WEBVTT - Hair on Fire, Part 2

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<v Speaker 1>Welcome to Stuff to Blow Your Mind production of iHeartRadio.

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<v Speaker 2>Hey you welcome to Stuff to Blow Your Mind. My

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<v Speaker 2>name is Robert.

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<v Speaker 3>Lamb and I am Joe McCormick, and we're back with

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<v Speaker 3>part two in our discussion of burning hair. This topic

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<v Speaker 3>was inspired by a personal experience for me. I actually

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<v Speaker 3>singed a bunch of hair off my arm while grilling

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<v Speaker 3>at a family get together for the Fourth of July.

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<v Speaker 3>Not the first time I've done that while grilling for

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<v Speaker 3>a crowd, and it got me thinking about what happens

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<v Speaker 3>when hair burns. So in the last episode, we talked

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<v Speaker 3>about the distinctive and sometimes overpowering smell of burning hair,

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<v Speaker 3>which seems to be mostly due to the presence of

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<v Speaker 3>sulfur compounds that are formed and released when hair burns,

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<v Speaker 3>a chief one being sulfur dioxide, which is released when

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<v Speaker 3>the keratin of hair is decomposed by fire. Sulfur dioxide

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<v Speaker 3>is also a major part of the characteristic smell of

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<v Speaker 3>a burning matchhead. We also ended up talking about a

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<v Speaker 3>couple of studies of hair catching on fire in space ships,

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<v Speaker 3>specifically addressing the question of whether human hair is a

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<v Speaker 3>fire hazard in environments with higher levels of oxygen than

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<v Speaker 3>Earth's atmosphere, and the answer seems to be yes. In

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<v Speaker 3>oxygen rich environments where things catch fire more easily because

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<v Speaker 3>there's more oxygen, human hair can be a potent fuel

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<v Speaker 3>source and fire can spread quickly over it. So these

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<v Speaker 3>papers ended up talking about strategies to mitigate that risk

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<v Speaker 3>in future spacecraft and space habitation environments that might be

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<v Speaker 3>using elevated levels of oxygen. And then finally we talked

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<v Speaker 3>about stories of the seventeenth and early eighteenth century English

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<v Speaker 3>pirate Edward Teach, better known as Blackbeard, who famously was

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<v Speaker 3>said to put burning slow matches under his hat, and

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<v Speaker 3>he's drawn with like these slow matches and it kind

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<v Speaker 3>of fuses, sticking out alongside his hair. In some evolved

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<v Speaker 3>versions of this legend, maybe he's said to have the

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<v Speaker 3>burning slow matches in his hair or in his beard,

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<v Speaker 3>And we discussed where these stories come from, how historically

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<v Speaker 3>plausible they are, including considerations of the danger of catching

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<v Speaker 3>one's own hair or beard on fire in general.

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<v Speaker 2>In case you don't listen to that episode, don't try

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<v Speaker 2>any of this at home. Don't set out to do

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<v Speaker 2>anything flammable with your beard or.

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<v Speaker 3>Hair now, kind of Continuing on that theme, I ended

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<v Speaker 3>up pursuing a research trail where I didn't turn up

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<v Speaker 3>quite as much as I expected to, but I at

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<v Speaker 3>least want to report what I did come across. So

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<v Speaker 3>I had a vague idea from somewhere that the powdered

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<v Speaker 3>wigs that were popular in parts of Western Europe, especially

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<v Speaker 3>in the eighteenth century, were prone to catching on fire.

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<v Speaker 3>My impression here may have been formed by seeing older

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<v Speaker 3>illustrations of this, or like cartoons from the period that

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<v Speaker 3>show people with elaborate hair wigs and headdresses catching on

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<v Speaker 3>fire due to a candle placed underneath them or something. Ultimately,

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<v Speaker 3>I found less about this than I expected to, and

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<v Speaker 3>I can't tell if it was actually any more common

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<v Speaker 3>than regular instances of people catching their hair on fire,

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<v Speaker 3>which of course does happen occasionally here and there. But

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<v Speaker 3>just to get into what it did come across, I

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<v Speaker 3>found mentioned in a post on the British Library's Untold

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<v Speaker 3>Lives blog, and I may have mentioned this on the

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<v Speaker 3>show before, but generally I think the British Libraries have

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<v Speaker 3>some great blogs and archives about history and some interesting

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<v Speaker 3>documents in their collections. This post was by Julia Armfield

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<v Speaker 3>from August twenty thirteen, and it's a short post concerning

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<v Speaker 3>how the elaborate wigs that had been so popular among

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<v Speaker 3>the wealthy during the Georgian era, which was about seventeen

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<v Speaker 3>fourteen to eighteen thirty seven, these elaborate wigs began to

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<v Speaker 3>fall out of fashion later on in that period and

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<v Speaker 3>going into the Victiman period, they sort of fill out

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<v Speaker 3>out of fashion after the French Revolution and then especially

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<v Speaker 3>after the eighteen thirties. According to the author, this was

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<v Speaker 3>in part because of changing social perceptions about wigs that

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<v Speaker 3>they came to be seen not just as fashion, but

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<v Speaker 3>in some cases as a kind of undesirable show of

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<v Speaker 3>vanity or as a deception. Which is funny because I

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<v Speaker 3>realized that even today there are like changes in how

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<v Speaker 3>you know, people are always like trying to affect their

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<v Speaker 3>outward appearance. There's like, you know, there's hair care and

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<v Speaker 3>cosmetics and stuff like that in every era, and for

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<v Speaker 3>some reason, you can look at someone trying to shape

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<v Speaker 3>their appearance in a certain way and just say, well,

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<v Speaker 3>that's just fashion, but with just a different kind of

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<v Speaker 3>emotional spin on it. You start to think of it

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<v Speaker 3>as they're trying to look unreal. They're trying to look away.

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<v Speaker 3>They're not supposed to. Now it's a deception.

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<v Speaker 2>Yeah, that's interesting to think about. I guess the stigma

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<v Speaker 2>against powdered wigs in particular has pretty much stuck. I think, yea.

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<v Speaker 2>You know, there's certainly there's nothing wrong with wearing a

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<v Speaker 2>wig or a hair piece. But if it is a

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<v Speaker 2>powdered wig or a hair piece like out of the

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<v Speaker 2>period piece, broadly speaking, like, there's a certain air that

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<v Speaker 2>comes with that. I guess there are probably some exceptions

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<v Speaker 2>in the fashion world and so forth.

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<v Speaker 3>Well, like why would wearing a wig be a deception?

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<v Speaker 3>But like wearing clothes that cover your skin is not

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<v Speaker 3>a deception.

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<v Speaker 2>I don't know, yeah, I mean, I guess on one level,

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<v Speaker 2>someone could make the argument, well, the hair supposedly grows

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<v Speaker 2>out of you. The hair is, of course, by its

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<v Speaker 2>very nature, something you put on you. But I don't know, yeah,

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<v Speaker 2>I mean, when you get down to it, why does

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<v Speaker 2>it matter one way or the other. Anyway?

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<v Speaker 3>This blog post mentions, in apart from changing social perceptions

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<v Speaker 3>of wigs, that there were that there were practical problems

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<v Speaker 3>presented by the wigs of the Georgian era. Including the

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<v Speaker 3>fact that some wigs were so huge and heavy that

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<v Speaker 3>they actually caused people wear, daring them to develop sores

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<v Speaker 3>on their scalps. Another thing is infestation by insects or

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<v Speaker 3>other unwanted gritters and parasites. Lice and fleas sometimes would

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<v Speaker 3>get into wigs, and that's also sometimes held up as

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<v Speaker 3>one reason for the popularity of wigs. Is that, well,

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<v Speaker 3>maybe the lice will get into the wig instead of

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<v Speaker 3>getting into your actual hair if you can cut your

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<v Speaker 3>hair short or shave it, and then you know, they

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<v Speaker 3>just get into the wig instead, But then you've got

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<v Speaker 3>lice in your wig. I've read in separate places about

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<v Speaker 3>mitigation strategies for this, including historical trends in wigs that

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<v Speaker 3>would include built in lice or flea traps that would

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<v Speaker 3>be some kind of container with like bait hidden inside

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<v Speaker 3>the hair. But also this British Library post mentions that

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<v Speaker 3>Georgian wigs would be flammable due to the presence of

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<v Speaker 3>palmades made in large part out of animal fats such

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<v Speaker 3>as hogs lard or mutton renderings. Of course, animal fat

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<v Speaker 3>can be quite combustible, and so if you're using that

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<v Speaker 3>as the base of a kind of hair styling material

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<v Speaker 3>or palmade that we would think of today to hold

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<v Speaker 3>the wig, and in its styling shape, you can imagine

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<v Speaker 3>there would be trouble, like you know, combine wigs gelled

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<v Speaker 3>up with animal fat and the use of candles as

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<v Speaker 3>a primary light source, and it just seems like it

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<v Speaker 3>would be a recipe for wig fires. But I wasn't

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<v Speaker 3>able to turn up a lot about this in like

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<v Speaker 3>history books or academic articles about the history of wigs.

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<v Speaker 3>I did find another blog post. This one was on

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<v Speaker 3>a history blog called all Things Georgian by an author

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<v Speaker 3>named Sarah Murden that managed to dig up a handful

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<v Speaker 3>of eighteenth century newspaper reports from England and Scotland of

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<v Speaker 3>young women's wigs or headdresses catching on fire from a

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<v Speaker 3>candle or in one case I think, from a fireplace,

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<v Speaker 3>and in a couple of cases leading to their deaths.

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<v Speaker 3>But again I did not find convincing evidence that this

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<v Speaker 3>was actually a like really common currents or anything. So,

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<v Speaker 3>you know, with candles everywhere and large smeared masses of

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<v Speaker 3>hair bobbing around all over the place, it does seem

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<v Speaker 3>plausible that this would happen a lot, But apart from

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<v Speaker 3>a few reports here and there. I'm not sure it

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<v Speaker 3>actually did. Historians of wigs and hair, if you're aware

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<v Speaker 3>of something I'm not right in.

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<v Speaker 2>Yeah, it is often weird to look back on times

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<v Speaker 2>when candles were your main form of elimination. There were

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<v Speaker 2>a lot more open fires and less in the way

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<v Speaker 2>of fire safety, And on one level, you just kind

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<v Speaker 2>of think, well, why wasn't everything on fire all the time?

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<v Speaker 2>And certainly fire was a huge threat. But yeah, I

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<v Speaker 2>don't know. Maybe part of it is we sometimes don't

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<v Speaker 2>give our ancestors enough credit for not catching everything on fire.

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<v Speaker 2>I don't know, we think of them as the way

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<v Speaker 2>we might think of our own children if they're in

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<v Speaker 2>the presence of an open flame.

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<v Speaker 3>Well, I guess sometimes when we think about a historical

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<v Speaker 3>activity or apparatus that came with certain hazards, we imagine

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<v Speaker 3>the prevalence, but without the accustomedness that would accompany prevalence.

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<v Speaker 3>I mean, a world with lots of candles also had

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<v Speaker 3>people who were used to handling candles.

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<v Speaker 2>Yes, exactly. Now, at this point in the episode, we're

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<v Speaker 2>going to get a little bit into hair of fire

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<v Speaker 2>and flaming beards and so forth, and mythology and folklore

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<v Speaker 2>and literature, and I have to admit this is an

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<v Speaker 2>area where I thought we were going to have more

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<v Speaker 2>to draw from. And certainly, you know, we probably left

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<v Speaker 2>some things off. And certainly, as always right in and

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<v Speaker 2>let us know if you have some great examples to

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<v Speaker 2>bring to mind. But generally I was thinking, Okay, hair

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<v Speaker 2>can burn, and it's reasonable to assume that every fire

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<v Speaker 2>bearing culture would have some experience with this that they

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<v Speaker 2>might further craft into various myths and legends, jokes, you know,

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<v Speaker 2>terms of phrase and so forth. Right, I mean, you

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<v Speaker 2>have fire, hair can catch on fire. Maybe it doesn't

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<v Speaker 2>happen that often, but if it happens once, it's memorable.

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<v Speaker 2>And therefore you might have some traditions. You might have

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<v Speaker 2>some magical creatures, You might have some gods and goddesses

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<v Speaker 2>that have flaming hair. And while this is true, we

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<v Speaker 2>do have some examples to discuss, we didn't. I wasn't

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<v Speaker 2>able to find as many examples as I was expecting.

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<v Speaker 2>I was expecting it to be just a long list

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<v Speaker 2>of creatures and entities, but there's actually a lot of

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<v Speaker 2>like bleed over into other categories that makes it difficult.

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<v Speaker 2>You know, like just characters with red hair or characters

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<v Speaker 2>who have some sort of a halo or an ara.

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<v Speaker 2>But then it's kind of left to exactly what languages

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<v Speaker 2>used as to whether you would call this flaming hair.

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<v Speaker 3>Yeah, I think there are a lot of examples that

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<v Speaker 3>are arguable or edge cases, but I also was expecting

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<v Speaker 3>there just to be a lot more defined with the

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<v Speaker 3>was just like, here's a figure with fire for hair.

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<v Speaker 3>Maybe because I'm used to Hades from the Disney movie.

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<v Speaker 2>Yeah, yeah, this is a great example to bring up. Yeah,

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<v Speaker 2>the Greek god Hades in the nineteen ninety seven Hercules

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<v Speaker 2>movie flaming blue hair, voiced by James Woods. He's not

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<v Speaker 2>actually a fire related deity in Greek mythology. This was

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<v Speaker 2>just a visual choice by Disney that actually, I guess

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<v Speaker 2>the exact alchemy of this is they're they're dragging in

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<v Speaker 2>elements often associated generally with the Christian devil, you know,

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<v Speaker 2>fire and so forth, and creating this kind of like

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<v Speaker 2>Haiti Satan combo for their their main villain and making

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<v Speaker 2>like a very distinct visual choice on how to present him.

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<v Speaker 3>Yeah, it's like a combination so you associate the Christian

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<v Speaker 3>the Christian Satan with the lake of fire. I guess.

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<v Speaker 3>So there's your fire element, but then you you've got

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<v Speaker 3>to have it like cold, sort of more like you

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<v Speaker 3>would get in Dante's Lower levels of Hell, or like

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<v Speaker 3>you would get I think more often in Greek depictions

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<v Speaker 3>of the underworld is just kind of like a cold,

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<v Speaker 3>dark place. So they make the fire blue, which ironically

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<v Speaker 3>is actually the hottest color of flame.

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<v Speaker 2>Right, So yeah, that's that's a that's a fun example

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<v Speaker 2>to bring up. I mean, there's so many pop culture

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<v Speaker 2>examples of this, and I think that's one of the

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<v Speaker 2>confusing things, is you. I mean, I would assume anyway

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<v Speaker 2>that okay, we have characters like Captain Marvel and and

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<v Speaker 2>and so forth from Marvel comics, and and they have

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<v Speaker 2>like flaming hair at times, then this is perhaps just

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<v Speaker 2>a more modern example of a longer health tradition. And

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<v Speaker 2>then we're gonna have all these other examples and in

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<v Speaker 2>all these different belief systems. But yeah, I found that

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<v Speaker 2>you have certainly have no shortage of things like fire

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<v Speaker 2>elementals in modern fiction and sci fi and fantasy, all

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<v Speaker 2>sorts of creatures and spirits with flaming hair and flaming beards,

0:12:59.640 --> 0:13:01.920
<v Speaker 2>but they're just these seem there's just seemed to be

0:13:02.000 --> 0:13:04.559
<v Speaker 2>less of them when you actually look into folklore and

0:13:04.600 --> 0:13:05.560
<v Speaker 2>mythology and legend.

0:13:05.960 --> 0:13:08.400
<v Speaker 3>As far as the recent pop culture examples go. You

0:13:08.520 --> 0:13:11.160
<v Speaker 3>brought up one in the notes that I didn't think of,

0:13:11.200 --> 0:13:13.120
<v Speaker 3>which is the one from the Wall the movie.

0:13:13.440 --> 0:13:17.040
<v Speaker 2>Oh yeah, yeah, this is the animated Pink Floyd movie,

0:13:17.080 --> 0:13:20.240
<v Speaker 2>and uh, I believe it's Pink's wife and it is

0:13:20.280 --> 0:13:23.800
<v Speaker 2>depicted later on as this kind of like monstrous cannibal

0:13:23.840 --> 0:13:26.959
<v Speaker 2>creature with flaming hair, hair of literal fire.

0:13:27.400 --> 0:13:29.360
<v Speaker 3>I've seen this movie, I mean a long time ago.

0:13:29.440 --> 0:13:31.359
<v Speaker 3>I think I was in high school. But I completely

0:13:31.360 --> 0:13:34.800
<v Speaker 3>forgot about this. The main thing I remember is warning

0:13:34.880 --> 0:13:36.920
<v Speaker 3>for a gross thing about the scene where he shaves

0:13:36.920 --> 0:13:37.680
<v Speaker 3>his nipple off.

0:13:38.200 --> 0:13:41.880
<v Speaker 2>Oh yeah, I forgot about that. How could you. I

0:13:41.960 --> 0:13:44.559
<v Speaker 2>mainly just remember the hammers like marching around, I.

0:13:44.480 --> 0:13:46.920
<v Speaker 3>Guess, yeah, yeah, the fascist imagery.

0:13:47.000 --> 0:13:48.960
<v Speaker 2>Yeah yeah, it's been a long time since I've seen

0:13:48.960 --> 0:13:50.040
<v Speaker 2>I think I saw it when I was a kid,

0:13:50.080 --> 0:13:53.360
<v Speaker 2>and you know, on TV parts of it. Anyway, Ultimately,

0:13:53.440 --> 0:13:56.520
<v Speaker 2>the examples of like fire elemental beings are too numerous

0:13:56.559 --> 0:13:59.319
<v Speaker 2>to mention, but I was reminded of that there's one

0:13:59.320 --> 0:14:01.079
<v Speaker 2>in the Dark Crystal. So I picked up my copy

0:14:01.120 --> 0:14:04.840
<v Speaker 2>of The Dark Crystal Bestiaria, and there's a description of

0:14:04.880 --> 0:14:07.880
<v Speaker 2>these things called the Firelings. And I believe these pop

0:14:07.960 --> 0:14:13.800
<v Speaker 2>up in some of the like Dark Crystal Expanded Universe material,

0:14:13.880 --> 0:14:15.880
<v Speaker 2>I guess, you know, in comic books and so forth.

0:14:16.040 --> 0:14:17.360
<v Speaker 2>And I think maybe they were going to be a

0:14:17.360 --> 0:14:22.120
<v Speaker 2>part of a possible film project that never came to fruition.

0:14:22.560 --> 0:14:26.240
<v Speaker 2>But these are supposed to be direct descendants of Gelfling

0:14:26.320 --> 0:14:29.560
<v Speaker 2>exiles who live in the superheated core of the planet Thraw,

0:14:30.080 --> 0:14:33.640
<v Speaker 2>And they're depicted as Gelfling like beings, but they have

0:14:34.200 --> 0:14:37.440
<v Speaker 2>hair of fire. And even then, I found like a

0:14:37.480 --> 0:14:41.320
<v Speaker 2>couple of different images that kind of portray different ideas

0:14:41.320 --> 0:14:43.080
<v Speaker 2>of this. Like in one of them, you can see

0:14:43.080 --> 0:14:46.800
<v Speaker 2>the Gelfling, or in this case, the filing has hair

0:14:46.840 --> 0:14:49.640
<v Speaker 2>that is literal fire, and the others they just look

0:14:49.760 --> 0:14:54.080
<v Speaker 2>like fiery, golden beings. And it's kind of left up

0:14:54.080 --> 0:14:58.200
<v Speaker 2>to your interpretation if their hair is just actual physical hair,

0:14:58.440 --> 0:15:01.600
<v Speaker 2>or if it is like the the chemical emergence, you know,

0:15:01.840 --> 0:15:06.640
<v Speaker 2>this this pyrotechnic experience of fire. I don't know.

0:15:07.280 --> 0:15:11.080
<v Speaker 3>I'm tempted to speculate that a lot of this modern

0:15:11.360 --> 0:15:16.360
<v Speaker 3>hair as fire imagery and cartoons and stuff specifically comes

0:15:16.400 --> 0:15:21.080
<v Speaker 3>from physical and visual similarities between hair and fire that emerge,

0:15:21.240 --> 0:15:26.880
<v Speaker 3>especially when they're being depicted in human drawing. That you know,

0:15:26.960 --> 0:15:30.240
<v Speaker 3>the ways that you sort of represent say hair blowing

0:15:30.280 --> 0:15:32.640
<v Speaker 3>in the wind, or hair flowing in a like a

0:15:32.720 --> 0:15:37.040
<v Speaker 3>still painting or photo or still painting or drawing can

0:15:37.240 --> 0:15:40.600
<v Speaker 3>very much resemble the kind of wisps of a fire,

0:15:40.680 --> 0:15:45.000
<v Speaker 3>but oriented in the opposite direction. Often. Yeah, I don't know,

0:15:45.040 --> 0:15:47.600
<v Speaker 3>and that's not a fully formed thought, but something almost

0:15:47.640 --> 0:15:51.120
<v Speaker 3>makes me think that it's something about like modern drawing

0:15:51.200 --> 0:15:55.240
<v Speaker 3>and animation traditions that give rise to seeing these things

0:15:55.240 --> 0:15:58.600
<v Speaker 3>as visually similar and then inviting the mind to make

0:15:58.600 --> 0:16:01.520
<v Speaker 3>a connection where it's not just that hair looks like fire,

0:16:01.560 --> 0:16:04.000
<v Speaker 3>but you have a character with fire fore hair.

0:16:04.720 --> 0:16:07.120
<v Speaker 2>Yeah, yeah, I was definitely thinking a bit about like

0:16:07.400 --> 0:16:12.120
<v Speaker 2>how hair appears when it is say, caught by the wind,

0:16:12.400 --> 0:16:15.360
<v Speaker 2>or if one is underwater and you have like footage

0:16:15.360 --> 0:16:17.400
<v Speaker 2>of someone with long hair and the hair is floating

0:16:17.440 --> 0:16:20.120
<v Speaker 2>and so forth, And if that has anything to do

0:16:20.160 --> 0:16:21.840
<v Speaker 2>with I mean that, you know, you could sort of

0:16:21.840 --> 0:16:25.960
<v Speaker 2>link it to the to the history of underwater the

0:16:26.040 --> 0:16:28.120
<v Speaker 2>underwater moving picture, which of course isn't going to go

0:16:28.160 --> 0:16:32.480
<v Speaker 2>back that far, and you could perhaps, I guess, arguably

0:16:32.720 --> 0:16:35.920
<v Speaker 2>enhance comparisons that would be made in general, because of

0:16:35.920 --> 0:16:38.600
<v Speaker 2>course there are always going to be comparisons made between

0:16:39.200 --> 0:16:43.480
<v Speaker 2>you know, reddish hair and fire. You can factor in

0:16:43.560 --> 0:16:49.000
<v Speaker 2>things like you know, length and texture as well. But

0:16:49.840 --> 0:16:51.760
<v Speaker 2>we you know, at the end of the day, we

0:16:51.920 --> 0:16:55.480
<v Speaker 2>do have at least a few examples of creatures and

0:16:55.680 --> 0:16:58.560
<v Speaker 2>entities that I feel like are close enough that we

0:16:58.600 --> 0:17:01.600
<v Speaker 2>can say, okay, we can quibble about the details, but

0:17:01.640 --> 0:17:04.560
<v Speaker 2>these creatures kind of sound like they have fire for hair.

0:17:04.800 --> 0:17:05.960
<v Speaker 3>Okay, what'd you come up with?

0:17:06.280 --> 0:17:09.080
<v Speaker 2>Now? A couple of these are from South America. One

0:17:09.400 --> 0:17:12.680
<v Speaker 2>is called the Kuma Conga, and this is a disembodied

0:17:12.760 --> 0:17:16.720
<v Speaker 2>head spirit of Brazilian folklore that I was reading about

0:17:16.920 --> 0:17:21.240
<v Speaker 2>in The Werewolf in between Indians and Whites. This is

0:17:21.280 --> 0:17:25.240
<v Speaker 2>by Mark Harris, and this was published in t PTE,

0:17:25.520 --> 0:17:29.800
<v Speaker 2>Journal of the Society for the Anthropology of Lowland South America.

0:17:30.280 --> 0:17:34.080
<v Speaker 2>And in this article, Harris describes this entity as entailing

0:17:34.119 --> 0:17:36.280
<v Speaker 2>aspects of what we might think of as a werewolf,

0:17:37.000 --> 0:17:40.520
<v Speaker 2>you know, in Western folklore especially as well as sightings

0:17:40.520 --> 0:17:45.439
<v Speaker 2>of balls or wheels of fire. So that's another thing

0:17:45.520 --> 0:17:47.600
<v Speaker 2>I saw several examples of. It's like you have sort

0:17:47.640 --> 0:17:50.000
<v Speaker 2>of like fire entities, kind of will of the wisp

0:17:50.280 --> 0:17:53.480
<v Speaker 2>sort of entities, and it depends on how far you

0:17:53.600 --> 0:17:56.960
<v Speaker 2>push that from being like a mere strange light to

0:17:57.160 --> 0:18:01.679
<v Speaker 2>being a flaming entity or a flaming head or something

0:18:01.680 --> 0:18:04.960
<v Speaker 2>with physiology to it. Now, another one that I've run

0:18:05.000 --> 0:18:09.320
<v Speaker 2>across was the Kurapura. I've seen descriptions of this spirit

0:18:09.480 --> 0:18:14.280
<v Speaker 2>from Tupequar knee traditions of Brazil, entailing a beard of fire,

0:18:14.920 --> 0:18:17.600
<v Speaker 2>though Carol Rose doesn't mention this. In her entry on

0:18:17.680 --> 0:18:20.840
<v Speaker 2>the creature in the book Spirits, Fairies, Leprechaus and Goblins

0:18:20.840 --> 0:18:24.760
<v Speaker 2>and Encyclopedia, she describes it as a bright, red faced

0:18:24.840 --> 0:18:28.320
<v Speaker 2>gnome with cloven hoofs, as well as a shaggy creature

0:18:28.359 --> 0:18:31.800
<v Speaker 2>with backward turned feet. It's kind of a forest guardian

0:18:31.840 --> 0:18:36.360
<v Speaker 2>of game. Then there's also an Afro Brazilian tradition of

0:18:36.400 --> 0:18:40.560
<v Speaker 2>the Kurapira that casts everything more as a will of

0:18:40.560 --> 0:18:42.920
<v Speaker 2>the wisp that leads people off track in the forest,

0:18:43.359 --> 0:18:47.640
<v Speaker 2>but maybe sort of bribe with offerings. But I've seen

0:18:47.680 --> 0:18:50.639
<v Speaker 2>some more recent articles that mention either red hair or

0:18:50.720 --> 0:18:55.240
<v Speaker 2>hair of fire. So I can't completely dispute that idea,

0:18:55.280 --> 0:18:58.000
<v Speaker 2>but again, it seems like we often run into this

0:18:58.119 --> 0:19:00.919
<v Speaker 2>territory of there's probably some linguistic drift in some of

0:19:00.960 --> 0:19:05.399
<v Speaker 2>these descriptions, you know, especially when you're dealing with multiple translations,

0:19:05.440 --> 0:19:08.959
<v Speaker 2>So hard for me to tell any way exactly like

0:19:09.080 --> 0:19:12.800
<v Speaker 2>what the tradition actually is. Are we dealing with creatures

0:19:12.800 --> 0:19:15.720
<v Speaker 2>that are thought to have hair of fire or does

0:19:15.720 --> 0:19:18.879
<v Speaker 2>that just sort of get added on somewhere in the chain.

0:19:19.320 --> 0:19:22.440
<v Speaker 3>Or I think, especially the further back you go in history,

0:19:22.600 --> 0:19:25.400
<v Speaker 3>just to kind of blending of the concepts of light

0:19:25.480 --> 0:19:29.320
<v Speaker 3>and fire, that in many cases any light source that

0:19:29.520 --> 0:19:33.040
<v Speaker 3>didn't come from the sky or whatever could be described

0:19:33.080 --> 0:19:34.040
<v Speaker 3>as a fire.

0:19:34.400 --> 0:19:36.679
<v Speaker 2>Right right, Yeah, if you see a strange light in

0:19:36.720 --> 0:19:40.000
<v Speaker 2>the forest, for example, or in the sky, and it

0:19:40.080 --> 0:19:43.919
<v Speaker 2>is of sufficient luminosity, like it's very reasonable to say, oh,

0:19:44.000 --> 0:19:45.439
<v Speaker 2>there was some sort of fire out there, there was

0:19:45.440 --> 0:19:47.359
<v Speaker 2>some sort of Yeah, what else could it be? If

0:19:47.359 --> 0:19:50.320
<v Speaker 2>it's like above, if it's not the moon, if it's

0:19:50.359 --> 0:19:52.840
<v Speaker 2>not a you know, something that is obviously celestial, and

0:19:52.880 --> 0:19:55.399
<v Speaker 2>it's not something that is like a firefly, then you

0:19:55.480 --> 0:19:58.560
<v Speaker 2>might reasonably think in terms of candles and torches and

0:19:58.560 --> 0:20:02.880
<v Speaker 2>so forth. I also reminded of a fireball yo kai

0:20:03.000 --> 0:20:05.200
<v Speaker 2>from Japanese traditions. I think we may have talked about

0:20:05.240 --> 0:20:08.600
<v Speaker 2>this one before and name Ubagabi, and this is more

0:20:08.640 --> 0:20:11.520
<v Speaker 2>of a fireball, but with the face of an old man.

0:20:12.640 --> 0:20:14.720
<v Speaker 2>And I guess if it is an old man's face,

0:20:14.760 --> 0:20:17.440
<v Speaker 2>then you could say, well, the hair is fire, but

0:20:18.080 --> 0:20:20.239
<v Speaker 2>maybe not. Maybe that's adding too much on, you know.

0:20:21.520 --> 0:20:25.760
<v Speaker 2>I've also seen some ideas about Loki from Norse mythology

0:20:26.000 --> 0:20:30.920
<v Speaker 2>having hair of fire or flame hair. This I didn't

0:20:30.920 --> 0:20:33.720
<v Speaker 2>get a real strong feeling off of this either. Hair

0:20:33.760 --> 0:20:37.040
<v Speaker 2>with these two can get kind of complicated, and in general,

0:20:37.080 --> 0:20:41.080
<v Speaker 2>our sort of understanding of them are kind of, you know,

0:20:41.800 --> 0:20:45.280
<v Speaker 2>influenced by Marvel comics now, but you know, Thor sometimes

0:20:45.320 --> 0:20:47.960
<v Speaker 2>had red hair and a red beard, and Loki is

0:20:48.000 --> 0:20:52.400
<v Speaker 2>sometimes depicted with red hair, sometimes arguably resembling a flame.

0:20:52.920 --> 0:20:55.560
<v Speaker 2>And this is where I've seen various commentators, you know,

0:20:55.600 --> 0:20:58.439
<v Speaker 2>pointing out this idea that Loki may be connected to

0:20:58.560 --> 0:21:02.520
<v Speaker 2>the word Logi, which means flame, but is also the

0:21:02.600 --> 0:21:07.280
<v Speaker 2>name of one of the otin who personified fire. So

0:21:07.560 --> 0:21:10.639
<v Speaker 2>again I don't know there's that you could make a case.

0:21:10.720 --> 0:21:14.159
<v Speaker 2>I guess that sometimes Loki was perhaps a fire headed god,

0:21:14.880 --> 0:21:18.280
<v Speaker 2>but maybe not. Now one of the stronger cases I

0:21:18.320 --> 0:21:21.280
<v Speaker 2>came across is there's an Armenian warrior god by the

0:21:21.359 --> 0:21:25.960
<v Speaker 2>name of Vaughan, the Dragon Reaper, who apparently is more

0:21:26.440 --> 0:21:31.000
<v Speaker 2>traditionally described as having celestial fire for hair, a beard

0:21:31.040 --> 0:21:34.880
<v Speaker 2>of flames, and eyes like suns. So this one would

0:21:34.880 --> 0:21:39.080
<v Speaker 2>seem a stronger example. Though it is interesting here too

0:21:39.080 --> 0:21:41.639
<v Speaker 2>that we're getting into like celestial fire here in this

0:21:41.680 --> 0:21:44.439
<v Speaker 2>idea of like a holy flame that doesn't necessarily behave

0:21:44.560 --> 0:21:47.080
<v Speaker 2>like a real flame, and is also kind of like

0:21:47.119 --> 0:21:50.800
<v Speaker 2>a halo, kind of like a holy aura. But I

0:21:50.840 --> 0:21:53.760
<v Speaker 2>feel like this guy, you can make a stronger case

0:21:53.800 --> 0:21:56.320
<v Speaker 2>and say, Okay, this guy has has fire for hair.

0:21:56.840 --> 0:22:01.679
<v Speaker 3>So I was not initially familiar with the dragon Reaper,

0:22:02.320 --> 0:22:05.760
<v Speaker 3>but the Dragon Reaper apparently is like a that's a

0:22:05.800 --> 0:22:09.359
<v Speaker 3>translation of a traditional epithet. But that's it's amazing how

0:22:09.440 --> 0:22:12.440
<v Speaker 3>much that sounds like modern cool. It sounds like something

0:22:12.480 --> 0:22:13.440
<v Speaker 3>out of a video game.

0:22:13.680 --> 0:22:15.960
<v Speaker 2>Yeah, this is this is old school cool right here.

0:22:17.080 --> 0:22:19.359
<v Speaker 2>It makes me think I really need to get into

0:22:19.800 --> 0:22:23.399
<v Speaker 2>Armenian mythology more I really don't know much about about

0:22:23.480 --> 0:22:26.360
<v Speaker 2>Armenian myth and lore, but if this is any indication

0:22:26.520 --> 0:22:29.960
<v Speaker 2>that they have warriors with flaming hair that slay dragons,

0:22:29.960 --> 0:22:32.240
<v Speaker 2>then I want to know more about it. Now, there

0:22:32.240 --> 0:22:36.719
<v Speaker 2>are a lot of additional possible examples in Buddhist iconography

0:22:36.840 --> 0:22:41.199
<v Speaker 2>and Hindu iconography where you have things like hair of

0:22:41.240 --> 0:22:45.719
<v Speaker 2>fire going on. But also again sometimes it's maybe more

0:22:45.760 --> 0:22:49.200
<v Speaker 2>akin to a halo or an aura or multiple auras.

0:22:50.080 --> 0:22:52.199
<v Speaker 2>And of course there's often a lot of information that

0:22:52.280 --> 0:22:58.560
<v Speaker 2>is being relayed through these these religious images. But for instance,

0:22:58.600 --> 0:23:02.199
<v Speaker 2>the tantric Buddhist Paul den Momo is sometimes depicted with

0:23:02.280 --> 0:23:05.280
<v Speaker 2>hair of flame. The Hindu got Agny is sometimes depicted

0:23:05.320 --> 0:23:09.160
<v Speaker 2>with hair of fire two varying degrees, but sometimes it's

0:23:09.160 --> 0:23:12.119
<v Speaker 2>more of an aura of flame. So again there's going

0:23:12.160 --> 0:23:13.879
<v Speaker 2>to be a lot of drift here, and a lot

0:23:13.920 --> 0:23:26.760
<v Speaker 2>of it is going to be left to personal interpretation. Now.

0:23:26.840 --> 0:23:28.840
<v Speaker 2>One of the more interesting things to discuss, though, really

0:23:28.880 --> 0:23:31.280
<v Speaker 2>gets us more I guess into the literature end of

0:23:31.280 --> 0:23:35.160
<v Speaker 2>the spectrum, getting into Latin literature here, but are there's

0:23:35.200 --> 0:23:38.280
<v Speaker 2>not one, but there are two instances in Virgils and

0:23:38.320 --> 0:23:42.320
<v Speaker 2>Enid concerning omens of burning hair and or hair that

0:23:42.480 --> 0:23:47.520
<v Speaker 2>becomes or is surrounded by a holy fire. M okay,

0:23:47.600 --> 0:23:50.520
<v Speaker 2>So virgils Ineid has come up on the show before,

0:23:51.200 --> 0:23:53.040
<v Speaker 2>but I thought we should maybe take a moment just

0:23:53.080 --> 0:23:56.240
<v Speaker 2>to ground it properly and talk about what it is. So.

0:23:56.480 --> 0:24:00.400
<v Speaker 2>Virgil was a Roman poet who lived seventy BCE through

0:24:00.520 --> 0:24:05.480
<v Speaker 2>nineteen BCE and served Emperor Augustus. He composed the epic

0:24:05.520 --> 0:24:09.280
<v Speaker 2>poem The Aenead between twenty nine and nineteen BCE as

0:24:09.320 --> 0:24:13.080
<v Speaker 2>an attempt to ground Rome, the Roman people, and the

0:24:13.160 --> 0:24:17.600
<v Speaker 2>rule of his boss Augustus within a deeper mythopoetic tradition,

0:24:18.200 --> 0:24:21.440
<v Speaker 2>because while Romans he certainly had epics such as Homer's

0:24:21.680 --> 0:24:25.280
<v Speaker 2>the Iliad and the Odyssey, they lacked for a true

0:24:25.480 --> 0:24:30.560
<v Speaker 2>national epic and a true founding work of mythic literature.

0:24:31.080 --> 0:24:32.919
<v Speaker 2>So that's what Virgil had set out to do, to

0:24:32.960 --> 0:24:36.119
<v Speaker 2>create one, spinning a saga out of Greek myth and

0:24:36.160 --> 0:24:40.000
<v Speaker 2>the epics of Homer into a Roman history. Now, Virgil

0:24:40.119 --> 0:24:42.840
<v Speaker 2>died at the young age of fifty, possibly due to

0:24:42.920 --> 0:24:45.359
<v Speaker 2>complications from heatstroke. I think maybe there's some back and

0:24:45.400 --> 0:24:48.119
<v Speaker 2>forth over this, but sometimes I see it rather matter

0:24:48.160 --> 0:24:50.359
<v Speaker 2>of factly said that it was probably heat stroke. But

0:24:50.440 --> 0:24:54.800
<v Speaker 2>he dies, and as he is dying, he requests this

0:24:54.960 --> 0:24:57.760
<v Speaker 2>unpublished and unfinished epic to be destroyed. He's like, it's

0:24:57.800 --> 0:25:00.680
<v Speaker 2>not ready yet, I just get rid of it. Please

0:25:00.680 --> 0:25:06.640
<v Speaker 2>destroy it. His orders are not obeyed, though, and Augustus

0:25:06.680 --> 0:25:09.600
<v Speaker 2>having been exposed to some very flattering passages of the

0:25:09.640 --> 0:25:13.880
<v Speaker 2>epic in which the hero, the hero of the tale,

0:25:14.000 --> 0:25:18.080
<v Speaker 2>mirrors and predicts the rise of Augustus, he says, now,

0:25:18.119 --> 0:25:20.840
<v Speaker 2>this work is great. Please make sure that it is published.

0:25:21.160 --> 0:25:24.400
<v Speaker 2>And then it is published. And as we'll get into,

0:25:24.480 --> 0:25:28.400
<v Speaker 2>maybe not every passage of the ania is as flattering

0:25:28.440 --> 0:25:31.160
<v Speaker 2>as those that Augustus initially heard.

0:25:32.000 --> 0:25:35.200
<v Speaker 3>Yeah, So for more context on Virgil, by the way,

0:25:35.240 --> 0:25:37.000
<v Speaker 3>I just wanted to say we did talk about him

0:25:37.000 --> 0:25:39.160
<v Speaker 3>a good bit in our episode a few years back

0:25:39.200 --> 0:25:43.359
<v Speaker 3>on insect funerals, because there is an apocryphal legend in

0:25:43.400 --> 0:25:46.800
<v Speaker 3>which Virgil and his friends held an elaborate funeral for

0:25:46.960 --> 0:25:51.360
<v Speaker 3>a fly. I think we concluded that this probably did

0:25:51.359 --> 0:25:54.480
<v Speaker 3>not actually happen, but the story arose like within the

0:25:54.520 --> 0:25:57.720
<v Speaker 3>logic of the story, it's something like they're using it

0:25:57.800 --> 0:26:01.600
<v Speaker 3>as a legal loophole to protect a state from being seized.

0:26:02.280 --> 0:26:04.840
<v Speaker 3>But also in that episode, we talked about how Dante,

0:26:04.960 --> 0:26:08.240
<v Speaker 3>the author of The Divine Comedy, thought Virgil was just

0:26:08.280 --> 0:26:11.159
<v Speaker 3>like the coolest guy ever and the best example of

0:26:11.200 --> 0:26:14.080
<v Speaker 3>poetic virtues, which is why he uses him as the

0:26:14.440 --> 0:26:18.640
<v Speaker 3>virtuous pagan character who guides his fictionalized tour of Hell.

0:26:19.160 --> 0:26:23.240
<v Speaker 2>Yeah. Yeah, absolutely, And ultimately that's where I've certainly more

0:26:23.280 --> 0:26:26.639
<v Speaker 2>read on the Divine Comedy than I am on the

0:26:26.680 --> 0:26:28.720
<v Speaker 2>actual works of Virgil. But you end up learning about

0:26:28.760 --> 0:26:31.919
<v Speaker 2>Virgil and his works through Dante, like you end up

0:26:32.000 --> 0:26:35.840
<v Speaker 2>learning about everything that Dante's into as you travel with

0:26:35.920 --> 0:26:37.240
<v Speaker 2>him across the Three Realms.

0:26:37.520 --> 0:26:38.800
<v Speaker 3>Yeah, Virgil's really great.

0:26:38.840 --> 0:26:39.359
<v Speaker 2>Did you know this?

0:26:39.760 --> 0:26:41.440
<v Speaker 3>Beatrice is really great too.

0:26:42.960 --> 0:26:45.960
<v Speaker 2>Not only is Virgil really great, but we're basically best friends.

0:26:45.960 --> 0:26:49.920
<v Speaker 3>Now, Yeah, he liked me. Yeah.

0:26:50.000 --> 0:26:54.719
<v Speaker 2>So The Eneid is the story of Aneas, who flees

0:26:54.760 --> 0:26:58.320
<v Speaker 2>the destruction of Troy and ultimately conquers Italy to become

0:26:58.400 --> 0:27:02.040
<v Speaker 2>the ancestor of the Romans. The first six books of

0:27:02.080 --> 0:27:06.159
<v Speaker 2>this epic cover his journey to Italy, but it's not

0:27:06.160 --> 0:27:08.600
<v Speaker 2>like a direct journey, like there's a joint through the underworld,

0:27:08.600 --> 0:27:11.719
<v Speaker 2>for example, and that's key as an influence on Dante

0:27:12.400 --> 0:27:15.120
<v Speaker 2>and then books seven through twelve if the Aeneid concerned

0:27:15.119 --> 0:27:17.760
<v Speaker 2>the wars in Italy, so the first book is a

0:27:17.840 --> 0:27:19.920
<v Speaker 2>road trip, very much in the spirit of the Odyssey,

0:27:20.160 --> 0:27:22.479
<v Speaker 2>and the second book is very much in the spirit

0:27:22.640 --> 0:27:26.840
<v Speaker 2>of the Iliad, because it's concerned mostly with this big war. Now,

0:27:26.960 --> 0:27:29.159
<v Speaker 2>to be clear, this in this treatment in others, the

0:27:29.440 --> 0:27:34.159
<v Speaker 2>founding of Rome and the Roman people is greatly embellished

0:27:34.200 --> 0:27:36.200
<v Speaker 2>by myth and literature. I mean, that's again, that's kind

0:27:36.200 --> 0:27:38.360
<v Speaker 2>of basically what Virgil set out to do.

0:27:38.960 --> 0:27:42.480
<v Speaker 3>Right. Virgil is not like Herodotus or Thucydides, people in

0:27:42.520 --> 0:27:44.919
<v Speaker 3>the ancient world who were to some extent concerned with

0:27:45.000 --> 0:27:49.040
<v Speaker 3>trying to create an accurate historical record of events. He's like,

0:27:49.480 --> 0:27:54.360
<v Speaker 3>he's telling a good story and it has a political agenda.

0:27:54.400 --> 0:27:58.399
<v Speaker 2>Right, And that political agenda does, in very strong terms

0:27:58.440 --> 0:28:02.480
<v Speaker 2>concern Augustus. But while Augustus had again heard very apparently

0:28:02.520 --> 0:28:04.800
<v Speaker 2>heard very flattering parts of the work prior to publication,

0:28:05.160 --> 0:28:07.159
<v Speaker 2>it's thought that he might not have heard all of it,

0:28:07.560 --> 0:28:11.520
<v Speaker 2>because there are parts of the work that also cast Augustus,

0:28:11.960 --> 0:28:14.840
<v Speaker 2>or at least his his analog aneas, in a more

0:28:14.880 --> 0:28:17.920
<v Speaker 2>flawed light. You know and idea is that his ascension

0:28:18.080 --> 0:28:22.320
<v Speaker 2>and long term legacy are not completely assured. And we'll

0:28:22.320 --> 0:28:24.760
<v Speaker 2>get into some examples of that as we go, but

0:28:24.800 --> 0:28:27.119
<v Speaker 2>any rate, it's it's a book that's very concerned with

0:28:27.240 --> 0:28:31.280
<v Speaker 2>prophesizing the future of Rome, mostly saying great things are ahead,

0:28:31.359 --> 0:28:34.520
<v Speaker 2>but sometimes with little caveats like bringing up probably great

0:28:34.520 --> 0:28:36.480
<v Speaker 2>things are ahead, but watch watch out for this or that.

0:28:37.000 --> 0:28:39.280
<v Speaker 2>Right And at the end of book two we have

0:28:39.400 --> 0:28:43.720
<v Speaker 2>the omen of Ascanius is burning hair. So Ascanius, who's

0:28:43.720 --> 0:28:47.280
<v Speaker 2>also believed called LULUs at times, he's like a little boy.

0:28:47.320 --> 0:28:49.400
<v Speaker 2>At this point point, he is the he is the

0:28:49.760 --> 0:28:53.960
<v Speaker 2>son of Aneas, he's eventually going to become the king

0:28:54.000 --> 0:28:59.120
<v Speaker 2>of the Latin city state of Alva Longa, and is

0:28:59.320 --> 0:29:01.640
<v Speaker 2>in this respect he's you know, he can kind of

0:29:01.640 --> 0:29:03.560
<v Speaker 2>loop him in as being one of the founders of

0:29:03.600 --> 0:29:07.400
<v Speaker 2>the Roman race. But again, his father Anias is this

0:29:07.800 --> 0:29:11.400
<v Speaker 2>position as an ancestor of Romulus and Remus. He's the

0:29:11.680 --> 0:29:14.680
<v Speaker 2>hero of Troy. He's fled the burning city of Troy

0:29:15.120 --> 0:29:18.760
<v Speaker 2>with his son after receiving he after he receives this

0:29:18.840 --> 0:29:22.640
<v Speaker 2>omen of the burning hair from the god Jupiter. So

0:29:22.720 --> 0:29:26.760
<v Speaker 2>his son's hair catches a flame, and there's you know,

0:29:26.800 --> 0:29:30.600
<v Speaker 2>some back and forth over this, and and and and

0:29:30.800 --> 0:29:33.200
<v Speaker 2>it becomes like it's like a divine flame, a sort

0:29:33.240 --> 0:29:37.160
<v Speaker 2>of soft, harmless fire that is around his brow like

0:29:37.200 --> 0:29:40.360
<v Speaker 2>a crown. So even here we have some there's some

0:29:40.480 --> 0:29:42.720
<v Speaker 2>room to interpret it. You can think of it as

0:29:42.720 --> 0:29:46.000
<v Speaker 2>a like a crown of flame, hair of flame, halo ara,

0:29:46.200 --> 0:29:46.920
<v Speaker 2>and so forth.

0:29:47.560 --> 0:29:50.880
<v Speaker 3>So his son's head appears with flame on it, and

0:29:50.960 --> 0:29:54.320
<v Speaker 3>this seems to be delivering a message from the gods.

0:29:54.360 --> 0:29:56.440
<v Speaker 2>Right, But of course he's not completely sure. So he's like,

0:29:56.640 --> 0:30:00.400
<v Speaker 2>you know, mighty Jupiter, if this is a sign, give

0:30:00.440 --> 0:30:02.600
<v Speaker 2>me another one. And so there's like a shooting star,

0:30:03.320 --> 0:30:07.560
<v Speaker 2>and Virgil, you know, has a lot of fun with

0:30:07.600 --> 0:30:12.760
<v Speaker 2>this poetically comparing the two. But you know, so ultimately

0:30:13.080 --> 0:30:15.200
<v Speaker 2>we also have the connection here to the burning city

0:30:15.240 --> 0:30:17.480
<v Speaker 2>that they are now going to have to escape. But

0:30:17.520 --> 0:30:21.800
<v Speaker 2>it's a great omen a signifier of deliverance, you know.

0:30:21.840 --> 0:30:23.920
<v Speaker 2>And again their direct comparisons to be made between the

0:30:24.000 --> 0:30:28.600
<v Speaker 2>tail the shooting star and a flaming arrow. And again

0:30:28.640 --> 0:30:30.280
<v Speaker 2>there's this idea that y'all got to get out of

0:30:30.320 --> 0:30:33.800
<v Speaker 2>here and go on to great things, in other words,

0:30:33.840 --> 0:30:38.200
<v Speaker 2>the founding of Rome, and so forth Anna Rogerson in

0:30:38.280 --> 0:30:43.320
<v Speaker 2>twenty seventeen's Virgils Zoscanius writes that this episode illuminates quote

0:30:43.440 --> 0:30:46.240
<v Speaker 2>the path that must be taken in order ultimately to

0:30:46.320 --> 0:30:49.920
<v Speaker 2>achieve the Roman dream, but she also stresses that the

0:30:49.960 --> 0:30:54.520
<v Speaker 2>fire also carries with it other associations quote, hinting at

0:30:54.560 --> 0:30:58.320
<v Speaker 2>different potential outcomes and reminding us again that his role

0:30:58.520 --> 0:31:02.239
<v Speaker 2>as a sign and are of a Roman future is

0:31:02.280 --> 0:31:05.280
<v Speaker 2>not as secure or as patent as it might seem.

0:31:05.520 --> 0:31:08.440
<v Speaker 3>Oh, that's interesting, especially if I'm interpreting this right. I

0:31:08.480 --> 0:31:10.760
<v Speaker 3>don't know at all if this is what Rogerson is

0:31:10.760 --> 0:31:14.280
<v Speaker 3>getting at, But the idea of like a fire appearing

0:31:14.320 --> 0:31:17.920
<v Speaker 3>around his son's brow could have it. On one hand,

0:31:17.960 --> 0:31:21.640
<v Speaker 3>it could resemble this imagery like halo imagery that we

0:31:21.680 --> 0:31:23.440
<v Speaker 3>see in other cases, where it's sort of like an

0:31:23.480 --> 0:31:26.720
<v Speaker 3>anointing by the gods or a showing of divine favor

0:31:26.840 --> 0:31:29.520
<v Speaker 3>light showing around the head, and I'll mention another example

0:31:29.560 --> 0:31:32.200
<v Speaker 3>of that in a minute. But also the idea of

0:31:32.320 --> 0:31:35.760
<v Speaker 3>fire appearing around the child's head has the has the

0:31:35.800 --> 0:31:38.880
<v Speaker 3>connotations of danger, right, and so it's like both at

0:31:38.920 --> 0:31:40.760
<v Speaker 3>the same time. Do you think that's at all what

0:31:40.840 --> 0:31:41.920
<v Speaker 3>Rogerson is getting at.

0:31:41.880 --> 0:31:43.880
<v Speaker 2>Here that that I believe that. I believe that's that's

0:31:43.880 --> 0:31:46.920
<v Speaker 2>what they're getting at here, And and it does match

0:31:47.040 --> 0:31:49.200
<v Speaker 2>up with with other arguments I've seen, you know that

0:31:49.200 --> 0:31:52.440
<v Speaker 2>that that Virgil is of course talking about the greatness

0:31:52.440 --> 0:31:54.959
<v Speaker 2>of Rome and the greatness of his boss, but also

0:31:55.720 --> 0:31:58.640
<v Speaker 2>adding in these warnings and hints, you know, these uh,

0:31:59.200 --> 0:32:01.440
<v Speaker 2>you know, speaking speaking truth to power at least a

0:32:01.480 --> 0:32:06.479
<v Speaker 2>little bit through the poetry. Interesting, So, Ascanius and his

0:32:06.600 --> 0:32:10.800
<v Speaker 2>father flee Troy, with Aneas carrying his own elderly father

0:32:10.920 --> 0:32:13.480
<v Speaker 2>on his back. There are some great depictions of this,

0:32:13.600 --> 0:32:16.880
<v Speaker 2>you have, like a cross generational trio escaping the burning city.

0:32:17.720 --> 0:32:20.040
<v Speaker 2>And so there are all various images where you'll have

0:32:20.680 --> 0:32:25.000
<v Speaker 2>Aneas with this older man, huge older man on his shoulders,

0:32:25.040 --> 0:32:27.880
<v Speaker 2>kind of piggyback style, and then here's the young in

0:32:27.960 --> 0:32:30.720
<v Speaker 2>behind him, kind of like tugging on his clothing a

0:32:30.720 --> 0:32:33.600
<v Speaker 2>little bit like Dad, are we there yet? Have we

0:32:33.640 --> 0:32:37.520
<v Speaker 2>founded Rome yet? And so forth. Now, later on in

0:32:37.560 --> 0:32:42.240
<v Speaker 2>book seven, Aneas's last wife, Lavinia, she has an episode

0:32:42.280 --> 0:32:43.640
<v Speaker 2>with burning hair as well. I told you there was

0:32:43.640 --> 0:32:46.200
<v Speaker 2>going to be a second one. Her hair catches fire

0:32:46.640 --> 0:32:50.160
<v Speaker 2>during a sacrifice at the altar of the gods. And

0:32:50.240 --> 0:32:52.160
<v Speaker 2>I'm going to read a bit here. This is in

0:32:52.320 --> 0:32:55.480
<v Speaker 2>a translation, of course, from the Aeneid. While the old

0:32:55.560 --> 0:32:58.760
<v Speaker 2>king lit fires at the altars with a pure torch,

0:32:58.920 --> 0:33:02.479
<v Speaker 2>the girl Lavinia with him. It seemed her long hair caught,

0:33:02.760 --> 0:33:07.080
<v Speaker 2>her head dress caught in crackling flame, her queenly tresses blazed,

0:33:07.480 --> 0:33:11.880
<v Speaker 2>her jeweled crown blazed, mantled, Then in smoke and russet light,

0:33:12.040 --> 0:33:15.720
<v Speaker 2>she scattered divine fire throughout all the house. No one

0:33:15.720 --> 0:33:19.600
<v Speaker 2>could hold that site anything but hair raising marvelous. And

0:33:19.680 --> 0:33:22.440
<v Speaker 2>it was read by Sears to mean the girl would

0:33:22.480 --> 0:33:25.800
<v Speaker 2>have renown in glorious days to come, but that she

0:33:25.920 --> 0:33:28.600
<v Speaker 2>brought a great war on her people. And I was

0:33:28.600 --> 0:33:33.040
<v Speaker 2>reading about interpretation of this by John E. Rexen from

0:33:33.120 --> 0:33:37.000
<v Speaker 2>nineteen sixty one in fire Symbolism in the Eneid, and

0:33:37.280 --> 0:33:41.840
<v Speaker 2>this author wrote, these flames presented both destructive and constructive aspects.

0:33:41.920 --> 0:33:45.600
<v Speaker 2>Laviniu's people would be involved in the conflagration of war

0:33:45.640 --> 0:33:48.120
<v Speaker 2>with the Trojans, but a marriage torch would unite her

0:33:48.160 --> 0:33:51.360
<v Speaker 2>with Eneas, who had found a new city in Italy

0:33:51.640 --> 0:33:54.080
<v Speaker 2>named Lavinium after her Ah.

0:33:54.120 --> 0:33:56.840
<v Speaker 3>So it's almost that same duality we interpreted with the

0:33:57.320 --> 0:33:59.360
<v Speaker 3>crown of fire around Buscanius's head.

0:34:00.080 --> 0:34:02.640
<v Speaker 2>Yeah, yeah, And I think it's really it's really potent

0:34:02.680 --> 0:34:05.960
<v Speaker 2>when you think about it, Like the idea of any

0:34:05.960 --> 0:34:10.120
<v Speaker 2>divine being giving you messages and laying out your course

0:34:10.200 --> 0:34:14.680
<v Speaker 2>for you, you know, making sure that you're walking, you know,

0:34:14.760 --> 0:34:18.640
<v Speaker 2>a conditioned path like that's at both powerful but also

0:34:18.760 --> 0:34:22.839
<v Speaker 2>terrifying because in all these various traditions, you know, we

0:34:22.920 --> 0:34:26.000
<v Speaker 2>know what sorts of fates the gods sometimes lay in

0:34:26.040 --> 0:34:30.120
<v Speaker 2>front of our heroes and heroines. You know, it's not

0:34:30.239 --> 0:34:33.800
<v Speaker 2>all it's not all roses. Sometimes there is a burning

0:34:33.840 --> 0:34:34.800
<v Speaker 2>city and so forth.

0:34:35.040 --> 0:34:39.200
<v Speaker 3>Yeah, So this actually connected for me to something that

0:34:39.360 --> 0:34:42.680
<v Speaker 3>is in the Iliad itself. We talked about how Virgil

0:34:43.360 --> 0:34:47.040
<v Speaker 3>he bases his epic in part on the epics of Homer,

0:34:48.040 --> 0:34:50.359
<v Speaker 3>But this came up a few years back when we

0:34:50.360 --> 0:34:53.440
<v Speaker 3>did episodes on the religious imagery of the Halo. You

0:34:53.440 --> 0:34:55.959
<v Speaker 3>can look up those older episodes if you want. There's

0:34:55.960 --> 0:34:58.880
<v Speaker 3>a good bit of overlap with what we're talking about today. Actually,

0:34:59.280 --> 0:35:03.160
<v Speaker 3>but this specific connection with the Iliad comes in book eighteen.

0:35:04.239 --> 0:35:06.560
<v Speaker 3>So I was thinking about the passage where the great

0:35:06.560 --> 0:35:11.080
<v Speaker 3>warrior Achilles he finds out that his bosom companion a Patroclus,

0:35:11.200 --> 0:35:14.360
<v Speaker 3>has been killed in battle by the Trojan prince Hector,

0:35:14.880 --> 0:35:18.440
<v Speaker 3>and Achilles reacts sort of by like losing his mind.

0:35:18.480 --> 0:35:21.640
<v Speaker 3>He's filled with grief and rage and a thirst for vengeance.

0:35:22.200 --> 0:35:24.960
<v Speaker 3>And so the Greeks and the Trojans in this part

0:35:25.000 --> 0:35:27.920
<v Speaker 3>of the poem are fighting over the right to retrieve

0:35:28.000 --> 0:35:31.400
<v Speaker 3>Petroclus's body from the field of battle. And then the

0:35:31.440 --> 0:35:36.040
<v Speaker 3>goddess Athena puts this godlike power and aura into Achilles

0:35:36.440 --> 0:35:38.759
<v Speaker 3>so that he will be able to terrify the Trojans

0:35:39.040 --> 0:35:41.520
<v Speaker 3>and drive them into a route. And so this is

0:35:41.760 --> 0:35:47.280
<v Speaker 3>from the translation by Caroline Alexander. Achilles, beloved of Zeus, arose,

0:35:47.520 --> 0:35:51.239
<v Speaker 3>and Athena casts the tasseled aegis about his mighty shoulders.

0:35:51.680 --> 0:35:55.440
<v Speaker 3>She shining among goddesses, encircled round his head a cloud

0:35:55.480 --> 0:36:00.360
<v Speaker 3>of gold, and from it blazed bright, shining fire. Okay,

0:36:00.400 --> 0:36:03.200
<v Speaker 3>so maybe a little bit different. Maybe not hair directly

0:36:03.239 --> 0:36:05.200
<v Speaker 3>on fire, but a cloud of gold around the head

0:36:05.280 --> 0:36:08.560
<v Speaker 3>from which blazes bright fire. It goes on to say,

0:36:08.960 --> 0:36:12.160
<v Speaker 3>and as when smoke rising from a city reaches the

0:36:12.200 --> 0:36:15.880
<v Speaker 3>clear high air from a distant island, which enemy men

0:36:15.920 --> 0:36:18.920
<v Speaker 3>fight round, and they the whole day long are pitted

0:36:18.960 --> 0:36:22.560
<v Speaker 3>in hateful warfare around the city walls. But with the

0:36:22.640 --> 0:36:27.080
<v Speaker 3>sun's setting, the beacon fires blaze torch upon torch, and

0:36:27.200 --> 0:36:31.000
<v Speaker 3>flaring upward, the glare becomes visible to those who live around,

0:36:31.440 --> 0:36:33.560
<v Speaker 3>in the hope that they might come with ships as

0:36:33.600 --> 0:36:38.240
<v Speaker 3>allies against destruction. So from Achilles' head the radiance reached

0:36:38.520 --> 0:36:41.600
<v Speaker 3>the clear high air, and going away from the wall,

0:36:41.680 --> 0:36:44.279
<v Speaker 3>he stood at the ditch. Nor did he mix with

0:36:44.400 --> 0:36:48.359
<v Speaker 3>the Achaeans, for he observed his mother's knowing command, and

0:36:48.440 --> 0:36:52.200
<v Speaker 3>standing there he shouted, and from the distance Pallas Athena

0:36:52.280 --> 0:36:55.960
<v Speaker 3>cried out. Too unspeakable was the uproar he incited in

0:36:56.000 --> 0:36:59.640
<v Speaker 3>the Trojans, as when a clarion voice is heard, when

0:36:59.680 --> 0:37:03.120
<v Speaker 3>cry the trumpet of life, destroying enemies who surround a city.

0:37:03.480 --> 0:37:07.520
<v Speaker 3>Such then was the clarion voice of Eacides. And when

0:37:07.520 --> 0:37:10.759
<v Speaker 3>they heard the brazen voice of Eacides, the spirit in

0:37:10.800 --> 0:37:14.279
<v Speaker 3>each man was thrown in turmoil. The horses, with their

0:37:14.320 --> 0:37:18.120
<v Speaker 3>fine manes, wheeled their chariots back, for in their hearts

0:37:18.200 --> 0:37:22.080
<v Speaker 3>they forebode distress to come. And the charioteers were struck

0:37:22.120 --> 0:37:25.600
<v Speaker 3>from their senses when they saw the weariless terrible fire

0:37:25.680 --> 0:37:29.799
<v Speaker 3>above the head of Pilius's great hearted son blazing. And

0:37:29.840 --> 0:37:35.000
<v Speaker 3>this the gleaming eyed goddess Athena caused to blaze. So

0:37:35.280 --> 0:37:38.080
<v Speaker 3>again it's sort of an edge case because it doesn't

0:37:38.080 --> 0:37:41.000
<v Speaker 3>say directly the hair is on fire, in that it's

0:37:41.080 --> 0:37:45.040
<v Speaker 3>literally being consumed by flame. But it's this more common

0:37:45.080 --> 0:37:48.440
<v Speaker 3>imagery we get of a radiance that appears around or

0:37:48.480 --> 0:37:51.399
<v Speaker 3>over the top of the head and is described as

0:37:51.520 --> 0:37:55.920
<v Speaker 3>burning like fire, or burning like his hair were on fire.

0:37:56.320 --> 0:37:59.280
<v Speaker 3>And in fact it come back more towards Virgil's time period,

0:37:59.320 --> 0:38:02.200
<v Speaker 3>the context of the early Roman Empire. You can think

0:38:02.200 --> 0:38:05.439
<v Speaker 3>of cases of imagery like this that appear in say

0:38:05.480 --> 0:38:08.440
<v Speaker 3>the Christian New Testament. So in the New Testament, in

0:38:08.480 --> 0:38:11.240
<v Speaker 3>the Book of Acts, chapter two, we get the story

0:38:11.280 --> 0:38:14.400
<v Speaker 3>of the Pentecost, which is the anointing by the Holy

0:38:14.440 --> 0:38:19.040
<v Speaker 3>Spirit of Jesus's apostles in Jerusalem, fifty days after the

0:38:19.080 --> 0:38:23.880
<v Speaker 3>Resurrection has taken place. And this part says that in

0:38:23.920 --> 0:38:27.800
<v Speaker 3>the NRSV translation quote, when the day of Pentecost had come,

0:38:28.080 --> 0:38:30.799
<v Speaker 3>they were all together in one place, and suddenly from

0:38:30.880 --> 0:38:33.000
<v Speaker 3>heaven there came a sound like the rush of a

0:38:33.080 --> 0:38:36.160
<v Speaker 3>violent wind, and it filled the entire house where they

0:38:36.200 --> 0:38:40.279
<v Speaker 3>were sitting, divided tongues as of fire appeared among them,

0:38:40.560 --> 0:38:43.400
<v Speaker 3>and a tongue rested on each of them. All of

0:38:43.440 --> 0:38:45.799
<v Speaker 3>them were filled with the Holy Spirit and began to

0:38:45.880 --> 0:38:49.560
<v Speaker 3>speak in other languages as the spirit gave them the ability.

0:38:50.760 --> 0:38:53.400
<v Speaker 3>So in this case it does not seem intended to

0:38:53.520 --> 0:38:56.399
<v Speaker 3>terrify like it did in the Iliad. But what's sort

0:38:56.440 --> 0:38:59.919
<v Speaker 3>of common in all these stories across the Eneid by Verge,

0:39:00.560 --> 0:39:04.040
<v Speaker 3>across the Iliad, and across the New Testament is the

0:39:04.080 --> 0:39:06.960
<v Speaker 3>appearance of fire or radiance above the crown of a

0:39:07.040 --> 0:39:10.560
<v Speaker 3>human head to show in some way that God or

0:39:10.600 --> 0:39:14.000
<v Speaker 3>the gods have intervened on behalf of this person, either

0:39:14.080 --> 0:39:17.439
<v Speaker 3>to make them powerful in battle, to give them new

0:39:17.480 --> 0:39:21.319
<v Speaker 3>powers of speech or understanding, or to show a kind

0:39:21.360 --> 0:39:24.319
<v Speaker 3>of prophecy about them, to mark them as destined in

0:39:24.400 --> 0:39:24.879
<v Speaker 3>some way.

0:39:26.040 --> 0:39:28.640
<v Speaker 2>And then, yeah, you can imagine there's some cross over here. Certainly,

0:39:28.640 --> 0:39:31.200
<v Speaker 2>we can look to various examples from the Bible too,

0:39:31.239 --> 0:39:34.239
<v Speaker 2>where there's you know, people are in flames but they're

0:39:34.239 --> 0:39:38.160
<v Speaker 2>not hurt, or God speaking through the fire, the burning

0:39:38.160 --> 0:39:41.319
<v Speaker 2>bush and so forth. So yeah, well, once you have

0:39:41.360 --> 0:39:43.839
<v Speaker 2>these images out there, they kind of they do kind

0:39:43.880 --> 0:39:46.000
<v Speaker 2>of brush up against each other and infect each other

0:39:46.040 --> 0:39:47.680
<v Speaker 2>with their ares.

0:39:48.239 --> 0:39:50.799
<v Speaker 3>Yeah, but if you want to learn more about the

0:39:50.800 --> 0:39:52.800
<v Speaker 3>Halo and the Ara, like I said, we did a

0:39:52.840 --> 0:39:54.560
<v Speaker 3>whole series on that a few years back. You can

0:39:54.640 --> 0:39:57.440
<v Speaker 3>go into our archives and check out. Ultimately, I feel

0:39:57.440 --> 0:39:59.120
<v Speaker 3>like a lot of the examples we were able to

0:39:59.120 --> 0:40:01.680
<v Speaker 3>turn up today, I think think do bleed more into

0:40:01.719 --> 0:40:05.560
<v Speaker 3>the Halo auric territory than into the more literal hair

0:40:05.600 --> 0:40:09.120
<v Speaker 3>burning territory that we were thinking about. So I don't know.

0:40:09.160 --> 0:40:13.120
<v Speaker 3>I guess this episode is one where we turned up

0:40:13.160 --> 0:40:16.279
<v Speaker 3>more dead ends than usual. But maybe that's useful to

0:40:16.360 --> 0:40:19.600
<v Speaker 3>you the listener to hear what it's like when you

0:40:19.640 --> 0:40:22.279
<v Speaker 3>expect to find certain things out there and you come

0:40:22.360 --> 0:40:22.840
<v Speaker 3>up cold.

0:40:23.280 --> 0:40:26.040
<v Speaker 2>Well, at least with the second example from the Anea,

0:40:26.200 --> 0:40:28.440
<v Speaker 2>it seems to sort of at least start off like

0:40:28.760 --> 0:40:30.640
<v Speaker 2>hair catching on fire, where they're like, oh my god,

0:40:30.640 --> 0:40:32.640
<v Speaker 2>our hair's on fire. Wait hold up, just an omen,

0:40:32.719 --> 0:40:36.759
<v Speaker 2>It's okay, put their water jugs down. So there is

0:40:36.800 --> 0:40:38.200
<v Speaker 2>at least a direct connection there.

0:40:38.480 --> 0:40:40.400
<v Speaker 3>I think the anead is the closest we got to

0:40:40.520 --> 0:40:42.600
<v Speaker 3>what I had in mind. But like we said, and

0:40:42.640 --> 0:40:44.239
<v Speaker 3>maybe there were a bunch of great examples we just

0:40:44.239 --> 0:40:45.080
<v Speaker 3>didn't come across.

0:40:45.560 --> 0:40:48.040
<v Speaker 2>Yeah, yeah, And I don't know, there could be examples

0:40:48.040 --> 0:40:50.520
<v Speaker 2>that are kind of that where we lose that emphasis

0:40:50.520 --> 0:40:53.440
<v Speaker 2>and translation. So I don't know, it's like that the

0:40:53.480 --> 0:40:57.160
<v Speaker 2>comparison of hair to fire and all these various auras

0:40:57.200 --> 0:40:59.719
<v Speaker 2>and halo effects, you know, they do kind of bleed

0:40:59.719 --> 0:41:03.160
<v Speaker 2>together and they confuse the topic of it. And again

0:41:03.400 --> 0:41:08.160
<v Speaker 2>there there's no shortage of modern examples that are far clearer. Again,

0:41:08.320 --> 0:41:12.400
<v Speaker 2>lots of fire, elemental beings and fantasy and probably in

0:41:12.440 --> 0:41:14.359
<v Speaker 2>science fiction as well. I didn't look there as much,

0:41:14.400 --> 0:41:18.800
<v Speaker 2>but you know, so many examples, certainly in the illustrated medium.

0:41:19.560 --> 0:41:23.400
<v Speaker 2>There I ran across, like multiple superheroes that have like

0:41:23.440 --> 0:41:26.760
<v Speaker 2>hair of fire. So I do think you're onto something

0:41:26.800 --> 0:41:31.239
<v Speaker 2>with that possible connection to modern depictions of hair and

0:41:31.280 --> 0:41:33.839
<v Speaker 2>that kind of like propping up more and more examples

0:41:33.880 --> 0:41:37.040
<v Speaker 2>of fire elemental beings with flaming hair and flaming beard.

0:41:37.440 --> 0:41:39.919
<v Speaker 3>Speaking of elementals, this has actually been on my list

0:41:39.960 --> 0:41:41.560
<v Speaker 3>for a bit. I've been thinking we should come and

0:41:41.600 --> 0:41:43.799
<v Speaker 3>do an episode on the elementals, like going back to

0:41:43.840 --> 0:41:45.120
<v Speaker 3>Paracelsis and stuff.

0:41:45.280 --> 0:41:47.960
<v Speaker 2>Oh yeah, yeah, I'd be up for that. Yeah, all

0:41:48.000 --> 0:41:52.240
<v Speaker 2>the way from ancient traditions on up to dungeons and dragons.

0:41:52.719 --> 0:41:54.759
<v Speaker 3>But okay, I think that does it for burning hair

0:41:54.800 --> 0:41:55.040
<v Speaker 3>for me.

0:41:55.719 --> 0:41:57.719
<v Speaker 2>All Right, we'll go ahead and close it off then,

0:41:57.840 --> 0:42:00.239
<v Speaker 2>but we'd love to hear from everyone out there if

0:42:00.239 --> 0:42:02.880
<v Speaker 2>you have thoughts on anything we discussed here, or examples

0:42:02.880 --> 0:42:05.359
<v Speaker 2>that we didn't bring up, that we should send them

0:42:05.360 --> 0:42:09.120
<v Speaker 2>in and we'll cover them perhaps on a future episode

0:42:09.239 --> 0:42:12.120
<v Speaker 2>of Listener Mail. We're still doing listener mails, They're just

0:42:12.160 --> 0:42:16.000
<v Speaker 2>not happening every week. They're gonna occur, you know, every

0:42:16.040 --> 0:42:18.480
<v Speaker 2>month or so, and we're gonna they're gonna be longer.

0:42:18.520 --> 0:42:21.799
<v Speaker 2>They're gonna be in the place of core episodes. Our

0:42:21.840 --> 0:42:25.880
<v Speaker 2>Core episodes, of course, are key science and culture episodes

0:42:26.040 --> 0:42:28.320
<v Speaker 2>get published on Tuesdays and Thursdays. On Wednesdays we do

0:42:28.360 --> 0:42:30.360
<v Speaker 2>a short form episode, and on Fridays we set aside

0:42:30.360 --> 0:42:32.880
<v Speaker 2>most serious concerns to just talk about a weird film

0:42:32.960 --> 0:42:36.160
<v Speaker 2>on Weird House Cinema. We're running those Weird House Cinema

0:42:36.440 --> 0:42:40.440
<v Speaker 2>rewind episodes on Mondays now and of course regular Vault

0:42:40.440 --> 0:42:44.200
<v Speaker 2>episodes reruns of Core episodes those occur on Saturdays.

0:42:44.600 --> 0:42:48.440
<v Speaker 3>Huge thanks as always to our excellent audio producer JJ Posway.

0:42:48.719 --> 0:42:50.359
<v Speaker 3>If you would like to get in touch with us

0:42:50.360 --> 0:42:52.920
<v Speaker 3>with feedback on this episode or any other, to suggest

0:42:52.960 --> 0:42:54.919
<v Speaker 3>a topic for the future, or just to say hello,

0:42:55.040 --> 0:42:57.680
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0:42:57.680 --> 0:43:06.080
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0:43:06.160 --> 0:43:09.120
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