaker 2>Yeah. In other places, I think you may just get

0:30:54.840 --> 0:30:59.980
<v Speaker 2>the fact that local inhabitants may have seen it as like,

0:31:00.380 --> 0:31:04.330
<v Speaker 2>you know, our job is essentially to raid travelers passing through. Like,

0:31:04.390 --> 0:31:07.209
<v Speaker 2>this is our place. You're coming through here. And you

0:31:07.270 --> 0:31:10.370
<v Speaker 2>might have something like a very blurry line between toll

0:31:10.450 --> 0:31:12.010
<v Speaker 2>collection and banditry.

0:31:12.970 --> 0:31:14.950
<v Speaker 1>And when does one become the other, right? What's the

0:31:15.010 --> 0:31:18.210
<v Speaker 1>line between the two? And then add storytelling and myth-making

0:31:18.270 --> 0:31:18.850
<v Speaker 1>on top of that.

0:31:19.310 --> 0:31:22.690
<v Speaker 2>That's right. So I think it's interesting how this one

0:31:22.770 --> 0:31:25.610
<v Speaker 2>really kind of does line up with tropes we see

0:31:25.650 --> 0:31:27.950
<v Speaker 2>in slasher movies, unlike some of the other tropes we're

0:31:27.970 --> 0:31:29.810
<v Speaker 2>going to get into later, where if you want to

0:31:29.830 --> 0:31:32.090
<v Speaker 2>see any connection, it's a lot more of a stretch.

0:31:34.030 --> 0:31:36.510
<v Speaker 2>Theseus is warned, you don't want to go down that road,

0:31:36.610 --> 0:31:39.020
<v Speaker 2>it's really dangerous, but he goes anyway. Because he wants

0:31:39.060 --> 0:31:41.820
<v Speaker 2>to be like Heracles, and he believes he's young and invincible.

0:31:42.440 --> 0:31:44.000
<v Speaker 1>And so that's exactly what we're going to get. A

0:31:44.080 --> 0:31:47.970
<v Speaker 1>string of six encounters. like sub-bosses in a video game,

0:31:48.570 --> 0:31:52.090
<v Speaker 1>as our hero makes his way to Athens to meet

0:31:52.130 --> 0:31:55.650
<v Speaker 1>his father for the first time, at least his mortal father.

0:31:56.650 --> 0:31:58.640
<v Speaker 1>So that's what we're going to do for the next

0:31:59.080 --> 0:32:02.180
<v Speaker 1>large chunk of the podcast here, is just go through

0:32:02.320 --> 0:32:06.480
<v Speaker 1>one by one, talk about the slasher, evildoer, bandit king

0:32:06.520 --> 0:32:10.720
<v Speaker 1>he encounters, what's written about them, what we might tease

0:32:10.780 --> 0:32:13.360
<v Speaker 1>apart regarding this individual, and then we'll move on to

0:32:13.380 --> 0:32:13.830
<v Speaker 1>the next one.

0:32:14.620 --> 0:32:20.940
<v Speaker 2>Okay, first killer. Periphetes, the basher with bronze. Okay, I'm

0:32:20.960 --> 0:32:23.480
<v Speaker 2>going to read from Plutarch. This is the Peron translation.

0:32:24.560 --> 0:32:28.680
<v Speaker 2>And so in the first place, in Epidaria, when Periphetes,

0:32:29.060 --> 0:32:32.610
<v Speaker 2>who used a club as his weapon and on this

0:32:32.670 --> 0:32:36.530
<v Speaker 2>account was called club-bearer, laid hold of him and tried

0:32:36.590 --> 0:32:39.930
<v Speaker 2>to stop his progress, he grappled with him and slew him.

0:32:40.530 --> 0:32:43.030
<v Speaker 2>And being pleased with the club, he took it and

0:32:43.090 --> 0:32:46.240
<v Speaker 2>made it his weapon and continued to use it just

0:32:46.320 --> 0:32:50.660
<v Speaker 2>as Heracles did with the lion's skin. That hero wore

0:32:50.720 --> 0:32:53.590
<v Speaker 2>the skin to prove how great a wild beast he

0:32:53.630 --> 0:32:57.450
<v Speaker 2>had mastered, and so Theseus carried the club to show

0:32:57.490 --> 0:33:00.410
<v Speaker 2>that although it had been vanquished by him, in his

0:33:00.510 --> 0:33:05.900
<v Speaker 2>own hands it was invincible. Mm-hmm. And then another phrasing

0:33:05.980 --> 0:33:08.320
<v Speaker 2>I also wanted to draw from a different telling of

0:33:08.360 --> 0:33:11.100
<v Speaker 2>the story. This is the version that appears in the

0:33:11.200 --> 0:33:17.750
<v Speaker 2>bibliotheca or library of Apollodorus, sometimes called Pseudo-Apollodorus. Basically, this

0:33:17.850 --> 0:33:21.450
<v Speaker 2>is a compilation of myths and legends that was once

0:33:21.510 --> 0:33:26.690
<v Speaker 2>attributed to the 2nd century BCE Greek author Apollodorus of Athens.

0:33:27.670 --> 0:33:31.830
<v Speaker 2>Scholars have established that it cannot be by this guy,

0:33:31.890 --> 0:33:35.520
<v Speaker 2>by Apollodorus of Athens because of anachronisms. It's actually probably

0:33:35.540 --> 0:33:38.660
<v Speaker 2>from the first or second century CE, real author unknown.

0:33:38.700 --> 0:33:42.760
<v Speaker 2>So it's called pseudo Apollodorus, like false Apollodorus. And this

0:33:42.820 --> 0:33:47.040
<v Speaker 2>is the Fraser translation. Again, it's talking about the story.

0:33:47.060 --> 0:33:52.520
<v Speaker 2>It says he comes to Epidaurus. He slays Periphetes, quote,

0:33:52.820 --> 0:33:56.440
<v Speaker 2>who was surnamed the club man from the club, which

0:33:56.480 --> 0:33:59.780
<v Speaker 2>he carried. For being crazy on his legs, he carried

0:33:59.840 --> 0:34:04.320
<v Speaker 2>an iron club with which he dispatched the passersby. That

0:34:04.380 --> 0:34:07.870
<v Speaker 2>club Theseus wrested from him and continued to carry about.

0:34:07.880 --> 0:34:10.730
<v Speaker 2>I wanted to include that because he's the club man

0:34:10.750 --> 0:34:14.030
<v Speaker 2>and also because it says he's crazy on his legs.

0:34:14.210 --> 0:34:19.450
<v Speaker 2>Some sources say that Periphetes was lame in one leg.

0:34:19.530 --> 0:34:21.549
<v Speaker 2>And so I wonder, could that be what Fraser is

0:34:21.610 --> 0:34:23.879
<v Speaker 2>translating with crazy on his legs here?

0:34:24.680 --> 0:34:28.160
<v Speaker 1>That's what I assume, because that is something that Felton

0:34:28.280 --> 0:34:32.950
<v Speaker 1>also gets into, talking about how in some tellings, Periphetes

0:34:33.030 --> 0:34:35.850
<v Speaker 1>is said to be a son of Hephaestus, and therefore

0:34:35.870 --> 0:34:39.890
<v Speaker 1>a crippled demigod himself, who at times uses the club

0:34:39.950 --> 0:34:42.129
<v Speaker 1>as a walking stick, as well as a way to

0:34:42.790 --> 0:34:49.259
<v Speaker 1>bash in the people he wishes to subjugate. And in this,

0:34:49.680 --> 0:34:53.260
<v Speaker 1>we have very much a blunt force adversary here. He's

0:34:53.300 --> 0:34:59.120
<v Speaker 1>got a single weapon gimmick and he's defeated. And that gimmick,

0:34:59.160 --> 0:35:02.000
<v Speaker 1>the weapon is then taken as a trophy by Theseus

0:35:02.080 --> 0:35:05.030
<v Speaker 1>and then used as his weapon. And also, you know,

0:35:05.410 --> 0:35:07.290
<v Speaker 1>to show just how tough he is. Like, yeah, yeah,

0:35:07.390 --> 0:35:09.989
<v Speaker 1>I took out the club man. Now I'm the club man.

0:35:11.790 --> 0:35:13.010
<v Speaker 2>Who's the club man now?

0:35:13.250 --> 0:35:13.489
<v Speaker 1>Yeah.

0:35:14.570 --> 0:35:18.200
<v Speaker 2>You know, almost all of these encounters have something of

0:35:18.239 --> 0:35:22.859
<v Speaker 2>a turnabout in them. Either Theseus uses the person's own

0:35:22.980 --> 0:35:25.950
<v Speaker 2>method of violence back against them, or there's some other

0:35:25.969 --> 0:35:28.850
<v Speaker 2>kind of reversal like that. In this case, he takes

0:35:28.910 --> 0:35:31.109
<v Speaker 2>the club from the club man and becomes the new

0:35:31.150 --> 0:35:31.969
<v Speaker 2>club man, yeah.

0:35:32.270 --> 0:35:34.069
<v Speaker 1>Yeah, I mean, and that's something you would generally want

0:35:34.110 --> 0:35:36.290
<v Speaker 1>to see in a slasher movie. You know, you want

0:35:36.310 --> 0:35:38.170
<v Speaker 1>to see Jason get his head cut off or run

0:35:38.190 --> 0:35:40.810
<v Speaker 1>through on something. You don't want to see him, I

0:35:40.830 --> 0:35:45.420
<v Speaker 1>don't know, just shot or... Or arrested. That's not a

0:35:45.480 --> 0:35:47.680
<v Speaker 1>fitting end to a Friday the 13th movie.

0:35:48.660 --> 0:35:50.810
<v Speaker 2>That would be funny, putting the cuffs on Jason.

0:35:51.070 --> 0:35:53.790
<v Speaker 1>Yeah, there needs to be a proper reversal. And we

0:35:53.830 --> 0:35:56.850
<v Speaker 1>get almost a literal reversal in most of these encounters,

0:35:56.910 --> 0:35:59.350
<v Speaker 1>including this one. He who bashes with the club is

0:35:59.410 --> 0:36:04.310
<v Speaker 1>bashed himself. Speaking of that club, Felton mentions that it's

0:36:04.390 --> 0:36:07.390
<v Speaker 1>usually wooden in tellings, but other times it's bronze or iron.

0:36:08.050 --> 0:36:11.170
<v Speaker 1>And there's at least one version of it where He's

0:36:11.190 --> 0:36:14.670
<v Speaker 1>going to bash in Theseus with this, Periphetes is. And

0:36:14.690 --> 0:36:17.069
<v Speaker 1>then Theseus is like, hey, can I take a look

0:36:17.110 --> 0:36:18.969
<v Speaker 1>at that club of yours? I've heard it's made out

0:36:18.989 --> 0:36:21.489
<v Speaker 1>of bronze. And he's like, oh, sure, take a look.

0:36:21.570 --> 0:36:23.430
<v Speaker 1>And then, you know, he kills him with it.

0:36:23.850 --> 0:36:24.710
<v Speaker 2>Very Bugs Bunny.

0:36:24.930 --> 0:36:28.440
<v Speaker 1>Yeah, or certainly reminded me of Jack Frost that, oh,

0:36:28.469 --> 0:36:29.880
<v Speaker 1>but I don't know how to sit on a shovel.

0:36:29.920 --> 0:36:33.759
<v Speaker 1>You'll have to show me. So he just hands it over.

0:36:34.960 --> 0:36:39.120
<v Speaker 1>But Felton does mention that via this connection to Hephaestus,

0:36:39.910 --> 0:36:42.680
<v Speaker 1>there is this idea that he is on some level

0:36:42.719 --> 0:36:47.180
<v Speaker 1>maybe a deformed killer. A trope in its modern form

0:36:47.360 --> 0:36:53.279
<v Speaker 1>that Felton connects to debunked pseudosciences like criminal anthropology. And

0:36:53.320 --> 0:36:56.560
<v Speaker 1>of course, we recognize that this is a familiar trope

0:36:57.320 --> 0:36:59.989
<v Speaker 1>in horror fiction and all sorts of fiction. Just the

0:37:00.090 --> 0:37:03.410
<v Speaker 1>idea that some sort of inner distortion of the soul

0:37:03.810 --> 0:37:07.770
<v Speaker 1>has to be manifested in a physical, visual distortion of

0:37:07.810 --> 0:37:08.370
<v Speaker 1>the character.

0:37:09.120 --> 0:37:09.279
<v Speaker 2>Yeah.

0:37:09.500 --> 0:37:11.820
<v Speaker 1>Which, you know, and we see this all over the

0:37:11.840 --> 0:37:15.610
<v Speaker 1>place with slashers, right? Like Jason Voorhees, Freddy Krueger, and,

0:37:15.710 --> 0:37:18.489
<v Speaker 1>you know, any number of slasher, right? There's some sort

0:37:18.530 --> 0:37:22.350
<v Speaker 1>of injury that they sustained, some sort of physical ailment

0:37:22.590 --> 0:37:24.450
<v Speaker 1>that hints at some sort of inner ailment.

0:37:24.860 --> 0:37:29.090
<v Speaker 2>Yeah. And it's also part of the Sort of the

0:37:29.150 --> 0:37:32.410
<v Speaker 2>monstrousness that is hidden to later be revealed. Like a

0:37:32.530 --> 0:37:35.930
<v Speaker 2>common trope is the masked killer. Sometimes the mask is

0:37:35.969 --> 0:37:38.970
<v Speaker 2>to hide the killer's identity, but other times the killer's

0:37:39.050 --> 0:37:41.950
<v Speaker 2>identity is known. And what the mask hides is what

0:37:42.010 --> 0:37:46.469
<v Speaker 2>their face looks like. There's something inherently like just unusual

0:37:46.530 --> 0:37:49.640
<v Speaker 2>about the face. In the case of Jason Voorhees, he

0:37:49.700 --> 0:37:52.500
<v Speaker 2>is somebody who has a facial deformity. And at the

0:37:52.640 --> 0:37:54.739
<v Speaker 2>end of each movie, the mask comes off and you

0:37:54.780 --> 0:37:56.520
<v Speaker 2>see what his face really looks like.

0:37:56.760 --> 0:38:00.609
<v Speaker 1>Yeah. Here, we have no mask. And there's a lot

0:38:00.630 --> 0:38:02.810
<v Speaker 1>to make of that. I think you could get into

0:38:02.910 --> 0:38:07.940
<v Speaker 1>ideas of how the ancient Greeks viewed masks and certainly

0:38:08.060 --> 0:38:13.120
<v Speaker 1>focused on their importance as a transformative act in ritual

0:38:13.260 --> 0:38:17.779
<v Speaker 1>and in theater, of course. And certainly there are theatrics

0:38:17.840 --> 0:38:21.239
<v Speaker 1>to the murders here. There are ritualistic aspects to the

0:38:21.280 --> 0:38:24.620
<v Speaker 1>murders here, but they're not really theater or ritual in

0:38:24.660 --> 0:38:28.509
<v Speaker 1>the deeper ancient Greek sense of the word. So I

0:38:28.530 --> 0:38:30.930
<v Speaker 1>almost get a sense like they just wouldn't, like they

0:38:30.969 --> 0:38:32.980
<v Speaker 1>didn't think about masks in the same way that we

0:38:33.000 --> 0:38:36.260
<v Speaker 1>think of them. They didn't emphasize them. And then also

0:38:36.620 --> 0:38:40.620
<v Speaker 1>on the lawless highway between city-states, why wear a mask?

0:38:40.900 --> 0:38:44.120
<v Speaker 1>You don't have to. Like this is a world where

0:38:44.180 --> 0:38:45.720
<v Speaker 1>you can be the monster that you are.

0:38:46.330 --> 0:38:49.150
<v Speaker 2>You almost get the sense that most of Theseus' enemies

0:38:49.210 --> 0:38:51.930
<v Speaker 2>in the story are proud of what they're doing. There's nothing,

0:38:52.090 --> 0:38:53.930
<v Speaker 2>there's no reason to hide.

0:38:54.390 --> 0:38:55.370
<v Speaker 1>Yeah, exactly.

0:38:55.390 --> 0:38:55.469
<v Speaker 2>Yeah.

0:39:06.640 --> 0:39:09.219
<v Speaker 1>All right, so that's one down, five to go. Who's next?

0:39:09.880 --> 0:39:14.680
<v Speaker 2>Next is Sinus, also known as Pideocamptes, meaning the pine

0:39:14.780 --> 0:39:19.800
<v Speaker 2>bender or he who bends pines or bends trees. Here,

0:39:20.239 --> 0:39:24.629
<v Speaker 2>the Plutarch text does not give us much to work

0:39:24.690 --> 0:39:28.620
<v Speaker 2>with on the mechanics of this slashing or the conflict itself.

0:39:29.500 --> 0:39:33.080
<v Speaker 2>It just says that Theseus slew Cenus, the bender of pines,

0:39:33.540 --> 0:39:36.340
<v Speaker 2>after the same manner in which he himself had destroyed

0:39:36.400 --> 0:39:39.840
<v Speaker 2>many others before. But there is a bit more grisly

0:39:39.880 --> 0:39:42.000
<v Speaker 2>detail in some other sources. So I'm going to start

0:39:42.020 --> 0:39:46.259
<v Speaker 2>with those others. So here I'm quoting from Pausanias in

0:39:46.340 --> 0:39:49.240
<v Speaker 2>his book, The Description of Greece. This is an ancient

0:39:49.360 --> 0:39:53.660
<v Speaker 2>travel guide. by the Greek author and geographer Pausanias, 2nd

0:39:53.700 --> 0:39:58.120
<v Speaker 2>century CE. This is the translation by Jones and Ormerod. Quote,

0:39:58.680 --> 0:40:02.040
<v Speaker 2>At the beginning of the Isthmus is the place where

0:40:02.080 --> 0:40:05.680
<v Speaker 2>the brigand Cenus used to take hold of pine trees

0:40:05.880 --> 0:40:09.540
<v Speaker 2>and draw them down. Okay, so he's bending down pine trees.

0:40:10.340 --> 0:40:13.819
<v Speaker 2>All those whom he overcame in fight, he used to

0:40:13.920 --> 0:40:17.920
<v Speaker 2>tie to the trees and then allow them to swing

0:40:18.020 --> 0:40:22.030
<v Speaker 2>up again. Thereupon, each of the pines used to drag

0:40:22.130 --> 0:40:25.910
<v Speaker 2>to itself the bound man. And as the bond gave

0:40:25.989 --> 0:40:29.990
<v Speaker 2>way in neither direction, but was stretched equally in both,

0:40:30.230 --> 0:40:32.880
<v Speaker 2>he was torn in two. This was the way in

0:40:32.920 --> 0:40:35.620
<v Speaker 2>which Zenos himself was slain by Theseus.

0:40:37.120 --> 0:40:40.220
<v Speaker 1>All right. So we have an elaborate method of torture

0:40:40.260 --> 0:40:45.590
<v Speaker 1>slash execution, uh, involving bent pine trees, um, in, in,

0:40:45.760 --> 0:40:48.430
<v Speaker 1>in a way, very cartoonish in its own right. Um,

0:40:49.670 --> 0:40:51.410
<v Speaker 1>I mean, except for being torn in half. That's the

0:40:51.469 --> 0:40:55.550
<v Speaker 1>rather grisly detail. But as Felton discusses it, there's at

0:40:55.610 --> 0:40:58.270
<v Speaker 1>least some versions of this where only one tree is used.

0:40:58.670 --> 0:41:01.250
<v Speaker 1>And he's just launching people into the air like a

0:41:01.290 --> 0:41:04.330
<v Speaker 1>Bugs Bunny trap. But then I think in the vast

0:41:04.370 --> 0:41:06.359
<v Speaker 1>majority of the tellings, yeah, there's an idea that like

0:41:06.390 --> 0:41:09.460
<v Speaker 1>two trees are used, like strapped to two different legs

0:41:09.520 --> 0:41:13.900
<v Speaker 1>and then catapulted into two pieces, a bisection of the individual.

0:41:14.390 --> 0:41:16.930
<v Speaker 2>Okay, so that clears up. I was getting confused because

0:41:16.969 --> 0:41:19.090
<v Speaker 2>when I was reading different versions of this, it sounded

0:41:19.130 --> 0:41:21.129
<v Speaker 2>like they were describing different things. And so I guess

0:41:21.150 --> 0:41:24.000
<v Speaker 2>they are. Like some versions, you're just getting launched into

0:41:24.040 --> 0:41:27.940
<v Speaker 2>the sky. In other versions, the bent trees are ripping

0:41:27.980 --> 0:41:32.020
<v Speaker 2>you apart. Yeah, yeah. Okay. So man, Sinus has to

0:41:32.060 --> 0:41:35.160
<v Speaker 2>be pretty strong to bend these trees down like he does.

0:41:36.010 --> 0:41:38.730
<v Speaker 2>But you get the idea that he also may be

0:41:38.850 --> 0:41:42.770
<v Speaker 2>using some kind of mechanism or device to bend the

0:41:42.830 --> 0:41:47.770
<v Speaker 2>trees that way. because there is a line after the

0:41:47.790 --> 0:41:51.990
<v Speaker 2>part I read in Plutarch. So it says that Theseus

0:41:52.030 --> 0:41:55.469
<v Speaker 2>comes along and then destroyed Sinus in the same way

0:41:55.550 --> 0:41:59.469
<v Speaker 2>that Sinus had destroyed others that came before, quote, and

0:41:59.530 --> 0:42:02.840
<v Speaker 2>this he did without having either practiced or ever learned

0:42:02.960 --> 0:42:06.320
<v Speaker 2>the art of bending these trees to show that natural

0:42:06.400 --> 0:42:11.940
<v Speaker 2>strength is above all art. So maybe there's some kind

0:42:11.960 --> 0:42:15.549
<v Speaker 2>of technique involved there that Cenus was able to do

0:42:15.590 --> 0:42:18.720
<v Speaker 2>it because he'd figured out the system for bending the trees.

0:42:19.080 --> 0:42:20.660
<v Speaker 2>Theseus was just that strong.

0:42:21.120 --> 0:42:25.170
<v Speaker 1>Hmm. Now Felton notes that in, in some sources, uh,

0:42:25.239 --> 0:42:28.450
<v Speaker 1>Cenus is himself also a demigod and therefore I guess

0:42:28.489 --> 0:42:31.529
<v Speaker 1>maybe has access to that kind of strength as well. Uh,

0:42:31.570 --> 0:42:33.469
<v Speaker 1>but yeah, he's supposed to be a son of Poseidon

0:42:33.969 --> 0:42:36.610
<v Speaker 1>and some of these tellings, which would make him, uh,

0:42:36.770 --> 0:42:41.590
<v Speaker 1>Theseus is half brother. Uh, and, uh, it is, Felton

0:42:41.690 --> 0:42:44.430
<v Speaker 1>discusses the possible connection here to be made between the

0:42:44.489 --> 0:42:48.830
<v Speaker 1>splitting of a person into two. This is when it's

0:42:49.170 --> 0:42:52.900
<v Speaker 1>used in ancient Greece. There's like a theme of duality

0:42:53.000 --> 0:42:55.940
<v Speaker 1>within oneself that is often explored. And, you know, we

0:42:55.960 --> 0:43:02.980
<v Speaker 1>see that throughout human storytelling. But there's something to be

0:43:03.040 --> 0:43:06.310
<v Speaker 1>had here with the idea that they are sort of

0:43:06.350 --> 0:43:09.330
<v Speaker 1>like two different sides of the same coin. Like they're

0:43:09.350 --> 0:43:12.720
<v Speaker 1>half-brothers here. One is good and noble, one is evil,

0:43:13.680 --> 0:43:16.540
<v Speaker 1>and then they're pitted against each other. And we get this,

0:43:16.900 --> 0:43:19.609
<v Speaker 1>in at least one version of the story, we have

0:43:19.800 --> 0:43:25.330
<v Speaker 1>Theseus having to ritually cleanse himself after slaying Cenus, after

0:43:25.850 --> 0:43:28.450
<v Speaker 1>strapping Cenus to the pines and splitting him in two

0:43:28.510 --> 0:43:31.690
<v Speaker 1>or launching him into the sky or whatever, which Felton

0:43:31.710 --> 0:43:36.750
<v Speaker 1>describes as a, quote, spiritual atonement for the blood pollution. So, yeah,

0:43:36.770 --> 0:43:41.180
<v Speaker 1>some possible connections here, duality, physical bisection. two sides of

0:43:41.219 --> 0:43:43.880
<v Speaker 1>the same coin with these two characters, both sons of

0:43:43.920 --> 0:43:47.240
<v Speaker 1>the same God. And then Theseus needing to like cleanse

0:43:47.280 --> 0:43:50.020
<v Speaker 1>himself of what he has had to do to defeat

0:43:50.080 --> 0:43:50.520
<v Speaker 1>this guy.

0:43:50.840 --> 0:43:52.759
<v Speaker 2>It's interesting the idea that there would need to be

0:43:52.800 --> 0:43:56.320
<v Speaker 2>a cleansing after this one, but not after the others.

0:43:56.440 --> 0:43:57.700
<v Speaker 2>Am I understanding that right?

0:43:57.960 --> 0:44:01.550
<v Speaker 1>Yeah. I think it's predominantly when there is an element

0:44:01.570 --> 0:44:04.430
<v Speaker 1>of cleansing, it's going to take place after all six

0:44:04.610 --> 0:44:07.489
<v Speaker 1>before he can enter Athens. And we'll come back to that.

0:44:07.550 --> 0:44:09.650
<v Speaker 1>But there's at least one telling where the cleansing has

0:44:09.670 --> 0:44:12.410
<v Speaker 1>to happen now. And maybe that is tied more to

0:44:12.450 --> 0:44:15.750
<v Speaker 1>the idea that this guy is, is like his dark double.

0:44:16.170 --> 0:44:18.910
<v Speaker 1>And there's like, somehow it's more personal. But I think

0:44:19.260 --> 0:44:22.680
<v Speaker 1>the more common trope is after all six murders have

0:44:22.719 --> 0:44:25.700
<v Speaker 1>been murdered, he has to cleanse himself of that murder.

0:44:26.280 --> 0:44:28.779
<v Speaker 2>Well, I was curious because in Plutarch's telling, there's a

0:44:28.820 --> 0:44:33.790
<v Speaker 2>whole other subplot after this encounter where, uh, Cenus has

0:44:33.810 --> 0:44:38.630
<v Speaker 2>a daughter who then has a son with Theseus. So

0:44:38.730 --> 0:44:41.770
<v Speaker 2>it says like Theseus and the daughter, like Theseus tells

0:44:41.830 --> 0:44:44.069
<v Speaker 2>the daughter he's not going to harm her. And then

0:44:44.410 --> 0:44:47.620
<v Speaker 2>they have sex and then she becomes pregnant and she

0:44:47.660 --> 0:44:52.680
<v Speaker 2>has a son named Melanippus. And then that character goes

0:44:52.780 --> 0:44:55.820
<v Speaker 2>on to found like a colony of Greeks living somewhere.

0:44:55.960 --> 0:44:58.610
<v Speaker 2>And it uses this story to explain why they have

0:44:58.640 --> 0:45:02.069
<v Speaker 2>certain customs with regard to like how they treat Melanippus.

0:45:02.430 --> 0:45:05.470
<v Speaker 2>certain flora, like asparagus thorn and stuff.

0:45:06.320 --> 0:45:09.239
<v Speaker 1>Yeah, it's my understanding that the pine tree aspect of

0:45:09.280 --> 0:45:13.360
<v Speaker 1>this is tied to actual flora in this area. And

0:45:13.380 --> 0:45:16.560
<v Speaker 1>maybe there's sort of like a sinister interpretation of the flora. Like, oh,

0:45:16.580 --> 0:45:18.580
<v Speaker 1>you're traveling through that area with all those pine trees.

0:45:18.980 --> 0:45:21.299
<v Speaker 1>You know what they do with those pine trees? They

0:45:21.320 --> 0:45:22.800
<v Speaker 1>split people in half with them.

0:45:23.340 --> 0:45:23.520
<v Speaker 2>Yeah.

0:45:23.880 --> 0:45:25.820
<v Speaker 1>Yeah. And then, of course, you know, to be clear...

0:45:26.680 --> 0:45:29.319
<v Speaker 1>There are plenty of grisly examples from throughout history of

0:45:29.360 --> 0:45:31.489
<v Speaker 1>people being split in half, and we're not going to

0:45:31.530 --> 0:45:33.790
<v Speaker 1>go down the road of exploring all of those. But

0:45:33.830 --> 0:45:37.690
<v Speaker 1>it also definitely factors into our horror fiction.

0:45:37.710 --> 0:45:37.969
<v Speaker 2>And, I.

0:45:39.510 --> 0:45:41.629
<v Speaker 1>Mean, it also made me think of Goldfinger, you know?

0:45:42.190 --> 0:45:43.170
<v Speaker 2>Oh, yeah.

0:45:43.310 --> 0:45:45.450
<v Speaker 1>Lay James Bond out on the table, and then you're

0:45:45.469 --> 0:45:47.009
<v Speaker 1>going to threaten to cut him right up the middle

0:45:47.050 --> 0:45:50.320
<v Speaker 1>with a laser beam. You know, that's where my mind

0:45:50.380 --> 0:45:52.780
<v Speaker 1>went here. So it's sort of a Bond villain aspect

0:45:53.780 --> 0:45:56.380
<v Speaker 1>to this evildoer as well. Yeah.

0:45:56.580 --> 0:45:58.279
<v Speaker 2>Man, that's a slow-moving laser, though.

0:45:58.620 --> 0:46:01.529
<v Speaker 1>Yeah, yeah. Yeah, the trees, at least, would be, I guess,

0:46:01.590 --> 0:46:02.049
<v Speaker 1>pretty quick.

0:46:02.550 --> 0:46:06.569
<v Speaker 2>I'm trying to think about horror movies. I'm mainly just

0:46:06.610 --> 0:46:09.630
<v Speaker 2>thinking about Fulci in Conquest with the werewolves.

0:46:09.969 --> 0:46:12.710
<v Speaker 1>Oh, yeah, the tarot, A Lady in Half, yeah. That's

0:46:12.750 --> 0:46:14.660
<v Speaker 1>probably the best one. I think there are plenty of

0:46:14.719 --> 0:46:17.600
<v Speaker 1>other examples, but you're getting into some pretty grisly territory.

0:46:18.500 --> 0:46:20.040
<v Speaker 2>Okay, you ready for the next encounter?

0:46:20.380 --> 0:46:23.160
<v Speaker 1>Let's do it. We're going to get more animalistic with

0:46:23.180 --> 0:46:23.450
<v Speaker 1>this one.

0:46:23.750 --> 0:46:27.830
<v Speaker 2>That's right. So next we come to the Cromionian sow,

0:46:28.310 --> 0:46:30.589
<v Speaker 2>who I was thinking of as the hog of the forsaken,

0:46:30.650 --> 0:46:31.630
<v Speaker 2>the pork of crime.

0:46:32.010 --> 0:46:32.290
<v Speaker 1>Nice.

0:46:32.790 --> 0:46:35.210
<v Speaker 2>So this is the only one of the slashers that

0:46:35.370 --> 0:46:40.350
<v Speaker 2>is possibly not human, possibly not human, because there are

0:46:40.450 --> 0:46:44.090
<v Speaker 2>at least two versions of this story, even within Plutarch.

0:46:44.140 --> 0:46:46.719
<v Speaker 2>And then there are different versions in other ancient tellings

0:46:46.780 --> 0:46:50.200
<v Speaker 2>as well. So in Plutarch, So one version of the

0:46:50.239 --> 0:46:54.719
<v Speaker 2>story is the Cromionian sow is a monster pig. And

0:46:54.760 --> 0:46:58.160
<v Speaker 2>the other version is a nasty lady who kills people

0:46:58.320 --> 0:47:01.440
<v Speaker 2>on the road. The pig was sometimes said to have

0:47:01.480 --> 0:47:05.540
<v Speaker 2>been owned by a witch named Fia. Some sources said

0:47:05.600 --> 0:47:08.080
<v Speaker 2>that Fia was actually the pig's name or that they

0:47:08.120 --> 0:47:10.590
<v Speaker 2>were both named to that. So the witch is named pig.

0:47:10.640 --> 0:47:12.739
<v Speaker 2>She has or the witch is named Fia. And then

0:47:12.820 --> 0:47:14.190
<v Speaker 2>Fia has a pig named Fia.

0:47:14.510 --> 0:47:17.649
<v Speaker 1>OK, so either a monster pig. A monster pig owned

0:47:17.670 --> 0:47:19.130
<v Speaker 1>by a lady or just a lady?

0:47:19.430 --> 0:47:22.989
<v Speaker 2>Just a lady. Okay, so here's the Dryden translation of

0:47:23.030 --> 0:47:27.710
<v Speaker 2>the Plutarch on the Cromionian sow. Quote, the Cromionian sow,

0:47:28.030 --> 0:47:33.090
<v Speaker 2>by Crom, Crom, the Cromionian sow, which they called Phea,

0:47:33.510 --> 0:47:37.200
<v Speaker 2>was a savage and formidable wild beast, by no means

0:47:37.260 --> 0:47:39.879
<v Speaker 2>an enemy to be despised. I think that means not

0:47:39.910 --> 0:47:44.860
<v Speaker 2>an enemy to be disrespected or discounted, like a worthy adversary.

0:47:45.860 --> 0:47:49.120
<v Speaker 2>Theseus killed her, going out of his way on purpose

0:47:49.180 --> 0:47:51.690
<v Speaker 2>to meet and engage her, so that he might not

0:47:51.770 --> 0:47:55.350
<v Speaker 2>seem to perform all his great exploits out of mere necessity,

0:47:55.770 --> 0:47:58.330
<v Speaker 2>being also of opinion that it was the part of

0:47:58.370 --> 0:48:01.390
<v Speaker 2>a brave man to chastise villainous and wicked men when

0:48:01.430 --> 0:48:05.259
<v Speaker 2>attacked by them, but to seek out and overcome the

0:48:05.300 --> 0:48:09.900
<v Speaker 2>more noble wild beasts. Others relate that Thea was a woman,

0:48:10.060 --> 0:48:14.280
<v Speaker 2>a robber full of cruelty and lust, that lived in Cromyon,

0:48:14.810 --> 0:48:17.509
<v Speaker 2>And had the name of sow given her from the

0:48:17.610 --> 0:48:21.110
<v Speaker 2>foulness of her life and manners and afterwards was killed

0:48:21.170 --> 0:48:25.960
<v Speaker 2>by Theseus. And then a very short other version. This

0:48:26.020 --> 0:48:31.860
<v Speaker 2>is from, again, Apollodorus, the library of Apollodorus or Pseudo-Apollodorus. Quote, third,

0:48:31.920 --> 0:48:35.089
<v Speaker 2>he slew at Chromion the sow that was called Phea

0:48:35.300 --> 0:48:38.770
<v Speaker 2>after the old woman who bred it. That sow, some say,

0:48:38.850 --> 0:48:42.469
<v Speaker 2>was the offspring of Echidna and Typhon. So there you get,

0:48:42.590 --> 0:48:46.450
<v Speaker 2>it's her sow. She bred it. And gets its name

0:48:46.489 --> 0:48:46.890
<v Speaker 2>from her.

0:48:47.910 --> 0:48:50.410
<v Speaker 1>So he kills the monster pig. If the monster pig

0:48:50.450 --> 0:48:52.590
<v Speaker 1>is working for an old lady, we don't know what

0:48:52.610 --> 0:48:54.310
<v Speaker 1>happens to the old lady. I guess she's fine. Maybe

0:48:54.350 --> 0:48:56.880
<v Speaker 1>her power is removed if her monster pig is taken

0:48:56.910 --> 0:48:57.430
<v Speaker 1>out of action.

0:48:57.860 --> 0:49:00.719
<v Speaker 2>Right. Or it's just a woman who kills people on

0:49:00.739 --> 0:49:03.540
<v Speaker 2>the road and Theseus kills her. But I like how

0:49:03.580 --> 0:49:06.900
<v Speaker 2>Plutarch gives explanations either way and says in this one,

0:49:07.560 --> 0:49:10.660
<v Speaker 2>the killer did not stop him on the road. Whether

0:49:10.680 --> 0:49:13.069
<v Speaker 2>it be pig or lady, he sought them out and

0:49:13.110 --> 0:49:13.609
<v Speaker 2>killed them.

0:49:13.630 --> 0:49:17.819
<v Speaker 1>Yeah. So the hunter, I mean, the hunted has become

0:49:17.840 --> 0:49:18.779
<v Speaker 1>the hunter in this case.

0:49:18.860 --> 0:49:19.219
<v Speaker 2>Yeah. Yeah.

0:49:20.920 --> 0:49:24.319
<v Speaker 1>Felton points out something interesting here with the connection to

0:49:24.500 --> 0:49:29.210
<v Speaker 1>serial killers in the modern sense. And that is that, yeah,

0:49:30.030 --> 0:49:31.969
<v Speaker 1>depending on the telling you're looking at, we have a

0:49:32.210 --> 0:49:36.680
<v Speaker 1>female killer here, a female evildoer. And she writes, quote,

0:49:36.780 --> 0:49:40.080
<v Speaker 1>The Greeks clearly believed that not only men but also women,

0:49:40.180 --> 0:49:44.759
<v Speaker 1>and not merely mythological women like Medea and Clytemnestra, were

0:49:44.800 --> 0:49:48.109
<v Speaker 1>capable of using not just secretive methods of killing, such

0:49:48.160 --> 0:49:52.730
<v Speaker 1>as poisoning, but also committing violent mutilation murder. Today, an

0:49:53.090 --> 0:49:55.989
<v Speaker 1>average of one out of every six serial killers is

0:49:56.050 --> 0:50:00.930
<v Speaker 1>a woman, a ratio coincidentally represented in Theseus' encounters.

0:50:01.510 --> 0:50:02.290
<v Speaker 2>Oh, interesting.

0:50:02.450 --> 0:50:03.049
<v Speaker 1>Yeah, I think.

0:50:03.680 --> 0:50:06.219
<v Speaker 2>If it's a pig and not, wait, no, sorry. If

0:50:06.260 --> 0:50:07.640
<v Speaker 2>it's not a pig, but it is a woman.

0:50:07.860 --> 0:50:10.759
<v Speaker 1>Yeah. If it is a pig, no serial killers in

0:50:11.110 --> 0:50:13.890
<v Speaker 1>today's world are actually monster pigs. So it's, it's meaningless

0:50:13.910 --> 0:50:14.549
<v Speaker 1>if that's the case.

0:50:15.770 --> 0:50:18.610
<v Speaker 2>A little unclear in Plutarch's version where if it's a pig,

0:50:19.230 --> 0:50:21.690
<v Speaker 2>is it a monster pig or just like a big

0:50:21.750 --> 0:50:25.350
<v Speaker 2>dangerous pig? I would guess the latter because I don't know,

0:50:25.630 --> 0:50:27.750
<v Speaker 2>you know, this is the more rationalistic telling.

0:50:27.930 --> 0:50:31.390
<v Speaker 1>Yeah. If you're going rationalistic, it's just a wild pig

0:50:31.430 --> 0:50:34.299
<v Speaker 1>that can certainly be dangerous. But you can also lean

0:50:34.340 --> 0:50:36.779
<v Speaker 1>more into, oh, it's the offspring of Echidna. It is

0:50:36.860 --> 0:50:41.100
<v Speaker 1>a monster like the rest of her monstrous offspring. But

0:50:41.719 --> 0:50:43.759
<v Speaker 1>as we've discussed on the show before, we certainly have

0:50:43.800 --> 0:50:48.780
<v Speaker 1>counterparts in horror cinema, perhaps most notably to us anyway,

0:50:48.860 --> 0:50:50.140
<v Speaker 1>Razorback from 1984, right?

0:50:50.320 --> 0:50:51.080
<v Speaker 2>Oh, yeah.

0:50:51.760 --> 0:50:56.750
<v Speaker 1>Oh, yeah. That's a monster, what, monster hog in the outback? Mm-hmm. Yeah.

0:50:56.810 --> 0:51:00.830
<v Speaker 2>Yeah, by Russell Mulcahy, the director of Highlander.

0:51:00.850 --> 0:51:01.669
<v Speaker 1>Yeah, yeah.

0:51:01.730 --> 0:51:03.739
<v Speaker 2>Also made this movie. Yeah.

0:51:03.880 --> 0:51:07.180
<v Speaker 1>So that's probably the most direct comparison to be made.

0:51:07.260 --> 0:51:11.700
<v Speaker 1>I was also reminded of Mason Verger's revenge plot against

0:51:11.739 --> 0:51:15.800
<v Speaker 1>Hannibal Lecter in Hannibal, where he's going to feed Hannibal

0:51:15.840 --> 0:51:18.980
<v Speaker 1>to Sardinian boars. So that's a case where you have

0:51:19.040 --> 0:51:23.870
<v Speaker 1>a villain who has essentially monster pigs at his disposal

0:51:23.910 --> 0:51:26.050
<v Speaker 1>that he's using to carry out his evil deeds.

0:51:26.810 --> 0:51:30.790
<v Speaker 2>It's not a lot of slasher movie killers have pets.

0:51:31.810 --> 0:51:34.790
<v Speaker 2>Usually they're kind of solo. They're working alone.

0:51:34.810 --> 0:51:39.130
<v Speaker 1>Yeah, I mean, having a pet can tend to humanize

0:51:39.150 --> 0:51:42.609
<v Speaker 1>them too much, right? Like, they're not likable fellas. That's

0:51:42.630 --> 0:51:43.250
<v Speaker 1>their whole deal.

0:51:44.250 --> 0:51:45.870
<v Speaker 2>Okay, killer number four. You ready?

0:51:45.890 --> 0:51:47.110
<v Speaker 1>Yeah, we're halfway through.

0:51:47.190 --> 0:51:50.690
<v Speaker 2>What's next? This is Skiron. I'm thinking of Skiron as

0:51:50.750 --> 0:51:56.250
<v Speaker 2>the cliff kicker or the turtle fattener. Here's the Dryden translation.

0:51:57.190 --> 0:52:01.520
<v Speaker 2>He also slew Skiron upon the borders of Megara. casting

0:52:01.580 --> 0:52:04.759
<v Speaker 2>him down from the rocks being as most report, a

0:52:04.840 --> 0:52:09.790
<v Speaker 2>notorious robber of all passengers. And as others add accustomed

0:52:10.110 --> 0:52:14.310
<v Speaker 2>out of insolence and wantonness to stretch forth his feet

0:52:14.570 --> 0:52:18.950
<v Speaker 2>to strangers, commanding them to wash them. And then while

0:52:18.989 --> 0:52:21.850
<v Speaker 2>they did it with a kick to send them down

0:52:21.910 --> 0:52:25.140
<v Speaker 2>the rock into the sea. Okay. You getting that there?

0:52:25.200 --> 0:52:28.239
<v Speaker 2>So he holds out his feet. He says, wash my feet. Uh,

0:52:28.960 --> 0:52:31.940
<v Speaker 2>We can get into exactly what this means and why

0:52:32.000 --> 0:52:36.009
<v Speaker 2>people would actually wash his feet when commanded. But he says,

0:52:36.070 --> 0:52:38.049
<v Speaker 2>wash my feet. They say, OK, I'm going to wash

0:52:38.070 --> 0:52:40.190
<v Speaker 2>your feet. And then he kicks them with the foot

0:52:40.290 --> 0:52:42.650
<v Speaker 2>and sends them over the cliff into the rocks below

0:52:42.710 --> 0:52:43.169
<v Speaker 2>in the sea.

0:52:44.090 --> 0:52:47.960
<v Speaker 1>Yeah. So there's a this guy sounds at least on

0:52:48.000 --> 0:52:49.660
<v Speaker 1>the surface like a little bit of a freak. He's

0:52:49.700 --> 0:52:53.480
<v Speaker 1>also clearly there's a power trip involved here. But also

0:52:53.500 --> 0:52:59.360
<v Speaker 1>he is a clearly a betrayer of of custom. Because

0:52:59.640 --> 0:53:01.700
<v Speaker 1>once someone has said, okay, I will wash your feet,

0:53:01.980 --> 0:53:05.419
<v Speaker 1>like the idea is like, okay, this is a sign

0:53:05.460 --> 0:53:08.020
<v Speaker 1>of honor that I'm showing you. You're not going to

0:53:08.300 --> 0:53:10.460
<v Speaker 1>kick me into the ocean where I might be eaten

0:53:10.480 --> 0:53:14.920
<v Speaker 1>by a monster or something. Like you've betrayed all the

0:53:14.980 --> 0:53:16.460
<v Speaker 1>laws of hospitality here.

0:53:17.120 --> 0:53:20.180
<v Speaker 2>So you mentioned being eaten by a monster. That actually

0:53:20.219 --> 0:53:23.120
<v Speaker 2>does come in. So Plutarch just says kicked down the

0:53:23.180 --> 0:53:26.779
<v Speaker 2>rock into the sea. Other accounts feature a giant turtle.

0:53:27.350 --> 0:53:30.480
<v Speaker 1>Yeah, a giant sea turtle, which we'll come back to,

0:53:30.489 --> 0:53:33.250
<v Speaker 1>but I found this also just very puzzling.

0:53:33.790 --> 0:53:39.629
<v Speaker 2>This quote is from, again, Pseudo-Apollodorus, the Library of Pseudo-Apollodorus,

0:53:39.670 --> 0:53:44.040
<v Speaker 2>the Fraser translation. Quote, Fourth, he slew Scyron, the Corinthian,

0:53:44.120 --> 0:53:47.839
<v Speaker 2>son of Pelops, or, as some say, of Poseidon. Oh,

0:53:47.900 --> 0:53:49.360
<v Speaker 2>another possible son of Poseidon.

0:53:49.719 --> 0:53:50.560
<v Speaker 1>Yeah, another half-brother.

0:53:51.219 --> 0:53:54.939
<v Speaker 2>He, in the Megarian territory, held the rocks called after

0:53:55.000 --> 0:53:59.620
<v Speaker 2>him Scyronian. and compelled passersby to wash his feet. And

0:54:00.280 --> 0:54:03.089
<v Speaker 2>in the act of washing, he kicked them into the

0:54:03.219 --> 0:54:07.029
<v Speaker 2>deep to be the prey of a huge turtle. But

0:54:07.090 --> 0:54:10.529
<v Speaker 2>Theseus seized him by the feet and threw him into

0:54:10.570 --> 0:54:13.330
<v Speaker 2>the sea. So it doesn't say if the turtle ate him.

0:54:13.910 --> 0:54:17.200
<v Speaker 1>I mean, I would hope so. That's exactly the comeuppance

0:54:17.239 --> 0:54:20.340
<v Speaker 1>you see in various stories where there's some sort of

0:54:20.480 --> 0:54:23.000
<v Speaker 1>evildoer who keeps some sort of a monstrous pet that

0:54:23.040 --> 0:54:24.080
<v Speaker 1>he feeds people to.

0:54:24.540 --> 0:54:26.920
<v Speaker 2>Yeah, you shouldn't throw people into a pit of piranhas

0:54:26.940 --> 0:54:28.310
<v Speaker 2>because you're going to end up in that pit.

0:54:28.360 --> 0:54:30.060
<v Speaker 1>Exactly, yeah.

0:54:30.140 --> 0:54:32.820
<v Speaker 2>And then a little more detail from Pausanias, description of

0:54:32.860 --> 0:54:38.950
<v Speaker 2>Greece again. Pausanias says, quote, the Molurian dock they thought

0:54:39.030 --> 0:54:43.230
<v Speaker 2>sacred to Leucothea and Palimon, but those after it they

0:54:43.270 --> 0:54:47.529
<v Speaker 2>considered accursed in that Scyron, who dwelt by them, used

0:54:47.570 --> 0:54:50.290
<v Speaker 2>to cast into the sea all the strangers he met.

0:54:50.780 --> 0:54:54.470
<v Speaker 2>A tortoise used to swim under the rocks to seize

0:54:54.550 --> 0:54:58.410
<v Speaker 2>those that fell in. Sea tortoises are like land tortoises,

0:54:58.530 --> 0:55:01.250
<v Speaker 2>except in size and for their feet, which are like

0:55:01.310 --> 0:55:05.950
<v Speaker 2>those of seals. Retribution for those deeds overtook Scyron, for

0:55:05.989 --> 0:55:10.049
<v Speaker 2>he was cast into the same sea by Theseus. This

0:55:10.110 --> 0:55:14.049
<v Speaker 2>is followed up by Plutarch with conflicting accounts of who

0:55:14.090 --> 0:55:18.530
<v Speaker 2>Scyron was and what exactly happened with him. By some accounts,

0:55:18.610 --> 0:55:21.630
<v Speaker 2>he was not a bandit, not a murderer, but the

0:55:21.650 --> 0:55:24.509
<v Speaker 2>exact opposite. He was sort of a vigilante hero who

0:55:24.590 --> 0:55:29.390
<v Speaker 2>punished evildoers, much like Theseus is doing here. Also, Plutarch

0:55:29.469 --> 0:55:35.920
<v Speaker 2>notes accounts describing Theseus as killing Scyron much later in

0:55:35.960 --> 0:55:39.680
<v Speaker 2>his life, like slaying Scyron in battle during a war

0:55:39.840 --> 0:55:42.259
<v Speaker 2>in which he would conquer the city of Eleusis.

0:55:44.700 --> 0:55:49.680
<v Speaker 1>Felton... writes a little bit about this whole hero-villain thing, writing, quote, Historically,

0:55:49.860 --> 0:55:54.049
<v Speaker 1>Athens and Megara were embroiled in territorial disputes in the

0:55:54.090 --> 0:55:58.230
<v Speaker 1>late 6th century, at the time when the Theseus myths coalesced.

0:55:58.610 --> 0:56:01.870
<v Speaker 1>So the appearance of Scyron in them as a villain

0:56:01.969 --> 0:56:07.550
<v Speaker 1>strongly suggests a political motivation for his characterization here. So

0:56:07.630 --> 0:56:10.879
<v Speaker 1>this may be, this is arguably an example of political

0:56:10.930 --> 0:56:15.020
<v Speaker 1>propaganda in the telling of Theseus and his labors.

0:56:15.690 --> 0:56:18.609
<v Speaker 2>Okay, so it's like, imagine your country is at war

0:56:18.660 --> 0:56:21.089
<v Speaker 2>with somebody, and then you say, the president of that

0:56:21.160 --> 0:56:25.420
<v Speaker 2>other country, he's actually somebody who, he has stinky feet,

0:56:25.719 --> 0:56:27.640
<v Speaker 2>and he asks people to wash them, and then he

0:56:27.700 --> 0:56:29.160
<v Speaker 2>kicks them into a turtle's mouth.

0:56:29.420 --> 0:56:33.900
<v Speaker 1>Yeah. Now, I was really wondering, though, why a sea turtle?

0:56:34.000 --> 0:56:35.980
<v Speaker 1>And I guess one answer is, okay, if you're leaning

0:56:36.020 --> 0:56:39.000
<v Speaker 1>into the idea that Ski-Ron is yet another son of Poseidon,

0:56:39.820 --> 0:56:42.040
<v Speaker 1>you know, then the sea turtle is a sea monster

0:56:42.080 --> 0:56:45.370
<v Speaker 1>of Poseidon, and I guess that makes sense. But... If

0:56:45.410 --> 0:56:47.770
<v Speaker 1>you know anything about sea turtles, and I guess we

0:56:47.810 --> 0:56:51.000
<v Speaker 1>have to address that in the ancient world, they knew

0:56:51.400 --> 0:56:54.020
<v Speaker 1>some things, but not everything. And, you know, the undersea

0:56:54.060 --> 0:56:58.239
<v Speaker 1>world is a place of mystery and danger. But we

0:56:58.260 --> 0:57:02.259
<v Speaker 1>know today that all extant forms of sea turtle are

0:57:02.540 --> 0:57:06.219
<v Speaker 1>no physical threat to humans, no direct physical threat. I've

0:57:06.280 --> 0:57:10.210
<v Speaker 1>swam with some species myself, keeping a respectful distance. And

0:57:10.250 --> 0:57:12.730
<v Speaker 1>it's my general understanding that you'd really have to go

0:57:12.790 --> 0:57:15.640
<v Speaker 1>out of your way or be in the wrong position

0:57:15.680 --> 0:57:18.090
<v Speaker 1>at the wrong time to earn even a bite from

0:57:18.340 --> 0:57:21.760
<v Speaker 1>one of these guys. Furthermore, the green sea turtle is

0:57:21.800 --> 0:57:27.500
<v Speaker 1>an herbivore, and the leatherback is a gelatinivore, just eating jellyfish,

0:57:27.920 --> 0:57:30.840
<v Speaker 1>sea jelly. So you couldn't get any further from the

0:57:30.880 --> 0:57:33.420
<v Speaker 1>truth with those two. There is, as far as I

0:57:33.440 --> 0:57:36.940
<v Speaker 1>can tell, no credible example of a sea turtle that

0:57:36.980 --> 0:57:39.600
<v Speaker 1>would eat people thrown into the sea by a bandit.

0:57:40.360 --> 0:57:42.580
<v Speaker 1>or that would even eat like the corpses of people

0:57:42.640 --> 0:57:44.080
<v Speaker 1>thrown into the sea by a bandit.

0:57:45.040 --> 0:57:48.060
<v Speaker 2>If a leatherback sea turtle were big enough to eat

0:57:48.100 --> 0:57:50.690
<v Speaker 2>you and wanted to eat you, a peek inside its

0:57:50.770 --> 0:57:52.510
<v Speaker 2>mouth would make it very scary.

0:57:52.770 --> 0:57:54.890
<v Speaker 1>Yeah, it does have a very scary mouth because it

0:57:55.450 --> 0:57:59.470
<v Speaker 1>has that evolutionary development where it's like, how do you

0:57:59.510 --> 0:58:02.300
<v Speaker 1>keep the sea jellies you're swallowing from just sliding right

0:58:02.340 --> 0:58:06.380
<v Speaker 1>back up? Well, you have backward-facing spikes in your throat,

0:58:06.880 --> 0:58:08.580
<v Speaker 1>and that just keeps them caged in there.

0:58:08.840 --> 0:58:10.220
<v Speaker 2>It's like a sarlacc mouth.

0:58:10.400 --> 0:58:13.200
<v Speaker 1>Yeah, yeah. So I don't know. Maybe there's some lost

0:58:13.240 --> 0:58:16.140
<v Speaker 1>connection or symbolism to the sea turtle here. But it

0:58:16.180 --> 0:58:20.540
<v Speaker 1>makes for, yeah, certainly a crazy encounter here. A madman

0:58:20.960 --> 0:58:25.600
<v Speaker 1>on a power trip who is a terrible host and

0:58:25.620 --> 0:58:28.000
<v Speaker 1>then is throwing people down to a monster. But he

0:58:28.040 --> 0:58:31.180
<v Speaker 1>gets his comeuppance. Theseus throws him into the water with

0:58:31.220 --> 0:58:33.830
<v Speaker 1>the monster. And again, we can only presume and maybe

0:58:33.890 --> 0:58:36.790
<v Speaker 1>hope that the sea monster eats Skiron as well.

0:58:47.740 --> 0:58:51.660
<v Speaker 2>Okay, next labor. This is going to be Circeon, the

0:58:51.740 --> 0:58:53.040
<v Speaker 2>murder wrestler king.

0:58:54.820 --> 0:58:54.990
<v Speaker 1>So.

0:58:55.580 --> 0:58:58.040
<v Speaker 2>Not a lot of detail on this one in most tellings.

0:58:58.380 --> 0:59:02.600
<v Speaker 2>Plutarch says, this is the Peron translation, in Eleusis, moreover,

0:59:02.740 --> 0:59:07.590
<v Speaker 2>he outwrestled Circeon, the Arcadian, and killed him. Not much

0:59:07.650 --> 0:59:12.420
<v Speaker 2>detail there. Looking at a pseudo-apocalyptic we get, fifth, in

0:59:12.600 --> 0:59:18.160
<v Speaker 2>Elusis he slew Circeon, son of Bronchus and a nymph, Argiope.

0:59:18.870 --> 0:59:25.050
<v Speaker 2>This Circeon compelled passersby to wrestle and in wrestling killed them.

0:59:25.530 --> 0:59:29.470
<v Speaker 2>But Theseus lifted him up on high and dashed him

0:59:29.570 --> 0:59:33.090
<v Speaker 2>to the ground. That's the whole account. Not a lot there,

0:59:33.160 --> 0:59:36.440
<v Speaker 2>but I do like that detail. So Theseus doesn't just

0:59:36.480 --> 0:59:38.760
<v Speaker 2>like whip out the sword and cut this guy's head off.

0:59:38.860 --> 0:59:41.760
<v Speaker 2>The guy kills people by wrestling them to death. And

0:59:41.800 --> 0:59:44.040
<v Speaker 2>so Theseus kills him with a wrestling move.

0:59:44.590 --> 0:59:48.170
<v Speaker 1>Yeah, out-wrestles him, and maybe, like I was imagining it

0:59:48.230 --> 0:59:51.050
<v Speaker 1>as being some sort of a suplex, like he's clever,

0:59:51.110 --> 0:59:54.280
<v Speaker 1>he ducks and shifts in just the right way, and again,

0:59:54.320 --> 0:59:58.360
<v Speaker 1>to this telling, lifts him up and then dashes him down.

0:59:59.200 --> 1:00:01.340
<v Speaker 1>And I was digging a little deeper, and I think

1:00:01.740 --> 1:00:04.930
<v Speaker 1>a suplex or a suplex-like takedown is totally what is

1:00:04.990 --> 1:00:09.610
<v Speaker 1>implied here, because Theseus is sometimes held as the inventor

1:00:09.790 --> 1:00:15.030
<v Speaker 1>of Greek technical wrestling. Other times it's Heracles or, of course, Hermes,

1:00:15.110 --> 1:00:17.490
<v Speaker 1>as we recently discussed on Stuff to Blow Your Mind.

1:00:18.150 --> 1:00:20.290
<v Speaker 1>But yeah, sometimes Theseus is held up as, oh, yeah,

1:00:20.310 --> 1:00:24.010
<v Speaker 1>he's the guy who invented the superior Greek form of grappling.

1:00:25.810 --> 1:00:27.770
<v Speaker 2>I don't know anything about what that form is, but

1:00:27.810 --> 1:00:30.640
<v Speaker 2>would that involve actually moves where you lift somebody up

1:00:30.700 --> 1:00:32.440
<v Speaker 2>in the air and slam them down?

1:00:33.940 --> 1:00:36.840
<v Speaker 1>I'm not enough of an expert on it by any means.

1:00:36.980 --> 1:00:38.740
<v Speaker 1>I don't know if it would be as theatrical as

1:00:38.780 --> 1:00:40.640
<v Speaker 1>the kind of things you see in pro wrestling and

1:00:40.660 --> 1:00:43.860
<v Speaker 1>lucha libre, but. I mean, you know, I think any

1:00:43.900 --> 1:00:47.640
<v Speaker 1>time of any kind of like actual like legitimate, you know,

1:00:48.020 --> 1:00:50.660
<v Speaker 1>combat sport where there's grappling, sometimes you're going to have

1:00:50.720 --> 1:00:54.230
<v Speaker 1>that shift in momentum where someone can get somebody up

1:00:54.270 --> 1:00:58.270
<v Speaker 1>in the air. And certainly if the practitioner, if the

1:00:58.310 --> 1:01:01.810
<v Speaker 1>guy executing the throw is himself a demigod, then, yeah,

1:01:01.850 --> 1:01:03.450
<v Speaker 1>he might be able to get some height on that move.

1:01:03.850 --> 1:01:06.490
<v Speaker 2>Now, forgive my ignorance here. Am I correct that a

1:01:06.590 --> 1:01:09.740
<v Speaker 2>suplex is like. Kind of like you grapple somebody at

1:01:09.800 --> 1:01:13.340
<v Speaker 2>the shoulders and then you flip their body up upside

1:01:13.400 --> 1:01:15.980
<v Speaker 2>down so the legs are sticking up in the air

1:01:16.060 --> 1:01:17.840
<v Speaker 2>and you've got them up vertically.

1:01:17.860 --> 1:01:22.110
<v Speaker 1>Yeah, generally. Like an example that you see in a

1:01:22.120 --> 1:01:25.030
<v Speaker 1>lot of non-wrestling media is coming up behind somebody, grabbing

1:01:25.050 --> 1:01:28.510
<v Speaker 1>them by the waist, and then bridging backwards and dropping

1:01:28.530 --> 1:01:30.790
<v Speaker 1>them on their head, like a German suplex.

1:01:31.110 --> 1:01:31.750
<v Speaker 2>Okay.

1:01:32.210 --> 1:01:33.390
<v Speaker 1>That sort of thing, yeah.

1:01:33.810 --> 1:01:36.970
<v Speaker 2>Okay. Is there any, I mean, I don't know. This

1:01:37.010 --> 1:01:40.250
<v Speaker 2>seems kind of technically difficult unless there's a major size

1:01:40.290 --> 1:01:43.370
<v Speaker 2>difference in the wrestlers. But is there anything where it's

1:01:43.410 --> 1:01:46.810
<v Speaker 2>like what I first pictured where I was imagining Theseus

1:01:46.890 --> 1:01:51.200
<v Speaker 2>basically overhead pressing this guy like horizontally and then smashing

1:01:51.240 --> 1:01:51.740
<v Speaker 2>him down?

1:01:51.760 --> 1:01:54.280
<v Speaker 1>I mean, does that happen? I don't know if that

1:01:54.300 --> 1:01:58.220
<v Speaker 1>happens in like legitimate like Greco-Roman wrestling and so forth.

1:01:58.260 --> 1:02:01.160
<v Speaker 1>But but certainly like if you watched any if any

1:02:01.180 --> 1:02:02.960
<v Speaker 1>of you out there watched any of the Olympic wrestling

1:02:02.980 --> 1:02:04.800
<v Speaker 1>and I watched a little bit of it. The more

1:02:04.880 --> 1:02:07.330
<v Speaker 1>dynamic throws like that you're going to see are when

1:02:07.350 --> 1:02:10.630
<v Speaker 1>there's some sort of a skill mismatch. Like this match

1:02:10.690 --> 1:02:14.570
<v Speaker 1>shouldn't have actually happened because maybe these two competitors were

1:02:14.710 --> 1:02:20.520
<v Speaker 1>rather unevenly assigned each other. And so in my limited

1:02:20.580 --> 1:02:24.020
<v Speaker 1>experience watching like legitimate grappling, like, yeah, that's where you're

1:02:24.040 --> 1:02:25.760
<v Speaker 1>going to see something crazy like that happen. And maybe

1:02:25.780 --> 1:02:28.740
<v Speaker 1>that's what happens when you tackle, you lock up with

1:02:28.780 --> 1:02:29.720
<v Speaker 1>someone like Theseus.

1:02:30.280 --> 1:02:33.690
<v Speaker 2>Yeah. Now, but this sorry, I was just going to

1:02:33.730 --> 1:02:35.970
<v Speaker 2>say this guy seems like a great example of somebody

1:02:36.010 --> 1:02:39.550
<v Speaker 2>who's clearly just trying to exert dominance over people who

1:02:39.590 --> 1:02:43.110
<v Speaker 2>come through. It's like, hey, wrestle me. Yeah. What people

1:02:43.160 --> 1:02:44.740
<v Speaker 2>are just trying to come by on the road. And

1:02:44.760 --> 1:02:48.360
<v Speaker 2>he says, wrestle me. And then he wrestles them to death. Yeah. Yeah.

1:02:49.200 --> 1:02:51.500
<v Speaker 1>So Felton doesn't have much to say about the wrestling

1:02:51.540 --> 1:02:53.880
<v Speaker 1>per se. But she does point out that this is

1:02:53.960 --> 1:02:59.250
<v Speaker 1>another case of likely political propaganda because Circe on was

1:02:59.290 --> 1:03:03.360
<v Speaker 1>a hero or possibly a king. in Eleusis is around

1:03:03.360 --> 1:03:06.980
<v Speaker 1>21 kilometers outside of Athens. And it was part of

1:03:07.020 --> 1:03:10.660
<v Speaker 1>this Megarid territory that had territory disputes with Athens in

1:03:10.680 --> 1:03:14.620
<v Speaker 1>the late sixth century BCE. So another case where it's like,

1:03:15.160 --> 1:03:18.530
<v Speaker 1>oh yeah, yeah, the guy, the hero they have there

1:03:18.610 --> 1:03:20.990
<v Speaker 1>or the king they have there. Yeah. Theseus took him out,

1:03:21.050 --> 1:03:22.170
<v Speaker 1>just wrestled the heck out of him.

1:03:22.210 --> 1:03:26.830
<v Speaker 2>Yeah. Yeah. What a chump. Now, do we get anything

1:03:26.870 --> 1:03:29.350
<v Speaker 2>like this in slasher movies? Usually not a lot of

1:03:29.790 --> 1:03:34.130
<v Speaker 2>like wrestling oriented slasher movies, but there are, there are

1:03:34.170 --> 1:03:38.290
<v Speaker 2>some slasher villains who sometimes kill people with like bare

1:03:38.350 --> 1:03:41.890
<v Speaker 2>hand or just body moves without using a, a bladed weapon, right?

1:03:41.910 --> 1:03:46.110
<v Speaker 2>Like sometimes there'll be crushings or kind of, I'm thinking

1:03:46.190 --> 1:03:49.110
<v Speaker 2>Jason Voorhees at one point kind of break somebody's back

1:03:49.210 --> 1:03:49.740
<v Speaker 2>on his knee.

1:03:49.760 --> 1:03:52.840
<v Speaker 1>Yeah. Yeah. I, I looked this up, um, and it,

1:03:52.960 --> 1:03:55.640
<v Speaker 1>it does happen occasionally with Jason. Um, there, of course the,

1:03:56.040 --> 1:04:00.210
<v Speaker 1>the sleeping bag murders in, uh, Jason X, um, But

1:04:00.740 --> 1:04:02.220
<v Speaker 1>those were, I guess, in a holodeck. I'm not sure

1:04:02.240 --> 1:04:03.180
<v Speaker 1>if that really happened.

1:04:03.220 --> 1:04:06.430
<v Speaker 2>Well, that's modeled on an earlier murder from Friday the 13th,

1:04:06.460 --> 1:04:10.220
<v Speaker 2>Part 7, in which he attacks a campsite and he

1:04:10.280 --> 1:04:12.540
<v Speaker 2>picks up somebody in a sleeping bag and whacks them

1:04:12.580 --> 1:04:13.300
<v Speaker 2>against a tree.

1:04:13.480 --> 1:04:16.480
<v Speaker 1>Yeah, I guess sometimes it's barehanded. Sometimes it's barehanded with

1:04:16.520 --> 1:04:18.120
<v Speaker 1>some sort of environmental factor.

1:04:18.140 --> 1:04:18.880
<v Speaker 2>Yeah.

1:04:19.560 --> 1:04:22.650
<v Speaker 1>So I guess you do see it. I imagine that

1:04:22.890 --> 1:04:25.710
<v Speaker 1>when it comes to wrestling moves, your average slasher is

1:04:25.730 --> 1:04:27.740
<v Speaker 1>going to be limited, right? They're going to do a

1:04:27.800 --> 1:04:30.800
<v Speaker 1>single-handed choke or a double-handed choke, maybe a bear hug,

1:04:31.200 --> 1:04:33.480
<v Speaker 1>they're not going to really get into the technical maneuvers

1:04:33.540 --> 1:04:33.959
<v Speaker 1>so much.

1:04:34.380 --> 1:04:36.780
<v Speaker 2>Yeah. Okay, you ready for the next one?

1:04:37.140 --> 1:04:38.910
<v Speaker 1>Yeah, this is going to be number six, right? This

1:04:38.990 --> 1:04:40.450
<v Speaker 1>is going to be the final boss.

1:04:40.710 --> 1:04:45.170
<v Speaker 2>The final one. This is Procrustes, the bedtime mutilator. So

1:04:45.190 --> 1:04:48.550
<v Speaker 2>I'll start with the Dryden translation of Plutarch. Quote, And

1:04:48.590 --> 1:04:52.860
<v Speaker 2>going a little farther, in Irenaeus he slew Damastes, otherwise

1:04:52.920 --> 1:04:56.700
<v Speaker 2>called Procrustes, forcing his body to the size of his

1:04:56.800 --> 1:05:00.140
<v Speaker 2>own bed, as he himself was used to do with

1:05:00.360 --> 1:05:04.530
<v Speaker 2>all strangers. This he did in imitation of Hercules, who

1:05:04.610 --> 1:05:07.850
<v Speaker 2>always returned upon his assailants the same sort of violence

1:05:07.950 --> 1:05:11.070
<v Speaker 2>that they offered to him. Feels a little like we

1:05:11.110 --> 1:05:12.450
<v Speaker 2>need a little more description there.

1:05:12.470 --> 1:05:15.150
<v Speaker 1>Yeah, it's like killed him by putting him to bed,

1:05:15.270 --> 1:05:18.310
<v Speaker 1>as he put others to bed. More details required.

1:05:18.890 --> 1:05:24.510
<v Speaker 2>So some better detail appears in, again, Pseudo-Apollodorus, uh, So

1:05:24.930 --> 1:05:30.410
<v Speaker 2>Fraser translates, quote, Sixth he slew Damastes, whom some call Polypemon.

1:05:31.490 --> 1:05:34.590
<v Speaker 2>He had his dwelling beside the road, and he made

1:05:34.650 --> 1:05:38.210
<v Speaker 2>up two beds, one small and the other big. And

1:05:38.370 --> 1:05:43.010
<v Speaker 2>offering hospitality to the passersby, he laid the short men

1:05:43.190 --> 1:05:46.010
<v Speaker 2>on the big bed and hammered them to make them

1:05:46.160 --> 1:05:49.100
<v Speaker 2>fit the bed. But the tall men he laid on

1:05:49.200 --> 1:05:52.000
<v Speaker 2>the little bed and sawed off the portions of the

1:05:52.040 --> 1:05:56.280
<v Speaker 2>body that projected beyond it. OK, there you go. So

1:05:56.590 --> 1:06:00.700
<v Speaker 2>this is the story of the Procrustean bed. So Procrustean

1:06:00.840 --> 1:06:03.820
<v Speaker 2>is a bad host. He has two beds in his house.

1:06:04.180 --> 1:06:06.780
<v Speaker 2>They are poorly built beds. One is way too long.

1:06:06.900 --> 1:06:10.110
<v Speaker 2>The other is way too short. People come into the house.

1:06:10.550 --> 1:06:12.330
<v Speaker 2>If you're tall, he puts you in the short bed

1:06:12.390 --> 1:06:14.550
<v Speaker 2>to cut cuts off the parts of your body that

1:06:14.590 --> 1:06:16.390
<v Speaker 2>hang over the side. I guess that means cutting your

1:06:16.410 --> 1:06:20.030
<v Speaker 2>feet off or maybe your head. And then if you

1:06:20.250 --> 1:06:22.450
<v Speaker 2>are short, he puts you on the long bed and

1:06:22.470 --> 1:06:25.160
<v Speaker 2>he smashes you until you are spread out to the

1:06:25.200 --> 1:06:25.960
<v Speaker 2>length of the bed.

1:06:25.980 --> 1:06:29.940
<v Speaker 1>And we're just left to wonder what happens if someone

1:06:29.980 --> 1:06:32.220
<v Speaker 1>comes in and they're just the right size. Do they

1:06:32.240 --> 1:06:34.940
<v Speaker 1>get a good night's sleep? They end up, you get

1:06:34.960 --> 1:06:37.220
<v Speaker 1>a good Yelp review for the place at this point.

1:06:38.420 --> 1:06:41.020
<v Speaker 1>But yeah, it seems like the fix is in though.

1:06:41.140 --> 1:06:44.860
<v Speaker 1>Because if you're short, if you're tall, it doesn't matter.

1:06:45.120 --> 1:06:47.230
<v Speaker 1>He's got a bed that's not going to fit just right.

1:06:47.650 --> 1:06:49.510
<v Speaker 1>And he's going to murder and torture you to make

1:06:49.570 --> 1:06:50.150
<v Speaker 1>you fit it.

1:06:50.570 --> 1:06:54.940
<v Speaker 2>That's right. And so it says that Theseus did to

1:06:54.980 --> 1:06:57.340
<v Speaker 2>him what he had done to his guests. So I

1:06:57.360 --> 1:06:59.360
<v Speaker 2>guess these I don't it doesn't say which bed he

1:06:59.380 --> 1:06:59.959
<v Speaker 2>put him in, though.

1:07:01.120 --> 1:07:03.080
<v Speaker 1>Yeah. Is this guy short? Is this guy tall? I

1:07:03.120 --> 1:07:05.340
<v Speaker 1>don't know. He found a way to make it hurt, though,

1:07:05.410 --> 1:07:09.830
<v Speaker 1>and to make sure this guy got received some payback.

1:07:11.650 --> 1:07:15.080
<v Speaker 1>I guess the the main thing that the. to mention

1:07:15.120 --> 1:07:18.300
<v Speaker 1>here is that this is where we get the term Procrustean, um,

1:07:19.000 --> 1:07:23.340
<v Speaker 1>which you will occasionally see used concerning something a little

1:07:23.380 --> 1:07:26.260
<v Speaker 1>more deliberate. Like I was looking around to say, okay,

1:07:26.280 --> 1:07:28.370
<v Speaker 1>where are some places, are there any cases where people

1:07:28.450 --> 1:07:31.689
<v Speaker 1>are using this word to talk about airline seating? Um,

1:07:31.790 --> 1:07:34.630
<v Speaker 1>this was on my mind since I just flew. And, uh,

1:07:34.830 --> 1:07:38.450
<v Speaker 1>sure enough, you will find people complaining about airline seating

1:07:38.490 --> 1:07:40.250
<v Speaker 1>and they will use the term Procrustean.

1:07:40.650 --> 1:07:43.310
<v Speaker 2>Hmm. So that would be, there are a couple of

1:07:43.390 --> 1:07:46.030
<v Speaker 2>different ways I think this term is used. One is

1:07:47.050 --> 1:07:51.220
<v Speaker 2>just talking about a, like a sort of one size

1:07:51.280 --> 1:07:55.220
<v Speaker 2>fits all approach that does not, that does not accommodate

1:07:55.280 --> 1:08:01.060
<v Speaker 2>difference as well. The other version of Procrustean is it's

1:08:01.120 --> 1:08:07.370
<v Speaker 2>sometimes used to refer to any logically backwards process of fitting.

1:08:07.950 --> 1:08:12.140
<v Speaker 2>So much like Procrustes does in the story, it would

1:08:12.180 --> 1:08:17.510
<v Speaker 2>be cases of resolving a mismatch by adjusting the wrong element,

1:08:17.830 --> 1:08:21.250
<v Speaker 2>like adjusting the less intuitive or more difficult of the

1:08:21.290 --> 1:08:27.849
<v Speaker 2>mismatched elements. So you often see, I've seen procrastinism talked

1:08:27.870 --> 1:08:32.010
<v Speaker 2>about in the context of bad scientific theories or pseudoscience.

1:08:32.610 --> 1:08:36.179
<v Speaker 2>Sometimes these are procrastinian in the sense that they ask

1:08:36.220 --> 1:08:39.600
<v Speaker 2>you to ignore the results of experiments and or to

1:08:39.740 --> 1:08:44.530
<v Speaker 2>throw out well-established knowledge because it would contradict your pet

1:08:44.670 --> 1:08:48.350
<v Speaker 2>theory instead of just realizing actually the simpler thing to

1:08:48.390 --> 1:08:49.910
<v Speaker 2>do is throw out the bad theory.

1:08:49.930 --> 1:08:52.990
<v Speaker 1>So mutilating the truth to make it fit the bed

1:08:53.010 --> 1:08:54.260
<v Speaker 1>of your theory. Right.

1:08:54.340 --> 1:08:54.780
<v Speaker 2>Exactly.

1:08:56.040 --> 1:08:58.820
<v Speaker 1>So this one is an interesting encounter because on one

1:08:58.860 --> 1:09:02.970
<v Speaker 1>level it, whereas other ones feel more like, to me anyway,

1:09:03.030 --> 1:09:07.170
<v Speaker 1>to a modern interpreter, they feel like cases of, okay, yeah,

1:09:07.210 --> 1:09:10.030
<v Speaker 1>madman in the wilderness that's doing crimes and getting away

1:09:10.070 --> 1:09:12.050
<v Speaker 1>with it. This one also, this one kind of feels

1:09:12.110 --> 1:09:15.750
<v Speaker 1>more like a horrific parody of a guy that just

1:09:15.790 --> 1:09:18.360
<v Speaker 1>runs a crappy inn. Where it's like, oh, yeah, that

1:09:18.470 --> 1:09:21.050
<v Speaker 1>in none of the beds fit anybody. I think he

1:09:21.170 --> 1:09:24.229
<v Speaker 1>has he has two different beds. And if you're tall,

1:09:24.290 --> 1:09:26.170
<v Speaker 1>he gives you the little one. And if you're little,

1:09:26.210 --> 1:09:28.090
<v Speaker 1>he gives you the tall one. And either way, you're

1:09:28.110 --> 1:09:31.150
<v Speaker 1>in for a torturous night's sleep. And then they're like, yeah,

1:09:31.189 --> 1:09:34.350
<v Speaker 1>Theseus finally got the guy who runs that crappy in.

1:09:35.830 --> 1:09:38.830
<v Speaker 2>It is hard to tell exactly what tone to take

1:09:38.870 --> 1:09:40.929
<v Speaker 2>this story in. Like, is it supposed to be funny

1:09:40.950 --> 1:09:43.110
<v Speaker 2>or is it supposed to be horrifying?

1:09:43.140 --> 1:09:46.330
<v Speaker 1>I think it. at least in the versions that have survived,

1:09:46.370 --> 1:09:49.370
<v Speaker 1>I think it's supposed to be horrifying because that's what

1:09:49.430 --> 1:09:54.490
<v Speaker 1>Felton mostly touches on here. She points out that Procrustes

1:09:55.110 --> 1:09:58.299
<v Speaker 1>is the most like a modern serial killer among the six.

1:09:59.060 --> 1:10:02.800
<v Speaker 1>She argues that, okay, he uses weapons or tools and

1:10:02.840 --> 1:10:08.470
<v Speaker 1>his method of killing is, quote, detailed, torturous, ritualistic, and personal.

1:10:09.170 --> 1:10:12.610
<v Speaker 1>He's also manipulative. He seems to set a trap based

1:10:12.670 --> 1:10:15.810
<v Speaker 1>on the rights of hospitality and then, of course, viciously

1:10:15.850 --> 1:10:22.410
<v Speaker 1>betrays those rights. Yeah. And it's elaborate and over the top, which, again,

1:10:22.770 --> 1:10:26.320
<v Speaker 1>maybe doesn't fit the real life serial murders, but certainly

1:10:26.380 --> 1:10:30.300
<v Speaker 1>fits that kind of overly theatrical, you know, Hannibal TV

1:10:30.340 --> 1:10:33.200
<v Speaker 1>series sort of serial killer, you know, where there's some

1:10:33.220 --> 1:10:36.599
<v Speaker 1>sort of like crazy scheme they're doing. And it has

1:10:36.640 --> 1:10:38.500
<v Speaker 1>to be this way. It has to be killing people

1:10:38.860 --> 1:10:39.860
<v Speaker 1>in a weird torture bed.

1:10:40.320 --> 1:10:41.790
<v Speaker 2>It's like a jigsaw trap.

1:10:41.850 --> 1:10:45.670
<v Speaker 1>Yeah, or jigsaw. I think jigsaw is another great example here. Like, wow,

1:10:45.689 --> 1:10:48.010
<v Speaker 1>you really put a lot of thought into this one,

1:10:48.570 --> 1:10:50.170
<v Speaker 1>and we're going to follow this one through to the end.

1:10:51.090 --> 1:10:53.130
<v Speaker 1>All right, so at this point, Theseus is in the clear.

1:10:53.770 --> 1:10:57.330
<v Speaker 1>He's killed all six bandits, all six evildoers, all six slashers,

1:10:57.390 --> 1:11:00.849
<v Speaker 1>and gets to enter Athens. But as we mentioned earlier,

1:11:01.189 --> 1:11:04.710
<v Speaker 1>there's at least one telling where after he slays Cenus,

1:11:05.110 --> 1:11:08.070
<v Speaker 1>he has to ritually purify himself before he can keep going.

1:11:08.479 --> 1:11:12.599
<v Speaker 1>But in other tellings, he has to ritually purify himself

1:11:13.140 --> 1:11:16.560
<v Speaker 1>after killing all six before he can enter Athens itself.

1:11:17.290 --> 1:11:20.590
<v Speaker 1>And I found this very interesting because it's like Theseus

1:11:20.630 --> 1:11:26.349
<v Speaker 1>has set out into the ungoverned wild lands here. He

1:11:26.410 --> 1:11:31.349
<v Speaker 1>has tangled with murderers, with evildoers, and in doing so

1:11:31.439 --> 1:11:35.280
<v Speaker 1>has bloodied himself. He has become less pure because he

1:11:35.320 --> 1:11:38.340
<v Speaker 1>has had to enact the signature murder of each murderer

1:11:38.939 --> 1:11:41.600
<v Speaker 1>in order to take them out. And by the time

1:11:41.640 --> 1:11:46.670
<v Speaker 1>he reaches Athens, it's like he's more seasoned now. He

1:11:46.970 --> 1:11:50.230
<v Speaker 1>has bloodied his sword, but he's also bloodied his soul

1:11:50.250 --> 1:11:52.849
<v Speaker 1>to some extent. And so he has to cleanse himself

1:11:52.910 --> 1:11:57.309
<v Speaker 1>of that in order to re-enter civil society and be

1:11:57.380 --> 1:11:59.000
<v Speaker 1>a part of the city-state once more.

1:11:59.660 --> 1:12:02.750
<v Speaker 2>Yeah, it's interesting because, at least as I read it,

1:12:02.800 --> 1:12:06.719
<v Speaker 2>I don't sense a lot of doubt or regret in

1:12:06.800 --> 1:12:09.179
<v Speaker 2>theseus about this kind of stuff it's not like there

1:12:09.420 --> 1:12:12.140
<v Speaker 2>are passages where he's like you know deeply troubled in

1:12:12.200 --> 1:12:14.580
<v Speaker 2>his soul that he's having to do this violence it

1:12:14.600 --> 1:12:18.040
<v Speaker 2>seems like he's he's very resolute and this is you

1:12:18.080 --> 1:12:19.940
<v Speaker 2>know there is a view that this is just the

1:12:20.000 --> 1:12:22.420
<v Speaker 2>right thing to do to kill all these killers and

1:12:22.439 --> 1:12:25.000
<v Speaker 2>i'm going to do it and prove my worth uh

1:12:25.060 --> 1:12:28.240
<v Speaker 2>so there's one sense in which it's very straightforward like

1:12:28.280 --> 1:12:30.939
<v Speaker 2>that and you don't see a lot of explicit acknowledgement

1:12:31.020 --> 1:12:35.480
<v Speaker 2>of of uh of doubt or regret or or feelings

1:12:35.520 --> 1:12:37.780
<v Speaker 2>of impurity like that. But on the other hand, it

1:12:38.020 --> 1:12:40.880
<v Speaker 2>is notable that he has to become like the killers.

1:12:40.939 --> 1:12:44.340
<v Speaker 2>He can't even just fight them off. He uses their

1:12:44.560 --> 1:12:47.990
<v Speaker 2>own methods of murder back against them, which really does

1:12:48.050 --> 1:12:51.950
<v Speaker 2>thematically suggest there's some element of him becoming like them.

1:12:52.050 --> 1:12:56.490
<v Speaker 2>Like he has to, he has to change somehow. He's doing,

1:12:56.729 --> 1:13:00.900
<v Speaker 2>something is happening in him because it's one thing to,

1:13:00.920 --> 1:13:05.049
<v Speaker 2>you know, when we see, uh, heroes triumph over villains

1:13:05.090 --> 1:13:08.710
<v Speaker 2>in our storytelling today, it is not normal for the

1:13:08.810 --> 1:13:14.430
<v Speaker 2>heroes to inflict violent, torturous mutilation on the killers. But

1:13:14.470 --> 1:13:17.469
<v Speaker 2>like it says, that's what he does to Procrustes. Yeah.

1:13:17.910 --> 1:13:20.689
<v Speaker 2>Even though, you know, you get the sense Procrustes deserved

1:13:20.810 --> 1:13:22.830
<v Speaker 2>it in some sense, he, that's what he was doing

1:13:22.870 --> 1:13:26.070
<v Speaker 2>to innocent people all these years, but it still doesn't

1:13:26.220 --> 1:13:29.760
<v Speaker 2>feel at least in our modern sensibilities, like that's what

1:13:29.800 --> 1:13:33.689
<v Speaker 2>a hero should do. But in this case, that's how

1:13:33.729 --> 1:13:35.769
<v Speaker 2>the story works. So it's like you've got to sort

1:13:35.810 --> 1:13:38.410
<v Speaker 2>of become a serial killer to beat the serial killers.

1:13:38.910 --> 1:13:41.310
<v Speaker 1>Yeah, I mean, we can think of so many situations

1:13:41.340 --> 1:13:43.860
<v Speaker 1>where we go to great lengths to keep our heroes pure.

1:13:44.300 --> 1:13:45.979
<v Speaker 1>Where they do the thing where it's like, okay, villain,

1:13:46.000 --> 1:13:47.480
<v Speaker 1>I'm going to let you go with a warning. And

1:13:47.520 --> 1:13:49.620
<v Speaker 1>then villain comes with going to do a pot shot

1:13:49.660 --> 1:13:52.500
<v Speaker 1>or a tricky shoot in the back kind of a thing.

1:13:52.840 --> 1:13:55.620
<v Speaker 1>And then that forces the hero to kill them. But,

1:13:55.640 --> 1:13:57.400
<v Speaker 1>you know, you go to great lengths to prevent your

1:13:57.439 --> 1:14:00.110
<v Speaker 1>hero from killing people in cold blood, much less torturing

1:14:00.130 --> 1:14:04.550
<v Speaker 1>them to death. Um, but, uh, but as Felton points out,

1:14:04.570 --> 1:14:06.710
<v Speaker 1>you know, this idea of becoming a killer to hunt

1:14:06.770 --> 1:14:09.360
<v Speaker 1>a killer, like we see that in a lot of our, our, um,

1:14:09.400 --> 1:14:12.639
<v Speaker 1>you know, our more contemporary, uh, serial killer media, like

1:14:13.100 --> 1:14:16.599
<v Speaker 1>Thomas Harris's Red Dragon. Um, and of course the Michael

1:14:16.620 --> 1:14:21.189
<v Speaker 1>Mann adaptation, Manhunter. Um, she also brings up, uh, Dexter

1:14:21.410 --> 1:14:23.830
<v Speaker 1>as a possible comparison, though does point out that like

1:14:23.850 --> 1:14:29.370
<v Speaker 1>with Dexter, you have a serial murderer who, um, kills

1:14:29.410 --> 1:14:32.930
<v Speaker 1>other serial murderers so as to safely follow his impulses.

1:14:33.189 --> 1:14:35.939
<v Speaker 1>That's not what we see with Theseus. Theseus isn't killing

1:14:35.979 --> 1:14:38.460
<v Speaker 1>for kicks here. This is a nobler mission.

1:14:39.020 --> 1:14:44.439
<v Speaker 2>Yeah, that's true. And I would say another difference is

1:14:44.540 --> 1:14:48.889
<v Speaker 2>that even in Red Dragon, the character who has to

1:14:48.979 --> 1:14:52.490
<v Speaker 2>get in the mind of serial killers in order to

1:14:52.689 --> 1:14:56.710
<v Speaker 2>defeat them That's for investigative purposes. Like he has to

1:14:56.750 --> 1:14:58.809
<v Speaker 2>get in the mind of the serial killer to figure

1:14:58.910 --> 1:15:01.410
<v Speaker 2>out who the serial killer is and how to find

1:15:01.470 --> 1:15:04.190
<v Speaker 2>and stop them. It's not like, oh, we already know

1:15:04.229 --> 1:15:06.559
<v Speaker 2>who this person is and know exactly where they are.

1:15:06.580 --> 1:15:09.160
<v Speaker 2>And you've just got to act like them once you

1:15:09.200 --> 1:15:10.100
<v Speaker 2>meet them, you know?

1:15:10.220 --> 1:15:10.500
<v Speaker 1>Yeah.

1:15:12.160 --> 1:15:12.360
<v Speaker 2>Yeah.

1:15:13.260 --> 1:15:16.299
<v Speaker 1>It did remind me, though, once more of Texas Chainsaw Massacre,

1:15:16.320 --> 1:15:23.469
<v Speaker 1>specifically TCM2. Yes. Stretch. Yeah. Stretch played by Caroline Williams.

1:15:24.040 --> 1:15:26.929
<v Speaker 1>At the end of that, she has battled her way

1:15:26.979 --> 1:15:31.210
<v Speaker 1>through the Sawyer family. Chainsaw in hand. And I think

1:15:31.250 --> 1:15:34.770
<v Speaker 1>the coolest shot in the whole film emerges on the

1:15:34.830 --> 1:15:39.309
<v Speaker 1>top of this mountain. This kind of man-made structure. And

1:15:39.350 --> 1:15:42.809
<v Speaker 1>she brandishes the chainsaw on high. And she's covered with blood.

1:15:42.850 --> 1:15:46.349
<v Speaker 1>And she emits a primal scream. But it's like she's

1:15:46.390 --> 1:15:50.500
<v Speaker 1>almost become... a member of the Sawyer family in vanquishing

1:15:50.540 --> 1:15:54.410
<v Speaker 1>the Sawyer family. And so she feels unfit to return

1:15:54.450 --> 1:15:58.010
<v Speaker 1>to Athens or Dallas-Fort Worth or whatever the case may be.

1:15:58.590 --> 1:16:01.010
<v Speaker 2>Yeah, she's holding the chainsaw up in the air, having

1:16:01.070 --> 1:16:04.170
<v Speaker 2>beaten the chainsaw wielders. I'm the club man now, yeah.

1:16:04.210 --> 1:16:09.520
<v Speaker 2>But she absolutely has elements of that. That's good.

1:16:09.530 --> 1:16:11.880
<v Speaker 1>And there are probably some other examples of that as

1:16:11.939 --> 1:16:14.019
<v Speaker 1>well that I'm not thinking of, but that's the one

1:16:14.060 --> 1:16:16.620
<v Speaker 1>that sticks in my head for sure. Oh, man. Yeah.

1:16:17.160 --> 1:16:21.140
<v Speaker 2>TCM2 is pretty great. Really burned my beans.

1:16:22.260 --> 1:16:24.479
<v Speaker 1>You know, it reminded me of this in another way.

1:16:25.400 --> 1:16:28.310
<v Speaker 1>We were chatting about this in the notes a bit,

1:16:28.850 --> 1:16:31.950
<v Speaker 1>about whether Theseus is kind of like the ultimate final girl.

1:16:33.150 --> 1:16:36.630
<v Speaker 1>But he reminds me a lot of Lefty in TCM2,

1:16:36.670 --> 1:16:40.670
<v Speaker 1>the Dennis Hopper character. He is the hero who is

1:16:40.750 --> 1:16:44.340
<v Speaker 1>setting out into the rural wildlands in order to hunt

1:16:44.400 --> 1:16:45.200
<v Speaker 1>down the killers.

1:16:55.620 --> 1:16:57.780
<v Speaker 2>Well, maybe that should go ahead and pull us into

1:16:58.280 --> 1:17:00.599
<v Speaker 2>the last thing I wanted to talk about here, which

1:17:00.660 --> 1:17:05.379
<v Speaker 2>was looking at some major thematic features of modern slasher

1:17:05.420 --> 1:17:08.660
<v Speaker 2>movies to see if there's any interesting overlap or interaction

1:17:08.680 --> 1:17:11.299
<v Speaker 2>with the Theseus tale. I think, really, in most cases,

1:17:11.360 --> 1:17:14.180
<v Speaker 2>it's pretty different, but there are some kind of interesting

1:17:14.220 --> 1:17:18.300
<v Speaker 2>little overlaps. One thing I was thinking about was the

1:17:18.340 --> 1:17:22.920
<v Speaker 2>punishment of taboos. It's been widely observed by you know,

1:17:22.979 --> 1:17:26.720
<v Speaker 2>casual viewers and film scholars alike, that the victims in

1:17:27.100 --> 1:17:31.939
<v Speaker 2>slasher movies are often teenagers and young adults who engage

1:17:32.000 --> 1:17:36.830
<v Speaker 2>in socially prohibited behaviors like partaking in drugs, alcohol, and

1:17:36.910 --> 1:17:41.850
<v Speaker 2>premarital sex. This is famously observed in Scream. You know,

1:17:42.090 --> 1:17:45.150
<v Speaker 2>these movies, especially the early movies in the slasher genre

1:17:45.170 --> 1:17:50.610
<v Speaker 2>from the 1980s, imply this causal relationship between taboo breaking

1:17:50.710 --> 1:17:54.070
<v Speaker 2>and death. So you have characters who sin, and then

1:17:54.210 --> 1:17:57.850
<v Speaker 2>immediately afterward, they are isolated and murdered by the villain

1:17:57.910 --> 1:18:01.630
<v Speaker 2>or the monster, as if they're being punished. And I

1:18:01.670 --> 1:18:04.410
<v Speaker 2>think this has come up on the show plenty of

1:18:04.430 --> 1:18:06.969
<v Speaker 2>times before, and I think it's an interesting thing because

1:18:07.070 --> 1:18:11.540
<v Speaker 2>the unspoken implication of sin and punishment is a major

1:18:11.600 --> 1:18:15.000
<v Speaker 2>part of the feeling of these movies, even though I

1:18:15.060 --> 1:18:18.480
<v Speaker 2>think often the people who enjoy these movies would not

1:18:18.910 --> 1:18:22.350
<v Speaker 2>share the explicit belief that these are behaviors that need

1:18:22.370 --> 1:18:24.950
<v Speaker 2>to be punished with death. It's kind of interesting. It's

1:18:25.030 --> 1:18:28.700
<v Speaker 2>just like, it's just part somehow of what the genre

1:18:28.900 --> 1:18:32.700
<v Speaker 2>is and how it's enjoyed, even though people don't necessarily

1:18:33.080 --> 1:18:37.269
<v Speaker 2>think that, you know, like underage drinking should end in punishment.

1:18:38.170 --> 1:18:41.990
<v Speaker 2>But anyway, does this have any relevance to these, uh,

1:18:42.030 --> 1:18:46.030
<v Speaker 2>these killers in the Theseus story? thinking about it and

1:18:46.260 --> 1:18:50.400
<v Speaker 2>not really at least in part because the television of

1:18:50.439 --> 1:18:53.880
<v Speaker 2>the story available to us do not focus much on

1:18:53.900 --> 1:18:57.349
<v Speaker 2>the previous victims of the Greek slashers. Like, we don't

1:18:57.510 --> 1:19:01.570
<v Speaker 2>see them at work on other victims before Theseus, and

1:19:01.630 --> 1:19:04.370
<v Speaker 2>we only get the barest descriptions of what they did

1:19:04.450 --> 1:19:07.860
<v Speaker 2>to these other people. And then once Theseus arrives, he

1:19:08.120 --> 1:19:11.560
<v Speaker 2>is the opposite of a sinful victim who is implicitly

1:19:11.620 --> 1:19:14.500
<v Speaker 2>punished for his crimes. Rather, he is the hero and

1:19:14.979 --> 1:19:18.480
<v Speaker 2>he does the punishing. He kills the slashers for their crimes.

1:19:18.860 --> 1:19:22.590
<v Speaker 1>Yeah, he's righteous. Or at least you could say he's

1:19:22.650 --> 1:19:25.269
<v Speaker 1>righteous or he is more than willing to get his

1:19:25.310 --> 1:19:28.190
<v Speaker 1>hands dirty and give it right back to the killer.

1:19:28.310 --> 1:19:31.610
<v Speaker 1>So the general idea seems to be that these evildoers

1:19:31.670 --> 1:19:35.090
<v Speaker 1>are preying on innocents. in a sense, like you, the

1:19:35.150 --> 1:19:39.129
<v Speaker 1>intended reader in ancient Greece. Because again, if this is really,

1:19:39.290 --> 1:19:41.830
<v Speaker 1>in large part, if this is like playing on general

1:19:41.930 --> 1:19:45.130
<v Speaker 1>anxieties about travel in the ancient world, then, you know,

1:19:45.170 --> 1:19:51.000
<v Speaker 1>that's the intended reader, the intended listener to the tale.

1:19:51.140 --> 1:19:54.420
<v Speaker 1>That's the person who is going to imagine themselves becoming

1:19:54.439 --> 1:19:55.020
<v Speaker 1>the victim here.

1:19:55.840 --> 1:19:57.939
<v Speaker 2>The one variation on this where I did see a

1:19:58.020 --> 1:20:01.690
<v Speaker 2>possible connection is that you might be able to see

1:20:02.680 --> 1:20:06.440
<v Speaker 2>Punishment for the violation of social taboos going in the

1:20:06.479 --> 1:20:10.960
<v Speaker 2>other direction. So apart from the fact that they kill people,

1:20:11.200 --> 1:20:16.209
<v Speaker 2>the Greek slashers here do cross some other important cultural lines.

1:20:17.130 --> 1:20:19.269
<v Speaker 2>And one that seems obvious to me, you pointed this

1:20:19.350 --> 1:20:22.390
<v Speaker 2>out earlier in the episode, Rob, is the violation of

1:20:22.490 --> 1:20:26.420
<v Speaker 2>what was known as Xenia, the Greek concept of ritual

1:20:26.500 --> 1:20:31.330
<v Speaker 2>hospitality and guest friendships. And so you can see that

1:20:31.550 --> 1:20:37.830
<v Speaker 2>some of these killers, especially Procrustes, explicitly violates that kind

1:20:37.870 --> 1:20:43.230
<v Speaker 2>of social expectation. So in some tellings, Procrustes offers hospitality

1:20:43.300 --> 1:20:45.740
<v Speaker 2>to his victims. There are people traveling on the road,

1:20:45.840 --> 1:20:48.179
<v Speaker 2>says he has a house by the road. He invites

1:20:48.260 --> 1:20:50.600
<v Speaker 2>them into his house as a host. So they're supposed

1:20:50.640 --> 1:20:55.240
<v Speaker 2>to be protected guests. And custom dictates that when you

1:20:55.300 --> 1:20:58.360
<v Speaker 2>have a guest at your house, you should ensure their safety.

1:20:58.420 --> 1:21:00.200
<v Speaker 2>You're supposed to offer them a meal. There are all

1:21:00.220 --> 1:21:04.000
<v Speaker 2>kinds of kind of steps here for how you treat

1:21:04.020 --> 1:21:06.759
<v Speaker 2>a guest well and for how guests are also supposed

1:21:06.800 --> 1:21:09.920
<v Speaker 2>to treat their hosts well. But instead of this, he

1:21:09.960 --> 1:21:14.160
<v Speaker 2>kills them. He betrays his guests. And this seems, based

1:21:14.220 --> 1:21:18.120
<v Speaker 2>on what I've read, like a profound cultural taboo violation.

1:21:18.400 --> 1:21:21.530
<v Speaker 2>And he is punished for it by Theseus. So it's

1:21:21.610 --> 1:21:24.870
<v Speaker 2>kind of like the punishment that we see in slasher movies,

1:21:24.910 --> 1:21:27.380
<v Speaker 2>but it's going the other way. We see the slasher

1:21:28.020 --> 1:21:31.360
<v Speaker 2>themselves being punished for something that they do wrong that

1:21:31.420 --> 1:21:35.540
<v Speaker 2>violates cultural expectations apart from just the general violence they commit.

1:21:36.260 --> 1:21:38.880
<v Speaker 1>To quote the dad in Troll 2, you can't piss

1:21:38.939 --> 1:21:39.800
<v Speaker 1>on hospitality.

1:21:40.420 --> 1:21:46.120
<v Speaker 2>That's right. Yeah. Orthesius will kill you and he'll pee

1:21:46.160 --> 1:21:47.320
<v Speaker 2>right back on you. Yeah.

1:21:47.380 --> 1:21:47.520
<v Speaker 1>Yeah.

1:21:48.750 --> 1:21:50.610
<v Speaker 2>As far as my other notes on this, yeah, I

1:21:50.630 --> 1:21:53.790
<v Speaker 2>briefly had a thing about the final girl. You know,

1:21:53.910 --> 1:21:56.450
<v Speaker 2>of course, while in slasher movies we see the sinful

1:21:56.490 --> 1:22:00.740
<v Speaker 2>characters get punished, there is usually one female character among

1:22:00.780 --> 1:22:03.939
<v Speaker 2>all the others who is virtuous and intelligent. She alone

1:22:04.000 --> 1:22:06.560
<v Speaker 2>is able to keep her wits about her, survive the

1:22:06.580 --> 1:22:09.439
<v Speaker 2>killer's attack, and then unmask and defeat the killer in

1:22:09.479 --> 1:22:15.120
<v Speaker 2>the end. Is Theseus a six-time final girl character? Uh, yeah,

1:22:15.220 --> 1:22:17.960
<v Speaker 2>kind of like we do get this description of that,

1:22:18.080 --> 1:22:21.720
<v Speaker 2>like it is something about Theseus's virtue, which allows him

1:22:21.780 --> 1:22:24.970
<v Speaker 2>to prevail over the killers. There's something that makes him

1:22:25.130 --> 1:22:29.230
<v Speaker 2>special and different that allows him to win. And that's

1:22:29.290 --> 1:22:31.250
<v Speaker 2>often the sense we get about the final girl in

1:22:31.310 --> 1:22:34.370
<v Speaker 2>the slasher movie is that like, she's special, she's different.

1:22:34.670 --> 1:22:36.990
<v Speaker 2>She's better than all of the other people who are

1:22:37.030 --> 1:22:37.730
<v Speaker 2>the victims.

1:22:38.160 --> 1:22:42.300
<v Speaker 1>But she's also transformed by her circumstances into becoming this,

1:22:42.540 --> 1:22:46.940
<v Speaker 1>this hair, this hero. Whereas Theseus has been he's been

1:22:47.060 --> 1:22:49.920
<v Speaker 1>idolizing Heracles the whole time. He's like, get me out there.

1:22:50.280 --> 1:22:55.160
<v Speaker 1>There's some skull crushers and some and some bandits and

1:22:55.200 --> 1:22:57.780
<v Speaker 1>some evildoers out there. And I want a piece of them.

1:22:57.900 --> 1:23:00.520
<v Speaker 1>So he's he's he's been waiting for this.

1:23:01.000 --> 1:23:03.160
<v Speaker 2>Yeah, that's a very good point. A lot of the

1:23:03.240 --> 1:23:06.519
<v Speaker 2>academic literature on the final girl is about transformation, like

1:23:07.020 --> 1:23:10.190
<v Speaker 2>going from becoming a kind of unassuming or modest person

1:23:10.229 --> 1:23:13.189
<v Speaker 2>to a person of action who. has to fight in

1:23:13.229 --> 1:23:13.590
<v Speaker 2>the end.

1:23:13.750 --> 1:23:15.330
<v Speaker 1>Yeah. And like we were saying, you know, there are

1:23:15.350 --> 1:23:18.610
<v Speaker 1>no masks. If we're looking at the Greek idea of

1:23:18.650 --> 1:23:23.469
<v Speaker 1>the mask as a way of transforming the theater or ritual,

1:23:23.830 --> 1:23:26.759
<v Speaker 1>like nobody in these stories is transforming. Theseus is already

1:23:26.990 --> 1:23:30.280
<v Speaker 1>everything that he is. And these villains are all, you know,

1:23:30.460 --> 1:23:34.180
<v Speaker 1>they're out and awful in their own way. And yeah,

1:23:34.220 --> 1:23:35.520
<v Speaker 1>so nobody's hiding.

1:23:35.200 --> 1:23:35.720
<v Speaker 2>Who they are.

1:23:36.460 --> 1:23:39.680
<v Speaker 1>They're just doing what they do. I mean, they are

1:23:39.760 --> 1:23:41.320
<v Speaker 1>hiding who they are in the sense that there is

1:23:41.380 --> 1:23:42.760
<v Speaker 1>deception Yes, I.

1:23:42.740 --> 1:23:45.080
<v Speaker 2>Was going to say that. So there are no masks,

1:23:45.160 --> 1:23:48.820
<v Speaker 2>there's no face to hide, but they are engaging in trickery.

1:23:48.900 --> 1:23:52.570
<v Speaker 2>Maybe not all of them, but like, I think, you know, Paraphetes,

1:23:52.630 --> 1:23:54.110
<v Speaker 2>I think he just walks up to you and kills

1:23:54.130 --> 1:23:56.550
<v Speaker 2>you with the club. So they're not all engaged. He's honest,

1:23:56.610 --> 1:24:01.720
<v Speaker 2>at least. you do get the feeling that they in,

1:24:01.920 --> 1:24:05.760
<v Speaker 2>they approach people with false, with pretenses, you know, they,

1:24:05.820 --> 1:24:08.840
<v Speaker 2>they approach like a, certainly Procrustes says, you know, I'm

1:24:08.860 --> 1:24:10.729
<v Speaker 2>going to be a good host. You come to my house,

1:24:10.780 --> 1:24:12.830
<v Speaker 2>you stay here in the bed, you'll, you'll be safe

1:24:12.850 --> 1:24:15.809
<v Speaker 2>for the night. And then he cuts you apart. Uh,

1:24:15.970 --> 1:24:18.390
<v Speaker 2>so that's not exactly the same as a mask, but

1:24:18.410 --> 1:24:22.170
<v Speaker 2>they are hiding their intentions and feigning harmlessness on, on

1:24:22.250 --> 1:24:25.920
<v Speaker 2>first encounter, which seems to, it has some overlap there.

1:24:25.979 --> 1:24:29.740
<v Speaker 2>And that's a big part of a lot of slasher movies.

1:24:31.320 --> 1:24:35.849
<v Speaker 2>do derive a lot of their horror, actually, from ambiguous situations. Like,

1:24:35.970 --> 1:24:40.330
<v Speaker 2>even in Texas Chainsaw Massacre, before the chainsaws come out,

1:24:40.890 --> 1:24:46.400
<v Speaker 2>there are just a number of creepy, unpleasant, ambiguous encounters

1:24:46.450 --> 1:24:50.660
<v Speaker 2>with people who you can't quite tell how dangerous they are. And, yeah,

1:24:52.460 --> 1:24:54.160
<v Speaker 2>so I think the same thing is going on here.

1:24:54.180 --> 1:24:57.280
<v Speaker 2>What do you think about Circeon, though? Is he approaching

1:24:57.320 --> 1:25:00.349
<v Speaker 2>with false... Is he approaching, like, let's have a friendly

1:25:00.410 --> 1:25:03.150
<v Speaker 2>wrestling match, and then he just surprises you by killing

1:25:03.189 --> 1:25:05.550
<v Speaker 2>you with the wrestling? Or is it clear from the

1:25:05.590 --> 1:25:08.430
<v Speaker 2>beginning that this wrestling match is going to be to

1:25:08.450 --> 1:25:08.910
<v Speaker 2>the death?

1:25:10.030 --> 1:25:11.900
<v Speaker 1>That is a good point. I didn't think about this

1:25:11.960 --> 1:25:14.420
<v Speaker 1>as much, but of course we have other stories from

1:25:14.540 --> 1:25:19.620
<v Speaker 1>antiquity where what is thought to be an honorable wrestling

1:25:19.660 --> 1:25:24.060
<v Speaker 1>match ends in assassination. And so that does seem to

1:25:24.100 --> 1:25:27.040
<v Speaker 1>be an existent trope of the time. So that could

1:25:27.060 --> 1:25:28.870
<v Speaker 1>be the case, yeah, where it's like, hey, Because I

1:25:28.910 --> 1:25:32.210
<v Speaker 1>think in these tellings, when he comes at you, you're

1:25:32.229 --> 1:25:34.390
<v Speaker 1>given the chance. He's like, hey, you can either wrestle

1:25:34.430 --> 1:25:37.410
<v Speaker 1>me or you're going to be murdered. So, of course,

1:25:37.439 --> 1:25:41.600
<v Speaker 1>you're going to choose the wrestling. And wrestling has rules.

1:25:41.820 --> 1:25:43.440
<v Speaker 1>I mean, there are things you're allowed to do and

1:25:43.460 --> 1:25:45.320
<v Speaker 1>things you're not to do. He's not challenging you to

1:25:45.360 --> 1:25:50.230
<v Speaker 1>just an eye-gouging battle to the death. It would seem

1:25:50.250 --> 1:25:52.450
<v Speaker 1>like there maybe is some idea that there are going

1:25:52.470 --> 1:25:55.970
<v Speaker 1>to be rules involved. And then he goes for the kill. So, yeah,

1:25:56.010 --> 1:25:57.990
<v Speaker 1>I think that's a good point. There may be a

1:25:58.030 --> 1:26:03.690
<v Speaker 1>betrayal of norms and laws here as well. But we're

1:26:03.729 --> 1:26:05.900
<v Speaker 1>in a land of no laws, where even wrestling has

1:26:05.960 --> 1:26:07.599
<v Speaker 1>no rules, I guess. No refs.

1:26:08.700 --> 1:26:09.840
<v Speaker 2>Okay, that's all I've got.

1:26:10.400 --> 1:26:13.940
<v Speaker 1>All right. Well, there you have it. Theseus and the

1:26:13.979 --> 1:26:18.190
<v Speaker 1>slashers from hell. These were not labors that I knew

1:26:18.229 --> 1:26:21.170
<v Speaker 1>a lot about until I was digging around and honestly

1:26:21.189 --> 1:26:25.210
<v Speaker 1>getting into some of Felton's work and kind of discovered

1:26:25.229 --> 1:26:29.410
<v Speaker 1>these for my own part. And I thought they were fascinating.

1:26:29.490 --> 1:26:32.390
<v Speaker 1>And again, I think if anyone out there is like, yeah,

1:26:32.510 --> 1:26:34.990
<v Speaker 1>I need something from Greek mythology. I want to adapt

1:26:35.030 --> 1:26:38.480
<v Speaker 1>it into a comic book or a movie or some

1:26:38.520 --> 1:26:41.360
<v Speaker 1>sort of a work of horror fiction. Consider this. There

1:26:41.380 --> 1:26:44.260
<v Speaker 1>might be something there. Something that could be expanded on

1:26:44.340 --> 1:26:48.979
<v Speaker 1>and explored. Put it in a contemporary setting or throw

1:26:49.020 --> 1:26:52.400
<v Speaker 1>some contemporary ideas back into an historic setting. I think

1:26:52.439 --> 1:26:54.790
<v Speaker 1>there's some material there. Totally.

1:26:55.640 --> 1:26:59.380
<v Speaker 2>Oh, wait, should we do casting now? Who are we

1:26:59.400 --> 1:27:03.439
<v Speaker 2>thinking of? Which one should George Eastman have played? I

1:27:03.460 --> 1:27:04.940
<v Speaker 2>know we've missed that chance, but.

1:27:05.530 --> 1:27:09.350
<v Speaker 1>Ooh, I think, yeah, Cerseion, the wrestler for sure.

1:27:09.370 --> 1:27:10.650
<v Speaker 2>The wrestler king, yeah.

1:27:10.689 --> 1:27:15.309
<v Speaker 1>Though he could have played the club man as well. Yeah,

1:27:15.390 --> 1:27:19.820
<v Speaker 1>there's room here for, you know, some of your typical

1:27:19.880 --> 1:27:22.990
<v Speaker 1>types of horror players, you know, the. The more direct

1:27:23.050 --> 1:27:29.439
<v Speaker 1>physical threats and then the more sinister, creepy, and deceptive types. Yeah,

1:27:29.490 --> 1:27:31.439
<v Speaker 1>there's some fun here. And then, of course, we want

1:27:31.479 --> 1:27:34.900
<v Speaker 1>a big puppet for the boar, of course. Oh, yeah.

1:27:35.479 --> 1:27:40.720
<v Speaker 2>Let's see. Procrustes. Who's the person offering the false hospitality?

1:27:45.020 --> 1:27:49.809
<v Speaker 1>Yeah, I'm not sure offhand. I mean, false hospitality. You

1:27:49.820 --> 1:27:52.990
<v Speaker 1>need somebody that can really... play both types who can

1:27:53.030 --> 1:27:56.330
<v Speaker 1>really uh you know twist it um who can be

1:27:56.370 --> 1:27:59.820
<v Speaker 1>believable as a gentle host but then become this monstrous

1:27:59.880 --> 1:28:00.220
<v Speaker 1>killer i.

1:28:01.479 --> 1:28:03.860
<v Speaker 2>Feel like john saxon's got to be one of these right.

1:28:04.280 --> 1:28:07.900
<v Speaker 1>Yeah yeah yeah saxon could have you know i'm also

1:28:07.939 --> 1:28:10.520
<v Speaker 1>now that we're talking about like what it entails i'm

1:28:10.560 --> 1:28:14.309
<v Speaker 1>reminded of uh the 2022 movie the menu with ralph

1:28:14.350 --> 1:28:19.570
<v Speaker 1>fines uh playing the um the guy who runs the

1:28:19.650 --> 1:28:26.840
<v Speaker 1>high star, three Michelin star restaurant. He's not cutting people's

1:28:26.860 --> 1:28:30.180
<v Speaker 1>feet off, but he is murdering everybody. So he's engaging

1:28:30.380 --> 1:28:35.050
<v Speaker 1>in a betrayal of the trust that you give to

1:28:35.070 --> 1:28:38.570
<v Speaker 1>a restaurant and to a head chef. Um, but, uh,

1:28:38.720 --> 1:28:41.060
<v Speaker 1>but then again, I guess he's kind of in general

1:28:41.120 --> 1:28:44.380
<v Speaker 1>kind of cold on both sides. Um, whereas maybe what

1:28:44.400 --> 1:28:47.640
<v Speaker 1>you need here is someone who's outwardly warm, but then

1:28:48.100 --> 1:28:49.280
<v Speaker 1>they reveal their true face.

1:28:50.360 --> 1:28:53.280
<v Speaker 2>Barbara Steele is Fia. I know we're mixing up our

1:28:53.300 --> 1:28:53.920
<v Speaker 2>time period.

1:28:55.700 --> 1:28:59.510
<v Speaker 1>Yeah. All's fair in, um, in the fan casting of

1:28:59.550 --> 1:29:03.719
<v Speaker 1>things like this. You can just pull from whenever. Because inevitably, yeah,

1:29:03.740 --> 1:29:05.220
<v Speaker 1>you're going to have to, you're going to be drawn

1:29:05.260 --> 1:29:07.220
<v Speaker 1>from some actors who are no longer young enough for

1:29:07.240 --> 1:29:10.700
<v Speaker 1>the roles or no longer alive. Shouldn't stop you.

1:29:11.420 --> 1:29:12.620
<v Speaker 2>Okay, that's all I've got.

1:29:13.939 --> 1:29:15.520
<v Speaker 1>All right, we'll go ahead and close it out there.

1:29:15.540 --> 1:29:16.860
<v Speaker 1>But we'd love to hear from anyone out there if

1:29:16.880 --> 1:29:20.730
<v Speaker 1>you have thoughts on the myth itself or some of

1:29:20.770 --> 1:29:25.050
<v Speaker 1>the horror films, slasher movie comparisons that we've made here.

1:29:25.070 --> 1:29:28.360
<v Speaker 1>Write in. We would love to hear from you. Just

1:29:28.380 --> 1:29:30.439
<v Speaker 1>a reminder to everyone out there that Stuff to Blow

1:29:30.460 --> 1:29:33.860
<v Speaker 1>Your Mind is primarily a science and culture podcast with

1:29:34.120 --> 1:29:37.800
<v Speaker 1>core episodes on Tuesdays and Thursdays, short-form episodes on Wednesdays,

1:29:37.840 --> 1:29:40.350
<v Speaker 1>and then on Fridays, we set aside most serious concerns

1:29:40.360 --> 1:29:42.929
<v Speaker 1>to just talk about a weird film on Weird House Cinema.

1:29:43.750 --> 1:29:47.250
<v Speaker 2>Huge thanks, as always, to our excellent audio producer, J.J. Posway.

1:29:47.689 --> 1:29:49.070
<v Speaker 2>If you would like to get in touch with us

1:29:49.110 --> 1:29:51.490
<v Speaker 2>with feedback on this episode or any other, to suggest

1:29:51.530 --> 1:29:53.549
<v Speaker 2>a topic for the future, or just to say hello,

1:29:53.610 --> 1:30:05.740
<v Speaker 2>you can email us at contact at stufftoblowyourmind.com. Stuff to

1:30:05.760 --> 1:30:08.550
<v Speaker 2>Blow Your Mind is a production of iHeartRadio. For more

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<v Speaker 2>podcasts from iHeartRadio, visit the iHeartRadio app. Apple Podcasts are

1:30:12.410 --> 1:30:14.010
<v Speaker 2>wherever you listen to your favorite shows.