WEBVTT - The Cauldron, Part 2

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<v Speaker 1>Welcome to Stuff to Blow Your Mind production of My

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<v Speaker 1>Heart Radio. 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>we're back with part two of our series about cauldron's.

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<v Speaker 1>That's right. In the last episode, we talked about cauldrons, uh,

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<v Speaker 1>and mostly an introduction into the idea of the cauldron

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<v Speaker 1>is both a mundane tool for heating water and making soup,

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<v Speaker 1>but also getting in a little bit to the idea

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<v Speaker 1>that okay, this is something that also ends up taking

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<v Speaker 1>on sacred and supernatural characteristics in various traditions. Um. But

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<v Speaker 1>for the most part, we we talked about soup technology,

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<v Speaker 1>which in and of itself is pretty fascinating. Yeah. We

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<v Speaker 1>pondered the foggy distant prehistory of salmon soups in Japan. Yeah.

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<v Speaker 1>So a lot of this episode is going to look

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<v Speaker 1>at the cauldron in Chinese traditions and in Chinese history

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<v Speaker 1>and mythology. So in Chinese culture and history, the ancient

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<v Speaker 1>cauldron is known as the ding a cooking cauldron with

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<v Speaker 1>two looped handles and three or four legs. The three

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<v Speaker 1>legged ones tend to have a more of a circular pot,

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<v Speaker 1>while the four legged ones tend to have a rectangular

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<v Speaker 1>pot and appear more like what we might think of

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<v Speaker 1>as a chest or something in Western traditions, it's maybe

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<v Speaker 1>a little less recognizable as a cauldron if you're basing

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<v Speaker 1>your expectations just on cauldrons in Western traditions. Yeah, it

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<v Speaker 1>made me wonder, like, wait a minute, why are pots

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<v Speaker 1>always round? I mean, they don't have to be. So

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<v Speaker 1>this is a pot that's that's got corners and it

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<v Speaker 1>looks like something that link would pop open and pull

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<v Speaker 1>a treasure out of. Oh it's the hook shot. Yeah. Well,

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<v Speaker 1>I mean these are ultimately artifacts that have a number

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<v Speaker 1>of supernatural associations with them. But in terms of actual

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<v Speaker 1>Chinese cauldrons or ding that have survived, uh, for instance,

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<v Speaker 1>one example of that that that came up in my

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<v Speaker 1>researches from the Warring States period around from around four

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<v Speaker 1>thirty three b c e. Found in the Lego Doun

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<v Speaker 1>tombs in central China. Upon its discovery, it still had

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<v Speaker 1>ox bones inside it and soot on its base, meaning

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<v Speaker 1>that it was apparently used for cooking, perhaps as part

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<v Speaker 1>of a funerary feast. It was made of bronze and

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<v Speaker 1>also included lifting hooks and a ladle lifting hooks, Does

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<v Speaker 1>that mean something you'd like put some some hooks in

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<v Speaker 1>to move it out of the fire. Correct in this

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<v Speaker 1>In this case, now, when we get into later discussions

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<v Speaker 1>of of cauldrons, you also get into the idea of

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<v Speaker 1>flesh hooks for your cauldron. They have to do with

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<v Speaker 1>the obviously, for the manipulating of flesh. Uh, you know,

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<v Speaker 1>some sort of meat that you're cooking inside of said cauldron.

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<v Speaker 1>But these I believe, Yeah, we're just to to move

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<v Speaker 1>the cauldron around while it was heated. Okay, So a cauldron,

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<v Speaker 1>we know, can be used for the chores that sustain

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<v Speaker 1>everyday life, cooking food and washing and so forth. But

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<v Speaker 1>in Chinese traditions, cauldrons have a much more culturally and

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<v Speaker 1>religiously charged significance. Even though they could be used for

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<v Speaker 1>those same mundane tasks, they might also decide the very

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<v Speaker 1>fate of your existence. That's right, and and uh and

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<v Speaker 1>and I do want to stress that a lot of

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<v Speaker 1>this will also end up lining up with traditions in

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<v Speaker 1>the West as well, that we'll get into much later.

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<v Speaker 1>But but yeah, this this thing that for all intents

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<v Speaker 1>and purposes, is about heating water for soup or maybe

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<v Speaker 1>for laundry or something like that ends up taking on

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<v Speaker 1>greater significance. So in Chinese tradition, the ding became associated

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<v Speaker 1>with power and landownership, and it was used not only

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<v Speaker 1>for food production and also for oridge. It was also

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<v Speaker 1>used to make sacrifices to the gods. And the idea

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<v Speaker 1>of gods here might also well include ancestral spirits, right

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<v Speaker 1>They're sort of a blurring of the distinction there that,

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<v Speaker 1>like appeasing one's ancestors, was believed to play a role

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<v Speaker 1>in determining your fortune. Right now. One of the sources

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<v Speaker 1>I was looking to for for this episode is an

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<v Speaker 1>article titled Visions of Hell in Asia from eighteen published

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<v Speaker 1>in the Journal of the Oriental Society of Australia by

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<v Speaker 1>scholar Paul Morabel, and in it the author writes, quote,

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<v Speaker 1>in ancient China, the cauldron was the alchemical recipient par

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<v Speaker 1>excellence for the sacrifices animals and humans required in order

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<v Speaker 1>to transmute them into immortal creatures when mixed with certain

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<v Speaker 1>minerals and metals. Now, I want to stress that he's

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<v Speaker 1>he's talking very broadly here. This is not to imply

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<v Speaker 1>that all of these various cauldrons, including the specific one

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<v Speaker 1>I just mentioned, was used for any thing like human sacrifice.

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<v Speaker 1>But of course human sacrifice is something that one encounters,

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<v Speaker 1>uh in the ancient traditions of of every human culture.

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<v Speaker 1>Just about so. But yeah, this idea that we we

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<v Speaker 1>touched on very briefly in the last episode, that what

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<v Speaker 1>is a cauldron, what is a cooking pot, but other

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<v Speaker 1>than something that transforms one thing into another state, Right, so,

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<v Speaker 1>it might transform a say, a tough piece of game

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<v Speaker 1>meat into a nutritious broth and a much more tender

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<v Speaker 1>piece of meat. And it might transform various ingredients living

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<v Speaker 1>and dead into a bunch of fumes, a pillar of smoke,

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<v Speaker 1>or a burnt offering that would be seen as pleasing

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<v Speaker 1>to the gods or to one's ancestors. Correct. Now, when

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<v Speaker 1>it comes to the sacred thing, there is like we

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<v Speaker 1>mentioned earlier, it also has this this this prestige with it.

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<v Speaker 1>It signifies power, and it can also signify divine right

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<v Speaker 1>of rule. And in this there's no greater example than

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<v Speaker 1>the nine cauldrons of You the Great. Now we've discussed

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<v Speaker 1>You the Great before and stuff to blow your mind,

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<v Speaker 1>as he as the legendary Um ruler of the Shia

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<v Speaker 1>dynasty of the second and third millennium BC, born um

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<v Speaker 1>from the belly of his father's corpse. He said to

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<v Speaker 1>have quelled the great floods and established dynastic rule in China.

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<v Speaker 1>His control of the flood is attributed differently in different tales,

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<v Speaker 1>but I think we can summarize it as entailing the

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<v Speaker 1>defeat of monsters, the possible prometheum, theft of the sacred self,

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<v Speaker 1>renewing soil from the gods, the help of various gods,

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<v Speaker 1>and also the use of damn and irrigation technology. So

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<v Speaker 1>he's you know, he's a culture bearer. And oh, he's

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<v Speaker 1>also said to have measured the earth, and in some

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<v Speaker 1>accounts he stands eight feet tall. But the other feet

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<v Speaker 1>attributed to you the great is that he also cast

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<v Speaker 1>the nine cauldrons upon rising to power as young and

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<v Speaker 1>in Turner discussed in the Handbook of Chinese Mythology quote,

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<v Speaker 1>those cauldrons had the divine function to teach people to

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<v Speaker 1>distinguish between faithfulness and treachery, and to keep evils and

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<v Speaker 1>demons from harming people. So they were treated as national

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<v Speaker 1>treasures and I believe it's uh that this story is

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<v Speaker 1>related to the idea that the cauldron itself is a

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<v Speaker 1>sort of symbol of power, both in a literal and

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<v Speaker 1>metaphorical sense, like that in the literal sense that you

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<v Speaker 1>would have to be a rich and powerful person in

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<v Speaker 1>ancient China to own one or more of these cauldrons,

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<v Speaker 1>and also that the cauldron was kind of like a

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<v Speaker 1>symbol of someone's power or political dominance, right, right. And

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<v Speaker 1>in this case, they're they're nine of them because they

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<v Speaker 1>were nine cauldrons for the nine provinces, but then nine

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<v Speaker 1>also had um cosmologically important connections as well. There's also

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<v Speaker 1>this tradition of saying that the nine cauldrons uh sometimes

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<v Speaker 1>are scattered and lost and uh, and it was said

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<v Speaker 1>that whoever wished to claim imperial power and reign by

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<v Speaker 1>the mandate of heaven would need to collect all these

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<v Speaker 1>nine cauldrons. Yeah. I think I recall reading somewhere that

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<v Speaker 1>there's an expression means something like seeking after cauldrons or

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<v Speaker 1>something that means like ambition for power. Yeah. Yeah, there

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<v Speaker 1>There's really are a number of different sayings in in

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<v Speaker 1>in Chinese tradition that allude to cauldrons and and make

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<v Speaker 1>use of the smoke. TIF in the book Chinese Mythology

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<v Speaker 1>and Introduction and Barrel ads that while you the great

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<v Speaker 1>forge the vessels, they are said to have been cast

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<v Speaker 1>by feeling the Dragon, god of wind. The cauldrons could

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<v Speaker 1>and would change weight and size, or even vanished completely

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<v Speaker 1>or reappear at will, quote according to the virtue or

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<v Speaker 1>decadence of the dynasty possessing them. Whoa, so yeah, this

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<v Speaker 1>gets pretty interesting. Forens, if a dynasty is virtuous, then

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<v Speaker 1>the cauldrons would become so massive that they would be

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<v Speaker 1>almost impossible to lift. It was said that when the

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<v Speaker 1>child people overthrew the shang, the child's virtue was such

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<v Speaker 1>that it took ninety men to lift a single cauldron.

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<v Speaker 1>But then when the Chin overthrew the chow, one of

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<v Speaker 1>the cauldrons just like immediately flew into the river. Oh

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<v Speaker 1>so the inanimate objects have a will of their own.

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<v Speaker 1>It's almost like the one ring, except the cauldrons are virtuous,

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<v Speaker 1>whereas the ring is wicked. Yeah. Yeah. It's also specifically

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<v Speaker 1>noted that it is the weight that is important, not

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<v Speaker 1>the size, So you you might have a dynasty that

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<v Speaker 1>is corrupt. Uh, and the cauldrons might look enormous, but

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<v Speaker 1>they weigh a little uh, thus signifying that you know

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<v Speaker 1>that they're morally impoverished. But then the opposite is also true.

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<v Speaker 1>You might have a noble dynasty and the cauldrons are

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<v Speaker 1>very small, but it would take like ninety thousand men

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<v Speaker 1>to lift a single one of them, because such is

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<v Speaker 1>the virtue of these rulers. Oh that that resonates in

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<v Speaker 1>a very pleasing way, because you imagine and like an

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<v Speaker 1>evil dynasty having these giant cauldrons that are easily blown

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<v Speaker 1>over by the wind, the big surface area and very

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<v Speaker 1>little mass. Yeah, yeah, I think it works on so

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<v Speaker 1>many levels. Uh. They're said to have been cast in

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<v Speaker 1>iron and also said to be illustrated with images of

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<v Speaker 1>the gods and forged from metals offered up by the

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<v Speaker 1>nine regional stewards. There's also discussion of them being important

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<v Speaker 1>to distinguish malign creatures, which are sometimes translated as goblins

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<v Speaker 1>and trolls. So I'm not sure if that's meant to

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<v Speaker 1>mean that the cauldrons also depicted these uh quote unquote

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<v Speaker 1>adverse beings. But because it doesn't seem like it's explicitly stated,

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<v Speaker 1>but um, at the very least they had images of

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<v Speaker 1>gods on them. Now, as for the use of cauldrons

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<v Speaker 1>and sacrifice, and borough includes a wonderful passage from the

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<v Speaker 1>ancient text the Book of Songs or the Classic of Poetry.

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<v Speaker 1>The passaging question is celebrating the agricultural culture hero and

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<v Speaker 1>god Huji a k lord millet. Here is part of

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<v Speaker 1>it in translation, of course, describing the sacrifice, our sacrifice.

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<v Speaker 1>What is it like some pound, some bail, some sift,

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<v Speaker 1>some tread. We wash it soaking, soaking wet. We steam it, piping,

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<v Speaker 1>piping hot. Then we plan with thoughtful care, gathering southern wood,

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<v Speaker 1>offering rich fat. We take a ram to make the

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<v Speaker 1>wayside sacrifice, roasting and broiling to usher in the new year.

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<v Speaker 1>The bronze pots filled the brim, the bronze pots and cauldrons.

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<v Speaker 1>As soon as their aroma rises up, God on High

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<v Speaker 1>enjoys it with pleasure. The rich fragrance is right and proper.

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<v Speaker 1>For Hoji inaugurated the sacrifice with no fault or blemish.

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<v Speaker 1>His people have continued it to the present day. I

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<v Speaker 1>like the line on here about has the aroma rises up,

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<v Speaker 1>God on High enjoys it with pleasure because that that

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<v Speaker 1>is not unique to this poem or two Chinese religious traditions.

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<v Speaker 1>It's a it's a common feature of many religions mentioning God,

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<v Speaker 1>enjoying God, or God's enjoying the smell of a burning sacrifice. Yeah.

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<v Speaker 1>So yeah, there's a there's a lot of this that

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<v Speaker 1>is that is ultimately a universe universal Um. It's it's

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<v Speaker 1>fascinating than now for the second episode in a row,

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<v Speaker 1>I'm going to also cite a children's book. Uh, this

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<v Speaker 1>is another children's book. This one is titled Two of Everything,

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<v Speaker 1>and Chinese American author Lily toy Hong wrote this It's

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<v Speaker 1>fun and she credits it as being based on a

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<v Speaker 1>Chinese folk tale. Um and I'd love to read another

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<v Speaker 1>telling of it, but I haven't been able to find

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<v Speaker 1>find what. I'm sure it's out there, but it does

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<v Speaker 1>involve some sort of a magical pot or cauldron in

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<v Speaker 1>this story, which is which has some some wonderful illustrations

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<v Speaker 1>an elderly couple in in China. And this has a

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<v Speaker 1>historical setting, by the way, so it's not I don't

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<v Speaker 1>think it's supposed to be like modern China. But this

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<v Speaker 1>elderly couple they happen to happen upon this pot or

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<v Speaker 1>this cauldron, and they quickly find out that anything you

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<v Speaker 1>drop or place inside the cauldron comes out duplicated. So

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<v Speaker 1>you can imagine how this story goes. You know, food,

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<v Speaker 1>gold gets duplicated, and finally somebody's gonna fall in that cauldron.

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<v Speaker 1>The old man falls in the cauldron, and now there

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<v Speaker 1>are two old men. So the story ultimately ends on

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<v Speaker 1>a happy note, with a couple deciding, Okay, we're gonna

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<v Speaker 1>put the pot away. We're not gonna use it unless

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<v Speaker 1>we absolutely have to. But by this point they're living

0:13:37.760 --> 0:13:42.000
<v Speaker 1>side by side with their own doppelgangers who have a

0:13:42.080 --> 0:13:45.040
<v Speaker 1>replica of everything that they have. So I was looking

0:13:45.080 --> 0:13:47.960
<v Speaker 1>around to try and find another version of this story

0:13:48.320 --> 0:13:50.880
<v Speaker 1>and I was not able to. But in the process

0:13:51.200 --> 0:13:54.920
<v Speaker 1>I found another story that includes cauldrons as a as

0:13:54.920 --> 0:13:57.080
<v Speaker 1>a key plot point that I think will transition into

0:13:57.080 --> 0:13:59.360
<v Speaker 1>something else we can talk about in a bit. It's

0:13:59.400 --> 0:14:03.079
<v Speaker 1>a a wonderful little story called the Wizard's Lesson. The

0:14:03.240 --> 0:14:07.760
<v Speaker 1>story appeared in the book Chinese Fairy Tales and Fantasies,

0:14:07.920 --> 0:14:10.960
<v Speaker 1>ed edited and translated by Moss Roberts, a professor of

0:14:11.040 --> 0:14:14.320
<v Speaker 1>East Asian Studies at n y U H. The original

0:14:14.360 --> 0:14:18.720
<v Speaker 1>title is to zoo Chun and it is included uh

0:14:18.800 --> 0:14:22.840
<v Speaker 1>in the sus Swan Kuai Lu, an early ninth century

0:14:23.120 --> 0:14:27.040
<v Speaker 1>CE collection compiled by Li Fu Yen Uh, though there

0:14:27.040 --> 0:14:29.200
<v Speaker 1>seemed to be some disagreements on the exact date of

0:14:29.240 --> 0:14:33.320
<v Speaker 1>when this this original text was was published or written.

0:14:33.560 --> 0:14:38.840
<v Speaker 1>This story is awesome. Yeah, um, I think at times perplexing.

0:14:38.880 --> 0:14:41.800
<v Speaker 1>I've seen some some online like some sort of blog

0:14:41.960 --> 0:14:44.160
<v Speaker 1>style discussions where people are like, what is this about?

0:14:44.760 --> 0:14:47.040
<v Speaker 1>But um, but it but it has some some wonderful

0:14:47.360 --> 0:14:50.200
<v Speaker 1>wizardry in it. So basically the story goes like this,

0:14:50.320 --> 0:14:54.480
<v Speaker 1>we have this character to zoo Chun, and he's a scoundrel. Basically,

0:14:54.480 --> 0:14:57.280
<v Speaker 1>he's spent all his money. He's burned all his friends

0:14:57.280 --> 0:15:00.000
<v Speaker 1>and family members, you know, borrowing money and so forth.

0:15:00.400 --> 0:15:03.880
<v Speaker 1>So he finds himself on the street with nothing, and

0:15:03.880 --> 0:15:06.600
<v Speaker 1>then up comes an old man and ask him, hey,

0:15:06.600 --> 0:15:08.800
<v Speaker 1>look there, buddy, how much money would it take to

0:15:08.840 --> 0:15:12.160
<v Speaker 1>set you right? Like how many how many strands of

0:15:12.240 --> 0:15:15.960
<v Speaker 1>coins will it take? And Tuzuchon names a sum and

0:15:16.000 --> 0:15:17.720
<v Speaker 1>the old man just kind of scoffs and he's like,

0:15:18.040 --> 0:15:20.680
<v Speaker 1>you should probably go higher than that, and he gives

0:15:20.760 --> 0:15:24.280
<v Speaker 1>him another sum, and the old man agrees, and he's

0:15:24.320 --> 0:15:26.720
<v Speaker 1>he gives him enough cash on the spot for a

0:15:26.800 --> 0:15:29.640
<v Speaker 1>night's rest somewhere and says, meet me tomorrow in the

0:15:29.680 --> 0:15:32.160
<v Speaker 1>market and I'll give you the full amount. So this

0:15:32.200 --> 0:15:35.480
<v Speaker 1>goes exactly as promised, and the next day he receives

0:15:35.640 --> 0:15:38.720
<v Speaker 1>his first millions from the old man like it's a

0:15:38.760 --> 0:15:41.280
<v Speaker 1>it's a true fortune, enough for him to have a real,

0:15:41.800 --> 0:15:45.800
<v Speaker 1>you know, proper start at rebuilding everything in his life,

0:15:45.840 --> 0:15:48.520
<v Speaker 1>and then some but you can imagine what happens next.

0:15:48.680 --> 0:15:51.840
<v Speaker 1>He immediately blows it all on a lavish lifestyle, and

0:15:51.880 --> 0:15:54.720
<v Speaker 1>before long he's back on the street again. Then here

0:15:54.720 --> 0:15:57.920
<v Speaker 1>comes the old man approaches him again, and this basically

0:15:57.920 --> 0:16:01.800
<v Speaker 1>the same thing happens one more, only this time he

0:16:01.840 --> 0:16:05.360
<v Speaker 1>squanders an even greater fortune. The third time, however, the

0:16:05.400 --> 0:16:09.120
<v Speaker 1>old man warns him that an even greater fortune won't

0:16:09.160 --> 0:16:12.480
<v Speaker 1>do the trick this time. Then there's clearly no helping him.

0:16:12.520 --> 0:16:15.480
<v Speaker 1>So finally Tuzo Chun has a change of heart. He

0:16:15.520 --> 0:16:18.920
<v Speaker 1>finally realizes, okay, who this old man has been so

0:16:19.040 --> 0:16:22.280
<v Speaker 1>kind and patient with me and just overly generous, and

0:16:22.320 --> 0:16:25.680
<v Speaker 1>I've done nothing for him. Uh. He has this change

0:16:25.680 --> 0:16:28.160
<v Speaker 1>of heart and realizes that he shouldn't be spending this

0:16:28.200 --> 0:16:31.000
<v Speaker 1>all on himself. He should try and do some good

0:16:31.040 --> 0:16:34.040
<v Speaker 1>in the world. And he tells the old Man that

0:16:34.080 --> 0:16:35.520
<v Speaker 1>he is going to do this. He's going to go

0:16:35.800 --> 0:16:38.520
<v Speaker 1>help the widows and the orphans, he's going to make

0:16:38.520 --> 0:16:41.840
<v Speaker 1>amends with family members and uh. And then at the end,

0:16:41.880 --> 0:16:43.520
<v Speaker 1>he's going to meet up with the old Man once

0:16:43.560 --> 0:16:46.840
<v Speaker 1>more and do right by him as well. Okay, so

0:16:46.880 --> 0:16:49.000
<v Speaker 1>you might expect this to be the end of the story.

0:16:49.080 --> 0:16:51.920
<v Speaker 1>He's learned his lesson, but no, it keeps going. And

0:16:52.000 --> 0:16:55.320
<v Speaker 1>I I you know, this might be a situation where

0:16:55.320 --> 0:16:57.360
<v Speaker 1>you have sort of combined stories, you know, they become

0:16:57.400 --> 0:17:01.280
<v Speaker 1>one at some point. But um, what happens next is

0:17:01.280 --> 0:17:03.920
<v Speaker 1>the old man Uh. He you know, he goes out

0:17:03.960 --> 0:17:05.440
<v Speaker 1>in the world, he does all the things he's gonna do,

0:17:05.520 --> 0:17:07.000
<v Speaker 1>and he meets up with the old Man again. The

0:17:07.000 --> 0:17:09.159
<v Speaker 1>old Man takes him up to the mountain to a

0:17:09.200 --> 0:17:14.320
<v Speaker 1>splendid residence and inside here's an alchemist furnace, guarded by

0:17:14.359 --> 0:17:17.680
<v Speaker 1>a white tiger and a black dragon. Uh. It's written

0:17:17.760 --> 0:17:21.040
<v Speaker 1>that jade, white fairy women stand by, and the old

0:17:21.080 --> 0:17:23.240
<v Speaker 1>Man is no longer dressed like like the old man

0:17:23.320 --> 0:17:25.679
<v Speaker 1>that he met in the market. Those uh, those of

0:17:25.800 --> 0:17:29.320
<v Speaker 1>three times. No, now he's dressed in yellow and scarlet robes.

0:17:29.680 --> 0:17:34.280
<v Speaker 1>He's dressed as a dallast wizard. Oh so immediately at

0:17:34.320 --> 0:17:37.119
<v Speaker 1>this point, I'm like picturing him as played by Chining

0:17:37.240 --> 0:17:41.520
<v Speaker 1>Lamb from the Mr. Vampire movies. Yeah, yeah, that that

0:17:41.640 --> 0:17:45.880
<v Speaker 1>would be a wonderful stern performance of this character. So

0:17:46.080 --> 0:17:48.639
<v Speaker 1>at this point, he presents Touzun with a beaker of

0:17:48.680 --> 0:17:52.240
<v Speaker 1>wine and three white pills. He tells him to take

0:17:52.280 --> 0:17:56.199
<v Speaker 1>the pills, and no matter what happens, no matter what

0:17:56.320 --> 0:17:59.040
<v Speaker 1>he sees and the visions that are about to hit him,

0:17:59.119 --> 0:18:02.359
<v Speaker 1>he must not speak. Okay, I'm gonna read a quote

0:18:02.359 --> 0:18:04.480
<v Speaker 1>from the story here. Take care not to speak. The

0:18:04.480 --> 0:18:09.720
<v Speaker 1>wizard cautioned, be it revered spirit, vicious ghost, demon of hell,

0:18:09.880 --> 0:18:13.359
<v Speaker 1>wild beast, hell itself, or even your own closest relatives,

0:18:13.600 --> 0:18:17.080
<v Speaker 1>bound and tormented in a thousand ways, nothing you see

0:18:17.160 --> 0:18:20.240
<v Speaker 1>is truly real. It is essential that you neither speak

0:18:20.320 --> 0:18:23.359
<v Speaker 1>nor make any movement. Remain calm and fearless, and you

0:18:23.400 --> 0:18:26.680
<v Speaker 1>shall come to no harm. Never forget what I have said.

0:18:27.000 --> 0:18:30.000
<v Speaker 1>With that, the wizard departed okay, so none of it's

0:18:30.000 --> 0:18:31.760
<v Speaker 1>going to be real. As long as you keep your

0:18:31.760 --> 0:18:34.800
<v Speaker 1>mouth shut, you'll be all right, right, And then the

0:18:34.880 --> 0:18:37.480
<v Speaker 1>visions begin to hit him, so it's it's just kind

0:18:37.480 --> 0:18:40.360
<v Speaker 1>of like one wave of visions after the other. So

0:18:40.720 --> 0:18:43.639
<v Speaker 1>first a swarming army rides up on him in a

0:18:43.720 --> 0:18:47.240
<v Speaker 1>ten foot tall general and armor is just referred to

0:18:47.280 --> 0:18:50.000
<v Speaker 1>as the General comes up on an armored horse and

0:18:50.160 --> 0:18:54.119
<v Speaker 1>demands that he tell to identify himself. He remains quiet.

0:18:54.200 --> 0:18:58.280
<v Speaker 1>The general leaves in a rage. And then and then

0:18:58.320 --> 0:19:02.520
<v Speaker 1>to Tuzochone is tormented by snakes and spiders and other beasts.

0:19:02.600 --> 0:19:05.639
<v Speaker 1>There's a there's he's harassed by storms. This is the

0:19:05.640 --> 0:19:08.960
<v Speaker 1>devil rides out. This is the Christopher. Lee is like,

0:19:09.280 --> 0:19:12.520
<v Speaker 1>he's got him in the circle. Yeah yeah, instead, only

0:19:12.560 --> 0:19:15.560
<v Speaker 1>this time it's the circle is silence. He cannot break

0:19:15.600 --> 0:19:19.320
<v Speaker 1>that silence. Tuzu Chune, I'd rather see you dead than speak.

0:19:21.640 --> 0:19:25.640
<v Speaker 1>So after the storms, the general returns, and this time

0:19:25.680 --> 0:19:28.399
<v Speaker 1>he has his men place a great cauldron in front

0:19:28.920 --> 0:19:32.440
<v Speaker 1>of Tuzu Chun and uh and in the story it's

0:19:32.440 --> 0:19:35.600
<v Speaker 1>written the general return this time leading an ox headed

0:19:35.640 --> 0:19:39.320
<v Speaker 1>sergeant and his soldiers of hell together with other weird

0:19:39.400 --> 0:19:43.040
<v Speaker 1>faced ghosts. They placed a huge cauldron of boiling water

0:19:43.119 --> 0:19:46.200
<v Speaker 1>before tuzu Chun and closed in on him with spears,

0:19:46.280 --> 0:19:49.480
<v Speaker 1>swords and pitchforks, and so at this point they threatened

0:19:49.520 --> 0:19:51.480
<v Speaker 1>and they say, look, identify yourself or we're going to

0:19:51.560 --> 0:19:55.200
<v Speaker 1>boil you alive. He doesn't speak, So then they drag

0:19:55.280 --> 0:19:57.119
<v Speaker 1>his wife before him and they start beating her, and

0:19:57.119 --> 0:19:59.560
<v Speaker 1>he still refuses to speak, so they chop her up

0:19:59.560 --> 0:20:01.920
<v Speaker 1>into a little pieces, and he still doesn't say anything.

0:20:02.480 --> 0:20:05.439
<v Speaker 1>And finally the general denounces him as a quote master

0:20:05.560 --> 0:20:08.560
<v Speaker 1>of the Black Arts and has his soldiers behead him.

0:20:08.720 --> 0:20:11.639
<v Speaker 1>Well the scott gory, Yeah, it gets it gets gory,

0:20:11.640 --> 0:20:14.040
<v Speaker 1>and hurry this story. Yeah, but but we've got to

0:20:14.080 --> 0:20:17.040
<v Speaker 1>remember what was said at the beginning. The Taoist wizard

0:20:17.200 --> 0:20:19.160
<v Speaker 1>promised him none of this is going to be real.

0:20:19.280 --> 0:20:23.480
<v Speaker 1>It's just visions. Just don't say anything, right, So then

0:20:24.000 --> 0:20:27.720
<v Speaker 1>to zu chun soul passes on and he become and

0:20:27.760 --> 0:20:30.600
<v Speaker 1>he comes before the King of the Dead, who identifies him.

0:20:30.600 --> 0:20:33.359
<v Speaker 1>He says, hey, you're that heretic and orders him cast

0:20:33.480 --> 0:20:37.199
<v Speaker 1>into the Hell's quote zu Chun tasted the torments of

0:20:37.240 --> 0:20:42.400
<v Speaker 1>hell to the fullest molten bronze, the iron rod, pounding grinding,

0:20:42.440 --> 0:20:45.480
<v Speaker 1>the fire pit, the boiling cauldron, the hill of knives,

0:20:45.560 --> 0:20:48.679
<v Speaker 1>the forest of swords. But he kept the wizard's words

0:20:48.720 --> 0:20:51.720
<v Speaker 1>firmly in mind and bore the pain without letting a

0:20:51.800 --> 0:20:55.000
<v Speaker 1>moan pass his lips. Then the tortures reported to the

0:20:55.119 --> 0:20:58.240
<v Speaker 1>king that the punishments were completed. And at this point

0:20:58.240 --> 0:21:01.120
<v Speaker 1>the King of the dead says, Okay, that's good. Uh,

0:21:01.320 --> 0:21:04.199
<v Speaker 1>he can go on and be reincarnated. Now, let's have

0:21:04.240 --> 0:21:08.840
<v Speaker 1>him reincarnated as a woman. And so he's born again

0:21:09.080 --> 0:21:12.480
<v Speaker 1>as a small female child. And now the female to

0:21:12.680 --> 0:21:16.679
<v Speaker 1>Zoo Chun as an infant, still doesn't cry out, grows

0:21:16.760 --> 0:21:22.119
<v Speaker 1>up a mute Mary's has a child herself at this point,

0:21:22.680 --> 0:21:26.720
<v Speaker 1>and then her husband finally like has an episode and

0:21:26.720 --> 0:21:30.760
<v Speaker 1>and and accused and accuses her of being improper by

0:21:30.800 --> 0:21:34.280
<v Speaker 1>refusing to speak to him, and murders their child before her.

0:21:34.640 --> 0:21:37.639
<v Speaker 1>So finally, after a life and it's yet, it's it's brutal,

0:21:37.680 --> 0:21:41.000
<v Speaker 1>and after a life time of silence, now she finally

0:21:41.040 --> 0:21:44.240
<v Speaker 1>breaks her vow and unleashes a cry of anguish. And

0:21:44.280 --> 0:21:47.040
<v Speaker 1>at this point the whole vision collapses, and once more,

0:21:47.160 --> 0:21:50.520
<v Speaker 1>Here's to Zoo Chun himself again, still seated in the

0:21:50.520 --> 0:21:53.680
<v Speaker 1>Wizard's pavilion, with an empty wine flask in his hand,

0:21:54.040 --> 0:21:56.960
<v Speaker 1>and the wizards just cursing at him for failing. He

0:21:57.000 --> 0:21:59.320
<v Speaker 1>tells him, if he'd only remain silent a little longer,

0:21:59.720 --> 0:22:02.960
<v Speaker 1>you have been able to purify yourself of all your passions.

0:22:03.240 --> 0:22:06.680
<v Speaker 1>You'd already purified yourself of all your passions except for love,

0:22:07.359 --> 0:22:09.399
<v Speaker 1>and you blew it. And now you're not going to

0:22:09.480 --> 0:22:12.760
<v Speaker 1>be immortal. That is harsh, you know, he already he

0:22:12.840 --> 0:22:15.560
<v Speaker 1>got killed, He had watched all his people get killed.

0:22:15.640 --> 0:22:18.080
<v Speaker 1>He got killed, he got sent to hell, tortured in hell,

0:22:18.359 --> 0:22:21.720
<v Speaker 1>then lived a whole other life. But but the Wizard

0:22:21.800 --> 0:22:23.280
<v Speaker 1>is like, you just had to hold out a little

0:22:23.280 --> 0:22:25.080
<v Speaker 1>bit longer. How was he supposed to know how long

0:22:25.119 --> 0:22:27.919
<v Speaker 1>it would be? Yeah, he had no idea. He was

0:22:27.960 --> 0:22:30.639
<v Speaker 1>just supposed to keep going. But supposedly he was close,

0:22:30.760 --> 0:22:33.720
<v Speaker 1>like this was the last testing. It was not able

0:22:33.760 --> 0:22:36.440
<v Speaker 1>to overcome it. Remember how this started with this guy

0:22:36.560 --> 0:22:41.080
<v Speaker 1>like blowing all his money on parties. Yeah, yeah, it

0:22:41.160 --> 0:22:43.040
<v Speaker 1>is a it's a weird story. And when I may,

0:22:43.080 --> 0:22:44.840
<v Speaker 1>I may have to look into more to see if

0:22:44.880 --> 0:22:48.200
<v Speaker 1>I can, uh, you know, grasp the some of the

0:22:48.200 --> 0:22:52.200
<v Speaker 1>the deeper meanings involved here, but on the surface level,

0:22:52.440 --> 0:22:56.400
<v Speaker 1>like coming back to cauldrons, it does feature cauldrons twice,

0:22:56.840 --> 0:23:00.159
<v Speaker 1>and both of them in a very threatening manner. The

0:23:00.240 --> 0:23:02.680
<v Speaker 1>idea that if you don't speak, I'm going to boil

0:23:02.720 --> 0:23:05.200
<v Speaker 1>you alive, and then once you're in Hell you may

0:23:05.240 --> 0:23:07.919
<v Speaker 1>be boiled as well. Well, this would not be the

0:23:07.960 --> 0:23:12.840
<v Speaker 1>only vision of of hell or negative afterlife that involved boiling,

0:23:12.880 --> 0:23:16.560
<v Speaker 1>and in fact, there are some famous boiling uh puddles,

0:23:16.640 --> 0:23:19.959
<v Speaker 1>ponds and rivers in Dante's Inferno, though I don't recall

0:23:20.000 --> 0:23:23.080
<v Speaker 1>there ever being a cauldron. Maybe there is. I think

0:23:23.359 --> 0:23:28.679
<v Speaker 1>they're just various boiling rivers and puddles. Well, Paul Morabelais

0:23:28.920 --> 0:23:32.399
<v Speaker 1>mentions this the things just as a brief aside, because

0:23:32.600 --> 0:23:35.240
<v Speaker 1>you know, I think for starters the papers mostly mostly

0:23:35.280 --> 0:23:39.240
<v Speaker 1>dealing with Asian visions of hell, but mentions that there

0:23:39.240 --> 0:23:43.520
<v Speaker 1>are certain saints who had visions of hell and they

0:23:43.600 --> 0:23:46.680
<v Speaker 1>might mention boiling, but they don't mention cauldrons. And part

0:23:46.680 --> 0:23:50.399
<v Speaker 1>of that could be the legacy of sacred cauldrons in

0:23:50.480 --> 0:23:53.560
<v Speaker 1>some of the European traditions, the pre Christian European traditions

0:23:53.600 --> 0:23:56.280
<v Speaker 1>that will discuss in the future, like the idea being

0:23:56.320 --> 0:23:58.720
<v Speaker 1>that if the cauldron is sacred, you would not find

0:23:58.760 --> 0:24:01.400
<v Speaker 1>that in hell, and of course that might you might

0:24:01.440 --> 0:24:03.560
<v Speaker 1>well ask, well, what are you guys talking about? You

0:24:03.640 --> 0:24:07.600
<v Speaker 1>just you've already talked about sacred cauldrons in Chinese traditions,

0:24:07.600 --> 0:24:10.440
<v Speaker 1>and here they are popping up in Chinese Hell. What's

0:24:10.480 --> 0:24:13.000
<v Speaker 1>going on there? Well, I we'll get back to that,

0:24:13.320 --> 0:24:15.919
<v Speaker 1>and I think it will ultimately wind up making sense.

0:24:16.440 --> 0:24:20.480
<v Speaker 1>But yeah, clearly, whatever it's particular religious significance, I think

0:24:20.480 --> 0:24:23.159
<v Speaker 1>it's also got to be highlighted in this story just

0:24:23.240 --> 0:24:27.760
<v Speaker 1>because it's like a horrific way to threaten somebody with

0:24:27.840 --> 0:24:31.200
<v Speaker 1>death right. And and you know, certainly when we start

0:24:31.240 --> 0:24:36.480
<v Speaker 1>talking about weird forms of capital punishment and execution, I

0:24:36.480 --> 0:24:40.399
<v Speaker 1>mean that the line between that and human sacrifice is

0:24:40.440 --> 0:24:44.600
<v Speaker 1>often a bit blurred. You know, both spectacles are are

0:24:44.680 --> 0:24:49.080
<v Speaker 1>doing something beyond simply uh, killing an individual or burning

0:24:49.080 --> 0:24:51.440
<v Speaker 1>a piece of meat, that sort of thing. Yeah, and

0:24:51.520 --> 0:24:53.560
<v Speaker 1>sometimes in history they appear to have been sort of

0:24:53.560 --> 0:24:56.920
<v Speaker 1>the same thing that, like some human sacrifice in history

0:24:57.040 --> 0:25:00.399
<v Speaker 1>was clearly carried out on people who were leave to

0:25:00.520 --> 0:25:03.400
<v Speaker 1>have committed some kind of crime, or people who were

0:25:03.400 --> 0:25:06.679
<v Speaker 1>like prisoners of war right, and so death by boiling

0:25:06.720 --> 0:25:10.080
<v Speaker 1>pops up many times in global tales and traditions, often

0:25:10.080 --> 0:25:13.960
<v Speaker 1>as often as a meanance of state execution for all

0:25:14.000 --> 0:25:20.120
<v Speaker 1>sorts of things like sorcerers, bandits, counterfeiters, poisoners, and traders. Uh.

0:25:20.200 --> 0:25:24.800
<v Speaker 1>Some accounts maybe legendary, but there are plenty of very

0:25:25.080 --> 0:25:29.320
<v Speaker 1>believable historic cases of boiling executions, and it was practiced

0:25:29.359 --> 0:25:32.199
<v Speaker 1>into the sixteenth century in France and Germany as a

0:25:32.200 --> 0:25:35.640
<v Speaker 1>punishment for clipping coins. This is when you would scrape

0:25:35.680 --> 0:25:38.200
<v Speaker 1>the edges off of coins and then melt those scrapings

0:25:38.200 --> 0:25:41.560
<v Speaker 1>down to make new coins, a practice that was finally

0:25:41.600 --> 0:25:45.199
<v Speaker 1>defeated by milling the edges of coins. Yeah, several of

0:25:45.240 --> 0:25:48.920
<v Speaker 1>the main examples I found of actual use of capital

0:25:48.920 --> 0:25:52.720
<v Speaker 1>punishment by boiling took place in England and the sixteenth century,

0:25:52.760 --> 0:25:55.480
<v Speaker 1>where it was apparently used as a as a punishment

0:25:55.520 --> 0:25:59.040
<v Speaker 1>for poisoning. There was famously a guy named Richard Rousse

0:25:59.160 --> 0:26:02.199
<v Speaker 1>who made some horridge that they I think he was

0:26:02.240 --> 0:26:05.879
<v Speaker 1>a cook, and he made some poison porridge that poisoned

0:26:06.000 --> 0:26:08.400
<v Speaker 1>like a bishop, and then just a bunch of other

0:26:08.440 --> 0:26:10.960
<v Speaker 1>people who happened to eat it, and at least a

0:26:10.960 --> 0:26:12.800
<v Speaker 1>couple of people died and he was put to death

0:26:12.800 --> 0:26:16.200
<v Speaker 1>through a public boiling. It was pretty curaresome, very criesome.

0:26:16.720 --> 0:26:20.560
<v Speaker 1>It's it's interesting, like I guess with the with the

0:26:20.600 --> 0:26:23.480
<v Speaker 1>with the clipping of coins, they're sort of, hey, if

0:26:23.520 --> 0:26:26.320
<v Speaker 1>you you boil clippings from our money, will boil you.

0:26:26.440 --> 0:26:29.000
<v Speaker 1>Sort of a thing like you you melt money, you

0:26:29.040 --> 0:26:31.879
<v Speaker 1>get melted. I'm not sure exactly what the poisoning thing is,

0:26:31.920 --> 0:26:35.840
<v Speaker 1>excepted like poisoning was just something they really wanted to to,

0:26:36.200 --> 0:26:40.000
<v Speaker 1>uh to to to draw a line on, you know,

0:26:40.080 --> 0:26:42.000
<v Speaker 1>and say, look, this is really bad and therefore you

0:26:42.040 --> 0:26:44.520
<v Speaker 1>get boiled if you do it. Yeah. I can't prove this,

0:26:44.640 --> 0:26:49.160
<v Speaker 1>but I have a gut suspicion, and it's that poisoning

0:26:49.400 --> 0:26:52.760
<v Speaker 1>is a type of crime that is especially horrifying to

0:26:53.040 --> 0:26:57.119
<v Speaker 1>kings and royal people. Uh you know, it's it's the

0:26:57.200 --> 0:27:00.320
<v Speaker 1>kind of thing they could imagine happening to them. Don't

0:27:00.320 --> 0:27:04.879
<v Speaker 1>mess with the king's money or the king's food. Both

0:27:05.560 --> 0:27:10.840
<v Speaker 1>must be deterred in the strongest sense. Um. It's also

0:27:10.960 --> 0:27:16.600
<v Speaker 1>interesting looking at the the European use of boiling executions,

0:27:16.640 --> 0:27:20.359
<v Speaker 1>because you would see this tradition later on as you know,

0:27:20.520 --> 0:27:23.359
<v Speaker 1>tales were being told of what what is surely going

0:27:23.400 --> 0:27:26.159
<v Speaker 1>on in various foreign parts of the world, be at

0:27:26.160 --> 0:27:28.560
<v Speaker 1>Africa or Asia. Uh, you know there would be the

0:27:28.680 --> 0:27:31.120
<v Speaker 1>especially in like sort of the pulp era. Uh, this

0:27:31.200 --> 0:27:34.639
<v Speaker 1>idea of of boiling people is something that the other does,

0:27:35.320 --> 0:27:38.360
<v Speaker 1>whereas history tells them. I mean, certainly there are examples

0:27:38.359 --> 0:27:41.320
<v Speaker 1>of boiling in various cultures, but but clearly there was

0:27:41.359 --> 0:27:44.280
<v Speaker 1>a long history of it occurring in Europe as well.

0:27:44.600 --> 0:27:47.000
<v Speaker 1>Oh yeah, clearly you can see that as just part

0:27:47.000 --> 0:27:50.080
<v Speaker 1>of a fiction that sort of exotic sizes other parts

0:27:50.080 --> 0:27:54.000
<v Speaker 1>of the world by imagining like horrific, horrific things that

0:27:54.080 --> 0:28:04.400
<v Speaker 1>might happen there, probably without any evidential basis than now.

0:28:04.760 --> 0:28:07.600
<v Speaker 1>Turning briefly to Greek mythology, of course, we have to

0:28:07.600 --> 0:28:11.160
<v Speaker 1>remember that, uh, this is boiling alive is the way

0:28:11.200 --> 0:28:15.960
<v Speaker 1>that the master artificer uh Datalust kills King Minos, trapping

0:28:16.040 --> 0:28:20.359
<v Speaker 1>him in a bath that boils him alive. Um clever,

0:28:20.520 --> 0:28:23.320
<v Speaker 1>And this it seems like the very sort of revenge

0:28:23.440 --> 0:28:27.280
<v Speaker 1>that data List would use against his enemy. Oh, I

0:28:27.320 --> 0:28:30.080
<v Speaker 1>didn't remember that part of the story. That's interesting. I

0:28:30.119 --> 0:28:32.920
<v Speaker 1>believe it is depicted in one of the Jim Hinson

0:28:32.960 --> 0:28:35.800
<v Speaker 1>Greek storyteller episodes. They have I think two different ones

0:28:35.840 --> 0:28:40.440
<v Speaker 1>that involved data lists. But back to Eastern depictions of Hell.

0:28:40.640 --> 0:28:43.840
<v Speaker 1>So um, there's that line in Big Trouble in Little China.

0:28:43.840 --> 0:28:47.240
<v Speaker 1>I believe it's from the Uh, the character Eddie who says, uh,

0:28:47.320 --> 0:28:50.600
<v Speaker 1>the Chinese have a lot of Hell's um. And indeed

0:28:50.840 --> 0:28:54.800
<v Speaker 1>you'll you find Eastern depictions of Hell. Often they will

0:28:54.840 --> 0:29:01.120
<v Speaker 1>include generally eighteen different um die you or under worlds.

0:29:01.160 --> 0:29:05.720
<v Speaker 1>And the exact nature of these hell's or underworld's vary

0:29:05.800 --> 0:29:09.560
<v Speaker 1>from text to text, but each one has a different flavor.

0:29:09.640 --> 0:29:12.560
<v Speaker 1>They are different, like this is where you encounter the

0:29:13.000 --> 0:29:15.360
<v Speaker 1>hill of knives, or this is the one where you

0:29:15.520 --> 0:29:18.520
<v Speaker 1>encounter the boiling feces, that sort of thing. Several of

0:29:18.520 --> 0:29:21.960
<v Speaker 1>them were listed in that passage I read earlier from

0:29:22.000 --> 0:29:25.280
<v Speaker 1>the story of the Wizard's Lesson, and I actually don't

0:29:25.320 --> 0:29:28.120
<v Speaker 1>know the answer here with these. Also, like in some

0:29:28.240 --> 0:29:32.880
<v Speaker 1>of the classic Christian depictions of Hell, have specific tortures

0:29:32.960 --> 0:29:37.840
<v Speaker 1>for people who's depending on their characteristic sin. Yes, absolutely,

0:29:37.840 --> 0:29:40.000
<v Speaker 1>and in case in this case, the the hell of

0:29:40.000 --> 0:29:43.600
<v Speaker 1>of oil cauldrons would be reserved for thieves and a

0:29:43.600 --> 0:29:47.200
<v Speaker 1>few other kind of related transgressions. Now at this point,

0:29:47.200 --> 0:29:50.160
<v Speaker 1>I'd like to come back to that Paul Marabelais article

0:29:50.280 --> 0:29:53.680
<v Speaker 1>Visions of Asian Hell, in which he discusses Asian visions

0:29:53.680 --> 0:29:56.520
<v Speaker 1>of hell at length, and as as mentioned previously, he

0:29:56.600 --> 0:30:00.880
<v Speaker 1>singles out the alchemical nature of cauldrons and Chinese traditions,

0:30:01.280 --> 0:30:03.960
<v Speaker 1>which is, it seems very key here. So on the

0:30:04.040 --> 0:30:07.040
<v Speaker 1>mundane level, it is a piece of technology that allows

0:30:07.080 --> 0:30:10.040
<v Speaker 1>us to transform the nature of various ingredients into food,

0:30:10.480 --> 0:30:12.320
<v Speaker 1>and then on the sacred level, it allows us to

0:30:12.320 --> 0:30:15.800
<v Speaker 1>transform flesh into something befitting of a god. And so

0:30:15.920 --> 0:30:19.640
<v Speaker 1>Marabola discusses examples of boiling cauldrons and the hells of

0:30:19.680 --> 0:30:24.520
<v Speaker 1>Tibetan buddhism Um, which, to remind everyone, does center around

0:30:24.560 --> 0:30:28.080
<v Speaker 1>the continuation of souls within the wheel of sam Sorrow,

0:30:28.160 --> 0:30:31.200
<v Speaker 1>which is a karma based system in which souls tumble

0:30:31.280 --> 0:30:34.520
<v Speaker 1>through incarnations that may be human or animal, but may

0:30:34.520 --> 0:30:38.120
<v Speaker 1>also be incarnations such as you know, hungry ghosts, heavenly

0:30:38.200 --> 0:30:41.800
<v Speaker 1>and powerful davas or in or indeed you might be

0:30:41.880 --> 0:30:46.280
<v Speaker 1>reborn into the hell realms of Naraka. And the goal

0:30:46.560 --> 0:30:50.000
<v Speaker 1>is ultimately, in the grand scheme of Buddhism, to remove

0:30:50.120 --> 0:30:53.800
<v Speaker 1>oneself from this endless wheel and attain freedom from the

0:30:53.840 --> 0:30:56.640
<v Speaker 1>cycle of death and rebirth, because that's the only way

0:30:56.640 --> 0:30:59.920
<v Speaker 1>to just sort of win. I guess you would say, like,

0:31:00.120 --> 0:31:02.760
<v Speaker 1>if you keep playing the game of sam Sara, you're

0:31:02.800 --> 0:31:06.280
<v Speaker 1>just gonna pinball around, you know. So you might, you

0:31:06.360 --> 0:31:11.440
<v Speaker 1>might ascend on high into the form of a demigod adeva.

0:31:11.680 --> 0:31:14.040
<v Speaker 1>But then perhaps all that power and wrath that you

0:31:14.040 --> 0:31:16.640
<v Speaker 1>have at your disposal that ends up corrupting you and

0:31:16.800 --> 0:31:20.200
<v Speaker 1>propels your soul back down into the hell realm. So

0:31:20.240 --> 0:31:22.240
<v Speaker 1>the hell's in this case, they're not really It's not

0:31:22.280 --> 0:31:27.040
<v Speaker 1>about permanent suffering like you encounter in some interpretations of

0:31:27.080 --> 0:31:30.200
<v Speaker 1>Western depictions of Christian hell, where it's like, well, you

0:31:30.280 --> 0:31:32.720
<v Speaker 1>screwed up, you went with the wrong side, now you're

0:31:32.760 --> 0:31:35.800
<v Speaker 1>in hell. For let's say, ever, uh No, in this case,

0:31:35.920 --> 0:31:39.400
<v Speaker 1>hell is a place you're moving through. Your soul is

0:31:39.440 --> 0:31:42.720
<v Speaker 1>moving through here, and you'll uh in all likelihood be

0:31:43.320 --> 0:31:49.240
<v Speaker 1>reincarnated into a different incarnation in one of these other realms. So,

0:31:49.360 --> 0:31:52.680
<v Speaker 1>as Miroboli discusses these visions often depicted in art, they

0:31:52.720 --> 0:31:57.440
<v Speaker 1>already have this um this this feel of transformation or

0:31:57.640 --> 0:32:01.760
<v Speaker 1>purging to them. Um So demonic beings might be cooking

0:32:01.840 --> 0:32:04.200
<v Speaker 1>human souls, but to what end? Right, we have to

0:32:04.240 --> 0:32:07.400
<v Speaker 1>remember that cooking is a transformation, and the form of

0:32:07.440 --> 0:32:12.080
<v Speaker 1>cooking in the cauldron of sacrifice is supernaturally so oh interesting,

0:32:12.280 --> 0:32:14.160
<v Speaker 1>So I think I see the connection he's making here

0:32:14.240 --> 0:32:17.320
<v Speaker 1>the same way you might, uh say, in in some

0:32:17.440 --> 0:32:20.800
<v Speaker 1>Chinese traditions use a ding or a cauldron to to

0:32:20.880 --> 0:32:24.320
<v Speaker 1>make a burnt sacrifice um to the gods in order

0:32:24.360 --> 0:32:28.920
<v Speaker 1>to to appease them to improve your fortune. In for example,

0:32:29.000 --> 0:32:32.960
<v Speaker 1>this Buddhist vision of Hell, you may also be put

0:32:33.040 --> 0:32:35.840
<v Speaker 1>into a cauldron yourself, but in this in a similar way,

0:32:35.840 --> 0:32:40.880
<v Speaker 1>are transformed into something potentially holier. Yes, And this ends

0:32:40.960 --> 0:32:45.040
<v Speaker 1>up being reflected in Dallas traditions as well, which Endaoism

0:32:45.080 --> 0:32:48.160
<v Speaker 1>is perhaps more concerned with transformation of the soul or

0:32:48.200 --> 0:32:52.200
<v Speaker 1>self and immortality, but it ends up being influenced by

0:32:52.200 --> 0:32:56.960
<v Speaker 1>Buddhism when Buddhism Uh enters into China from India roughly

0:32:57.000 --> 0:33:01.280
<v Speaker 1>two thousand years ago. Uh And so, in considering images

0:33:01.400 --> 0:33:04.400
<v Speaker 1>of cauldrons in Hell and the Chinese temple of ching

0:33:04.480 --> 0:33:08.880
<v Speaker 1>Hwong in Linza Shoe in western China, Mirabel says quote,

0:33:09.240 --> 0:33:12.320
<v Speaker 1>in fact, we could interpret the dallast Hell as some

0:33:12.520 --> 0:33:16.800
<v Speaker 1>enormous cauldron into which have been poured the ingredients necessary

0:33:17.080 --> 0:33:20.960
<v Speaker 1>to permutate the present state of imperfect beings into their

0:33:21.000 --> 0:33:28.200
<v Speaker 1>possible perfection by long and painstaking alchemical assimilations. Interesting. Yeah,

0:33:28.240 --> 0:33:31.280
<v Speaker 1>so I really love that, uh, that idea. And again

0:33:31.320 --> 0:33:34.520
<v Speaker 1>it comes back to again that question question. You might ask, well,

0:33:34.560 --> 0:33:37.640
<v Speaker 1>if if the if some Europeans were hesitant to take

0:33:37.880 --> 0:33:41.800
<v Speaker 1>take a sort of divine um legacy of the cauldron

0:33:41.840 --> 0:33:44.080
<v Speaker 1>and then place it into pictions of hell, even if

0:33:44.080 --> 0:33:47.880
<v Speaker 1>you're dealing sort of different religious traditions, why would you

0:33:47.880 --> 0:33:49.719
<v Speaker 1>see it in Chinese traditions? And I think it is

0:33:49.960 --> 0:33:52.840
<v Speaker 1>because you have this different view of what what Hell

0:33:53.000 --> 0:33:57.000
<v Speaker 1>is doing, this idea that these depictions of torment are

0:33:57.040 --> 0:34:01.040
<v Speaker 1>not about like in game suffering, they are about changing

0:34:01.040 --> 0:34:04.440
<v Speaker 1>you into something else, which is the purpose of the daying,

0:34:04.440 --> 0:34:06.600
<v Speaker 1>the purpose of the cauldron, whether you're dealing with the

0:34:06.640 --> 0:34:10.680
<v Speaker 1>process on Earth or something more celestial or indeed something

0:34:10.960 --> 0:34:13.759
<v Speaker 1>in one of the hell's And I should also point out, yeah,

0:34:13.760 --> 0:34:16.759
<v Speaker 1>that you also see this this these visions of of

0:34:16.800 --> 0:34:20.200
<v Speaker 1>hell outside of Chinese traditions and and outside of of

0:34:20.200 --> 0:34:23.960
<v Speaker 1>Indian divisions, is also pops up in Japanese views of

0:34:23.960 --> 0:34:26.799
<v Speaker 1>of of Hell and so forth. All Right, we're gonna

0:34:26.840 --> 0:34:29.399
<v Speaker 1>go ahead and close out this episode then, but I'd

0:34:29.400 --> 0:34:31.560
<v Speaker 1>love to hear from everyone out there if you have

0:34:31.600 --> 0:34:38.120
<v Speaker 1>additional things you'd like to add about Chinese traditions of cauldrons,

0:34:38.680 --> 0:34:41.239
<v Speaker 1>be they the you know, the nine cauldrons of You

0:34:41.360 --> 0:34:44.600
<v Speaker 1>the Great, or or these various depictions of Dallast and

0:34:44.640 --> 0:34:49.320
<v Speaker 1>Buddhist hell. Uh. I'd love to hear from anyone out there. Likewise,

0:34:49.360 --> 0:34:53.600
<v Speaker 1>any any sort of pop culture and fiction related treatments

0:34:53.640 --> 0:34:55.839
<v Speaker 1>of cauldrons that kind of match up with what we've

0:34:55.840 --> 0:34:58.920
<v Speaker 1>discussed here today totally. In the meantime, if you want

0:34:58.960 --> 0:35:01.120
<v Speaker 1>to check out other episodes of Stuff to Blow Your Mind,

0:35:01.440 --> 0:35:03.799
<v Speaker 1>you can find those episodes and the Stuff to Blow

0:35:03.800 --> 0:35:07.160
<v Speaker 1>your Mind podcast feed. On Tuesdays and Thursdays we publish

0:35:07.200 --> 0:35:09.920
<v Speaker 1>our core episodes. Those are the main episodes of Stuff

0:35:09.920 --> 0:35:12.319
<v Speaker 1>to Blow Your Mind. And then on Monday's we do

0:35:12.480 --> 0:35:15.200
<v Speaker 1>listener mail. On Wednesday's we do a short form monster

0:35:15.280 --> 0:35:18.520
<v Speaker 1>fact or artifact episode. In on Friday's, uh, you know,

0:35:18.560 --> 0:35:21.000
<v Speaker 1>we cut loose, We put aside most serious concerns and

0:35:21.040 --> 0:35:23.879
<v Speaker 1>we just talk about a strange film huge thanks as

0:35:23.880 --> 0:35:27.839
<v Speaker 1>always to our excellent audio producer Seth Nicholas Johnson. If

0:35:27.840 --> 0:35:29.560
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0:35:29.680 --> 0:35:32.320
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0:35:32.360 --> 0:35:34.400
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0:35:34.440 --> 0:35:37.160
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