All language subtitles for Myths.and.Monsters.S01E06.1080p.WEB.h264-VOYAGES_track3_[eng]

(thrilling music)

- The tales have been told

since man first gathered
around the fires of prehistory,

tales of the strange and wondrous things

hidden in the vast unknown
shadows of the world,

tales of creatures divine
and beasts demonic,

of gods and kings,

of myths and monsters.

From dark forest to the lands of ice,

from desert wastes to
the storm-thrashed seas,

every corner of the earth
has it legends to tell;

stories of heroes and the
villains they encounter,

of the wilderness and
the dangers within them,

stories of battles, of love, of order,

and of chaos.

(thrilling music continues)

But what are the roots
of the fantastic tales,

and why have they endured so long?

In this series,

we'll explore the history
behind these legends

and reveal the hidden
influences that shaped them:

War and disease,

religious and social upheaval,

the untameable ferocity
of the natural world;

and above all, the monsters
lurking within ourselves.

(dramatic music)

(fire crackling)

(mysterious music)

All things come to an end.

Mighty trees wither,

monuments crumble,

and even the brightest
star in the night sky

will one day lose its luster.

(thrilling music)

We too must face our mortality.

Universal though death is,

every culture varies in the rituals

and beliefs that surround it.

- [Liz] How death is dealt with

tells us far more about the living

than it does about the dead.

- What a culture thinks death is,

is in many ways less a
statement about death

than a picture of the
inside of a collective mind.

(thrilling music)

- We tend to imagine the moment of death

as a moment of summation,

a moment that clearly
tells us what we've been.

(thrilling music)

- It can tell us about what
is considered a good death

and a bad death,

and what that then tells us
about broader social values.

(dramatic music)

- A culture's beliefs about death

reflected their attitudes towards life.

In their hopes for the hereafter,

in their stories of resurrection

and their visions of the end of the world,

societies revealed what
is most important to them.

(foreboding music)

(suspenseful music)

(pages rustling)

It was an age of the ax and the sword,

of the wind and the wolf.

The kingdoms of the earth
had fallen into chaos.

Survivor's sought what
shelter they could find.

For a mother and her child,

the shattered remnants
of an abandoned village

offered comfort in these times.

(child crying)

And starvation and despair
had made monsters of men.

(ominous music)

(woman screaming)

(thunder cracking)

(suspenseful music)

(wind whooshing)

The whole world groaned beneath them.

A storm, the likes of
which she had never seen,

scorched the sky.

(thunder cracking)

Ragnarok was upon them,

the twilight of the gods.

(thunder cracking)

Death is a test of what being human means.

It probes our responsibilities
to family and the community,

and it asks what value we
place on our links to the past.

(door rattling)

The afterlife in Norse mythology
was not a single place,

the best and bravest went to Valhalla;

But most were not so lucky,

(mysterious music)
(thunder crashing)

a darker place awaited them.

Through a sunless
valley, they had to walk,

along a path carved deep by the dead.

There lay a land draped in fog,

glimmering with misery.

Even the most beloved of gods
was one day trapped there.

(mysterious music)

Balder was the son of
the gods, Odin and Frigg,

he was fair and wise and admired by all.

- [Juliette] Balder is one
of the most interesting gods

in the Norse pantheon.

He is beautiful, he is literally shining,

he is in a sense the best of the gods.

- [Diane] As a result,

like all people who are loved and admired,

and who seem intrinsically good,

he's kind of doomed.

There's a prophecy that he's going to die.

(mysterious music)

- [Nicholas Day] Balder
dreamt to of his death;

so did his mother, the goddess Frigg,

so she traveled all around the cosmos

extracting a promise not to hurt Balder

from every pebble, plant, bird and beast.

But she had made a mistake
in her oath a gathering,

there was one thing she had missed.

- She doesn't ask the mistletoe.

Now, we're not sure why
the mistletoe is excluded,

it was clearly a sacred
plant of some kind.

Possibly because it winds
around something else,

it's said that this was a very weak plant

so she didn't bother asking it.

For whatever reason,

there's this one seemingly harmless thing

in the entire world which does not promise

that it will not injure Balder.

- [Nicholas Day] Meanwhile,

the gods had invented a new pastime;

using Boulder for target practice.

They hurled rocks at him, trees at him,

and anything else they could find.

No matter how mighty the throw
or how sharp the missile,

Balder was unharmed.

But one God knew more than the others.

Loki, the mischief maker,

had heard of Frigg's
mistake with the mistletoe,

he thought of a better game.

- Loki is determined to
bring about the death,

and so he coaxes the mistletoe

into growing bigger and bigger,

and then eventually crafts it into a dart

which he hands to Balder's
blind brother, Hod.

- [Nicholas Day] Hod threw
this missile at his brother;

but instead of bouncing off,

the dart of mistletoe
pierced Balder's heart.

The horrified gods could only watch

as the best and most beloved
of them fell down dead.

(mysterious music)

This version of Balder's death
was not of the Viking era,

it was among the stories
compiled at least a century later

by an Icelandic poet
named Snorri Sturluson.

- He was a poet,

he was a lawyer, he was a politician,

he was a historian.

And he wrote down many of the Norse myths.

Now what's interesting,
the way Snorri writes them,

he kind of writes them
as a complete narrative.

He kind of makes all of the
bits match up with one another,

so you can sort of see him selecting bits,

probably making up a few bits as well,

so that you get this whole history,

this whole coherent
history of the Norse gods

rather than fragmented myths

and rather than sort of
variants of fragmented myth,

which is actually the normal way

that you would find in mythology.

- [Nicholas Day] Earlier
versions of the tragedy

depicted Balder as an aggressive warrior;

but in Snorri's telling,
he is mild and joyful,

it's only the treachery of the wicked

that leads to his death.

- It's one of those
stories where many critics

have suggested that we can detect

the influence of Christianity.

The whole of the Eddas were
written by Christian people,

and that's one of the tales

that most scholars believe is
influenced by Christianity.

- [Juliette] Snorri is
not Christianizing things

in the sense that he's kind
of repressing paganism,

it's much more that he's
harmonizing the stories.

- [Diane] Balder is
beautiful and he's good,

and yet he's doomed to
die and he does die,

but he's also resurrected,

so it does have a
Christological feel to it.

- It's a myth which I think
also allows you to see

how cultures are able
to bridge a pagan world

and a Christian world in a
very creative sort of way.

(mysterious music)

- In Snorri's telling,

a near Christian
perception of good and evil

was introduced to the old tale:

Loki, wicked and devil-like;

Balder is guiltless, near perfect.

Even the most perfect of us
cannot cheat death either.

Like the Norse gods and the games,

we may amuse ourselves to forget

but there's no getting away from reality,

death is inescapable.

But as the myths and
countless traditions tell us,

it may not be the end.

(pages rustling)

(dramatic music)

The enemy were on the march:

monsters and demon,
giants and world wreckers,

they were coming for the gods.

Odin, chief among the gods,

sought no counsel but his own,

long had he awaited this day.

The gods gathered in their feasting hall,

the rafters shook to rumor and discord.

The world's tree had shuddered,
the Gjallarhorn had sounded,

their doom had come at last.

"We will not shrink from this battle,"

Odin's silenced them all.

"We will face them.

We will fight.

We will fight together one last time."

(gates rattling)

The gates of Valhalla,
sealed so long, swung open.

(gates whirring)

The mighty warriors of ages
past marched forth to war,

an eternity had they
readied themselves for this.

The final battle was about to begin.

(warriors clamoring)

Valhalla was Odin's domain.

The majestic hall thatched
and golden shields

was home to the bravest of Norse warriors

who fell in backroom.

(dramatic music)

No such paradise was in prospect

for the warriors of
ancient Greece, however.

Great heroes and lowly servants alike

descended into the vast
darkness of the underworld.

A river stood before them there.

Only those who'd been properly buried

with a coin beneath their tongue

could pay the ferryman
to take them across.

(water splashing)

Nowhere is that question of
proper burial more pressing

or the consequences of
getting it wrong more tragic

than in the story of Antigone.

Two brothers had fought
for the crown of Thebes.

Polynices had raised an army

to unseat his brother, Eteocles.

In the mighty battle that followed,

each had fallen to the other's sword.

(dramatic music)

Their mourning sister, Antigone,

was left to bury their bodies.

But a new king had taken the throne,

Creon was his name,

he decreed that traitors
should not receive burial.

He refused to Antigone
permission to bury Polynices.

Defying the laws of the gods,

he ordered that the rebel be
left to rot on the battlefield.

(mysterious music)

- Burial was insanely important

to the ancient Greeks.

The essential Greek idea
of what happens to the dead

meant that unless you were properly buried

and properly mourned,

you couldn't make the
transition from life into death

and instead we're kind of
trapped between life and death

in a miserable, dissatisfying state.

- The ritual itself took three stages.

There was the preparing of the body,

the carrying out of the body,
the procession of the body,

and then the actual
internment or cremation.

You had to do the ritual right

to mean they could go and be
at peace in the underworld,

as it were.

- [Diane] Because it's so important,

it therefore follows that
for someone to be unburied

struck the Greeks as horrific.

(mysterious music)

- [Nicholas Day] All
societies have rituals

surrounding burial,

they convey the dead from
this world to the next,

but they serve a function
for the living as well.

- [Liz] Funerals tell an
individual's life story

from the perspective of the community,

it emphasizes what the community sees

as being valuable than
the individual's life.

- By having a funeral,
it's a way of saying,

"Well, our society, the
group to which I belong,

will continue."

It's also a ceremony in which
the dead are sort of escorted

to whatever is going to
happen to them after they die,

and are in a sense made to stay there.

(gentle music)

- They're ritually a
really important moment

for passing the dead person
into whatever happens next

and then allowing the
family of the dead person

to come back out of a
phase of being polluted

by association with the dead body,

being reintegrated into society.

- [Nicholas Day] In sixth century Athens,

the rich and powerful
commemorated themselves

with grand monuments.

By the following century, however,

fashions had shifted,

more modest grave markers were the norm.

Something had changed.

But what?

- [Liz] In the 440s, Athens
was beginning to empire build.

It had been at the head
of the Delian League,

which has been a group of
Greek cities gathered together

to throw off the Persians,
to stop them invading Greece,

that had kept banded together

but was becoming less and less
a group of cooperative people

and more and more an empire by proxy

with Athens at the head.

- [Diane] The Athenians come into money,

they decide to spend it
on huge cultural projects,

that's why they build the Parthenon

so that everyone sees Athens
as the most beautiful city

they've ever seen.

(mysterious music)

- [Nicholas Day] But
if Athens could flaunt

those new riches,

its citizens had to been more restrained.

Few individuals dared build

more than the most modest of tombs,

there were eclipsed by the
thrusting imperial state.

- [Liz] If you die on the battlefield,

we start to see a way in which,

rather than individual burial,

people are brought back to Athens,

they are separated into their tribes

and you are put into a tribal tomb.

- It foregrounds the way in which epitaphs

and what gets written on your grave

become more and more of a public matter,

and the moment in which
the public contribution

of an individual is stressed,

which seeks to incorporate
the military dead

into the life of the city itself,

saying that the city
exists because of them

and therefore owns them, owns their lives,

and the sacrifice that they've made.

They no longer belong to
themselves or to their families,

they now belong to Athens.

(suspenseful music)

- [Nicholas Day] Antigone, too,

was caught between the needs of the nation

and those of the individual.

She could obey Creon's edict

to leave her brother to
the scavenging birds,

or follow the law of the gods,

bury Polynices and free his
soul to enter the underworld.

She chose to defy the king.

It was just a sprinkling of soil,

but that was all that was
needed to satisfy the Gods.

(ominous music)

Creon was furious, how
dare this girl defy him,

she had to be punished,

so the king ordered Antigone
to be be entombed alive,

sealed up on a mountain cave.

The rule of law, Creon so prized,

would come with a mighty cost, however.

First his heir, Antigone's fiance,

killed himself from grief,

then his wife took her life as well.

(somber music)

Although written almost two
and a half thousand years ago,

the tragedy of Antigone
exposes tensions in society

that we debate to this very day.

The words of Athenian
playwright, Sophocles,

speak to us still.

- Antigone captures a really
compelling moral tension

about whether what Antigone did

in defying Creon's order was right.

The reason that carries
on being so compelling

is the battleground of what
right is keeps on shifting.

For the ancient Greeks

it was sort of very much
about respect for the gods,

about piety,

and Antigone saying,

"Well, your rule, your law,

does not override the law of the god."

- At what point do you have to act?

When must you do something in
complete defiance of the law?

When does it actually override everything,

including your own self
preservation instinct?

- [Liz] So the question
of, "Was Antigone right?"

is one that every generation
and every society comes to

with its own sense about what right does

and doesn't look like.

(suspenseful music)

- Ancient Greeks did not
believe death was the end,

their souls would wander the
sad fields of the underworld

for eternity.

This seemingly dismal fate
offered one comfort, at least,

to those left behind,

they had little reason to fear the dead.

The spirits of ancient Greece

could be irritable if dishonored,
they could be unpleasant,

but they were not dangerous.

That was not a belief
shared by all cultures.

Centuries later,

Europe would be stalked by
fears of unhappy spirits

seeking revenge

and of the undead who
feasted on blood and flesh.

(dramatic music)

(wind whooshing)

(thunder cracking)

The sky was rent asunder,

the great battle of the gods had begun.

The dread wolf, Fenrir,
that beast of slaughter,

strained to join the fight.

Odin stood fast with
his dwarf forged spear

and helm of shining gold.

The Midgard serpent, immense and writhing,

dripped venom foul and deadly.

(lightning buzzing)

Facing hm was mighty Thor,
brave wader of the earth.

He summoned up his strength
and all the power of his hand.

More lethal still was
the fire giant, Surtr,

with this body of ribbon flame.

It was Fryer the Bright and
this boar steed, Golden Mane,

who joined battle with this demon.

(thrilling music)

The earth convulsed as the fighting raged.

In the cataclysmic events of Ragnarok,

it is giant snakes and
wolves that ran amok;

yet perhaps more frightening
and more fascinating

are the monsters closer to humans,

the ones that walk amongst
us, the ones who look like us,

the ones who were us.

(mysterious music)

The river's streaked planes of Serbia,

once a border land between East and West.

Its soil was little troubled by the plow.

Few hunters roamed its trackless forest,

and the strongest trade
between its few villages

was rumor and superstition.

(mysterious music)

In 1725,

the tiny hamlet of Kilisova
became the talk of Europe

for nine people had died within a week

with no sign of sickness
and no sign of plague,

it seemed impossible.

In fearful whispers the rumors spread,

a nightwalker was stalking the village;

it throttled men in
their sleep, some said.

But others insisted on
a different explanation:

The nightwalker, they said,

ate human flesh and drained
its victims of their blood.

(mysterious music)

Tales of demons who
consume the flesh and blood

of the living are nothing new,

they've been found throughout history

in nearly every culture around the globe.

(mysterious music)

- The belief in the undead coming back

to nourish themselves in some parasitical,

inimical way on the bodies of the living

is very widespread in
human cultural history.

(mysterious music)

- One of the consistent
things about society is,

is that once the dead are dead,

we really want them to stay dead.

There is an almost universal
fear that if the dead return,

they will somehow damage the living.

(ominous music)

- [Nicholas Day] As soon as an
Imperial official from Vienna

had arrived in the village as
witness, they began digging;

for just before the nightwalker

had claimed its first victim,

an old man had died in Kilisova,

this was the grave the villages opened.

What was found within stunned
the Imperial official.

The old man's body was pink and fat,

his hair and fingernails had grown,

and his mouth was wet with
the blood of his victims.

(ominous music)

- [Juliette] A medical person would say,

"Oh no, no, hang on.

This is natural decomposition.

They is the gases in the corpse.

This is the pooling of blood.

This is the fact that hair and nails

don't really grow afterwards,

it's just the corpse is shrinking.

This can be explained, it's medicine,

it's perfectly natural."

Well, that's fine,

but it isn't necessarily
going to address the anxieties

and the fears.

(mysterious music)

- [Nicholas Day] The villagers of Kilisova

removed the old man from his grave,

they drove a metal stake through his heart

and burned the body on a fire,

for the villages were convinced
the old man was a vampire.

(suspenseful music)

- [Juliette] The folklore of vampire

is essentially a revenant,

a dead the person coming back.

They're wrapped in their shrouds,

often they're bloated, slavering,

and they cause death more by contagion,

they're not bloodsuckers to start with.

- [Nicholas Saul] Of
course it is fascinating

that a third category arises

between the world of the living
and the world of the dead.

It's inexplicable and
it's possibly threatening,

possibly liberating.

(mysterious music)

- [Nicholas Day] The
story of Kilisova vampire

soon made the newspapers
in Vienna and far beyond.

A vampire panic was
spreading across Europe,

inevitably it left its
mark on wider culture.

In 1816, a group of authors and poets

held a ghost story competition,

famously it led to Mary
Shelley's novel, "Frankenstein."

Another contribution came from Lord Byron,

he started a novel about the
foul feeders of Eastern legend.

He never finished it, but
his friend, John Polidori,

was inspired,

he wrote a short story based on it,

he called it "The Vampyre."

(ominous music)

- [Nicholas Saul] These are
writers who are products

of the enlightenment.

They're not a religious persons,

but they are persons who no longer believe

in the Christian story,

they are therefore looking
for alternate stories

to tell about the world of death.

The vampire, of course,
offers that crossover figure.

- The vampire story in the 19th century

develops in a very different way

from the folklore of empire.

You get this very,

very popular figure of
this elegant nightwalker,

this handsome man in evening
clothes who is, you know,

death to anyone around him.

And you get these
extremely attractive, very,

very dangerous men,

and then slightly later women as well,

who represent both a sexual threat

as well as a sexual attraction.

(dramatic music)

- [Nicholas Day] No vampire
is more alluring or dangerous

than the one created
by Bram Stoker in 1897.

His creation, an ancient
nobleman called Dracula,

comes from the East to
infiltrate Victorian Britain.

(ominous music)

- Dracula,

who wants nothing more than
to dress up in English clothes

and to come to London
with its teeming millions,

is in fact a story of
reverse colonialization.

Instead of great Britain
colonizing Eastern nations,

we have a representative
of an Eastern nation

who is about to colonize Great Britain.

- He's an outsider, he's
an element of pollution,

he's an element of destruction,

who is both attractive and
repulsive at the same time.

Stoker himself was an Irish man.

I mean, he knew what exclusion
and conflict was like.

So suddenly the vampire story,
in terms of a literary story,

has emerged into something
where you can really,

really critique the world.

- [Nicholas Saul] It seems
to me that the issues

in Stoker's "Dracula"

are issues which are still
anything but resolved

in today's culture,

and I think that's why we
keep coming back to him.

(dramatic music)

- More recent entries in the genre

have seen vampires terrorize
the suburbs of Stockholm,

the post-apocalyptic wilds of Los Angeles;

and, most frighteningly of
all, American high schools.

Our fascination with vampires, it seems,

is as endless as the demons'
own thirst for blood.

(pages rustling)

(suspenseful music)

(wind whooshing)

The battle was over.

One by one, the greatest
of gods had fallen;

Odin, Thor, Fryer,

and all the warriors
of Valhalla with them,

it was the end of the gods

and it was the end of the world.

(dramatic music)

(child crying)

(dramatic music continues)

It's no surprise the
story ends in this way.

Floods are one of the most
common motifs in mythology;

the best known, of course,

is the story of Noah in the Bible.

Displeased with the corruption
and violence he saw on earth,

God decided to start afresh,
he flooded the earth,

allowing only Noah and
his family to survive,

alongside remnants of all the animals.

A similar story is found in Assyrian texts

dating back to 2000 BC,

in ancient Egyptian tomb inscriptions,

and in ancient Greek mythology.

(mysterious music)

Phrygia was a harsh land;

cold in the winters, hot in the summers,

and arid all year round.

From northern steps to southern hills,

the stony earth bore neither
fruit tree nor olive.

But among its coarse plains
and exposed ridge tops,

there was once a village;

its houses were fine,
it's citizens worthy.

Two wandering peasants
came to this village,

they were in search of a
warm welcome and a warm bed.

But those fine houses and worthy citizens

turned them away one after another.

Finally, the two peasants
reached the end of the village,

here they found a humble cottage
thatched with stemmed reed.

It was him an old couple
named Baucis and Philemon.

Poor though they were,

they opened their doors to the strangers.

The old woman coaxed the ashes
of their fire back to life.

They offered their guests
the finest food and drink

in the house and the most
comfortable of their chairs.

Baucis and Philemon were about to kill

their one and only goose
in honor of their guests

when the strangers revealed the truth,

they were gods,

none other than Mercury
and Jupiter himself,

chief among the Roman deities.

They promised the old couple adjust reward

for their hospitality.

(mysterious music)

The fable of Baucis and Philemon

was written by the Roman poet, Ovid,

he lived during the first century AD.

It was a time of great
change in Roman life,

when Augustus, the first emperor,

was cementing his power.

- Ovid is writing in a period
of increasing stability,

it was a much more settled
time for Roman society

as a whole,

that was thinking about
coming out of this period

of great disturbance.

One of Augustus's great claims
about restoring the republic

was piety.

He claims, on his funerary monument,

that in just one year
he restored 28 temples.

So Baucis and Philemon fits
into that kind of narrative

because you have this idea
of piety being rewarded,

of showing piety that other
people aren't showing.

- [Nicholas Day] The gods
had promised the old couple

a reward for their generosity,

they had told Baucis and
Philemon to leave their cottage

and accompany them to the
heights of a nearby mountain.

They heaved their aged
bodies up the slope.

But when they finally reached the summit,

the gods told them to look
back on their village.

A flood at washed every
home and street away,

all except their tiny hut

that Jupiter had transformed
into a magnificent temple.

- Their whole village has
been overrun by a flood,

the whole world has been drowned,

but they've been saved and
they're on a mountain side.

- It was the punishment

for not giving hospitality
to strangers that was due.

- It just illustrates
the insane importance,

which you sometimes can get
in the Mediterranean world,

of being decent to strangers,
you have to invite them in;

and if you invite them
in, you have to feed them.

(pensive music)

- [Nicholas Day] As
reward for their piety,

Jupiter granted Baucis
and Philemon a wish,

anything they desire would be theirs.

But the elderly couple
had a simple request,

they asked to be the
keepers of that fine temple,

to share every day with the other

and never be separated,
even in the moment of death.

After years of service to the gods,

the day fated for their deaths came.

As Baucis and Philemon
died, they were transformed,

they became trees of oak and linden.

Entwined in root and leaf,

they grew together for years to come.

From destruction, the story tells us,

there is creation.

From death, there is new life.

(pages rustling)

(mysterious music)

(bird squawking)

The gods were gone,

consumed by Ragnarok.

Water shrouded the earth, a vast ocean,

still, silent and unchanging.

But old things come to an end.

(mysterious music)

Life returned to the earth.

(ethereal music)

So the cycle of life begins again.

And with new life,

there come new stories

for human beings have
always been storytellers

in the myths and legends we remember

and those we choose to pass on.

We are links in a chain
stretching back millennia,

part of an eternal
dialogue between our past,

our present and our future.

(adventurous music)

- The fact that a myth might
be completely incomprehensible,

completely nonsensical
on a rational level,

doesn't matter because
it can still tell us

about what our society is like

and what our culture is like.

(thrilling music)

- A myth tells us what we
believe to be the case.

It also offers us, in those terms,

means of resolving ethical, social,

cultural conflicts.

- If one thinks of it as a narrative,

a way of encapsulating,

the things that are important in society

are not always the positive things,

they are really telling
us about the dynamics

in the society in which their told.

- I think it's very important

that people sort of go on
probing things with myth.

An awful lot of our
lives and our decisions

are actually not about reason
and not about planning,

they're are about emotions.

Mythology is a guide to that,

it's a way of understanding
the way we feel

not the way we think.

- Many myths can seem bizarre
or cruel to modern eyes;

yet for all mythology's variety
and infinite strangeness,

there is a common thread that links us

to even in the most ancient of stories.

Whether it was on the streets of Athens

or the frozen seas of the North,

the dark woods of England

or the distant mountains of the East,

the same thoughts have been
uttered in a thousand tongues:

Who are we?

Where have we come from?

Why is the world the way it is?

And what will we find beyond?

They are questions that
define human existence,

no matter when all where it is found.

(swelling music)

(ethereal music)