WEBVTT - The Tower of Babel

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<v Speaker 1>Welcome to stuff to blow your mind from housetop dot com.

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<v Speaker 1>And the whole earth was of one language and of

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<v Speaker 1>one speech. And it came to pass as they journeyed

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<v Speaker 1>from the east that they found a plain in the

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<v Speaker 1>land of Shinar, and they dwelt there, and they said

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<v Speaker 1>to one another, go to, let us make brick and

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<v Speaker 1>burn them thoroughly. And they had brick for stone, and

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<v Speaker 1>slime they had for mortar. And they said, go to,

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<v Speaker 1>let us build a city and a tower whose top

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<v Speaker 1>may reach unto heaven, and let us make a name,

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<v Speaker 1>lest we be scattered abroad upon the face of the

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<v Speaker 1>whole earth. And the Lord came down to see the

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<v Speaker 1>city and the tower which the children of men built,

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<v Speaker 1>and the Lord said, behold, the people is one, and

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<v Speaker 1>they have all one language. And this they begin to do.

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<v Speaker 1>And now nothing will be restrained from them which they

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<v Speaker 1>have imagined to do. Go to, let us go down.

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<v Speaker 1>And they're confound their language that they may not understand

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<v Speaker 1>one another's speech. So the Lord scattered them abroad from

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<v Speaker 1>thence upon the face of all the earth, and they

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<v Speaker 1>left off to build the city. Therefore is the name

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<v Speaker 1>of it called Babel, because the Lord did there confound

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<v Speaker 1>the language of all the earth? And from thence did

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<v Speaker 1>the Lord scatter them abroad upon the face of all

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<v Speaker 1>the earth. Hey, welcome to stuff to blow your mind.

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<v Speaker 1>My name is Robert Lamb and I'm Joe McCormick. And

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<v Speaker 1>that was a reading from the Book of Genesis in

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<v Speaker 1>the Bible. It is the story of the Tower of Babel. Robert,

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<v Speaker 1>I've got to ask you, what did this story look

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<v Speaker 1>like when you were a little kid. Inside your head? Oh,

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<v Speaker 1>I mean, I guess it's always kind of looked the same. Um,

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<v Speaker 1>I don't, I don't. I wish I did you picture

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<v Speaker 1>the tower? Yes, But I have to say I had

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<v Speaker 1>this book of Bible stories with illustrations for each one,

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<v Speaker 1>and I think it was kind of Gustaf Dora inspired.

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<v Speaker 1>It had a kind of spiraling, you know, almost a

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<v Speaker 1>seashell kind of looked to it. And I was always

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<v Speaker 1>taken by that. I was this was a fabulous book

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<v Speaker 1>in many respects because I remember it had it just

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<v Speaker 1>had all of these strange illustrations to them, especially the

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<v Speaker 1>more mystical Old Testament occurrences. Now, did it have a

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<v Speaker 1>direct translation of the Genesis account along with illustrations or

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<v Speaker 1>was it like adapted into a modern sort of retelling

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<v Speaker 1>of the So I think it was adapted because it

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<v Speaker 1>was kind of for kids, you know, So I didn't

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<v Speaker 1>have access in that book to the you know, the

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<v Speaker 1>the nice keen James version that we have here with

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<v Speaker 1>all the slime and mortar and weirdness and some other translations.

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<v Speaker 1>That word slime is rendered tar alright, So if you're

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<v Speaker 1>not familiar with it, the account of Genesis basically lays

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<v Speaker 1>it all out. So humans got smart, they got organized,

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<v Speaker 1>they got more than a little bit ambitious. They decided

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<v Speaker 1>to build a structure that would show of the world

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<v Speaker 1>just how amazing they really were. And uh, God wasn't

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<v Speaker 1>too crazy about this development. So in this, uh, this story,

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<v Speaker 1>in this myth, he blasts their language so that they

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<v Speaker 1>can't understand each other and scatters them far and wide.

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<v Speaker 1>Then the tower is never finished. Right, So this is

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<v Speaker 1>pretty straightforward about how this would work in the logic

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<v Speaker 1>of the story. Right, if you confuse the tongues, if

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<v Speaker 1>you ever, if everybody speaks the same language, they can

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<v Speaker 1>all work together. If you make them all speak different languages,

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<v Speaker 1>then they can't coordinate their activities, and thus the building

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<v Speaker 1>of the tower has to stop. Yeah, it's it's at

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<v Speaker 1>least gonna set back production of the tower somewhat because

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<v Speaker 1>you're gonna have to figure out how I mean in

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<v Speaker 1>this magical scenario, You're gonna have to figure out how

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<v Speaker 1>your language relates to their language. You're gonna have to

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<v Speaker 1>figure out some sort of common means of communicating, and

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<v Speaker 1>it's essentially have to reorganize the whole the whole venture.

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<v Speaker 1>Now this is coming right pretty much right after a

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<v Speaker 1>catastrophe in the Book of Genesis, because this is after

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<v Speaker 1>the flood narrative, right, so we had the whole earth

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<v Speaker 1>except for one family destroyed in the Great Flood. So

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<v Speaker 1>it's after the flood, and and so you've got people

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<v Speaker 1>rebuilding civilization. But they get a little haughty, and there

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<v Speaker 1>are multiple ways that you could interpret what they're doing

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<v Speaker 1>when they're building this tower up to heaven. As a child,

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<v Speaker 1>I think the way I read the story was, well,

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<v Speaker 1>they're prideful right there, saying look what we can accomplish.

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<v Speaker 1>Were showing off, and God did not like their pride

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<v Speaker 1>and punish them for it. More recently, when I look

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<v Speaker 1>at this story, I see an implied threat essentially that

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<v Speaker 1>they are attempting to physically scale to the heavens so

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<v Speaker 1>that they could challenge the gods. In one sense, they

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<v Speaker 1>are bridging heaven and earth. Yeah, it's like a yeah,

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<v Speaker 1>it really is, and so what's what's God to do?

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<v Speaker 1>I mean, there are some accounts I remember reading when

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<v Speaker 1>I was younger. They would even say that the workmen

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<v Speaker 1>on the tower, like on their lunch break, I guess,

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<v Speaker 1>would shoot angels with bows and arrows because it was

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<v Speaker 1>getting that high, you know, it was getting clo to

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<v Speaker 1>the heavenly domain. Yeah, when I when I was young,

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<v Speaker 1>and for the longest I think it was the definitely

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<v Speaker 1>the pride version, the idea that they just got too boastful, which,

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<v Speaker 1>on one hand, the message there ties in I guess

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<v Speaker 1>nicely with a lot of human endeavor. I don't get

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<v Speaker 1>too full of yourself, because God still got the final word.

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<v Speaker 1>But it also kind of makes God look like a

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<v Speaker 1>paranoid jerk where he's just like, oh, this tower is

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<v Speaker 1>getting a little too tall from my like and I'm

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<v Speaker 1>gonna smite that, Like why you're God, They're just building

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<v Speaker 1>a tower. That The behavior is more understandable if you

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<v Speaker 1>interpret it as an attempt to overthrow the gods, a

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<v Speaker 1>threat against their place in the sky. It also makes

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<v Speaker 1>more sense when you think about ancient cosmology with with

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<v Speaker 1>the idea that the heavens were actually a fairly low

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<v Speaker 1>plane that you could access through ascension in the air.

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<v Speaker 1>When when I was a kid, I had this story

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<v Speaker 1>in my head, and I was trying to picture it

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<v Speaker 1>as something that had happened. But I also had knowledge

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<v Speaker 1>of outer space travel and and how big the atmosphere

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<v Speaker 1>actually was, so I was trying to picture it like, Okay,

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<v Speaker 1>so they're building a tower that literally goes up to

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<v Speaker 1>space because that's where God is. Well, I didn't necessarily

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<v Speaker 1>think God was in space, but that was the only way,

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<v Speaker 1>knowing about space, that's the only way I could really

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<v Speaker 1>interpret it. And so I was picturing a tower that

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<v Speaker 1>just went up as far as you could see, which

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<v Speaker 1>is kind of ridiculous to picture. Now, if you see

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<v Speaker 1>the great artistic representations of the story, it's not really

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<v Speaker 1>that the tower reaches beyond where you can see, though

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<v Speaker 1>actually I guess in some of them it is. But

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<v Speaker 1>like later we'll be looking at a Peter bru Egels interpretation,

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<v Speaker 1>and it's more just kind of this massive project that

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<v Speaker 1>more reflects pride, I think. Yeah, And even with just

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<v Speaker 1>a basic almost subconscious understanding of engineering, you look at

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<v Speaker 1>those representations and you know this thing is not going

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<v Speaker 1>to reach a low Earth orbit or anything. Right now.

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<v Speaker 1>You can also look at the myth, you know, in

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<v Speaker 1>two basic ways as well. I guess you can say

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<v Speaker 1>that this was basically an etiological attempt, you know, to explain, well,

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<v Speaker 1>why do we have all these languages? Yeah, and ideologies

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<v Speaker 1>are extremely common and in ancient literature and ancient mythology,

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<v Speaker 1>and you find them all throughout the Bible. The Book

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<v Speaker 1>of Genesis is full of stories that tell you a

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<v Speaker 1>story about something that happened, and it sort of ends

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<v Speaker 1>with the punch line, and that's why these people are

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<v Speaker 1>now called this which relates to some fact about the story,

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<v Speaker 1>you know it would be like, And then they cut

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<v Speaker 1>off one guy's leg, and that's why this tribe is

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<v Speaker 1>now called the left footers. Yeah. And then but then

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<v Speaker 1>there's just not a real But then there's another level

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<v Speaker 1>too to our interpretation of this tale, this myth uh

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<v Speaker 1>as And and I think I think it's not too

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<v Speaker 1>much of a stretch to to think about it being

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<v Speaker 1>baked into the original purpose as well is that it

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<v Speaker 1>explains why people can't get along very well, why people

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<v Speaker 1>can't come can can very rarely come together on a

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<v Speaker 1>megaproject um and and stick with it like something's going

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<v Speaker 1>to fall apart. Uh. And you have to have extenuating

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<v Speaker 1>circumstances to allow something grandiose to happen to begin with. Yeah,

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<v Speaker 1>And in that vein, I can see how it's not

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<v Speaker 1>only an ideological story to explain why we have all

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<v Speaker 1>these different languages on Earth, why there's so much conflict,

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<v Speaker 1>but it also has some kind of ancient techno paranoia,

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<v Speaker 1>uh idea. Right, So there's actually a bit of discussion

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<v Speaker 1>of technological change in the story. They say, you know what,

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<v Speaker 1>they were burning those bricks thoroughly. This actually represented a

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<v Speaker 1>technological upgrade. And the architecture of ancient Mesopotamia, a lot

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<v Speaker 1>of it was built with mud bricks. These are sun

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<v Speaker 1>baked mud bricks that you would form together out of

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<v Speaker 1>clay and then allow to harden in the sun. And

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<v Speaker 1>these were you know, you could build out of them,

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<v Speaker 1>but they didn't. They weren't in it for the long haul. Later,

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<v Speaker 1>if you had fire baked bricks that you made at

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<v Speaker 1>a much higher temperature, they would be much sturdier. So

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<v Speaker 1>we're seeing here there's technological change. This technological change leads

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<v Speaker 1>to either on one interpretation, you know, Huber as people

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<v Speaker 1>being uh very haughty about what they can do with

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<v Speaker 1>their their new ovens and kilns now out, or it

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<v Speaker 1>leads to them saying, you know, we've got this new power,

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<v Speaker 1>we could ascend to the heavens and take over. Yeah,

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<v Speaker 1>they're like, how you touched on the sort of the

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<v Speaker 1>violence of making the bricks, because they're they're kind of

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<v Speaker 1>perpetrating an act of violence on the earth, remaking the

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<v Speaker 1>earth into an artificial mountain. And in so many mythologies,

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<v Speaker 1>I mean, the mountain is the mountains are where the

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<v Speaker 1>gods live. The mountain is the thing that bridges Earth

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<v Speaker 1>to the sky. Yeah. So eventually in this episode, we

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<v Speaker 1>want to take a quick look at about the diversification

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<v Speaker 1>of languages and where language speciation comes from. But before

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<v Speaker 1>we get into that, I think we just want to

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<v Speaker 1>talk about the myth itself because it's such an interesting story. Yeah,

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<v Speaker 1>we're gonna kick off with the myth. We're gonna talk

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<v Speaker 1>a little bit about art, and yeah, we're gonna get

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<v Speaker 1>into some engineering and linguistics. But first the myth and

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<v Speaker 1>uh and and as is the case with the number

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<v Speaker 1>of these Old Testament stories, and we went into this

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<v Speaker 1>a little bit when we we talked about the Great

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<v Speaker 1>Flood in a previous episode, like these are these are

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<v Speaker 1>tales that existed before the the Old Testament was really thing? Like,

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<v Speaker 1>these were tales that they were brought into this collection. Well,

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<v Speaker 1>you can, you can definitely look at it that way.

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<v Speaker 1>Another way to look at it is that, um, if

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<v Speaker 1>the tales in Genesis didn't necessarily come from other stories

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<v Speaker 1>that you'd find and say ancient Sumerian literature or something

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<v Speaker 1>like that, you might say that they had a common

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<v Speaker 1>ancestor you know that they they might not be direct

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<v Speaker 1>descendants of one another, but might be cousins that come

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<v Speaker 1>from more primeval stories. But yeah, it's hard to know exactly,

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<v Speaker 1>but you can see parallels in in other ancient Sumerian

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<v Speaker 1>mythology that are very interesting. And I want to get

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<v Speaker 1>into it a little bit, but first I just wanted

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<v Speaker 1>to take a peek at some of the translation notes,

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<v Speaker 1>which was this is one of my favorite things to

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<v Speaker 1>do about an Old Bible story is go look up

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<v Speaker 1>a fairly literal translations, such as like the New American

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<v Speaker 1>Standard version that's a trans English translation of the Bible that,

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<v Speaker 1>more so than most versions, tries to follow the literal

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<v Speaker 1>word for word progression of the text. Now, a lot

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<v Speaker 1>of times this doesn't necessarily render the best reading um,

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<v Speaker 1>but it is just more interesting to see what the

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<v Speaker 1>original language looked like, and then also look at there

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<v Speaker 1>there will be usually if there's like a if it's

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<v Speaker 1>a good online resource, there will be like footnotes you

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<v Speaker 1>can click that will tell you literally what the original

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<v Speaker 1>word was. So, for example, everywhere the word language appears

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<v Speaker 1>in this original story, it says the whole earth was

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<v Speaker 1>of one language and of one speech. Literally, that's the

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<v Speaker 1>whole earth was of one lip or had one lip.

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<v Speaker 1>So I'm imagining everybody sharing a lip or sort of

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<v Speaker 1>lip locking all the time when they're talking, and the

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<v Speaker 1>the one speech was of one set of words or

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<v Speaker 1>few words. And so when God speaks to God, God

0:11:46.120 --> 0:11:48.439
<v Speaker 1>is speaking to some kind of other heavenly beings one

0:11:48.440 --> 0:11:51.960
<v Speaker 1>would assume other gods in the earlier pantheon or angels.

0:11:52.720 --> 0:11:55.720
<v Speaker 1>God says, let us go down there and confuse their

0:11:55.800 --> 0:11:58.880
<v Speaker 1>lips so that they will not understand one another's lip.

0:11:59.559 --> 0:12:03.480
<v Speaker 1>But there's also another ideological feature of this story, which

0:12:03.559 --> 0:12:06.760
<v Speaker 1>is that it tries to explain the origin of the

0:12:06.880 --> 0:12:09.400
<v Speaker 1>term Babel. So you've got this line in verse nine

0:12:09.400 --> 0:12:11.720
<v Speaker 1>where it says, therefore is the name of it called

0:12:11.840 --> 0:12:15.080
<v Speaker 1>babble because the Lord did their confound the language of

0:12:15.080 --> 0:12:18.040
<v Speaker 1>all the earth, and thence did the Lord scatter them

0:12:18.040 --> 0:12:20.480
<v Speaker 1>abroad upon the face of the earth. So he's talking

0:12:20.480 --> 0:12:24.080
<v Speaker 1>about this place called Babel. Literally, this is probably referring

0:12:24.120 --> 0:12:27.360
<v Speaker 1>to Babylon. That's their word for it. But also there's

0:12:27.360 --> 0:12:31.040
<v Speaker 1>a joke in the name because the Hebrew word baalal

0:12:31.400 --> 0:12:35.760
<v Speaker 1>means confused or confound, So it's trying to say there's

0:12:35.800 --> 0:12:37.880
<v Speaker 1>some kind of cognate in the word they use for

0:12:37.920 --> 0:12:42.120
<v Speaker 1>the place Babylon and the word for confused. It's like, yeah,

0:12:42.120 --> 0:12:45.319
<v Speaker 1>that's why they call that place Babylon. It's because it's confused.

0:12:45.480 --> 0:12:49.319
<v Speaker 1>Old Testament jokes. You know why they call it Pittsburgh.

0:12:49.520 --> 0:12:52.200
<v Speaker 1>It's the pit. Yeah, there you go. It's the same spirit.

0:12:53.480 --> 0:12:56.959
<v Speaker 1>Or here's another one, Joe, which us state is um

0:12:57.080 --> 0:12:58.840
<v Speaker 1>is high in the middle and around on both ends.

0:12:59.520 --> 0:13:04.560
<v Speaker 1>I have no idea. Oh hioh, there you go. Uh man.

0:13:05.000 --> 0:13:09.680
<v Speaker 1>But back to ancient Babylon. Oh you got me there,

0:13:09.800 --> 0:13:14.120
<v Speaker 1>Robert I am slain, I die Horatio. So back to

0:13:14.160 --> 0:13:17.040
<v Speaker 1>the original myth. So we've got this Genesis version. But

0:13:17.080 --> 0:13:19.920
<v Speaker 1>there are also other versions of the same story. For example,

0:13:19.960 --> 0:13:23.239
<v Speaker 1>one appears in the Book of Jubilees, which is another

0:13:23.320 --> 0:13:26.960
<v Speaker 1>ancient Jewish text that is sort of a retelling of

0:13:27.000 --> 0:13:29.839
<v Speaker 1>a lot of the other Genesis stories. It's a it's

0:13:29.840 --> 0:13:32.400
<v Speaker 1>a retelling of the history of the Jewish people and

0:13:32.440 --> 0:13:34.800
<v Speaker 1>their relationship with God, and it's sort of like dictated

0:13:34.840 --> 0:13:38.880
<v Speaker 1>by angels, and they give just a few extra details

0:13:38.880 --> 0:13:41.559
<v Speaker 1>in the story. For example, in the Jubilees version, it says,

0:13:41.640 --> 0:13:43.800
<v Speaker 1>and they began to build, and in the fourth week

0:13:43.840 --> 0:13:46.600
<v Speaker 1>they made brick with fire, and the bricks served them

0:13:46.640 --> 0:13:49.640
<v Speaker 1>for stone, and the clay with which they cemented them

0:13:49.720 --> 0:13:52.680
<v Speaker 1>together was asphalt, which cometh out of the sea and

0:13:52.720 --> 0:13:55.400
<v Speaker 1>out of the fountains of water in the land of Shinnar.

0:13:55.960 --> 0:13:58.160
<v Speaker 1>So that's given us a little more detail about like

0:13:58.200 --> 0:14:02.160
<v Speaker 1>the technological origins of their instruction methods. More about the

0:14:02.160 --> 0:14:05.680
<v Speaker 1>construction methods. They specified the size of the tower and

0:14:05.760 --> 0:14:08.640
<v Speaker 1>they built it forty and three years. Where they're building

0:14:08.720 --> 0:14:11.560
<v Speaker 1>its breadth was two hundred and three bricks, and the

0:14:11.600 --> 0:14:13.760
<v Speaker 1>height of a brick was the third of one. It's

0:14:13.800 --> 0:14:16.600
<v Speaker 1>height amounted to five thousand, four hundred and thirty three

0:14:16.640 --> 0:14:20.160
<v Speaker 1>cubits and two palms, and the extent of one of

0:14:20.200 --> 0:14:25.720
<v Speaker 1>the walls was thirteen states and of the other thirty states.

0:14:25.760 --> 0:14:29.440
<v Speaker 1>So if Google's unit conversion program of length of the

0:14:29.520 --> 0:14:31.600
<v Speaker 1>length of a cubit is right, this means that the

0:14:31.680 --> 0:14:34.680
<v Speaker 1>tower would have been about eight thousand, one fifty ft tall.

0:14:35.000 --> 0:14:38.880
<v Speaker 1>And to put that in in in terms of modern buildings,

0:14:39.640 --> 0:14:43.440
<v Speaker 1>the Burge Khalifa in the United are Arab Emirates is

0:14:43.640 --> 0:14:46.400
<v Speaker 1>two thousand, seven hundred seventeen feet tall. So this would

0:14:46.400 --> 0:14:51.520
<v Speaker 1>have dwarfed the tallest building that has has ever existed,

0:14:51.520 --> 0:14:55.760
<v Speaker 1>the stall structure that's ever existed, by a substantial degree. Now,

0:14:55.840 --> 0:14:58.840
<v Speaker 1>I wonder how this compares to the alternate designs for

0:14:58.920 --> 0:15:01.440
<v Speaker 1>the Colossus of Chane Cargo we talked about in our

0:15:02.880 --> 0:15:06.880
<v Speaker 1>in our Chicago World's Fair episode. Remember the other proposed

0:15:06.960 --> 0:15:09.200
<v Speaker 1>structures before they had the ferris wheel, they were going

0:15:09.240 --> 0:15:12.360
<v Speaker 1>to be thousands and thousands of feet tall, many Birch

0:15:12.440 --> 0:15:15.160
<v Speaker 1>Khalifa's Yes, I don't know, it would be interesting to

0:15:15.200 --> 0:15:17.800
<v Speaker 1>go back super fans can listen and tell us what

0:15:17.840 --> 0:15:20.960
<v Speaker 1>we said. Uh. And then also we get another detail

0:15:20.960 --> 0:15:23.680
<v Speaker 1>in the Jubilees version about how God knocked the tower

0:15:23.760 --> 0:15:25.720
<v Speaker 1>down in the end, so he didn't just scatter the people,

0:15:25.800 --> 0:15:27.920
<v Speaker 1>but he crushed the tower. So it says, the Lord

0:15:28.000 --> 0:15:31.040
<v Speaker 1>send a mighty wind against the tower and overthrew it

0:15:31.160 --> 0:15:33.920
<v Speaker 1>upon the earth, and behold it was between as Sure

0:15:34.040 --> 0:15:37.360
<v Speaker 1>and Babylon in the land of Shannar, and they called

0:15:37.400 --> 0:15:40.520
<v Speaker 1>its name Overthrow. So it looks like we get another

0:15:40.600 --> 0:15:44.000
<v Speaker 1>ideological legend there. There's some place that translates roughly to

0:15:44.120 --> 0:15:47.280
<v Speaker 1>overthrow apparently, and saying you know why we call it

0:15:47.360 --> 0:15:50.560
<v Speaker 1>overthrow because it's where God knocked down the tower. It

0:15:50.640 --> 0:15:52.480
<v Speaker 1>does put a totally different spin on the myth. Like

0:15:52.520 --> 0:15:54.120
<v Speaker 1>on one level, he just he's like, what do I

0:15:54.120 --> 0:15:56.040
<v Speaker 1>have to do to knock down this tower? I just

0:15:56.040 --> 0:15:58.680
<v Speaker 1>have to confuse their languages, snap of the fingers. It's done.

0:15:58.680 --> 0:16:01.120
<v Speaker 1>It takes care of itself. But in this version he

0:16:01.200 --> 0:16:02.960
<v Speaker 1>does that, but he's like, a heck, I'll not get

0:16:02.960 --> 0:16:07.480
<v Speaker 1>down to why I'm a giant toddler. Uh. So there

0:16:07.520 --> 0:16:10.920
<v Speaker 1>are also some interesting parallels here where you've got the

0:16:11.000 --> 0:16:15.040
<v Speaker 1>Sumerian got Inky, and one of his roles that has

0:16:15.080 --> 0:16:18.720
<v Speaker 1>been discovered in in recent decades is as the confuser

0:16:18.720 --> 0:16:22.120
<v Speaker 1>of languages in Sumerian mythology. So I want to refer

0:16:22.200 --> 0:16:25.600
<v Speaker 1>to a paper I came across by Samuel Noah Kramer,

0:16:25.680 --> 0:16:30.040
<v Speaker 1>who is a twentieth century Sumerian history expert, and he

0:16:30.040 --> 0:16:33.280
<v Speaker 1>wrote this paper called the Babble of Tongues a Sumerian

0:16:33.520 --> 0:16:36.560
<v Speaker 1>Version in the Journal of the American Oriental Society. Now

0:16:36.560 --> 0:16:40.600
<v Speaker 1>this was from night so this is not a new discovery, um,

0:16:40.640 --> 0:16:42.520
<v Speaker 1>but but we do find that it when it comes

0:16:42.520 --> 0:16:47.840
<v Speaker 1>to studying the Tower of Babble, new research is is

0:16:47.840 --> 0:16:50.400
<v Speaker 1>a very relative term. There's not a lot of like

0:16:50.480 --> 0:16:53.280
<v Speaker 1>cutting edge study of this. This. There was some new

0:16:53.280 --> 0:16:55.360
<v Speaker 1>stuff at the time this came out, though, because he

0:16:55.400 --> 0:16:58.880
<v Speaker 1>had just recently gotten access to some new cune of

0:16:58.960 --> 0:17:02.640
<v Speaker 1>form tablets have filled in the gaps in a previously

0:17:02.760 --> 0:17:07.480
<v Speaker 1>known legend that that that had had incomplete sections because

0:17:07.520 --> 0:17:11.159
<v Speaker 1>of the deterioration of our sources. So he notes that

0:17:11.200 --> 0:17:14.480
<v Speaker 1>the biblical scholar E. A. Spicer had demonstrated in his

0:17:14.560 --> 0:17:18.119
<v Speaker 1>Anchor Bible commentary on Genesis that the Tower of Babel

0:17:18.240 --> 0:17:20.879
<v Speaker 1>narrative likely had a cune of form source, so another

0:17:20.960 --> 0:17:25.360
<v Speaker 1>Mesopotamian source going back to this other ancient Mesopotamian literature,

0:17:25.359 --> 0:17:28.480
<v Speaker 1>and Kramer was trying to bolster this view given recent

0:17:28.520 --> 0:17:32.080
<v Speaker 1>discoveries of his day of clay fragments filling in this

0:17:32.240 --> 0:17:35.960
<v Speaker 1>incomplete fragment from a Sumerian epic tale known as in

0:17:36.119 --> 0:17:39.880
<v Speaker 1>mer Car and the Lord of Arrata, and the details

0:17:39.880 --> 0:17:42.399
<v Speaker 1>of the narrative aren't especially important. Basically, it's about a

0:17:42.440 --> 0:17:45.280
<v Speaker 1>conflict between two rulers or kings. One is in mere

0:17:45.320 --> 0:17:48.159
<v Speaker 1>Car and he wants to get the king of Rata

0:17:48.240 --> 0:17:51.560
<v Speaker 1>to submit to him and pay tribute of gold and gems.

0:17:52.119 --> 0:17:55.800
<v Speaker 1>And there's one section known as the Golden Age passage,

0:17:55.840 --> 0:17:58.399
<v Speaker 1>and this is where an envoy from Rata is asked

0:17:58.400 --> 0:18:01.639
<v Speaker 1>to deliver this sort of formalized statement. It's kind of

0:18:01.680 --> 0:18:05.400
<v Speaker 1>like a hymn or a poem to his master. And

0:18:05.480 --> 0:18:08.159
<v Speaker 1>this is Kramer's translation of the part that was already

0:18:08.200 --> 0:18:12.639
<v Speaker 1>known when before these new tablet pieces were discovered. It

0:18:12.680 --> 0:18:16.400
<v Speaker 1>goes like this, Once upon a time, there was no snake,

0:18:16.760 --> 0:18:20.520
<v Speaker 1>there was no scorpion, there was no hyena, there was

0:18:20.600 --> 0:18:24.720
<v Speaker 1>no lion, there was no wild dog, no wolf. There

0:18:24.800 --> 0:18:29.159
<v Speaker 1>was no fear, no terror. Man had no rival in

0:18:29.200 --> 0:18:33.720
<v Speaker 1>those days. The lands of Saber and Hamazi, harmony tongued summer,

0:18:34.119 --> 0:18:37.160
<v Speaker 1>the great land of the decrees of prince ship Uri,

0:18:37.240 --> 0:18:40.480
<v Speaker 1>the land having all that is appropriate, the landmark to

0:18:40.840 --> 0:18:45.000
<v Speaker 1>resting in security, the whole universe, the people in unison,

0:18:45.080 --> 0:18:48.240
<v Speaker 1>to in Leal, and that's a Sumerian chief god to

0:18:48.480 --> 0:18:53.199
<v Speaker 1>in Leal. In one tongue spoke then Adah, the Lord Adah,

0:18:53.320 --> 0:18:57.360
<v Speaker 1>the Prince Adah, the king. In Key, Adah the Lord Adah,

0:18:57.400 --> 0:19:00.040
<v Speaker 1>the Prince, Adah, the king, and repeats it again, a

0:19:00.119 --> 0:19:02.080
<v Speaker 1>Da the Lord ada the Prince, a Da the King.

0:19:02.119 --> 0:19:05.160
<v Speaker 1>There's a lot of repetition in these um So that's

0:19:05.160 --> 0:19:07.000
<v Speaker 1>what they had already. But then there was this new

0:19:07.040 --> 0:19:11.040
<v Speaker 1>discovery that added in some new fragments. It went on

0:19:11.119 --> 0:19:15.040
<v Speaker 1>to say, in Key, which is another Sumerian guard, the

0:19:15.160 --> 0:19:19.520
<v Speaker 1>Lord of abundance, whose commands are trustworthy, the Lord of Wisdom,

0:19:19.560 --> 0:19:23.920
<v Speaker 1>who understands the land, the leader of the gods endowed

0:19:23.920 --> 0:19:27.679
<v Speaker 1>with wisdom, the Lord of airy. Do change the speech

0:19:27.680 --> 0:19:31.479
<v Speaker 1>in their mouths, brought contention into it, into the speech

0:19:31.520 --> 0:19:34.960
<v Speaker 1>of man that until then had been one. So here's

0:19:35.000 --> 0:19:37.680
<v Speaker 1>another version of the story. Of the confusion of tongues. Now,

0:19:37.720 --> 0:19:39.960
<v Speaker 1>this one lacks a lot of detail. It doesn't say

0:19:40.000 --> 0:19:42.600
<v Speaker 1>that humans were building a tower. It doesn't really give

0:19:42.640 --> 0:19:46.480
<v Speaker 1>a rationale for in Key changing the languages that people spoke.

0:19:46.520 --> 0:19:49.200
<v Speaker 1>It just says that people offered praise to in Leal

0:19:49.280 --> 0:19:52.040
<v Speaker 1>in one tongue. They all spoke the same language, and

0:19:52.080 --> 0:19:55.399
<v Speaker 1>then at some point this great figure in Key brought

0:19:55.480 --> 0:20:01.600
<v Speaker 1>contention into their languages and split the languages into different fragment. Now,

0:20:01.800 --> 0:20:04.840
<v Speaker 1>Kramer notes a difference from the Biblical account. Of course,

0:20:04.880 --> 0:20:07.919
<v Speaker 1>in the Biblical story, the gods confused the speech of

0:20:07.960 --> 0:20:12.000
<v Speaker 1>humankind because humankind is threatening to encroach into the heavens,

0:20:12.040 --> 0:20:14.199
<v Speaker 1>which is the domain of the gods, and it's a

0:20:14.280 --> 0:20:18.000
<v Speaker 1>conflict between between God and the humans that leads to

0:20:18.040 --> 0:20:21.280
<v Speaker 1>the confusion of tongues. But in the Sumerian version, as

0:20:21.280 --> 0:20:24.080
<v Speaker 1>I was saying, there's nothing apparent that the humans did

0:20:24.200 --> 0:20:28.359
<v Speaker 1>to have their speech confused. So Cramer suggests that any

0:20:28.400 --> 0:20:31.880
<v Speaker 1>Key confusing the tongues of humanity is a result of

0:20:31.960 --> 0:20:35.160
<v Speaker 1>his rivalry with the other god of the Sumerian pantheon

0:20:35.440 --> 0:20:37.560
<v Speaker 1>that's mentioned in the story the Big One in Leal,

0:20:38.040 --> 0:20:41.440
<v Speaker 1>rather than of a rivalry with humans. This is interesting

0:20:41.440 --> 0:20:45.280
<v Speaker 1>because it makes me think about the differences very broadly

0:20:45.880 --> 0:20:49.640
<v Speaker 1>between worshiping a pantheon of gods or a single god,

0:20:49.680 --> 0:20:52.760
<v Speaker 1>between being polytheistic and monotheistic. So if you just have

0:20:52.840 --> 0:20:55.920
<v Speaker 1>one god, well, well, let me take it from this direction.

0:20:56.119 --> 0:20:59.000
<v Speaker 1>If you have multiple gods, and it's possible that these

0:20:59.040 --> 0:21:01.359
<v Speaker 1>gods don't get along, and then you're just left with

0:21:01.400 --> 0:21:06.280
<v Speaker 1>the residual um chaos of their turmoil. In the same way,

0:21:06.400 --> 0:21:09.040
<v Speaker 1>might be an innocent bystanding yeah, yeah, in a way

0:21:09.040 --> 0:21:12.800
<v Speaker 1>that I think relates to modern experience, but even ancient experience,

0:21:12.840 --> 0:21:15.400
<v Speaker 1>where you know, what are you doing? You're just a

0:21:15.400 --> 0:21:18.359
<v Speaker 1>normal person trying to live your life. You're a farmer,

0:21:18.400 --> 0:21:22.240
<v Speaker 1>you're a craftsman, your podcast or whatever you are. And

0:21:22.600 --> 0:21:26.400
<v Speaker 1>the conflicts among the greats, among the kings, the governments

0:21:26.440 --> 0:21:30.760
<v Speaker 1>of the nations themselves, the way no input do you

0:21:30.840 --> 0:21:32.639
<v Speaker 1>have no input? But then you still have to suffer

0:21:32.720 --> 0:21:36.080
<v Speaker 1>what the wages of these conflicts. But it's not a

0:21:36.160 --> 0:21:38.359
<v Speaker 1>judgment thing, it's just that's how life works. But if

0:21:38.359 --> 0:21:41.640
<v Speaker 1>it's a single god, then then who else is there?

0:21:41.680 --> 0:21:47.520
<v Speaker 1>Like every every catastrophic event, every minor misfortune or blessing

0:21:48.000 --> 0:21:50.320
<v Speaker 1>is or or you know, positive effect is a is

0:21:50.359 --> 0:21:52.920
<v Speaker 1>a blessing or a curse. It's all a direct communication

0:21:53.400 --> 0:21:56.480
<v Speaker 1>with the divine being. Yeah, they're they're definitely shades of that,

0:21:56.560 --> 0:21:59.879
<v Speaker 1>I think in the division between monotheism and polytheism. But

0:22:00.000 --> 0:22:01.600
<v Speaker 1>one thing we see also in a lot of these

0:22:01.600 --> 0:22:05.000
<v Speaker 1>ancient accounts is that the line between monotheism and polytheism

0:22:05.160 --> 0:22:08.680
<v Speaker 1>is not quite such a stark division as one would expect.

0:22:09.000 --> 0:22:12.440
<v Speaker 1>I think that there are shades of monotheism and shades

0:22:12.480 --> 0:22:16.520
<v Speaker 1>of polytheism. Like in this ancient context, you may have

0:22:16.560 --> 0:22:18.800
<v Speaker 1>seen a lot of cases where there is sort of

0:22:18.800 --> 0:22:21.680
<v Speaker 1>a concept of a greater pantheon of God's but maybe

0:22:21.680 --> 0:22:26.199
<v Speaker 1>one God is strongly favored or something, uh or or

0:22:26.240 --> 0:22:29.360
<v Speaker 1>there is an idea that there are other heavenly beings,

0:22:29.359 --> 0:22:32.320
<v Speaker 1>but you wouldn't call them God quite in the same way,

0:22:32.440 --> 0:22:34.800
<v Speaker 1>like you've got a chief God who's the real God,

0:22:34.840 --> 0:22:37.639
<v Speaker 1>but then there are also these other powers in heaven

0:22:37.720 --> 0:22:40.480
<v Speaker 1>that aren't quite human. Yeah, you have these different angelic

0:22:40.560 --> 0:22:44.119
<v Speaker 1>forces or or on the opposite end, demonic forces, and

0:22:44.119 --> 0:22:47.040
<v Speaker 1>then you have these intermediaries as well, such as uh,

0:22:47.080 --> 0:22:49.679
<v Speaker 1>you know, saints or in in other modes of belief,

0:22:49.760 --> 0:22:54.600
<v Speaker 1>ancestors that can serve as as go betweens for you

0:22:54.720 --> 0:22:58.000
<v Speaker 1>and the hereafter. Yeah. So Cramer in nineteen in his

0:22:58.040 --> 0:23:01.800
<v Speaker 1>paper actually has a really interesting speculation in a footnote

0:23:02.040 --> 0:23:05.000
<v Speaker 1>about the difference in the motivation for the confusion of

0:23:05.000 --> 0:23:07.919
<v Speaker 1>tongues between the Sumerian epic and the Biblical account. And

0:23:07.960 --> 0:23:10.080
<v Speaker 1>it sort of goes along with what you were saying, Robert.

0:23:10.080 --> 0:23:14.359
<v Speaker 1>He says, quote, the biblical storyteller was no doubt inspired

0:23:14.400 --> 0:23:18.719
<v Speaker 1>to invent his moralistic explanation by the twofold aspect of

0:23:18.760 --> 0:23:21.479
<v Speaker 1>the Babylonian ziggurat. And in just a minute we're going

0:23:21.520 --> 0:23:24.240
<v Speaker 1>to get into the role that ziggurats may have played

0:23:24.320 --> 0:23:27.600
<v Speaker 1>in inspiring this story. But basically, a zigarat is an

0:23:27.600 --> 0:23:31.280
<v Speaker 1>ancient Mesopotamian structure, a big step pyramid with a flat top,

0:23:31.840 --> 0:23:34.200
<v Speaker 1>and so he says that this may have been an explanation.

0:23:34.240 --> 0:23:38.080
<v Speaker 1>He continues, Uh, the one aspect is the high rise,

0:23:38.200 --> 0:23:41.520
<v Speaker 1>sky reaching appearance of the structure in its prime that

0:23:41.600 --> 0:23:44.080
<v Speaker 1>could be interpreted as a threat to the gods in

0:23:44.119 --> 0:23:48.600
<v Speaker 1>their power. And the other thing, it's melancholy and pathetic

0:23:48.640 --> 0:23:51.720
<v Speaker 1>appearance when in a state of disrepair and collapse, which

0:23:51.840 --> 0:23:55.360
<v Speaker 1>was not infrequent that could be viewed as a punishment

0:23:55.400 --> 0:23:59.320
<v Speaker 1>by the angered gods or Yahweh for man's overreaching ambition.

0:24:00.040 --> 0:24:02.840
<v Speaker 1>The Mesopotamian, on the other hand, far from viewing the

0:24:02.920 --> 0:24:06.800
<v Speaker 1>Ziggarat as an outgrowth of man's rivalry with an antagonism

0:24:06.840 --> 0:24:09.800
<v Speaker 1>to the gods, actually deemed it to be a bond

0:24:09.960 --> 0:24:13.520
<v Speaker 1>between heaven and earth, man and God, and attributed its

0:24:13.600 --> 0:24:16.639
<v Speaker 1>ruin and decay to the inscrutable will of the gods

0:24:16.680 --> 0:24:21.119
<v Speaker 1>and their incontestable decisions. And so the different views of

0:24:21.119 --> 0:24:25.800
<v Speaker 1>these cultures upon seeing, for example, a ruined ziggurat would

0:24:25.800 --> 0:24:28.360
<v Speaker 1>be based on their different idea of what the ziggurat

0:24:28.480 --> 0:24:32.320
<v Speaker 1>was for. If if you're, say a monotheistic Yahwist, and

0:24:32.320 --> 0:24:34.679
<v Speaker 1>you see a ruined Ziggarat, you might not know that

0:24:34.720 --> 0:24:37.240
<v Speaker 1>this is for the people who built it, that it's

0:24:37.280 --> 0:24:40.000
<v Speaker 1>for some kind of positive connection they believe they have

0:24:40.160 --> 0:24:42.880
<v Speaker 1>with the gods. Yeah, I mean, of course, we can

0:24:42.880 --> 0:24:44.760
<v Speaker 1>think a plenty of examples of that, right where if

0:24:44.760 --> 0:24:47.560
<v Speaker 1>you're you have someone outside of a religion looking in,

0:24:48.080 --> 0:24:50.359
<v Speaker 1>and especially if they have their own religious viewpoints that

0:24:50.400 --> 0:24:53.720
<v Speaker 1>they're using to make the judgment, you can vastly misinterpret

0:24:53.840 --> 0:24:56.280
<v Speaker 1>what something's for, Like people saying oh, look at the

0:24:56.600 --> 0:24:59.760
<v Speaker 1>Look at those guys worshiping that Buddha or or look

0:24:59.760 --> 0:25:02.600
<v Speaker 1>at that mighty church that they've built, um, you know,

0:25:02.640 --> 0:25:05.959
<v Speaker 1>as a tribute to themselves. Like what's the difference between

0:25:06.400 --> 0:25:08.520
<v Speaker 1>you know, the humorists of a cathedral and the huborists

0:25:08.520 --> 0:25:11.200
<v Speaker 1>of this tower. You know, yeah, yeah, yeah, like it.

0:25:11.200 --> 0:25:15.920
<v Speaker 1>It's definitely difficult to see the significance of religious artifacts

0:25:15.920 --> 0:25:17.879
<v Speaker 1>from the outside if you don't make an attempt to

0:25:17.960 --> 0:25:22.280
<v Speaker 1>understand what they mean. The practitioners to the Mesopotamians, these

0:25:22.320 --> 0:25:24.880
<v Speaker 1>zigarattes wouldn't have been an assault on heaven. They were.

0:25:24.960 --> 0:25:27.119
<v Speaker 1>They were an attempt to connect and bond with and

0:25:27.160 --> 0:25:30.000
<v Speaker 1>appease the heavens. But I guess it's time to look

0:25:30.000 --> 0:25:33.280
<v Speaker 1>at the zigarattes themselves, right, So I would say, I

0:25:33.560 --> 0:25:36.200
<v Speaker 1>don't want to you to come away from this episode

0:25:36.200 --> 0:25:38.960
<v Speaker 1>with the impression that, oh, the Tower of Babel was

0:25:39.040 --> 0:25:42.400
<v Speaker 1>a zigaratte and they just saw zigarattes and that's where

0:25:42.400 --> 0:25:44.800
<v Speaker 1>the story came from, because I'm not so certain, but

0:25:45.240 --> 0:25:48.439
<v Speaker 1>it has been widely speculated that the Tower of Babel

0:25:48.520 --> 0:25:51.600
<v Speaker 1>story could have been inspired by sites of ziggarattes, and

0:25:51.640 --> 0:25:53.840
<v Speaker 1>that may be true to some extent. I don't know

0:25:53.880 --> 0:25:55.840
<v Speaker 1>what you think about this, Robert Well, I guess some

0:25:55.960 --> 0:25:58.800
<v Speaker 1>of two minds on this. Like if I were to definitely, uh,

0:25:58.840 --> 0:26:00.480
<v Speaker 1>you know, get behind an idea of there being a

0:26:00.520 --> 0:26:03.560
<v Speaker 1>literal tower that inspired the tails, then I would probably

0:26:03.600 --> 0:26:06.600
<v Speaker 1>line up with a zigaratte explanation. But we kind of

0:26:06.600 --> 0:26:10.119
<v Speaker 1>get into that area we've gotten to in uh in

0:26:10.160 --> 0:26:13.960
<v Speaker 1>the discussion of fossils and dinosaurs and dragons, Right, did

0:26:13.960 --> 0:26:17.199
<v Speaker 1>people dream up dragons because they saw a triceratops fossil

0:26:17.720 --> 0:26:20.880
<v Speaker 1>or Griffin's Yeah, And we we argued in that episode

0:26:20.920 --> 0:26:23.720
<v Speaker 1>of the Stuff About Your Mind that, well, you can't

0:26:23.760 --> 0:26:27.040
<v Speaker 1>just say that nobody had creative energy in the old days,

0:26:27.040 --> 0:26:29.640
<v Speaker 1>that they weren't capable of creating myths out of other

0:26:29.720 --> 0:26:33.080
<v Speaker 1>things than just very literal sights and sounds. Yeah, And

0:26:33.160 --> 0:26:35.280
<v Speaker 1>I don't think it is wrong to try to look

0:26:35.320 --> 0:26:38.399
<v Speaker 1>for things that could have literally inspired the creation of

0:26:38.440 --> 0:26:41.960
<v Speaker 1>ancient of tropes and ancient literatures, such as monsters or

0:26:42.000 --> 0:26:44.040
<v Speaker 1>structures or things like that. It's not that I think

0:26:44.040 --> 0:26:46.359
<v Speaker 1>that is a worthless project, because in many cases it

0:26:46.400 --> 0:26:48.520
<v Speaker 1>may be that these things inspired people. But I just

0:26:49.200 --> 0:26:51.480
<v Speaker 1>I think we should never forget the role of creative

0:26:51.520 --> 0:26:55.760
<v Speaker 1>imagination in creating literature. Yeah, I mean there were towers around,

0:26:55.880 --> 0:26:59.000
<v Speaker 1>There were zigaratts around, and you can imagine someone creating

0:26:59.000 --> 0:27:01.800
<v Speaker 1>the story of out some people who build a tower,

0:27:02.160 --> 0:27:05.320
<v Speaker 1>and you don't actually need it that to be a

0:27:05.359 --> 0:27:07.960
<v Speaker 1>literal place in a literal tower for that kind of

0:27:08.000 --> 0:27:11.880
<v Speaker 1>story to come together. Yeah. But anyway, so let's look

0:27:11.880 --> 0:27:14.920
<v Speaker 1>at the zigarattes. So you've probably seen pictures of zigarettes before.

0:27:14.920 --> 0:27:18.320
<v Speaker 1>They're these huge, ancient Near Eastern stepped pyramids with a

0:27:18.400 --> 0:27:20.879
<v Speaker 1>flat top. So one thing you can do if you

0:27:20.960 --> 0:27:23.080
<v Speaker 1>haven't actually seen one is google one. But let's say

0:27:23.080 --> 0:27:26.560
<v Speaker 1>you can't google one picture the pyramids. Surely you've seen

0:27:26.600 --> 0:27:29.919
<v Speaker 1>that of ancient Egypt. And then take the top, the

0:27:29.960 --> 0:27:33.360
<v Speaker 1>pointy top off, so they've got a flat top, and

0:27:33.400 --> 0:27:36.280
<v Speaker 1>then uh, and then give them a couple of stairways

0:27:36.320 --> 0:27:39.040
<v Speaker 1>that are going up to the top. And some things

0:27:39.080 --> 0:27:41.159
<v Speaker 1>would probably originally have been on the top. I think

0:27:41.200 --> 0:27:43.520
<v Speaker 1>a lot of the replicas or ruins that exist today

0:27:43.600 --> 0:27:46.320
<v Speaker 1>don't have much on the top, but back then, and

0:27:46.359 --> 0:27:48.679
<v Speaker 1>there may have been a temple or a shrine to

0:27:48.800 --> 0:27:51.760
<v Speaker 1>a god such as mar Duke and uh, it may

0:27:51.800 --> 0:27:54.399
<v Speaker 1>have also been thought of as the dwelling place of

0:27:54.440 --> 0:27:56.520
<v Speaker 1>the God at the top of the zigaratte, like the

0:27:56.600 --> 0:27:59.200
<v Speaker 1>God comes down and sleeps on top of the zigaratte

0:27:59.320 --> 0:28:01.399
<v Speaker 1>or something like that. Yeah, I think it's very helpful

0:28:01.440 --> 0:28:04.040
<v Speaker 1>to again think of the ziggurat in terms of a

0:28:04.080 --> 0:28:07.840
<v Speaker 1>holy mountain. It is an artificial holy mountain. And so

0:28:08.040 --> 0:28:10.399
<v Speaker 1>since we know we have these things in the ancient

0:28:10.440 --> 0:28:13.480
<v Speaker 1>Near Eastern context, plenty of people have positive that the

0:28:13.600 --> 0:28:16.399
<v Speaker 1>story of the Tower of Babel may have been inspired

0:28:16.440 --> 0:28:18.919
<v Speaker 1>by the sight of a zigarat or the ruins of

0:28:18.920 --> 0:28:21.919
<v Speaker 1>a zigarat. And there's one candidate in particular that often

0:28:22.000 --> 0:28:25.240
<v Speaker 1>comes up right. Yes, the specific candidate here is the

0:28:25.280 --> 0:28:29.439
<v Speaker 1>Babylonian Tower temple north of the Marduk Temple, which in

0:28:29.640 --> 0:28:34.320
<v Speaker 1>Babylonian was called bab Elu or Gate of God. Yeah,

0:28:34.359 --> 0:28:38.040
<v Speaker 1>and the zigarat itself was known as the etim an

0:28:38.160 --> 0:28:41.600
<v Speaker 1>Key or the house of the foundation platform of Heaven

0:28:41.680 --> 0:28:44.560
<v Speaker 1>and the underworld. I've also seen it translated as house

0:28:44.560 --> 0:28:47.880
<v Speaker 1>of the foundation platform of Heaven and Earth. And one

0:28:47.880 --> 0:28:51.239
<v Speaker 1>thing to keep in mind about ancient ziggurats versus the

0:28:51.240 --> 0:28:56.400
<v Speaker 1>existing ruins and replicas is uh is that the ancient

0:28:56.560 --> 0:29:01.640
<v Speaker 1>versions were probably more beautiful like the generally more decorated,

0:29:02.000 --> 0:29:04.760
<v Speaker 1>for example, with this one particular place that at him

0:29:04.760 --> 0:29:08.280
<v Speaker 1>and an key. When Nebuchadnezzar the King came through and

0:29:08.360 --> 0:29:12.120
<v Speaker 1>restored this zigaratte, he covered the top with blue glazed

0:29:12.360 --> 0:29:15.600
<v Speaker 1>bricks and other types of decorations, some gold and things

0:29:15.640 --> 0:29:18.640
<v Speaker 1>like that. And the image of the zigaratte I have

0:29:18.720 --> 0:29:22.040
<v Speaker 1>in my mind is it's the modern version, right. It's

0:29:22.080 --> 0:29:25.000
<v Speaker 1>what either the replicas you would see in Iraq or

0:29:25.040 --> 0:29:28.560
<v Speaker 1>the actual ruins of some previous zigarattes that still exist

0:29:28.600 --> 0:29:31.880
<v Speaker 1>to some extent. Generally, when you think about them, they're

0:29:31.920 --> 0:29:35.720
<v Speaker 1>the exact same color as the sand all around them,

0:29:35.800 --> 0:29:38.840
<v Speaker 1>and sort of the same color as the sky, and

0:29:38.880 --> 0:29:41.640
<v Speaker 1>this tends to have a kind of brutal effect on

0:29:41.680 --> 0:29:43.479
<v Speaker 1>the eye, at least to me. I don't know how

0:29:43.480 --> 0:29:46.800
<v Speaker 1>you feel about this, Robert, but it's like, this massive, dense,

0:29:47.040 --> 0:29:51.240
<v Speaker 1>colorless edifice is almost like it was specifically programmed to

0:29:51.360 --> 0:29:53.880
<v Speaker 1>make you odd, but not in a good way, to

0:29:54.000 --> 0:29:57.560
<v Speaker 1>fill you with this kind of crushing dread. It's stifling

0:29:57.560 --> 0:30:00.520
<v Speaker 1>to the mind, and I think that's just because of

0:30:00.560 --> 0:30:02.960
<v Speaker 1>the lack of color. I don't know if you feel

0:30:03.000 --> 0:30:05.960
<v Speaker 1>the same way, um, but when I see recreations of

0:30:06.000 --> 0:30:09.160
<v Speaker 1>the same structures with color and decoration added. It doesn't

0:30:09.160 --> 0:30:11.120
<v Speaker 1>have that effect on me at all. It's more like

0:30:11.400 --> 0:30:13.920
<v Speaker 1>seeing these other types of ancient buildings that would be

0:30:13.960 --> 0:30:17.040
<v Speaker 1>fascinating and beautiful. Yeah, I mean I can get that.

0:30:17.120 --> 0:30:19.240
<v Speaker 1>It's it's kind of like when you look at ancient

0:30:19.320 --> 0:30:22.560
<v Speaker 1>statues and all you have or the like the pale

0:30:23.040 --> 0:30:27.320
<v Speaker 1>marble and the featureless faces and the blank eyes, and

0:30:27.360 --> 0:30:33.000
<v Speaker 1>it gives you the stoic sense of of hauntedness. But

0:30:33.080 --> 0:30:36.480
<v Speaker 1>of course in many cases statues were painted. They were

0:30:36.840 --> 0:30:39.000
<v Speaker 1>you know that they had color, they had pigments, they

0:30:39.040 --> 0:30:41.320
<v Speaker 1>had eyes, and it would have been a totally different

0:30:41.360 --> 0:30:44.480
<v Speaker 1>experience to the contemporary viewer of such a work. When

0:30:44.480 --> 0:30:48.880
<v Speaker 1>you see these ancient Assyrian statues, I think, I think

0:30:48.880 --> 0:30:51.720
<v Speaker 1>about seeing these in New York, the ancient Assyrian statues

0:30:51.760 --> 0:30:54.440
<v Speaker 1>that have carvings. They're not just statues, but they're like

0:30:54.480 --> 0:30:57.920
<v Speaker 1>walls with relief carvings to have all these people in them,

0:30:57.920 --> 0:31:00.840
<v Speaker 1>like these men with the huge braided beer. And when

0:31:00.880 --> 0:31:05.560
<v Speaker 1>I often think about those statues, they seem very scary

0:31:05.680 --> 0:31:08.760
<v Speaker 1>and ghostly to me because they don't have paint on

0:31:08.840 --> 0:31:12.200
<v Speaker 1>them anymore, or some versions don't, and so the eyes

0:31:12.320 --> 0:31:15.120
<v Speaker 1>are just blank. They have these eyes that you can

0:31:15.160 --> 0:31:17.240
<v Speaker 1>see the rounded edges of them, but they don't have

0:31:17.320 --> 0:31:19.760
<v Speaker 1>pupils or any colors in them. So it just looks

0:31:19.800 --> 0:31:24.560
<v Speaker 1>like these gray ghostmen marching towards you. But when you

0:31:24.600 --> 0:31:27.880
<v Speaker 1>see the painted versions or the restored painted versions, of

0:31:27.880 --> 0:31:31.000
<v Speaker 1>course the eyes have eye colors in them. Was like

0:31:31.000 --> 0:31:33.840
<v Speaker 1>whites of the eyes and pupils, and it looks very different.

0:31:33.880 --> 0:31:36.320
<v Speaker 1>It looks just more like art, you know of people.

0:31:37.320 --> 0:31:42.200
<v Speaker 1>In the Tower of Babel Archaeology, History and Cuneiform Texts A. R. George,

0:31:42.600 --> 0:31:45.840
<v Speaker 1>the author takes an exhaustive and I mean exhaustive look

0:31:46.080 --> 0:31:50.920
<v Speaker 1>at modern architectural interpretations for a Babylonian tower. Yeah, and

0:31:50.960 --> 0:31:53.320
<v Speaker 1>I believe this article is actually a review of a

0:31:53.400 --> 0:31:57.320
<v Speaker 1>book on the subject, right yeah, um, so, so what

0:31:57.320 --> 0:31:59.760
<v Speaker 1>what does he come up with? He's talking about the

0:31:59.800 --> 0:32:02.520
<v Speaker 1>idea that the Tower of Babel would have been inspired

0:32:02.600 --> 0:32:06.520
<v Speaker 1>by this Babylonian zigarat design or temple design. Yeah, so

0:32:06.600 --> 0:32:09.720
<v Speaker 1>he he looked. One of the sources of this paper

0:32:09.760 --> 0:32:14.120
<v Speaker 1>discusses is the the Napapulas a cylinder and this was

0:32:14.160 --> 0:32:17.520
<v Speaker 1>found in Iraq in nine and it was named for

0:32:17.560 --> 0:32:21.360
<v Speaker 1>the seventh century BC, founder of the Neo Babylonian Empire,

0:32:21.560 --> 0:32:25.640
<v Speaker 1>who's exploits it details and it provides some details concerning

0:32:25.800 --> 0:32:33.600
<v Speaker 1>uh Napopolass completion of Assyrian king Charadin. He would have

0:32:33.640 --> 0:32:37.160
<v Speaker 1>been six eighty through six sixty nine BC. Of his

0:32:37.280 --> 0:32:41.160
<v Speaker 1>earlier Zigarat project. This was a baked brick tower base

0:32:41.240 --> 0:32:44.640
<v Speaker 1>of ninety one square. This matches up with the timeline

0:32:45.240 --> 0:32:48.960
<v Speaker 1>modeled on an even older structure of the same base area.

0:32:49.160 --> 0:32:50.680
<v Speaker 1>Now that's something I want to get into in just

0:32:50.720 --> 0:32:53.680
<v Speaker 1>a minute. But there you see the idea of structures

0:32:53.720 --> 0:32:57.400
<v Speaker 1>being built on top of one another in ancient Mesopotamia.

0:32:57.880 --> 0:33:00.240
<v Speaker 1>But it also mentions here so this is a ached

0:33:00.280 --> 0:33:03.160
<v Speaker 1>brick tower, which is part of the story of the

0:33:03.200 --> 0:33:05.720
<v Speaker 1>Tower of Babel is saying, hey, none of those sun

0:33:05.760 --> 0:33:08.760
<v Speaker 1>baked bricks anymore. Now, now we're firing these things to

0:33:08.800 --> 0:33:12.840
<v Speaker 1>make them really strong. Yeah. So this is one example

0:33:12.880 --> 0:33:15.720
<v Speaker 1>of the kind of buildings that that that historians and

0:33:15.840 --> 0:33:19.520
<v Speaker 1>archaeologists and sort of myth dissectors will will take a

0:33:19.560 --> 0:33:21.960
<v Speaker 1>look at. And like I said earlier, you get into

0:33:22.000 --> 0:33:24.640
<v Speaker 1>the problem though, where you're you're taking the myth and

0:33:24.680 --> 0:33:27.200
<v Speaker 1>you're kind of chasing around history with the myth like

0:33:27.320 --> 0:33:31.440
<v Speaker 1>myth on a stick approach, which is a fascinating exercise

0:33:31.520 --> 0:33:35.080
<v Speaker 1>and can certainly be illuminating, but you're still, in a

0:33:35.160 --> 0:33:38.840
<v Speaker 1>sense kind of putting the cart before the horse, right. Well, yeah,

0:33:38.840 --> 0:33:40.880
<v Speaker 1>I mean, it's what we were saying earlier. It's not

0:33:40.960 --> 0:33:42.960
<v Speaker 1>that I think it's a bad project to try to

0:33:43.000 --> 0:33:47.560
<v Speaker 1>look for physical inspirations for stories from history and mythology.

0:33:47.680 --> 0:33:51.040
<v Speaker 1>It's just that always don't forget we could have plenty

0:33:51.040 --> 0:33:53.800
<v Speaker 1>of creative imagination in here. It's not like the author

0:33:53.840 --> 0:33:58.200
<v Speaker 1>had to see something literally that they went and wrote

0:33:58.280 --> 0:34:00.240
<v Speaker 1>down and now we have to figure out what the

0:34:00.320 --> 0:34:04.280
<v Speaker 1>thing they saw was. And in terms of just large

0:34:04.400 --> 0:34:07.520
<v Speaker 1>building structures, large towers that we've been making these for

0:34:07.600 --> 0:34:10.000
<v Speaker 1>some time. You can you can look at Egypt's various

0:34:10.040 --> 0:34:13.080
<v Speaker 1>pyramids from the third millennium b C, of which there

0:34:13.080 --> 0:34:15.640
<v Speaker 1>are many, including both the ones that immediately pop into

0:34:15.680 --> 0:34:19.239
<v Speaker 1>your mind, and indeed there still stands the Zigarat of

0:34:19.520 --> 0:34:26.040
<v Speaker 1>or from BC, uh Sardinia's Uh Narugus sant Antinnie this

0:34:26.120 --> 0:34:29.760
<v Speaker 1>was from six b C. And the Ziggurat of dr

0:34:30.200 --> 0:34:33.799
<v Speaker 1>coagal Zoo from the fourteenth century BC. And these are

0:34:33.800 --> 0:34:36.640
<v Speaker 1>just a few to mention. So um I don't want

0:34:36.640 --> 0:34:38.680
<v Speaker 1>to make it sound like this was an age where

0:34:38.719 --> 0:34:41.520
<v Speaker 1>there was only ever one tower, right that that and

0:34:41.520 --> 0:34:44.200
<v Speaker 1>and these are just the large structures that survived to

0:34:44.280 --> 0:34:47.000
<v Speaker 1>us today. Certainly you could get the idea of a tower,

0:34:47.040 --> 0:34:49.400
<v Speaker 1>and that can inspire a myth about a tower based

0:34:49.400 --> 0:34:52.480
<v Speaker 1>on a much smaller construction. Yeah. Now I want to

0:34:52.520 --> 0:34:56.320
<v Speaker 1>look at another aspect of ancient Near Eastern architecture, or

0:34:56.360 --> 0:35:00.000
<v Speaker 1>at least ancient Near Eastern civic design that is relevant.

0:35:00.000 --> 0:35:02.000
<v Speaker 1>And though I don't want to say that this is

0:35:02.200 --> 0:35:04.480
<v Speaker 1>necessarily what inspired the story, I just think it's kind

0:35:04.480 --> 0:35:07.880
<v Speaker 1>of interesting. So imagine you're the child of a trader

0:35:08.000 --> 0:35:10.960
<v Speaker 1>and you visit an ancient Mesopotamian city with your parents,

0:35:11.680 --> 0:35:14.759
<v Speaker 1>and the walls or these mud brick structures, but they're

0:35:14.760 --> 0:35:17.279
<v Speaker 1>they're huge, They're bigger than anything you normally see. It's

0:35:17.280 --> 0:35:21.439
<v Speaker 1>also powerful. It's rather overwhelming. And then you leave with

0:35:21.520 --> 0:35:24.120
<v Speaker 1>your your parents and go trade in many other places,

0:35:24.160 --> 0:35:26.239
<v Speaker 1>and you don't come back for many years. But then

0:35:26.280 --> 0:35:29.400
<v Speaker 1>you revisit the same city again when you're very old,

0:35:30.080 --> 0:35:33.600
<v Speaker 1>you might you just might notice something odd. Is the

0:35:33.680 --> 0:35:37.279
<v Speaker 1>city higher up off the surrounding desert than it was

0:35:37.320 --> 0:35:39.960
<v Speaker 1>when you visited all those years ago, or is that

0:35:40.000 --> 0:35:45.719
<v Speaker 1>just your imagination? Not necessarily so. Ancient Mesopotamian architecture is

0:35:45.800 --> 0:35:50.439
<v Speaker 1>characterized by the slow accumulation of what's known as tells

0:35:50.440 --> 0:35:52.680
<v Speaker 1>like t e l or t e l l, meaning

0:35:52.760 --> 0:35:57.120
<v Speaker 1>hills or mounds and uh. An ancient Mesopotamian city had

0:35:57.239 --> 0:35:59.319
<v Speaker 1>these buildings like we were talking about, made out of

0:35:59.400 --> 0:36:02.839
<v Speaker 1>sun bay to mud bricks, which were useful, but they

0:36:02.840 --> 0:36:06.480
<v Speaker 1>were prone to fairly rapid deterioration in the elements. And

0:36:06.560 --> 0:36:10.360
<v Speaker 1>as these structures deteriorated over time, they were replaced, but

0:36:10.520 --> 0:36:15.200
<v Speaker 1>not necessarily removed, And so the trampled remains of old

0:36:15.239 --> 0:36:20.440
<v Speaker 1>and demolished mud brick structures became the foundation for new structures.

0:36:20.480 --> 0:36:23.799
<v Speaker 1>So as we cycled through generations of human architecture in

0:36:23.840 --> 0:36:27.279
<v Speaker 1>these cities, the ground level of the city rose up.

0:36:28.120 --> 0:36:31.120
<v Speaker 1>So in a sense, not only were human buildings growing

0:36:31.120 --> 0:36:34.239
<v Speaker 1>taller with the ages of Messopotamian city life, but the

0:36:34.280 --> 0:36:37.719
<v Speaker 1>city itself was rising up out of the earth. And

0:36:37.760 --> 0:36:40.280
<v Speaker 1>I just wonder would an ancient writer have been able

0:36:40.320 --> 0:36:42.480
<v Speaker 1>to notice such a thing. I'm not saying they would,

0:36:42.520 --> 0:36:45.399
<v Speaker 1>because it's definitely a slow process that takes place over

0:36:45.520 --> 0:36:48.439
<v Speaker 1>hundreds or thousands of years. Then again, if you come

0:36:48.520 --> 0:36:50.759
<v Speaker 1>upon a city in the desert where everything else is

0:36:50.760 --> 0:36:53.440
<v Speaker 1>pretty flat around, and suddenly just the city, part of

0:36:53.440 --> 0:36:56.400
<v Speaker 1>the city is on this mound risen up out of

0:36:56.440 --> 0:36:59.319
<v Speaker 1>the desert, I don't know. That's interesting. Yeah, And of

0:36:59.320 --> 0:37:01.520
<v Speaker 1>course it's very poetic as well. It's the idea of

0:37:01.520 --> 0:37:06.560
<v Speaker 1>I mean, civilization quite literally physically rising up. Yeah. And

0:37:06.640 --> 0:37:09.840
<v Speaker 1>I would like to emphasize that in the Biblical account,

0:37:10.160 --> 0:37:13.080
<v Speaker 1>it doesn't actually call the Tower of Babel the Tower

0:37:13.160 --> 0:37:17.120
<v Speaker 1>of Babel. That phrases our modern way of describing the story.

0:37:17.760 --> 0:37:20.680
<v Speaker 1>The phrase in the original story is the city and

0:37:20.760 --> 0:37:24.080
<v Speaker 1>the tower. Yes, all right, we're gonna take a quick break,

0:37:24.080 --> 0:37:25.719
<v Speaker 1>and when we come back, we're gonna take a look

0:37:25.760 --> 0:37:29.760
<v Speaker 1>at a few different attempts to in in varying ways

0:37:30.280 --> 0:37:40.279
<v Speaker 1>make the tower real. Alright, we're back, Robert. There are

0:37:40.360 --> 0:37:44.279
<v Speaker 1>some awesome paintings of the Tower of Babel story. I

0:37:44.280 --> 0:37:47.960
<v Speaker 1>I love paintings of Biblical stories in general. That's one

0:37:48.000 --> 0:37:51.200
<v Speaker 1>of my favorite genres of ancient paintings, especially the ones

0:37:51.239 --> 0:37:54.600
<v Speaker 1>that are paintings of Old Testament stories. But but the

0:37:54.640 --> 0:37:57.239
<v Speaker 1>Tower of Babel paintings are great, and some of the

0:37:57.280 --> 0:38:01.880
<v Speaker 1>best ones have got to be the ones by Peter Brogel, right, Yes,

0:38:02.200 --> 0:38:06.200
<v Speaker 1>Peter Broigel the Elder in particular, sixteenth century Flemish artist,

0:38:06.719 --> 0:38:10.280
<v Speaker 1>and he actually created three different interpretations of the tower.

0:38:10.800 --> 0:38:14.560
<v Speaker 1>Two survived, both oil paintings on wood. And then there's

0:38:14.560 --> 0:38:16.960
<v Speaker 1>a lost painting that was on ivory. Oh I'd like

0:38:17.000 --> 0:38:20.279
<v Speaker 1>to see that, well, everyone would, but it's lost, Joe.

0:38:20.800 --> 0:38:24.359
<v Speaker 1>If you find it, let him let us know. Um

0:38:24.520 --> 0:38:28.160
<v Speaker 1>So the elephants came and took it back. Yeah, maybe

0:38:28.160 --> 0:38:31.640
<v Speaker 1>there's a justice in that. Uh So, So we're left

0:38:31.680 --> 0:38:34.680
<v Speaker 1>with two interpretations. And I think I had one of

0:38:34.680 --> 0:38:36.800
<v Speaker 1>these on my wall in college, Like these are famous

0:38:36.840 --> 0:38:38.839
<v Speaker 1>works of art, and it's the type of art unlike

0:38:38.880 --> 0:38:40.640
<v Speaker 1>some things I had on my wall in college. This

0:38:40.719 --> 0:38:42.480
<v Speaker 1>is ax. I would put this on my wall today.

0:38:43.120 --> 0:38:46.360
<v Speaker 1>It's that great a painting. Because you the two that

0:38:46.440 --> 0:38:50.160
<v Speaker 1>survive also play off each other in unique ways as

0:38:50.160 --> 0:38:55.280
<v Speaker 1>well discussed. So the first one is is often referred

0:38:55.280 --> 0:38:58.520
<v Speaker 1>to as the Great Tower of Babel. And in this

0:38:58.640 --> 0:39:01.840
<v Speaker 1>image we have this, uh this sort of half completed

0:39:01.920 --> 0:39:05.320
<v Speaker 1>tower rising up out of the landscape. You've got the

0:39:05.320 --> 0:39:07.400
<v Speaker 1>the ocean visible in the lower right hand. In the

0:39:07.400 --> 0:39:10.480
<v Speaker 1>lower left hand there's a king surrounded by some workers.

0:39:10.520 --> 0:39:14.600
<v Speaker 1>You see tiny ant like people scaling uh the edifice,

0:39:14.680 --> 0:39:17.759
<v Speaker 1>working on it, and the whole thing is clearly inspired

0:39:17.800 --> 0:39:21.480
<v Speaker 1>by Roman architecture. So instead of looking like a Zigarat

0:39:22.200 --> 0:39:26.120
<v Speaker 1>out of ancient Babylon, it instead looks it reminds one

0:39:26.120 --> 0:39:29.120
<v Speaker 1>of the Roman colosseum. Yeah. Yeah, it's like if the

0:39:29.200 --> 0:39:33.799
<v Speaker 1>Roman colosseum, uh like mated with a Zigarat, you might

0:39:33.880 --> 0:39:37.800
<v Speaker 1>get this result. I also love it's got this quality

0:39:37.880 --> 0:39:40.879
<v Speaker 1>that I always really enjoy in paintings, in that it's

0:39:41.600 --> 0:39:43.440
<v Speaker 1>I don't know what you call this. There are lots

0:39:43.440 --> 0:39:46.840
<v Speaker 1>of lots of little details going on all around it.

0:39:46.880 --> 0:39:50.160
<v Speaker 1>I'm I guess you might call this dizziness. But it's

0:39:50.200 --> 0:39:53.000
<v Speaker 1>not just buzziness. It's something about the fact that there

0:39:53.000 --> 0:39:56.919
<v Speaker 1>are all these little people doing their own thing far away. Yeah.

0:39:57.040 --> 0:39:58.839
<v Speaker 1>I mean it works on two levels, right, because on

0:39:58.840 --> 0:40:01.640
<v Speaker 1>one hand is will be z town and one hand

0:40:01.760 --> 0:40:04.600
<v Speaker 1>is busy town, and it's just finding cool things going

0:40:04.600 --> 0:40:07.920
<v Speaker 1>on and your imagination is just stoked by all these

0:40:07.920 --> 0:40:10.720
<v Speaker 1>little details. But then on the other, of course, uh,

0:40:10.960 --> 0:40:15.440
<v Speaker 1>the Flemish masters were were masters of their craft and

0:40:15.440 --> 0:40:19.120
<v Speaker 1>and nothing was just thrown in you know, half slap

0:40:19.120 --> 0:40:21.839
<v Speaker 1>in dilly dally like there's a there's a symbolism it played,

0:40:21.840 --> 0:40:24.920
<v Speaker 1>there's a purpose at play in play and uh, and

0:40:25.080 --> 0:40:30.280
<v Speaker 1>individuals like Brugo, we're attempting to convey certain ideas and messages,

0:40:30.320 --> 0:40:33.239
<v Speaker 1>at least to the informed viewers of the piece. Now,

0:40:33.280 --> 0:40:36.160
<v Speaker 1>the original story in the Bible does not tell you

0:40:36.200 --> 0:40:40.040
<v Speaker 1>that there's any particular king overseeing the construction of the tower.

0:40:40.080 --> 0:40:43.080
<v Speaker 1>But that doesn't mean that later readers didn't sort of

0:40:43.120 --> 0:40:45.840
<v Speaker 1>supplement that information and come up with a king to

0:40:45.920 --> 0:40:49.960
<v Speaker 1>be the guy in charge of this evil tower enterprise. Right. Yeah,

0:40:50.000 --> 0:40:52.040
<v Speaker 1>Indeed we have a king in the lower left hand corner,

0:40:52.040 --> 0:40:54.920
<v Speaker 1>as we mentioned, and uh, and many interpret this is

0:40:54.960 --> 0:40:58.279
<v Speaker 1>being King Nimrod. Yeah, King Nimrod, who the Bible says

0:40:58.400 --> 0:41:01.680
<v Speaker 1>was a mighty hunter. But or yah, yeah, nim Rob

0:41:01.760 --> 0:41:05.440
<v Speaker 1>the hunter. And so that's that's that's the potential read

0:41:05.520 --> 0:41:08.160
<v Speaker 1>on on this this painting. Now I'm going to dive

0:41:08.160 --> 0:41:09.840
<v Speaker 1>in a little deeper on this painting. The other the

0:41:09.840 --> 0:41:12.799
<v Speaker 1>other painting is the the Little Tower of Babel and

0:41:12.800 --> 0:41:16.160
<v Speaker 1>it's called that because it's a smaller work. And uh,

0:41:16.280 --> 0:41:18.560
<v Speaker 1>but let's start with this one, and I will include

0:41:18.640 --> 0:41:20.840
<v Speaker 1>images of both these paintings and the landing pig for

0:41:20.880 --> 0:41:23.040
<v Speaker 1>this episode stuff to blow your Mind dot com in

0:41:23.080 --> 0:41:25.960
<v Speaker 1>case you want to compare and look yourself. So I

0:41:26.040 --> 0:41:29.480
<v Speaker 1>was looking at a work by author s A Man's

0:41:29.520 --> 0:41:33.120
<v Speaker 1>Bach titled Peter Brugle's Tower of Babel. And as the

0:41:33.120 --> 0:41:37.000
<v Speaker 1>author points out, the the artist here is not really

0:41:37.040 --> 0:41:40.879
<v Speaker 1>telling the story of the Tower of Babel. He's not

0:41:41.320 --> 0:41:44.600
<v Speaker 1>He's not showing like in terms of action. It's just

0:41:44.680 --> 0:41:46.719
<v Speaker 1>people working on the tower and a king talking to

0:41:46.760 --> 0:41:49.879
<v Speaker 1>some people that you don't see language splinters. You don't

0:41:49.880 --> 0:41:53.080
<v Speaker 1>see a tower falling down. You don't see God coming

0:41:53.080 --> 0:41:56.000
<v Speaker 1>down with his holy troops to dish out some uh

0:41:56.480 --> 0:41:59.360
<v Speaker 1>some dialect. I don't even see well baked mud bricks

0:41:59.440 --> 0:42:04.839
<v Speaker 1>and sly for mortar. And it's again not completely clear

0:42:04.960 --> 0:42:08.960
<v Speaker 1>that it's it's Nimrod now. But prior to to Brugle

0:42:09.239 --> 0:42:13.560
<v Speaker 1>you had people like Flavius Josephus wrote about Nimrod in

0:42:13.920 --> 0:42:18.399
<v Speaker 1>Antiquities of the Jews. This was first century. See, there's

0:42:18.400 --> 0:42:22.440
<v Speaker 1>a whole story about Nimrod building this tower as vengeance

0:42:22.560 --> 0:42:25.839
<v Speaker 1>over the Great flood, like he wanted to get back

0:42:25.880 --> 0:42:28.800
<v Speaker 1>at God. Yeah, it's like God just wrecked all this havoc.

0:42:28.840 --> 0:42:30.399
<v Speaker 1>So it's like, all right, I'm coming for you God,

0:42:30.480 --> 0:42:32.759
<v Speaker 1>I'm building the tower. Now wait, was it just like

0:42:33.160 --> 0:42:35.759
<v Speaker 1>was it like spite against God? Or was it like

0:42:35.840 --> 0:42:38.759
<v Speaker 1>he was literally coming for him to wage war against him.

0:42:38.920 --> 0:42:42.000
<v Speaker 1>I took him to mean spite. But now, but I

0:42:42.080 --> 0:42:44.040
<v Speaker 1>really like the idea of him coming after him. And

0:42:44.280 --> 0:42:49.200
<v Speaker 1>that's pretty That's that's some action hero Like, uh, what

0:42:49.280 --> 0:42:52.560
<v Speaker 1>am I thinking of? That's like Bruce Willis in uh

0:42:52.560 --> 0:42:56.360
<v Speaker 1>in die Hard kind of another tower story, building a

0:42:56.440 --> 0:42:59.880
<v Speaker 1>causeway to the heavens. Yeah, so, um, he builds this

0:43:00.040 --> 0:43:04.760
<v Speaker 1>thing in Babylon and uh in the original And Brugle

0:43:04.880 --> 0:43:07.200
<v Speaker 1>may or may not have read the text. He might

0:43:07.320 --> 0:43:10.520
<v Speaker 1>have taken this detail from other artistic interpretations of the tower,

0:43:11.200 --> 0:43:13.840
<v Speaker 1>or it might it might not be a nod to

0:43:14.000 --> 0:43:17.480
<v Speaker 1>Nimrod at all. So the author of the article Mansbach

0:43:17.760 --> 0:43:23.120
<v Speaker 1>Here he cites Zigmat Wazbinski, who argues that Brugal deviates

0:43:23.160 --> 0:43:27.000
<v Speaker 1>from past traditions and shows the tower as rounded, reflecting

0:43:27.000 --> 0:43:31.160
<v Speaker 1>on modern urban design trends. So they're not building the tower, perhaps,

0:43:31.280 --> 0:43:34.560
<v Speaker 1>but rebuilding it in the form of a Babylon of

0:43:34.600 --> 0:43:37.800
<v Speaker 1>the West or a Roman Babylon and in this case,

0:43:38.200 --> 0:43:40.920
<v Speaker 1>he argues, the king that we're seeing is not Nimrod

0:43:40.920 --> 0:43:44.880
<v Speaker 1>but Alexander the Great, and this is it's an interesting

0:43:44.920 --> 0:43:46.680
<v Speaker 1>argument because it does get into the idea of like,

0:43:46.760 --> 0:43:49.240
<v Speaker 1>it's not just an illustration that he's doing, He's creating

0:43:49.239 --> 0:43:52.680
<v Speaker 1>a work of art. It is making some contemporary points

0:43:53.040 --> 0:43:57.040
<v Speaker 1>utilizing the symbology of an old story. Yeah, I hadn't

0:43:57.080 --> 0:43:59.360
<v Speaker 1>thought so much about the idea of the tower being round.

0:43:59.480 --> 0:44:01.680
<v Speaker 1>Now again, in the original story doesn't say what the

0:44:01.680 --> 0:44:04.920
<v Speaker 1>shaping tower is in the Genesis account an other uh,

0:44:04.920 --> 0:44:08.839
<v Speaker 1>in other later mythological adaptations, it might. But definitely if

0:44:08.880 --> 0:44:11.920
<v Speaker 1>you see it in medieval art, like I've seen an

0:44:11.960 --> 0:44:15.359
<v Speaker 1>ancient uh not ancient, a medieval painting of the Tower

0:44:15.400 --> 0:44:18.239
<v Speaker 1>of Babble where it's just a tall rectangle, looks like

0:44:18.280 --> 0:44:22.400
<v Speaker 1>a church church bell tower. Yeah, now, Man's bach. He

0:44:22.480 --> 0:44:26.680
<v Speaker 1>thinks that this this reading is a bit of an overread, uh,

0:44:26.920 --> 0:44:29.160
<v Speaker 1>the idea that this is Alexander the Grade and it's

0:44:29.239 --> 0:44:32.520
<v Speaker 1>really the rebuilding of Babble and Babble of the West.

0:44:32.960 --> 0:44:36.200
<v Speaker 1>But he does think the Brugal was still clear certainly

0:44:36.200 --> 0:44:40.160
<v Speaker 1>imparting a different meaning to humanists and progressives of the time.

0:44:40.200 --> 0:44:42.759
<v Speaker 1>To learned viewers, so that the king might not be

0:44:42.960 --> 0:44:49.000
<v Speaker 1>Nimrod or Alexander, but contemporary ruler Philip the Second of Spain, Yeah,

0:44:49.000 --> 0:44:52.279
<v Speaker 1>who had an ill reputation with his Flemish subjects. So

0:44:52.400 --> 0:44:55.600
<v Speaker 1>Spanish domination was pretty harsh at the time, especially on

0:44:55.760 --> 0:44:59.840
<v Speaker 1>Flemish liberal Catholics and Protestants. And Philip the Second, enhanced

0:45:00.000 --> 0:45:03.480
<v Speaker 1>of the powers of the Inquisition in fifty six, who

0:45:03.560 --> 0:45:07.400
<v Speaker 1>waged a campaign of suppression against Antwerp's Calvinists, and Philip

0:45:07.440 --> 0:45:10.920
<v Speaker 1>the Second, on top of this spoke neither French nor Dutch,

0:45:11.320 --> 0:45:15.439
<v Speaker 1>a further deepening the divide. So there's this disagreement, there's

0:45:15.440 --> 0:45:19.120
<v Speaker 1>this clash of cultures, and it's uh it's situated by

0:45:19.160 --> 0:45:24.040
<v Speaker 1>the linguistic differences in play. Interesting. So we've looked at

0:45:24.120 --> 0:45:27.839
<v Speaker 1>the Great Tower of Bebel by uh by Burgal here,

0:45:27.920 --> 0:45:31.279
<v Speaker 1>but there's another version that you mentioned earlier, this lesser's Tower,

0:45:31.440 --> 0:45:33.880
<v Speaker 1>the Little Tower of Bebel, and I've got a little

0:45:33.920 --> 0:45:37.520
<v Speaker 1>image of it here, yes, in our in our outline.

0:45:37.920 --> 0:45:40.439
<v Speaker 1>This is different, right, It's not just a smaller version

0:45:40.480 --> 0:45:44.520
<v Speaker 1>of the same painting. It's fundamentally different. It's got stuff missing,

0:45:44.560 --> 0:45:48.040
<v Speaker 1>like where's the king. Yeah, where's the sprawling city and

0:45:48.480 --> 0:45:51.120
<v Speaker 1>the crazy thing too. You can glance at it and

0:45:51.160 --> 0:45:54.600
<v Speaker 1>both just look like incomplete towers. But the second tower

0:45:55.200 --> 0:45:58.439
<v Speaker 1>is about two thirds complete. Perhaps, Yeah, it's a lot

0:45:58.480 --> 0:46:01.520
<v Speaker 1>more along the way. You see fewer people in it,

0:46:01.600 --> 0:46:04.279
<v Speaker 1>and it's more close to done. Yeah, And there's a

0:46:04.520 --> 0:46:08.680
<v Speaker 1>there's a religious procession winding its way upward, cheaper grazing

0:46:09.040 --> 0:46:12.200
<v Speaker 1>in the distance. Uh. In fact, they're grazing in areas

0:46:12.239 --> 0:46:16.439
<v Speaker 1>previously devoted in the former painting to utility buildings. So

0:46:17.280 --> 0:46:20.799
<v Speaker 1>arguably what we see here is a utopian vision of

0:46:20.880 --> 0:46:25.520
<v Speaker 1>what is possible for humanity when it is free from tyranny. Again,

0:46:25.560 --> 0:46:27.840
<v Speaker 1>the king has gone. There's no king in this painting.

0:46:27.960 --> 0:46:30.000
<v Speaker 1>Oh man, that that would mean the Tower of Babel

0:46:30.040 --> 0:46:33.160
<v Speaker 1>would be a very odd selection of story to predict

0:46:33.200 --> 0:46:37.000
<v Speaker 1>a genuine utopian vision. Well, but if you're a humanist, uh,

0:46:37.040 --> 0:46:40.759
<v Speaker 1>I mean not so like reappropriating the story exactly. Yeah.

0:46:40.800 --> 0:46:44.240
<v Speaker 1>So there is a hopefulness to this painting, the works

0:46:44.239 --> 0:46:47.000
<v Speaker 1>of humanity in a state of grace, about to transcend

0:46:47.040 --> 0:46:50.279
<v Speaker 1>the limits of of not only what we've accomplished before,

0:46:50.280 --> 0:46:52.680
<v Speaker 1>but the limits of the frame, the limits of the

0:46:52.680 --> 0:46:55.880
<v Speaker 1>the actual canvas that or the you know, or the

0:46:55.880 --> 0:46:58.800
<v Speaker 1>wood that he's working on here um the limits of

0:46:58.800 --> 0:47:01.239
<v Speaker 1>the artist's vision, even like this is a tower of

0:47:01.280 --> 0:47:05.840
<v Speaker 1>babble that may be completed. I you know, kings and

0:47:05.840 --> 0:47:10.000
<v Speaker 1>bureaucracy and all the than the negative aspects of the world.

0:47:10.040 --> 0:47:13.760
<v Speaker 1>To stay out of the affair Men's box, says this quote.

0:47:13.800 --> 0:47:16.400
<v Speaker 1>In some the Flemish painter has produced in this panel

0:47:16.400 --> 0:47:20.120
<v Speaker 1>a suggestive image of an ideal state, a symbolic communal

0:47:20.200 --> 0:47:24.960
<v Speaker 1>hive rising heavenward from a bucolic real landscape and bustling port.

0:47:25.520 --> 0:47:27.960
<v Speaker 1>And he has shown us the greatness and power of

0:47:28.040 --> 0:47:32.000
<v Speaker 1>human productivity made possible in the absence of a tyrant's

0:47:32.239 --> 0:47:36.279
<v Speaker 1>hebristic will. The artist has given his contemporaries and us

0:47:36.320 --> 0:47:40.400
<v Speaker 1>a glimpse of the humanists ideal city, a terrestrial utopia.

0:47:40.640 --> 0:47:43.680
<v Speaker 1>In a word, Brugle has provided a visual metaphor of

0:47:43.800 --> 0:47:48.360
<v Speaker 1>mankind in a state of grace. Babble has been remedied. Woa,

0:47:48.840 --> 0:47:51.840
<v Speaker 1>So there you go. Uh again, that's just some added

0:47:52.080 --> 0:47:56.839
<v Speaker 1>layers of interest to just to phenomenal paintings. So I

0:47:56.920 --> 0:47:59.560
<v Speaker 1>want to look at one more great work of art

0:47:59.640 --> 0:48:02.000
<v Speaker 1>to pick ing the Tower of Babel, and that is

0:48:02.120 --> 0:48:06.840
<v Speaker 1>an engraving by Gustav Dora known as the Confusion of Tongues,

0:48:06.920 --> 0:48:09.399
<v Speaker 1>and this was made in eighteen sixty five. I think,

0:48:10.120 --> 0:48:13.719
<v Speaker 1>uh it was. I've seen it described as a woodcut

0:48:13.800 --> 0:48:16.719
<v Speaker 1>or an engraving. Now, this is the the image that

0:48:16.840 --> 0:48:20.000
<v Speaker 1>I think was referenced in the childhood illustration that I

0:48:20.120 --> 0:48:23.160
<v Speaker 1>mentioned earlier that I grew up with, in that this

0:48:23.239 --> 0:48:27.160
<v Speaker 1>looks very much like just a spiral road up into

0:48:27.239 --> 0:48:32.400
<v Speaker 1>the heavens um And interestingly enough, Dora apparently based his

0:48:32.480 --> 0:48:35.600
<v Speaker 1>design on the minaret of the great Mosque It's Samara.

0:48:35.680 --> 0:48:39.120
<v Speaker 1>This is a ninth century mosque located in Samara, Iraq,

0:48:39.800 --> 0:48:42.080
<v Speaker 1>and it's still there to this day. Only the outer

0:48:42.239 --> 0:48:46.120
<v Speaker 1>wall and the minaret remain as the as the mosque

0:48:46.120 --> 0:48:49.800
<v Speaker 1>itself was destroyed in twelve seventy eight. Now I really

0:48:49.840 --> 0:48:52.799
<v Speaker 1>love this. I love Doris a virgin. Dora always sort

0:48:52.840 --> 0:48:55.160
<v Speaker 1>of does it for me. He's got these great illustrations

0:48:55.200 --> 0:48:59.200
<v Speaker 1>of the divine comedy that are just burned. I want

0:48:59.200 --> 0:49:01.040
<v Speaker 1>to talk about one of those in a second. But

0:49:02.040 --> 0:49:05.799
<v Speaker 1>the man the tower here I said earlier, I think

0:49:05.880 --> 0:49:09.640
<v Speaker 1>that none of the traditional artistic representations match what I

0:49:09.719 --> 0:49:11.880
<v Speaker 1>had in my mind as a kid, meaning a tower

0:49:11.920 --> 0:49:14.200
<v Speaker 1>that literally goes up to where you can't see it anymore,

0:49:14.280 --> 0:49:17.359
<v Speaker 1>so straight into space. Yeah, that's where this one really Uh.

0:49:17.960 --> 0:49:21.760
<v Speaker 1>Is different from the Brugle images because the Brugle towers

0:49:21.800 --> 0:49:24.120
<v Speaker 1>are incomplete to see where they break off and their

0:49:24.160 --> 0:49:27.680
<v Speaker 1>sky above them. This thing just vanishes into the heavens. Yeah. Well,

0:49:27.760 --> 0:49:30.120
<v Speaker 1>here you can see the tower has it's further along.

0:49:30.239 --> 0:49:33.000
<v Speaker 1>But this is the moment of confusion. It's not like

0:49:33.120 --> 0:49:36.000
<v Speaker 1>the king lording over the construction saying, look, what good

0:49:36.000 --> 0:49:39.400
<v Speaker 1>work we're doing here. It's surrounded by people who appear

0:49:39.440 --> 0:49:41.719
<v Speaker 1>to be in anguish, and you can guess that they're

0:49:41.719 --> 0:49:44.359
<v Speaker 1>in anguish because they've had their languages confused and they

0:49:44.360 --> 0:49:47.080
<v Speaker 1>can't understand one another anymore. There's a man in the

0:49:47.120 --> 0:49:50.480
<v Speaker 1>foreground reaching up to the heavens with like a plaintive

0:49:50.640 --> 0:49:53.399
<v Speaker 1>kind of posture, like why would you do this to me? Yeah,

0:49:53.400 --> 0:49:58.800
<v Speaker 1>it's kind of going stout there, what's happening? Uh? And

0:49:58.800 --> 0:50:01.160
<v Speaker 1>and of course it has that great black and white

0:50:01.160 --> 0:50:05.120
<v Speaker 1>pathos that you see in Doria's work. Um. One of

0:50:05.160 --> 0:50:08.880
<v Speaker 1>my favorite illustrations of his is from his illustration of

0:50:08.920 --> 0:50:11.560
<v Speaker 1>the Divine Comedy and the scene in Kanto seven, when

0:50:11.640 --> 0:50:15.320
<v Speaker 1>Dante and Virgil are passing by the demon Plutus, who's

0:50:15.360 --> 0:50:18.359
<v Speaker 1>also the you know, Greco Roman god of wealth. Uh,

0:50:18.680 --> 0:50:22.280
<v Speaker 1>but he's uttering the string of nonsense words. Plutus is saying,

0:50:22.360 --> 0:50:27.040
<v Speaker 1>Pope Satan, Pope Satan Aleppe, which is, at least in

0:50:27.719 --> 0:50:31.240
<v Speaker 1>the medieval Italian of the story, it's nonsense. The Dante's

0:50:31.239 --> 0:50:36.120
<v Speaker 1>Pilgrim doesn't understand what he's saying, but Virgil apparently does

0:50:36.239 --> 0:50:39.440
<v Speaker 1>understand what Plutus is saying and interprets his words as

0:50:39.440 --> 0:50:42.800
<v Speaker 1>a threat. And so it makes me recall this idea

0:50:42.840 --> 0:50:47.120
<v Speaker 1>of the confused tongues maybe uh even confused tongues in

0:50:47.200 --> 0:50:50.920
<v Speaker 1>the heavenly realms, Like would they speak a different language

0:50:50.960 --> 0:50:55.279
<v Speaker 1>in hell than they would in heaven or on earth. Yeah,

0:50:55.480 --> 0:50:57.480
<v Speaker 1>we're get We're getting. We're almost getting into speaking in

0:50:57.520 --> 0:50:59.560
<v Speaker 1>tongues territory here we have to, But we have to

0:50:59.600 --> 0:51:02.960
<v Speaker 1>save at rabbit hole for another day. I just wanted

0:51:02.960 --> 0:51:06.120
<v Speaker 1>to add one interesting modern interpretation that I came across

0:51:06.120 --> 0:51:08.800
<v Speaker 1>on the Internet the other day, and it's by artist

0:51:08.880 --> 0:51:15.839
<v Speaker 1>and animator Katsuhiro Otomo and collage artist Kosuke Kawamura. And

0:51:15.920 --> 0:51:19.960
<v Speaker 1>this is a version of Broygel's interpretation of the tower.

0:51:20.200 --> 0:51:22.279
<v Speaker 1>But it's got to cut away, so it's like those

0:51:22.320 --> 0:51:24.360
<v Speaker 1>old books, you know, the picture books where they have

0:51:24.400 --> 0:51:26.759
<v Speaker 1>a cross section of the Hanna War and they've got

0:51:26.760 --> 0:51:28.879
<v Speaker 1>to cut away of the tower where you can see

0:51:28.920 --> 0:51:31.759
<v Speaker 1>the inside. And I think it's great, this is worth

0:51:31.800 --> 0:51:35.319
<v Speaker 1>looking up. Nice he's a sort of extrapolating on the

0:51:35.360 --> 0:51:38.680
<v Speaker 1>design that Rugle's gone with with for the exterior, and yes,

0:51:39.000 --> 0:51:41.920
<v Speaker 1>trying to imagine what it would look like inside. Yeah. Nice.

0:51:42.040 --> 0:51:44.440
<v Speaker 1>And apparently one of these artists that I just mentioned

0:51:44.480 --> 0:51:48.480
<v Speaker 1>had something to do with the Kira so nice. Alright, Well,

0:51:48.480 --> 0:51:50.560
<v Speaker 1>we're gonna take another break, and when we come back,

0:51:50.719 --> 0:51:52.879
<v Speaker 1>we're gonna look at some I guess you could say

0:51:52.880 --> 0:51:55.920
<v Speaker 1>thought experiments on the dimensions of the tower if it,

0:51:56.200 --> 0:51:58.759
<v Speaker 1>if it were to exist. Yes, and then also at

0:51:59.160 --> 0:52:09.200
<v Speaker 1>the confusion of language. All right, we're back. So, as

0:52:09.239 --> 0:52:12.520
<v Speaker 1>we've discussed, the biblical account itself is vague, so you

0:52:12.560 --> 0:52:14.200
<v Speaker 1>have to go to these other accounts, such as the

0:52:14.840 --> 0:52:18.319
<v Speaker 1>Jubilee for even a starting point if you're gonna try

0:52:18.400 --> 0:52:21.839
<v Speaker 1>and put numbers behind what the Tower of Babble consists off,

0:52:22.080 --> 0:52:24.040
<v Speaker 1>and the Book of Jubilees does put numbers on it,

0:52:24.040 --> 0:52:26.759
<v Speaker 1>and I wonder if it's the only one. Other accounts

0:52:26.760 --> 0:52:29.280
<v Speaker 1>may put numbers on it as well, but I believe

0:52:29.280 --> 0:52:32.600
<v Speaker 1>it's the prime one. Certainly. If if you're gonna go

0:52:32.600 --> 0:52:35.120
<v Speaker 1>for an ancient text that has numbers, that's where you go.

0:52:35.160 --> 0:52:37.360
<v Speaker 1>And then you start busting out down those cubits and

0:52:37.400 --> 0:52:40.080
<v Speaker 1>making them into meters or feet, you know. Yeah, if

0:52:40.080 --> 0:52:43.239
<v Speaker 1>you want to mentions, crack open your jubilees. Yeah. Now,

0:52:43.400 --> 0:52:45.840
<v Speaker 1>one thing that the ways we mentioned that the biblical

0:52:45.840 --> 0:52:48.600
<v Speaker 1>account does say that they're reaching unto heaven, and that's

0:52:48.600 --> 0:52:52.520
<v Speaker 1>the thing that defies measurement, unless heaven is orbital access

0:52:52.560 --> 0:52:56.400
<v Speaker 1>to angelic space aliens, in which case we're talking a

0:52:56.480 --> 0:52:59.640
<v Speaker 1>space elevator, and we'd uh, we needed to reach a

0:52:59.760 --> 0:53:03.880
<v Speaker 1>g stationary orbit of thirty five thousand, eight hundred kilometers

0:53:04.040 --> 0:53:07.840
<v Speaker 1>or twenty two thousand, two hundred forty five miles. Uh.

0:53:08.040 --> 0:53:10.399
<v Speaker 1>That's a big tower. That's a big tower. And even

0:53:10.440 --> 0:53:14.040
<v Speaker 1>today we're waiting on carbon nano technology to catch up

0:53:14.040 --> 0:53:16.880
<v Speaker 1>with the dream man. I've heard some criticisms of even

0:53:16.920 --> 0:53:20.360
<v Speaker 1>that speculation. It's like even carbon carbon nanotubes are not

0:53:20.400 --> 0:53:22.880
<v Speaker 1>going to save us. Some people think that building a

0:53:22.880 --> 0:53:26.719
<v Speaker 1>space elevator is really just impossible from a material's perspective.

0:53:27.120 --> 0:53:29.560
<v Speaker 1>So we we're still trying to figure out how to

0:53:30.040 --> 0:53:34.320
<v Speaker 1>you know, violate the pieces of the earth, how how

0:53:34.360 --> 0:53:36.600
<v Speaker 1>how much we can bake that stone to make it

0:53:36.640 --> 0:53:39.919
<v Speaker 1>serve our purposes here maybe if it's well baked enough.

0:53:40.960 --> 0:53:43.759
<v Speaker 1>So your earlier, earlier attempts to guess the tower's height

0:53:44.400 --> 0:53:47.560
<v Speaker 1>are based in you know, older and Western view of history,

0:53:48.200 --> 0:53:50.520
<v Speaker 1>one in which such wonders of the Bible were a

0:53:50.560 --> 0:53:54.240
<v Speaker 1>matter of actual history and could conceivably be uncovered and found,

0:53:54.880 --> 0:53:56.840
<v Speaker 1>and later attempts were more in the spirit of a

0:53:56.840 --> 0:54:00.000
<v Speaker 1>thought experiment. So I'm not gonna go through all of them.

0:54:00.600 --> 0:54:03.239
<v Speaker 1>But if you crush the cubits, depending on you know,

0:54:03.719 --> 0:54:07.840
<v Speaker 1>where you're getting your figures from, your tower height figures

0:54:07.960 --> 0:54:12.520
<v Speaker 1>might hit any of the following sixt that doesn't sound

0:54:12.560 --> 0:54:15.399
<v Speaker 1>like it reaches the heavens. Well, it's still big, still big,

0:54:15.880 --> 0:54:20.640
<v Speaker 1>one point three miles high, one point six, three point six,

0:54:21.640 --> 0:54:26.040
<v Speaker 1>four point six, and then eight miles So at this

0:54:26.080 --> 0:54:29.840
<v Speaker 1>point you're in territory with the birds. Yeah, but but

0:54:30.000 --> 0:54:32.919
<v Speaker 1>you're uh, and the thing is that eight miles high,

0:54:32.920 --> 0:54:35.920
<v Speaker 1>of course, you're still far short of that that space

0:54:35.960 --> 0:54:40.000
<v Speaker 1>elevator that I mentioned earlier, and again the Burj Khalifa

0:54:40.480 --> 0:54:43.319
<v Speaker 1>is uh two thousand, seven hundred and seventeen feet tall

0:54:43.360 --> 0:54:46.160
<v Speaker 1>and that's roughly half a mile. So, as I said,

0:54:46.160 --> 0:54:47.840
<v Speaker 1>all of this is just a matter of trying to

0:54:47.880 --> 0:54:52.640
<v Speaker 1>translate old systems of measurement into new. However, here's another approach,

0:54:52.760 --> 0:54:56.759
<v Speaker 1>and this this came to us by late material scientist

0:54:56.880 --> 0:55:00.200
<v Speaker 1>and author J. E. Gordon. He wrote a book back

0:55:00.200 --> 0:55:05.040
<v Speaker 1>in the day titled Structures or Why Things Don't Fall Down? Uh.

0:55:05.120 --> 0:55:07.640
<v Speaker 1>And it's it's a wonderful book. You can I was

0:55:07.680 --> 0:55:10.239
<v Speaker 1>looking through it on on Google Books. It's out there

0:55:10.239 --> 0:55:12.280
<v Speaker 1>in various formats. You can pick up a used coffee

0:55:12.280 --> 0:55:15.920
<v Speaker 1>really easily. Uh. And he's he's cited in a Uh.

0:55:15.960 --> 0:55:18.840
<v Speaker 1>He's often cited for his comments on the tower. His

0:55:18.920 --> 0:55:22.160
<v Speaker 1>book is not primarily about the tower, but he touches

0:55:22.160 --> 0:55:24.839
<v Speaker 1>on it a couple of times. Uh. He doesn't go

0:55:24.960 --> 0:55:29.160
<v Speaker 1>all in, but he does share the basic idea. Quote. Now,

0:55:29.200 --> 0:55:32.040
<v Speaker 1>brick and stone weigh about one and twenty pounds per

0:55:32.040 --> 0:55:37.640
<v Speaker 1>cubic foot or two thousand uh kilograms per meter, and

0:55:37.680 --> 0:55:40.720
<v Speaker 1>the crushing strength of these materials is generally rather better

0:55:40.800 --> 0:55:45.240
<v Speaker 1>than six thousand pounds for square inch. Elementary arithmetic shows

0:55:45.360 --> 0:55:48.399
<v Speaker 1>us that a tower with parallel walls could have been

0:55:48.400 --> 0:55:51.160
<v Speaker 1>built to a height of seven thousand feet that's two

0:55:51.200 --> 0:55:54.120
<v Speaker 1>kilometers one point three miles before the bricks at the

0:55:54.160 --> 0:55:58.120
<v Speaker 1>bottom would be crushed. So that's higher than I would

0:55:58.160 --> 0:56:01.120
<v Speaker 1>have expected. Yeah, but he also points out that, yeah,

0:56:01.160 --> 0:56:03.680
<v Speaker 1>with a broad enough base, you could have built as

0:56:03.719 --> 0:56:05.960
<v Speaker 1>high as Mount Everest. I mean, if you again, this

0:56:06.040 --> 0:56:08.879
<v Speaker 1>is thought experiment, land, if you're just saying sky's a limit.

0:56:08.920 --> 0:56:11.920
<v Speaker 1>I got this enormous plane, and somehow I can get

0:56:11.920 --> 0:56:15.080
<v Speaker 1>the materials there. Sure you could build at least as

0:56:15.120 --> 0:56:19.080
<v Speaker 1>high as Mount Everest at twenty nine thousand eight ft

0:56:19.120 --> 0:56:24.760
<v Speaker 1>or five point four miles eight kilometers. So the pyramid approach, Yeah,

0:56:25.080 --> 0:56:27.480
<v Speaker 1>just if you have enough space and enough slave labor

0:56:27.520 --> 0:56:30.800
<v Speaker 1>to do it, he says. Quote. Thus, a simple tower,

0:56:30.840 --> 0:56:33.799
<v Speaker 1>preferably with a broad base and tapered toward the top,

0:56:34.040 --> 0:56:36.520
<v Speaker 1>could well have been built to such a height that

0:56:36.600 --> 0:56:40.000
<v Speaker 1>the men of Shannar would have run short of oxygen

0:56:40.280 --> 0:56:43.239
<v Speaker 1>and had difficulty in breathing before the brick walls were

0:56:43.239 --> 0:56:46.600
<v Speaker 1>crushed beneath their own dead weight. So there you go,

0:56:46.640 --> 0:56:49.400
<v Speaker 1>a little physics breakdown on the Tower of Battle and

0:56:49.400 --> 0:56:53.600
<v Speaker 1>what would what was conceivably or even inconceivably possible. So Robert,

0:56:53.680 --> 0:56:58.520
<v Speaker 1>you're telling me they really did build a tower to them? Uh,

0:56:58.840 --> 0:57:03.360
<v Speaker 1>just just it's just an eye of what's possible, you

0:57:03.400 --> 0:57:05.120
<v Speaker 1>know at that point, if you're gonna go ahead and

0:57:05.120 --> 0:57:07.200
<v Speaker 1>build on those things. When I just impoured a mountain,

0:57:07.360 --> 0:57:09.080
<v Speaker 1>you can just cut off a mountain at the base

0:57:09.120 --> 0:57:11.160
<v Speaker 1>and drag it over to where you need it. Yeah,

0:57:11.200 --> 0:57:14.239
<v Speaker 1>but you're not really it's not really flipping off God properly, right,

0:57:14.280 --> 0:57:16.240
<v Speaker 1>because the whole thing is this is a mountain you built.

0:57:16.360 --> 0:57:19.680
<v Speaker 1>So you're going with the angry Nimrod interpretation here where

0:57:19.840 --> 0:57:22.680
<v Speaker 1>he's got spite because of the flood. I do like it.

0:57:22.720 --> 0:57:25.080
<v Speaker 1>I kind of want this to be an Aeronowski film,

0:57:25.160 --> 0:57:29.520
<v Speaker 1>you know, the angry Russell Crow Nimrod who's on a

0:57:29.560 --> 0:57:32.120
<v Speaker 1>mission of vengeance against God at the top of the tower.

0:57:32.400 --> 0:57:37.480
<v Speaker 1>Are you not threatened? Al Right? Well, at this point

0:57:37.560 --> 0:57:40.400
<v Speaker 1>we should we should get into the language. Okay, so

0:57:40.440 --> 0:57:42.600
<v Speaker 1>this is gonna be the last thing we discussed here today.

0:57:42.640 --> 0:57:45.440
<v Speaker 1>But yeah, the the idea of the confusion of tongues

0:57:45.560 --> 0:57:50.200
<v Speaker 1>is clearly central to the Babel myth, Right, it's that

0:57:50.360 --> 0:57:53.880
<v Speaker 1>it's this ideological purpose. Like, like we discussed, it's an

0:57:53.880 --> 0:57:57.760
<v Speaker 1>obvious fact of nature that people speak different languages in

0:57:57.800 --> 0:58:01.000
<v Speaker 1>different places. Why is that? Why doesn't everybody speak the

0:58:01.000 --> 0:58:03.280
<v Speaker 1>same language? It would be so much easier if everybody

0:58:03.320 --> 0:58:07.080
<v Speaker 1>spoke the same language. So how come that in the case? Indeed,

0:58:07.520 --> 0:58:09.440
<v Speaker 1>that's the basic question, like what why do we have

0:58:09.480 --> 0:58:12.439
<v Speaker 1>all these languages? To begin with? Uh, let's let's try

0:58:12.440 --> 0:58:14.919
<v Speaker 1>and sort of answer that question, the same question that's

0:58:14.920 --> 0:58:17.240
<v Speaker 1>being asked and answered and then answered by the myth

0:58:17.520 --> 0:58:20.640
<v Speaker 1>but with their modern understanding. So, according to the Linguistic

0:58:20.720 --> 0:58:24.959
<v Speaker 1>Society of America, humans currently have roughly six thousand, nine

0:58:25.000 --> 0:58:28.760
<v Speaker 1>hundred and nine distinct languages. Each of these falls into

0:58:28.920 --> 0:58:32.000
<v Speaker 1>one of two hundred and fifty language families. For instance,

0:58:32.080 --> 0:58:36.040
<v Speaker 1>the Indo European language group includes some two hundred languages,

0:58:36.600 --> 0:58:39.680
<v Speaker 1>and they're not evenly spread out either. Europe has two

0:58:39.760 --> 0:58:42.680
<v Speaker 1>hundred and thirty while Asia has two thousand, one hundred

0:58:42.760 --> 0:58:46.560
<v Speaker 1>ninety seven. Papua New Guinea alone has eight hundred and

0:58:46.600 --> 0:58:49.240
<v Speaker 1>thirty two. Yeah, and I know what you you might

0:58:49.280 --> 0:58:51.680
<v Speaker 1>be thinking, I said, all right, so they're similar, die, Yeah,

0:58:51.720 --> 0:58:54.400
<v Speaker 1>they sure they have just just eight hundred thirty two

0:58:55.040 --> 0:58:57.400
<v Speaker 1>shades of the same color. But no, these are in

0:58:57.480 --> 0:59:01.880
<v Speaker 1>thirty to forty distinct language groups. So it just goes

0:59:01.920 --> 0:59:04.680
<v Speaker 1>to show it's not it's not just based on how

0:59:04.720 --> 0:59:08.000
<v Speaker 1>far people are spread, their number of other factors. Now,

0:59:08.200 --> 0:59:12.640
<v Speaker 1>it's obvious to some extent that languages change over time,

0:59:12.720 --> 0:59:16.600
<v Speaker 1>and you can probably guess that new languages are produced generally,

0:59:16.640 --> 0:59:19.560
<v Speaker 1>not by people planning out a language, sitting down and

0:59:19.600 --> 0:59:24.120
<v Speaker 1>doing the esperanto kind of thing, cleon or what have you. Right,

0:59:24.160 --> 0:59:27.280
<v Speaker 1>though created languages do exist, they're not generally spoken as

0:59:27.320 --> 0:59:32.800
<v Speaker 1>people's native native tongue languages evolve, right, yeah, yeah, So

0:59:32.880 --> 0:59:36.240
<v Speaker 1>that in the roots of realizing this go back to

0:59:36.320 --> 0:59:40.680
<v Speaker 1>the rough observations of earlier man. So you take Greek

0:59:40.680 --> 0:59:43.880
<v Speaker 1>and Latin, for instance, they show similarities and this led

0:59:43.960 --> 0:59:46.800
<v Speaker 1>them any to assume that Latin came from Greek, but

0:59:46.880 --> 0:59:50.560
<v Speaker 1>it didn't both emerge from from older Indo European tongues,

0:59:51.240 --> 0:59:55.120
<v Speaker 1>perhaps according to to some theorist Indo Hittite. Now, other

0:59:55.160 --> 0:59:58.600
<v Speaker 1>similar languages were often dismissed as the same tongue. So,

0:59:58.680 --> 1:00:02.160
<v Speaker 1>for instance, the Romans often considered just all bar barbarians

1:00:02.200 --> 1:00:05.040
<v Speaker 1>spoke Barbarian, when, of course you had various groups and

1:00:05.160 --> 1:00:08.320
<v Speaker 1>various languages in play. And by the Middle Ages there

1:00:08.360 --> 1:00:11.240
<v Speaker 1>was an increased Western interest in the language, but this

1:00:11.360 --> 1:00:14.000
<v Speaker 1>often entailed such a doomed ventures as the attempt to

1:00:14.080 --> 1:00:17.880
<v Speaker 1>root all European tongues in Hebrew, and Hebrews not directly

1:00:17.920 --> 1:00:21.120
<v Speaker 1>related to any of them, because it's a Semitic language. Yeah,

1:00:21.200 --> 1:00:25.200
<v Speaker 1>so I imagine that was a religiously motivated quest exactly,

1:00:25.320 --> 1:00:27.360
<v Speaker 1>kind of like taking your myth on a stick and

1:00:27.400 --> 1:00:31.479
<v Speaker 1>you know, running around through history. So language changes over time,

1:00:31.560 --> 1:00:35.320
<v Speaker 1>sometimes fairly rapidly and in many ways. Just consider how

1:00:35.360 --> 1:00:38.800
<v Speaker 1>different English is today compared to a few centuries ago

1:00:38.880 --> 1:00:41.520
<v Speaker 1>with the Canterbury Tales. You know, you have to have

1:00:41.600 --> 1:00:43.880
<v Speaker 1>a translation of it really to read it, or or

1:00:43.920 --> 1:00:47.320
<v Speaker 1>a proper understanding of this older version of English. And

1:00:47.400 --> 1:00:49.920
<v Speaker 1>yet on the other hand, US languages like Japanese, which

1:00:49.960 --> 1:00:53.360
<v Speaker 1>has apparently changed very little in a thousand years now,

1:00:53.440 --> 1:00:57.960
<v Speaker 1>isn't that an interesting problem? Why do some languages change

1:00:58.040 --> 1:01:01.040
<v Speaker 1>faster than others? Yeah? And indeed, and then you have

1:01:01.120 --> 1:01:03.800
<v Speaker 1>to realize, well, there there's not just one change. There

1:01:04.400 --> 1:01:08.280
<v Speaker 1>all these different changes. So there's lexical change phonetic and

1:01:08.760 --> 1:01:13.760
<v Speaker 1>phonological change, spelling changes, semantic changes, uh, syntactic changes. And

1:01:13.800 --> 1:01:16.360
<v Speaker 1>on top of this, there's this concept of linguistic drift,

1:01:16.680 --> 1:01:21.480
<v Speaker 1>both short term uneddirectional drift and long term cyclic drift.

1:01:22.360 --> 1:01:24.920
<v Speaker 1>So we might have to have Christian jump in on

1:01:24.960 --> 1:01:26.720
<v Speaker 1>a future episode because I know he's very interested in

1:01:27.320 --> 1:01:32.120
<v Speaker 1>linguistic studies. Uh. But suffice to say that large scale

1:01:32.200 --> 1:01:36.080
<v Speaker 1>linguistic shifts often occur in response to social, economic, and

1:01:36.120 --> 1:01:42.480
<v Speaker 1>political pressures. So invasion, displacement, colonization, um, you know, enslavement.

1:01:42.520 --> 1:01:45.800
<v Speaker 1>The history books are full of examples. Uh. New technologies

1:01:45.880 --> 1:01:48.760
<v Speaker 1>also require new words and new ways of talking to

1:01:48.800 --> 1:01:52.440
<v Speaker 1>each other. But the breakup of language is more complicated

1:01:52.440 --> 1:01:54.480
<v Speaker 1>than you might think. So you might think that if

1:01:54.480 --> 1:01:56.960
<v Speaker 1>speaker of language A and speaker of language BE can

1:01:57.040 --> 1:01:59.760
<v Speaker 1>understand each other, then they speak the same tongue. But

1:02:00.000 --> 1:02:02.640
<v Speaker 1>this isn't always the case, and in some cases speaker

1:02:02.680 --> 1:02:05.800
<v Speaker 1>BE can understand speaker A, but not the other way around.

1:02:06.920 --> 1:02:08.560
<v Speaker 1>So to come back to the Tower of Babble and

1:02:08.600 --> 1:02:13.640
<v Speaker 1>the confusion of tongues here, UH is an instantaneous splintering

1:02:13.640 --> 1:02:17.320
<v Speaker 1>of language possible and not really not the outside of

1:02:17.360 --> 1:02:21.080
<v Speaker 1>some sort of magic or perhaps crazy ancient alien technology

1:02:21.200 --> 1:02:24.920
<v Speaker 1>scheme right where they're like zapping language centers of the brain.

1:02:25.600 --> 1:02:28.040
<v Speaker 1>But certainly, if you don't interpret the Tower of Babble

1:02:28.120 --> 1:02:30.480
<v Speaker 1>story to literally, you could say that God just simply

1:02:30.480 --> 1:02:33.200
<v Speaker 1>did something else to displace people and cease the building

1:02:33.200 --> 1:02:36.080
<v Speaker 1>of the tower with cataclysms, war, et cetera, and that

1:02:36.200 --> 1:02:39.520
<v Speaker 1>these traumas and displacements are what splintered language in a

1:02:39.560 --> 1:02:42.440
<v Speaker 1>way that matches up with our understanding. Yeah, I think

1:02:42.520 --> 1:02:43.960
<v Speaker 1>this will go along with something I want to get

1:02:43.960 --> 1:02:45.760
<v Speaker 1>into in just a minute. When I look at at

1:02:45.800 --> 1:02:48.960
<v Speaker 1>an interesting article about this that I came across, it

1:02:49.040 --> 1:02:50.720
<v Speaker 1>makes it an interesting bit of sense, doesn't it when

1:02:50.720 --> 1:02:52.200
<v Speaker 1>you when you think of the towers a means of

1:02:52.320 --> 1:02:56.680
<v Speaker 1>reaching God or technological greatness. The displacement and spread of

1:02:56.760 --> 1:03:00.000
<v Speaker 1>human civilization leads to the birth of numerous languages. Culture

1:03:00.120 --> 1:03:02.560
<v Speaker 1>is in modes of thinking. They make such a unity,

1:03:02.640 --> 1:03:05.720
<v Speaker 1>such vision that kind of humanist dream of of ruggle

1:03:05.800 --> 1:03:09.120
<v Speaker 1>the elder. It makes it just incredibly difficult to accomplish now,

1:03:09.160 --> 1:03:11.840
<v Speaker 1>as we see in every corner of our world today.

1:03:12.000 --> 1:03:14.200
<v Speaker 1>Right now. First, I want to look at this article

1:03:14.320 --> 1:03:16.560
<v Speaker 1>that I found that I thought was interesting about the

1:03:16.600 --> 1:03:19.680
<v Speaker 1>idea of the evolution of language and how that happens.

1:03:20.240 --> 1:03:23.800
<v Speaker 1>Um and also comparisons between the way languages evolved in

1:03:23.840 --> 1:03:26.360
<v Speaker 1>the way organisms evolved. But also we should keep in

1:03:26.400 --> 1:03:28.840
<v Speaker 1>mind to come back to the idea that what if

1:03:28.880 --> 1:03:34.000
<v Speaker 1>the confusion of tongues has benefits as well. Now, first

1:03:34.480 --> 1:03:36.960
<v Speaker 1>I just wanted to look at this interesting article from

1:03:37.400 --> 1:03:40.440
<v Speaker 1>Plos Biology in two thousand and eight by John Whitfield

1:03:41.000 --> 1:03:43.800
<v Speaker 1>that was called across the Curious Parallel of Language and

1:03:43.880 --> 1:03:47.360
<v Speaker 1>species evolution. Now this this wasn't a study, This was

1:03:47.360 --> 1:03:49.960
<v Speaker 1>like a feature article that was talking about some ongoing

1:03:49.960 --> 1:03:52.200
<v Speaker 1>research at the time. I thought that was pretty cool.

1:03:52.680 --> 1:03:56.680
<v Speaker 1>So the author, John Whitfield, has um It starts off

1:03:56.720 --> 1:04:01.080
<v Speaker 1>by talking about how in eighty seven Charles Darwin wrote

1:04:01.080 --> 1:04:03.560
<v Speaker 1>a letter to his sister where he talked about the

1:04:03.640 --> 1:04:07.440
<v Speaker 1>ideas of this linguist named Sir John Herschel. Now Herschel

1:04:07.520 --> 1:04:09.880
<v Speaker 1>wasn't just a linguist. He was a polymath. He did

1:04:09.880 --> 1:04:13.160
<v Speaker 1>all kinds of stuff. But Herschel had a thesis about language,

1:04:13.160 --> 1:04:16.920
<v Speaker 1>and the thesis was languages, the languages that exist today

1:04:17.040 --> 1:04:21.520
<v Speaker 1>were descended from a common ancestor. Now, the idea of

1:04:21.560 --> 1:04:23.840
<v Speaker 1>a common descent of languages. I think it seems fairly

1:04:23.880 --> 1:04:27.000
<v Speaker 1>intuitive to us now, but it encountered problems in the

1:04:27.080 --> 1:04:29.920
<v Speaker 1>nineteenth century, and one of which was uh that the

1:04:30.000 --> 1:04:33.320
<v Speaker 1>evolution of Earth's diverse languages, as different as they were,

1:04:33.920 --> 1:04:37.520
<v Speaker 1>would make the Earth much older than people generally believed

1:04:37.560 --> 1:04:39.560
<v Speaker 1>it to be at the time for religious reasons such

1:04:39.560 --> 1:04:42.800
<v Speaker 1>as Bishop Usher's Biblical chronology, which you know, made the

1:04:42.840 --> 1:04:47.000
<v Speaker 1>Earth about six to ten thousand years old. Right. So

1:04:47.120 --> 1:04:50.640
<v Speaker 1>by Darwin's time, linguists already had some success tracing the

1:04:50.680 --> 1:04:54.000
<v Speaker 1>genealogies of languages, so it was clear, for example, that

1:04:54.080 --> 1:04:58.040
<v Speaker 1>many of the languages of Western Europe, such as French, Spanish,

1:04:58.080 --> 1:05:01.760
<v Speaker 1>and Italian, had origins ancient Latin. That's not even that

1:05:01.880 --> 1:05:04.760
<v Speaker 1>hard to observe, right You might imagine just sort of

1:05:04.840 --> 1:05:08.360
<v Speaker 1>figuring this out by looking at the languages themselves, but

1:05:08.480 --> 1:05:12.120
<v Speaker 1>one could also see the interbreeding of languages with with

1:05:12.200 --> 1:05:15.720
<v Speaker 1>different ancestors. For example, you've got modern English. This has

1:05:15.760 --> 1:05:18.720
<v Speaker 1>a strong base in Germanic languages, but you also can

1:05:18.760 --> 1:05:21.680
<v Speaker 1>see that it clearly has input from Romance languages like

1:05:21.720 --> 1:05:26.000
<v Speaker 1>French and Latin and Spanish as well. It's also fairly

1:05:26.000 --> 1:05:29.720
<v Speaker 1>clear how this usually happened since we had textual records

1:05:29.760 --> 1:05:33.280
<v Speaker 1>reflecting changes in language use over time. So the basic

1:05:33.320 --> 1:05:38.200
<v Speaker 1>principle was discent with modification. People pass on their languages

1:05:38.240 --> 1:05:42.080
<v Speaker 1>to the next generation. But with each generation, small changes

1:05:42.240 --> 1:05:45.880
<v Speaker 1>creep in. New words appear, old words foality use, or

1:05:46.040 --> 1:05:49.760
<v Speaker 1>become pronounced differently. New grammar rules start to come into use,

1:05:49.800 --> 1:05:52.720
<v Speaker 1>and eventually enough of these changes accumulate that it would

1:05:52.760 --> 1:05:55.880
<v Speaker 1>be difficult for a person speaking the ancient parent language

1:05:56.320 --> 1:05:59.880
<v Speaker 1>to understand a person speaking the modern descendent language. That

1:06:00.040 --> 1:06:02.080
<v Speaker 1>they would talk to each other and they wouldn't get it.

1:06:02.320 --> 1:06:05.720
<v Speaker 1>And so Darwin started to wonder, I wonder if new

1:06:05.800 --> 1:06:09.360
<v Speaker 1>species could evolve by descent with modification the same way

1:06:09.480 --> 1:06:15.080
<v Speaker 1>languages do. And now modern linguists have quantitative analytical tools

1:06:15.160 --> 1:06:17.919
<v Speaker 1>that can help them understand how languages change over time,

1:06:18.200 --> 1:06:21.600
<v Speaker 1>and you can use very similar tools to investigate changes

1:06:21.640 --> 1:06:24.440
<v Speaker 1>in genomes over time. So a lot of this article

1:06:24.520 --> 1:06:29.240
<v Speaker 1>then ends up comparing genetic change or genomic change to

1:06:29.720 --> 1:06:32.720
<v Speaker 1>language change. What are what are the points of similarity

1:06:32.760 --> 1:06:36.240
<v Speaker 1>and what are the points of difference? Um and so

1:06:36.520 --> 1:06:39.720
<v Speaker 1>Whitfield quotes an evolutionary biologists named Mark Pagel of the

1:06:39.800 --> 1:06:43.640
<v Speaker 1>University of Reading, who says languages are extraordinarily like genomes.

1:06:43.640 --> 1:06:45.600
<v Speaker 1>We think that they could be very that there could

1:06:45.600 --> 1:06:49.800
<v Speaker 1>be very general laws of lexical evolution to rival those

1:06:49.840 --> 1:06:53.960
<v Speaker 1>of genetic evolution. So there are ways in which language

1:06:54.000 --> 1:06:57.240
<v Speaker 1>evolution and genomic evolution are similar. They're gonna be other

1:06:57.240 --> 1:06:59.480
<v Speaker 1>ways that they're different, and we should acknowledge that in

1:06:59.520 --> 1:07:02.640
<v Speaker 1>a minute. But one way is that the most basic

1:07:02.840 --> 1:07:07.520
<v Speaker 1>or most important components change the slowest. So in biology,

1:07:07.600 --> 1:07:10.080
<v Speaker 1>this is gonna be genes that are used constantly by

1:07:10.160 --> 1:07:13.360
<v Speaker 1>nearly all organisms. One example would be genes involved in

1:07:13.440 --> 1:07:15.920
<v Speaker 1>protein synthesis. You've got to do this all the time,

1:07:16.320 --> 1:07:19.080
<v Speaker 1>so they just change very slowly, and for this reason

1:07:19.120 --> 1:07:22.440
<v Speaker 1>they can be used to trace genomic relationships way deep

1:07:22.480 --> 1:07:25.480
<v Speaker 1>into history. And in linguistic this would be the words

1:07:25.520 --> 1:07:30.080
<v Speaker 1>you use all the time, like pronouns and numbers. If

1:07:30.120 --> 1:07:32.640
<v Speaker 1>you think about the way language is change, if the

1:07:32.720 --> 1:07:35.120
<v Speaker 1>language is going to be changing over time, what are

1:07:35.160 --> 1:07:38.480
<v Speaker 1>the things that are most likely to have discontinuity from

1:07:38.480 --> 1:07:41.640
<v Speaker 1>the way your parents spoke. It's gonna be like less

1:07:41.680 --> 1:07:46.480
<v Speaker 1>common sayings or new expressions or something like that. Another

1:07:46.520 --> 1:07:49.400
<v Speaker 1>parallel he talks about is that the varying rates of

1:07:49.480 --> 1:07:54.200
<v Speaker 1>evolution in both languages in genomes that they can alter

1:07:54.400 --> 1:07:58.720
<v Speaker 1>over time. So uh. In biology, it looks like that

1:07:58.840 --> 1:08:01.920
<v Speaker 1>there is generally a slow and steady rate of change

1:08:01.920 --> 1:08:04.960
<v Speaker 1>in a line of descent that is then suddenly punctuated

1:08:05.040 --> 1:08:09.000
<v Speaker 1>by occasionally brief periods of more rapid change. This might happen,

1:08:09.040 --> 1:08:12.080
<v Speaker 1>for example, when you get various populations of the same

1:08:12.120 --> 1:08:14.800
<v Speaker 1>species that are suddenly cut off from one another and

1:08:14.920 --> 1:08:18.680
<v Speaker 1>unable to inter breed and forced into different living conditions.

1:08:19.040 --> 1:08:21.000
<v Speaker 1>So you might think about our episode on the London

1:08:21.080 --> 1:08:25.519
<v Speaker 1>Underground mosquito. You've got the surface Coulex pipiens mosquito, and

1:08:25.720 --> 1:08:28.559
<v Speaker 1>part of that population appears to break off into a

1:08:28.600 --> 1:08:32.160
<v Speaker 1>subgroup that gets trapped into the London underground, which selects

1:08:32.160 --> 1:08:34.360
<v Speaker 1>for different traits. You've got to like the dark, You've

1:08:34.400 --> 1:08:36.679
<v Speaker 1>got to really have a taste for rat and human

1:08:36.720 --> 1:08:40.240
<v Speaker 1>blood instead of bird blood. Uh. And eventually, the version

1:08:40.240 --> 1:08:45.280
<v Speaker 1>of Coulex pipiens that's that's accumulating these different adaptations is

1:08:45.280 --> 1:08:48.479
<v Speaker 1>a different species within a surprisingly short amount of time,

1:08:48.760 --> 1:08:51.839
<v Speaker 1>and they can no longer successfully breed and produce fertile

1:08:51.840 --> 1:08:55.439
<v Speaker 1>offspring with one another. With the surface population, it looks

1:08:55.439 --> 1:08:58.880
<v Speaker 1>like a similar kind of thing happens with languages. Populations

1:08:58.920 --> 1:09:02.040
<v Speaker 1>that speak them accumul late small changes over long periods

1:09:02.040 --> 1:09:05.280
<v Speaker 1>of time, but there may be more rapid speciation events

1:09:05.680 --> 1:09:09.120
<v Speaker 1>eventually after a population splits off. So if you take

1:09:09.120 --> 1:09:12.080
<v Speaker 1>a large group of English speakers and you split them

1:09:12.160 --> 1:09:15.919
<v Speaker 1>up into smaller groups, and you put them on different islands,

1:09:16.000 --> 1:09:18.160
<v Speaker 1>so they never talk to each other, you can expect

1:09:18.320 --> 1:09:21.840
<v Speaker 1>their rate of differentiation and how their language has change

1:09:21.920 --> 1:09:25.759
<v Speaker 1>is going to accelerate. Now this isn't exactly a dissenting opinion,

1:09:25.800 --> 1:09:27.360
<v Speaker 1>but I want to throw this bit in from the

1:09:27.439 --> 1:09:30.839
<v Speaker 1>Linguistic Society of America on the diversity of language compared

1:09:30.880 --> 1:09:34.400
<v Speaker 1>to biological diversity. So the languages of the world seem

1:09:34.439 --> 1:09:37.519
<v Speaker 1>amazingly diverse, but when you compare them to communication systems

1:09:37.560 --> 1:09:42.000
<v Speaker 1>in general, they're all remarkably similar to one another. Quote.

1:09:42.160 --> 1:09:46.160
<v Speaker 1>Human language differs from the communicative behavior of every other

1:09:46.320 --> 1:09:50.040
<v Speaker 1>known organism in a number of fundamental ways, all shared

1:09:50.720 --> 1:09:54.719
<v Speaker 1>across languages, they say. Quote, human language is so different

1:09:54.760 --> 1:09:57.720
<v Speaker 1>from any other known system in the natural world that

1:09:57.800 --> 1:10:00.599
<v Speaker 1>the narrowly constrained ways in which one grammar can differ

1:10:00.920 --> 1:10:04.639
<v Speaker 1>from another fade into insignificance. For a native of Milan,

1:10:04.880 --> 1:10:07.320
<v Speaker 1>the differences between the speech of that city and that

1:10:07.400 --> 1:10:11.040
<v Speaker 1>of Turin may loom large, but for a visitor from

1:10:11.120 --> 1:10:15.519
<v Speaker 1>Kula Lumpur, both are simply Italian. Similarly, the differences we

1:10:15.560 --> 1:10:19.120
<v Speaker 1>find across the world in Grammars seem very important. But

1:10:19.240 --> 1:10:22.519
<v Speaker 1>for an outside observer, say a biologist studying communication among

1:10:22.560 --> 1:10:25.519
<v Speaker 1>living beings in general, or this is me, but dare say,

1:10:25.560 --> 1:10:29.040
<v Speaker 1>you know, an angelic destroyer sent down or a Babylonian

1:10:29.120 --> 1:10:33.400
<v Speaker 1>god quote, all our relatively minor variations on the single

1:10:33.520 --> 1:10:36.960
<v Speaker 1>theme of human language. That's interesting. Yeah, stuff that may

1:10:37.000 --> 1:10:41.080
<v Speaker 1>appear very diverse to us because we are so highly

1:10:41.240 --> 1:10:44.360
<v Speaker 1>attuned to the differences between it, just from an outside

1:10:44.800 --> 1:10:47.920
<v Speaker 1>encoding perspective is not all that different. Yeah. They're all

1:10:47.920 --> 1:10:51.360
<v Speaker 1>speaking Earth anyway, they're all speaking human. Yeah, so what

1:10:51.600 --> 1:10:55.120
<v Speaker 1>drives language change? Like? Well, again we've touched on on

1:10:55.280 --> 1:10:57.639
<v Speaker 1>on some of the reasons. But but what what you're

1:10:57.680 --> 1:11:00.120
<v Speaker 1>you're taking your research show? Well, obviously this is not

1:11:00.200 --> 1:11:02.080
<v Speaker 1>at a settled issue. I mean, there are all kinds

1:11:02.080 --> 1:11:05.840
<v Speaker 1>of things that drive changes in language. Um, some appear

1:11:05.960 --> 1:11:09.599
<v Speaker 1>to be these fairly random kind of influences and changes

1:11:09.600 --> 1:11:13.120
<v Speaker 1>in pronunciation and stuff like that. Sociolinguists and this is

1:11:13.240 --> 1:11:16.200
<v Speaker 1>this is a point that um Whitfield makes in his article.

1:11:16.439 --> 1:11:19.800
<v Speaker 1>Sociolinguists would point out that sort of random artifacts of

1:11:19.920 --> 1:11:23.639
<v Speaker 1>culture can influence language trends, and so they might give

1:11:23.680 --> 1:11:27.280
<v Speaker 1>the example of the idiosyncratic speech patterns of a very

1:11:27.360 --> 1:11:31.200
<v Speaker 1>high status person or social group get copied a lot,

1:11:31.680 --> 1:11:35.000
<v Speaker 1>and that can become the sort of driving factor in

1:11:35.040 --> 1:11:38.600
<v Speaker 1>the way languages change over time. Imagine if Marlon Brando's

1:11:38.640 --> 1:11:41.840
<v Speaker 1>the coolest guy in America and suddenly all all the

1:11:41.880 --> 1:11:45.479
<v Speaker 1>men in America start mumbling their words like him. Or

1:11:45.520 --> 1:11:48.759
<v Speaker 1>if you're if you're living in England and it's recently

1:11:48.800 --> 1:11:52.320
<v Speaker 1>been conquered by French aristocrats, suddenly you might you might

1:11:52.360 --> 1:11:55.799
<v Speaker 1>want to start incorporating more Francophonic features into your speech,

1:11:55.840 --> 1:11:58.200
<v Speaker 1>so you talk more like the new bosses and the

1:11:58.240 --> 1:12:01.880
<v Speaker 1>new rich people. Your company is purchased by a different

1:12:01.920 --> 1:12:05.439
<v Speaker 1>company and they have different bits of business jargon, and

1:12:05.439 --> 1:12:10.280
<v Speaker 1>suddenly you're speaking like that at home. That forbid, that

1:12:10.320 --> 1:12:12.439
<v Speaker 1>would be that would be grounds for the confusion of

1:12:12.479 --> 1:12:17.240
<v Speaker 1>tongue in business. Uh. There are even ideas that genetics

1:12:17.240 --> 1:12:21.280
<v Speaker 1>could influence language change. Not I think it's not strongly.

1:12:21.800 --> 1:12:24.959
<v Speaker 1>It's not believed that this is strongly determinative by everybody

1:12:24.960 --> 1:12:26.640
<v Speaker 1>that I know of who said, like, you know that

1:12:26.680 --> 1:12:31.040
<v Speaker 1>you have genes for speaking Chinese or something. But in

1:12:31.080 --> 1:12:33.519
<v Speaker 1>a more subtle way, it appears that there could be

1:12:33.600 --> 1:12:38.120
<v Speaker 1>certain types of genes that favor the development of certain

1:12:38.160 --> 1:12:41.200
<v Speaker 1>types of languages. So, for example, it appears there could

1:12:41.200 --> 1:12:44.600
<v Speaker 1>be the certain ancestral genes that correlate with the development

1:12:44.640 --> 1:12:48.320
<v Speaker 1>of what's known as tonal languages versus non tonal languages.

1:12:48.560 --> 1:12:51.360
<v Speaker 1>And a tonal language is one in which saying basically

1:12:51.360 --> 1:12:55.280
<v Speaker 1>the same word, the same sequence of phonemes with a

1:12:55.280 --> 1:12:58.600
<v Speaker 1>different pitch or tone has a different meaning. Chinese is

1:12:58.600 --> 1:13:01.800
<v Speaker 1>a good example of this. Yeah, Like they're multiple ways

1:13:01.840 --> 1:13:04.240
<v Speaker 1>to say ma. We say my in our tongue and

1:13:04.240 --> 1:13:07.559
<v Speaker 1>it means one thing, but it can mean you you

1:13:07.560 --> 1:13:09.639
<v Speaker 1>say it wrong. You might think you're saying a mother

1:13:09.680 --> 1:13:12.800
<v Speaker 1>in Chinese, but you're actually saying horse or himp. Is

1:13:12.840 --> 1:13:15.760
<v Speaker 1>that a direct horse or himp? Well that's that's that's

1:13:15.800 --> 1:13:17.640
<v Speaker 1>just three of them, mother, horse, and himp, But then

1:13:17.640 --> 1:13:21.160
<v Speaker 1>their additionals as well. So can you do the different pronunciations?

1:13:21.240 --> 1:13:23.599
<v Speaker 1>How what does it sound like? Well, you have there's

1:13:23.680 --> 1:13:26.400
<v Speaker 1>like rising around it. So there's like and there's there's

1:13:26.439 --> 1:13:30.920
<v Speaker 1>like ma ma ma ma u. Those are just a few,

1:13:30.960 --> 1:13:32.679
<v Speaker 1>but just just an idea of just some of the tones.

1:13:32.760 --> 1:13:36.439
<v Speaker 1>And that's why a language like Mandarin Chinese is it

1:13:36.479 --> 1:13:40.360
<v Speaker 1>can be so difficult for uh, for say, an English

1:13:40.360 --> 1:13:43.400
<v Speaker 1>speaker to pick up on. I mean, that sounds amazingly

1:13:43.439 --> 1:13:45.959
<v Speaker 1>difficult to learn if you don't come from a language

1:13:46.000 --> 1:13:49.160
<v Speaker 1>that has tonal qualities to it. Yeah, we well, you know,

1:13:49.200 --> 1:13:51.880
<v Speaker 1>the thing is, we don't, and we do. I thought

1:13:51.880 --> 1:13:55.840
<v Speaker 1>about this a lot because certainly your tone in saying

1:13:55.880 --> 1:13:59.719
<v Speaker 1>certain words in English can can have a very important

1:13:59.720 --> 1:14:03.880
<v Speaker 1>effect act on what you're saying. Uh, not so much

1:14:03.960 --> 1:14:07.040
<v Speaker 1>changing the definition of a word, but changing the connotations.

1:14:07.760 --> 1:14:10.280
<v Speaker 1>So so it's not yet it's not a direct comparison,

1:14:10.360 --> 1:14:12.800
<v Speaker 1>but it's it's kind of like the the the the

1:14:12.800 --> 1:14:19.320
<v Speaker 1>importance of tone in English taken to a different level altogether. Yeah,

1:14:19.360 --> 1:14:23.320
<v Speaker 1>that is interesting. But anyway, so the idea here is that, um,

1:14:23.479 --> 1:14:25.439
<v Speaker 1>not so much that you would have a gene that

1:14:25.520 --> 1:14:28.919
<v Speaker 1>tells you to speak a certain to speak a language

1:14:28.960 --> 1:14:31.479
<v Speaker 1>like that, but that there are certain genes that appear

1:14:31.560 --> 1:14:36.840
<v Speaker 1>to be geographically correlated with areas where people had developed

1:14:36.920 --> 1:14:40.400
<v Speaker 1>languages with tonal features, so that could play a role.

1:14:40.880 --> 1:14:44.040
<v Speaker 1>But another interesting feature is the fact that if languages

1:14:44.040 --> 1:14:46.960
<v Speaker 1>evolved like organisms, if this is, if this analogy is

1:14:47.000 --> 1:14:51.280
<v Speaker 1>correct at all, they're more like the evolution of bacteria

1:14:51.320 --> 1:14:56.680
<v Speaker 1>than the evolution of say, complex mammals, because languages can

1:14:56.720 --> 1:15:00.439
<v Speaker 1>trade horizontally, right, The transmission of language is is not

1:15:00.560 --> 1:15:04.720
<v Speaker 1>just vertical across generations. You don't just directly inherent your

1:15:04.800 --> 1:15:08.800
<v Speaker 1>language from your parents. You largely do, but it's also horizontal.

1:15:08.920 --> 1:15:12.639
<v Speaker 1>You get new words, new speaking patterns, new grammatical rules

1:15:13.000 --> 1:15:15.800
<v Speaker 1>from the people around you, and you can trade them off.

1:15:15.880 --> 1:15:19.040
<v Speaker 1>So it is more like the horizontal gene transfer you'd

1:15:19.080 --> 1:15:22.120
<v Speaker 1>see in microbial life. That's true, that's a good point.

1:15:22.760 --> 1:15:24.040
<v Speaker 1>And then, of course I think it's not just the

1:15:24.040 --> 1:15:27.040
<v Speaker 1>people around you. It's the TV programs around you as well.

1:15:27.200 --> 1:15:29.960
<v Speaker 1>Uh and and and another extent, the books you read.

1:15:30.560 --> 1:15:33.240
<v Speaker 1>You have all these these influences that are are taking

1:15:33.240 --> 1:15:36.800
<v Speaker 1>what you were essentially given by those who reared you.

1:15:37.280 --> 1:15:40.320
<v Speaker 1>And uh, and you're you're recreating it every day. Yeah,

1:15:40.479 --> 1:15:43.040
<v Speaker 1>So in the creation of new languages, I think the

1:15:43.040 --> 1:15:46.559
<v Speaker 1>the analogy of evolution by natural selection or maybe not

1:15:46.640 --> 1:15:50.040
<v Speaker 1>natural selection, evolution by some kind of selection. Evolution by

1:15:50.120 --> 1:15:53.400
<v Speaker 1>vague selection is somewhat a good analogy in other ways

1:15:53.439 --> 1:15:56.840
<v Speaker 1>it's not a perfect analogy. But I also have a

1:15:56.920 --> 1:15:59.720
<v Speaker 1>question for any linguists out there listening. So we've talked

1:15:59.720 --> 1:16:02.679
<v Speaker 1>about the difficulties of identifying, you know, or the idea

1:16:02.680 --> 1:16:06.439
<v Speaker 1>of a species in biology before. In biology, the species

1:16:06.479 --> 1:16:09.719
<v Speaker 1>distinction is usually taken to mean that two different species

1:16:09.720 --> 1:16:14.520
<v Speaker 1>are animals or organisms that cannot breed and produce fertile offspring.

1:16:15.080 --> 1:16:18.440
<v Speaker 1>So if we follow the analogy between genomics and linguistics,

1:16:18.920 --> 1:16:23.320
<v Speaker 1>what is the equivalent distinction between different species of language?

1:16:23.640 --> 1:16:25.519
<v Speaker 1>I mean, you might be tempted to say, well, it's

1:16:25.520 --> 1:16:28.160
<v Speaker 1>when you can't understand one another, But there are varying

1:16:28.320 --> 1:16:32.560
<v Speaker 1>degrees of understanding, right, you might sort of understand somebody.

1:16:32.960 --> 1:16:35.000
<v Speaker 1>So anyway, if you have a good answer for that,

1:16:35.320 --> 1:16:37.320
<v Speaker 1>you might want to email us it blow the mind

1:16:37.320 --> 1:16:39.080
<v Speaker 1>at how stuff works dot com to let us know.

1:16:39.520 --> 1:16:41.560
<v Speaker 1>All right, as we begin to close out here, and

1:16:41.720 --> 1:16:44.519
<v Speaker 1>I want to talk very briefly about a book and

1:16:44.560 --> 1:16:46.640
<v Speaker 1>an idea that I imagine a number of you out

1:16:46.640 --> 1:16:48.760
<v Speaker 1>there have been thinking about the whole time. And that's

1:16:48.840 --> 1:16:52.760
<v Speaker 1>Neil Stevenson's Cyberpunk Classics No Crash. I've never read this,

1:16:52.800 --> 1:16:54.680
<v Speaker 1>but I've always meant to. Oh yeah, this is the one,

1:16:54.680 --> 1:16:56.519
<v Speaker 1>of course, It's it's a wild book. It's you've got

1:16:56.520 --> 1:16:59.720
<v Speaker 1>so many fun elements going on in a hero protagonist

1:16:59.760 --> 1:17:04.160
<v Speaker 1>with samurai sword. But the part that's stuck with me

1:17:04.240 --> 1:17:07.200
<v Speaker 1>the most, and the part that that that that jives

1:17:07.240 --> 1:17:12.559
<v Speaker 1>with today's episode is this important plot point about about

1:17:12.600 --> 1:17:14.920
<v Speaker 1>this uh, this this this thing that's referred to as

1:17:14.960 --> 1:17:18.720
<v Speaker 1>the nam Shub of Inky who mentioned earlier this is

1:17:18.720 --> 1:17:21.920
<v Speaker 1>the Sumerian god. So the idea here and this is

1:17:21.960 --> 1:17:23.760
<v Speaker 1>like the this is the version of it that that

1:17:23.840 --> 1:17:26.679
<v Speaker 1>Stevenson plays within the book. Is he of this ancient

1:17:26.760 --> 1:17:30.519
<v Speaker 1>Sumerian or language and it allowed brain function to be

1:17:30.600 --> 1:17:34.720
<v Speaker 1>programmed using audio stimuli in conjunction with a d N

1:17:34.800 --> 1:17:40.120
<v Speaker 1>a altering virus. So Sumerian culture in this scenario UH

1:17:40.360 --> 1:17:43.680
<v Speaker 1>is organized around these programs known as ME, which were

1:17:43.680 --> 1:17:47.000
<v Speaker 1>administered by priests. Oh yeah, the ME. So there in

1:17:47.280 --> 1:17:52.120
<v Speaker 1>one of the things I mentioned earlier, the the Golden

1:17:52.120 --> 1:17:54.680
<v Speaker 1>Age passage in the Sumerian epic. There, I think there

1:17:54.760 --> 1:17:58.080
<v Speaker 1>is a recital of m A. That's that's it. Yeah,

1:17:58.320 --> 1:18:00.479
<v Speaker 1>that that's what he's playing off of in this So

1:18:01.280 --> 1:18:04.600
<v Speaker 1>Inky this uh this this important figure this uh this

1:18:04.800 --> 1:18:09.000
<v Speaker 1>God develops a counter virus known as the nam shub

1:18:09.280 --> 1:18:13.240
<v Speaker 1>and then he delivers uh this to stop the Sumerian

1:18:13.320 --> 1:18:16.400
<v Speaker 1>language from being processed by the brain, and this leads

1:18:16.400 --> 1:18:20.800
<v Speaker 1>to the development of other less literal languages, giving birth

1:18:20.840 --> 1:18:23.240
<v Speaker 1>to the babble myth. So this would be a case

1:18:23.320 --> 1:18:28.320
<v Speaker 1>where the confusion of languages as described by Inky confusing

1:18:28.400 --> 1:18:32.080
<v Speaker 1>the tongues in this epic is actually a benevolent thing.

1:18:32.560 --> 1:18:35.200
<v Speaker 1>So yeah, the idea that Stevenson is rolling out here

1:18:35.360 --> 1:18:38.400
<v Speaker 1>is that if you have a mono linguistic culture, it's

1:18:38.439 --> 1:18:41.759
<v Speaker 1>like having like a massive farm that's only one crop

1:18:42.320 --> 1:18:45.880
<v Speaker 1>because you're susceptible to a single virus or pathogen or

1:18:46.000 --> 1:18:50.519
<v Speaker 1>parasite is wiping it out. They specifically mentioned say, you know,

1:18:50.840 --> 1:18:55.640
<v Speaker 1>uh Nazism coming in, and if if it resonates with

1:18:55.680 --> 1:18:57.800
<v Speaker 1>a few people, if everyone has the same language and

1:18:57.880 --> 1:19:01.839
<v Speaker 1>essentially the same culture, then that that that harmful idea,

1:19:01.920 --> 1:19:05.320
<v Speaker 1>that that that linguistic meme can just run rampant and

1:19:05.360 --> 1:19:07.920
<v Speaker 1>eat everyone up. But if you have these it's like

1:19:08.000 --> 1:19:11.120
<v Speaker 1>having a forest fire breakout in a global forest with

1:19:11.840 --> 1:19:14.760
<v Speaker 1>you know, without any streams or planes to break it up,

1:19:14.960 --> 1:19:18.640
<v Speaker 1>everything's going to burn. I love this idea, and I

1:19:18.680 --> 1:19:20.799
<v Speaker 1>think this is fascinating. I think it is a great

1:19:20.840 --> 1:19:24.799
<v Speaker 1>case for preserving the diversity of human language and culture.

1:19:24.840 --> 1:19:27.720
<v Speaker 1>I mean, I think sometimes it is tempting. I think,

1:19:27.720 --> 1:19:30.280
<v Speaker 1>wouldn't it be great if the whole world had one

1:19:30.360 --> 1:19:32.600
<v Speaker 1>language in one culture. It would be so easy for

1:19:32.720 --> 1:19:35.599
<v Speaker 1>us all to get along. We could do trade would

1:19:35.640 --> 1:19:37.439
<v Speaker 1>be so much easier, we could just really you know,

1:19:38.000 --> 1:19:40.840
<v Speaker 1>like it seems utopian when you think about it, but

1:19:41.040 --> 1:19:44.400
<v Speaker 1>I absolutely see some merit in the idea that that

1:19:44.439 --> 1:19:48.800
<v Speaker 1>would make us much more uniquely vulnerable to a particularly

1:19:49.000 --> 1:19:55.360
<v Speaker 1>bad linguistic or cultural program that gets instituted that catches

1:19:55.400 --> 1:19:59.120
<v Speaker 1>on easily. I mean, it's easy to think about memes

1:19:59.120 --> 1:20:02.439
<v Speaker 1>like Nazism or like a really awful interpretation of a

1:20:02.520 --> 1:20:06.559
<v Speaker 1>religion or something like that, And there are ideas that

1:20:06.600 --> 1:20:10.120
<v Speaker 1>can be captivating to people that they feel very entranced

1:20:10.120 --> 1:20:14.280
<v Speaker 1>by and beholden to um, but they're utterly destructive. And

1:20:14.400 --> 1:20:17.680
<v Speaker 1>if you have these divisions of culture and divisions of

1:20:17.760 --> 1:20:21.280
<v Speaker 1>language where you can't play exactly the same linguistic meme

1:20:21.360 --> 1:20:24.200
<v Speaker 1>on somebody else's brain. It's a it's a little bit

1:20:24.200 --> 1:20:27.200
<v Speaker 1>of an immunity barrier, or what if the what if

1:20:27.000 --> 1:20:30.680
<v Speaker 1>the pathogen here is a is an intense desire to

1:20:30.720 --> 1:20:33.640
<v Speaker 1>build a giant tower into the sky, and maybe ultimately

1:20:34.280 --> 1:20:36.240
<v Speaker 1>the god or gods in the scenario saying well, look

1:20:36.280 --> 1:20:38.200
<v Speaker 1>at these people, they're totally wasting their time building this

1:20:38.320 --> 1:20:41.080
<v Speaker 1>tower to nowhere. We better break that up before they

1:20:41.160 --> 1:20:44.880
<v Speaker 1>hurt themselves. The only humane thing to do is to

1:20:44.960 --> 1:20:50.599
<v Speaker 1>knock it down, and thereafter called the land Overthrow. All right, Well,

1:20:50.600 --> 1:20:55.160
<v Speaker 1>there you have it, everybody. The Tower of Babel, artistic interpretations,

1:20:55.200 --> 1:20:59.720
<v Speaker 1>mathematical interpretations, linguistic interpretations, and hey, there is a lot

1:20:59.760 --> 1:21:03.680
<v Speaker 1>of awesome other Tower of Babel literature and legend out

1:21:03.680 --> 1:21:05.679
<v Speaker 1>there that we didn't even have time to get into today.

1:21:05.720 --> 1:21:07.639
<v Speaker 1>So if you want to write us about your favorite

1:21:07.720 --> 1:21:11.519
<v Speaker 1>Tower of Babel stories from or or equivalent legends from

1:21:11.520 --> 1:21:14.960
<v Speaker 1>other other types of literature mythological history, let us know

1:21:15.040 --> 1:21:17.080
<v Speaker 1>about that. That's right in the meantime, Heading over to

1:21:17.120 --> 1:21:18.559
<v Speaker 1>Stuff to Blow your Mind dot com, that's what we

1:21:18.560 --> 1:21:22.320
<v Speaker 1>will find all the podcast episodes, including the Great Flood

1:21:22.360 --> 1:21:26.519
<v Speaker 1>episode that we mentioned earlier and London Underground Mosquito, London,

1:21:26.560 --> 1:21:28.840
<v Speaker 1>ut Aground Mosquito as well. You'll find those episodes and

1:21:28.880 --> 1:21:31.519
<v Speaker 1>stuff to Blow your Mind dot com, along with blog post, videos,

1:21:31.600 --> 1:21:33.800
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1:21:33.800 --> 1:21:37.880
<v Speaker 1>as Instagram, Facebook, Twitter, Tumbler, all of those things, and

1:21:37.960 --> 1:21:39.960
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1:21:39.960 --> 1:21:42.040
<v Speaker 1>you can email us at blow the Mind at how

1:21:42.080 --> 1:21:55.080
<v Speaker 1>stuff Works dot com. Well more on this and thousands

1:21:55.120 --> 1:22:01.880
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1:22:01.880 --> 1:22:13.799
<v Speaker 1>a lot of little they starts start sport