| Transcript |
| 0:07 | · | the fall of Troy one of the most mysterious stories ever |
| 0:14 | · | told the war outside the city Gates has been going on for almost 10 years Greeks |
| 0:20 | · | are fighting against Trojans the mighty City remains steadfast its walls seem |
| 0:28 | · | impenetrable until till the Trojans receive a faithful |
| 0:34 | · | gift in the belly of the huge wooden horse they drag into their City lie hidden the best fighters of the Greeks |
| 0:42 | · | they seal the downfall of the Glorious |
| 0:49 | · | [Music] City the idea of the horse was a |
| 0:54 | · | fascinating one but you have to ask yourself why a horse and why should the Greeks hied in a big wooden |
| 1:04 | · | [Music] statue an open mind is necessary to |
| 1:11 | · | better understand the ancient myths the story of the Trojan Horse |
| 1:16 | · | continues to fire people's imagination to this [Music] |
| 1:22 | · | day myths are created to help us get through |
| 1:28 | · | life for thousands of years the Trojan Horse was a symbol of a bold plan of |
| 1:35 | · | cunning and treachery this image has become imprinted in our cultural memory and |
| 1:41 | · | even found its way into the world of computer science but what if the horse |
| 1:46 | · | was not a horse at |
| 1:51 | · | [Music] |
| 1:58 | · | all Franchesco tiboni doubts the story of |
| 2:04 | · | the Trojan Horse the Italian archaeologist has made it his task to check the Millennia old |
| 2:11 | · | tradition on its validity the first known work in which |
| 2:17 | · | the legend of the Trojan Horse is told is by one of the most famous poets of |
| 2:22 | · | antiquity Homer we all know the story of the troan |
| 2:28 | · | horse but what we don't know is what actually happened we have no precise idea of how |
| 2:35 | · | the destruction of Troy came about and what really happened that night because |
| 2:41 | · | that night was not clearly described by Homer he only told us about what happened |
| 2:50 | · | [Music] afterwards Franchesco tiboni is an |
| 2:56 | · | underwater archaeologist his areas of expertise are are ship building and seaf |
| 3:03 | · | [Music] fairing every shipwreck from Antiquity that is found brings more information |
| 3:09 | · | about time long past to light perhaps something will be found in the depths of the Mediterranean that |
| 3:16 | · | will help tibone investigate the Trojan past among his most important sources |
| 3:23 | · | are the ancient epics and there it becomes apparent doubts about the story with the |
| 3:30 | · | Trojan Horse existed even back |
| 3:35 | · | then one of the main questions is whether there's something real behind the description throughout history there |
| 3:42 | · | have been several authors several Scholars who have asked themselves whether this horse was really a |
| 3:51 | · | horse the Roman scholar plin the Elder suspects that the war machine was rather |
| 3:56 | · | a kind of battering ram euphorium a Greek poet wrote as early as 400 BC in |
| 4:03 | · | connection with the Trojan Horse that the Greeks possessed a ship called a |
| 4:12 | · | horse what is behind the |
| 4:18 | · | traditions did the Trojan Horse really [Music] |
| 4:23 | · | exist Homer's epics tell of the late Bronze Age from around 1200 BC |
| 4:30 | · | it is a Time full of conflicts and crises in which one of the most powerful and highly Advanced civilizations |
| 4:37 | · | perishes the Myans the stories of Wars heroes and |
| 4:45 | · | gods are passed on through the Centuries by rapods Greek singers among them is the poet Homer and |
| 4:52 | · | his depiction of the Greek World these were texts that sered to |
| 4:59 | · | Define one's own culture oneself one's location one's reflection actually these |
| 5:05 | · | were extraordinarily complex processes from a cultural historical point of view |
| 5:11 | · | I think it's hard for us to imagine this mythical |
| 5:16 | · | world what remains for the people of the time is the memory of their own |
| 5:23 | · | past the Trojan Horse is a myth it is a myth that Homer tells and |
| 5:29 | · | he tells this myth on the basis of many hundreds of years of oral |
| 5:36 | · | tradition in the period around 1200 BC the Bronze Age Myan Advanced |
| 5:42 | · | civilization collapsed at this time we already have an advanced civilization with palaces with Kings with trade |
| 5:49 | · | relations and all the trimmings but it collapses it loses its |
| 5:54 | · | written form it loses its structures its trade contacts its economic system and |
| 6:01 | · | it falls back to a much simpler civilizational level after the collapse of this Golden |
| 6:09 | · | Era the time of the so-called dark centuries begins it is not until more |
| 6:14 | · | than 400 years later that Homer enters the world stage he is the first to write down the |
| 6:21 | · | stories of the Greeks the ilas and the Odyssey are |
| 6:26 | · | written his epics become the myth of the Century they continue to pose riddles to |
| 6:33 | · | this |
| 6:39 | · | day in the course of this oral tradition elements of each person's own reality of |
| 6:45 | · | Life naturally come into play with everything that Homer writes we have to consider whether it actually |
| 6:51 | · | refers to something that has been handed down from the Bronze Age or to the reality of life in Homer's time both are |
| 6:58 | · | in there [Music] Homer's work establishes a typically |
| 7:04 | · | European material that is still present the hero's journey in search of Fame and |
| 7:09 | · | Glory at any cost the heroic epic in its original |
| 7:15 | · | form this is how we still tell our stories today and the Trojan Horse also |
| 7:21 | · | still fascinates us it represents cunning and treachery on the one hand |
| 7:26 | · | but also shows how easy it is to trick people on the [Music] |
| 7:34 | · | other the horse is a fantasy object just like the leather sack of iOS where he |
| 7:39 | · | keeps the winds those are fantasy objects it's a wonder |
| 7:50 | · | horse even during Antiquity the image of the Trojan Horse changed through |
| 7:55 | · | different depictions copies and translations and The Originals of Homer's texts are |
| 8:02 | · | no longer available early copies are very carefully preserved so that only rarely |
| 8:08 | · | anyone gets to see [Music] |
| 8:16 | · | them perhaps the oldest copy of The Iliad is in London it dates from the |
| 8:22 | · | first century ad and is in |
| 8:28 | · | Greek the Papyrus contains the narrative that has captivated us like no other for |
| 8:34 | · | over 2,500 years recorded in 24 cantos |
| 8:39 | · | and over 15,000 |
| 8:44 | · | verses it's a fascinating idea of course and if it were just a story it would |
| 8:49 | · | work as such but when we think of Homer we have to think of more than a story because |
| 8:55 | · | Homer is like a holy book and a holy book must have something cred |
| 9:03 | · | The Iliad is about the conflict between the Greeks and the Trojans the war initially develops |
| 9:09 | · | between Sparta and Troy and the world of the Gods is also |
| 9:16 | · | involved the Trojan War is triggered by Paris he is the son of pryan the Trojan |
| 9:25 | · | King when the Trojans visit Sparta Paris meets the beautiful |
| 9:30 | · | Helen she is not only the king's wife but is also considered the most beautiful woman in the |
| 9:37 | · | world for Paris it is love at first sight he decides to abduct the beautiful |
| 9:43 | · | Helen to his |
| 9:54 | · | homeland when the Trojans refuse to return Helen the Greeks take this this |
| 9:59 | · | as a reason to take up |
| 10:04 | · | up an impressive Amada of supposedly 1,200 ships sails against |
| 10:15 | · | Troy but the war is not easy for the Greeks to win it lasts 10 grueling years |
| 10:22 | · | Troy's walls stand [Music] |
| 10:28 | · | firm [Music] in this NeverEnding phase of the war the |
| 10:35 | · | attackers become tired begin even to Mutiny some of the exhausted Fighters do |
| 10:42 | · | not want to continue the Dirty War they just want to go back |
| 10:48 | · | [Music] |
| 10:58 | · | home but N9 years of the Great Zeus have already passed us by and already the |
| 11:05 | · | wood of the ships is faltering and the ropes are rotting our wives and our |
| 11:10 | · | infant children sit at home and pine for us but we're here in vain we'll never |
| 11:16 | · | finish the work for which we [Music] |
| 11:27 | · | came let us flee in ships to the dear land of our |
| 11:33 | · | fathers we will never conquer Troy which is spread out far and |
| 11:39 | · | [Music] wide despite the Mutiny and the heavy |
| 11:47 | · | losses on the Greek side |
| 11:52 | · | odyusa Ithaca does not want to give up the end of the war however is sealed |
| 11:59 | · | only by a godsent thought as Homer says a cunning |
| 12:07 | · | trick in pretense the Greeks break off the war and board their ships they leave |
| 12:13 | · | the Trojans a supposed gift a huge horse made of wood as a consecration gift for |
| 12:20 | · | the goddess Athena but in the belly of the horse sit dsus and the best Warriors of the Greeks |
| 12:28 | · | unsus tingly the Trojans drag the horse into their |
| 12:35 | · | [Music] |
| 12:46 | · | city at night the men get out of the wooden horse unnoticed and seal Troy's |
| 12:52 | · | bloody end this is how Homer tells |
| 12:57 | · | it [Music] |
| 13:08 | · | if one goes in search of a more precise description of this night in his texts there is a |
| 13:16 | · | [Music] problem in the ilot Homer only writes up |
| 13:24 | · | to the eve of victory in the Odyssey he continues the story on the after the victory so he |
| 13:30 | · | actually leaves out the night of Troy's destruction in fact the horse the Trojan Horse this deception this great machine |
| 13:38 | · | this mystery this myth is not mentioned by Homer in The Iliad probably because |
| 13:44 | · | it's not an essential part of the story so Homer's Iliad is a dead |
| 13:52 | · | end to find the right source for the Trojan Horse Franchesco tiboni has to |
| 13:57 | · | keep searching |
| 14:03 | · | the underwater archaeologist finds what he's looking for in Homer's second work |
| 14:09 | · | the Odyssey the Epic begins after the fall of Troy and tells of aus desperate |
| 14:15 | · | attempt to return home against the Wrath of the |
| 14:21 | · | Gods Homer describes how adicus after 10 years of wandering strands in a distant |
| 14:27 | · | Kingdom he remains unrecognized at first and is invited to the |
| 14:33 | · | court there he asks the rapidest to sing about the fate of Troy and adicus I.E |
| 14:40 | · | his own |
| 14:49 | · | fate the singer describes the misfortune of the Trojans how they brought the |
| 14:55 | · | wooden horse into the city how the Greeks got out of the horse and defeated the strongly fortified |
| 15:04 | · | Troy Franchesco tiboni was amazed how sparsely the wooden horse was |
| 15:11 | · | described we are not given a description of the horse we have absolutely no description in The Odyssey Homer does |
| 15:19 | · | not describe the horse we don't know what it looked like how big it was whether it had a head legs nothing and |
| 15:26 | · | that is strange because we know Homer as a right is always very meticulous and very precise in his |
| 15:32 | · | descriptions but as far as the horse is concerned nothing is |
| 15:38 | · | precise if the wooden horse was so decisive for the war why does Homer barely describe it in an ancient Greek |
| 15:45 | · | copy of the Odyssey there is only the designation duros |
| 15:57 | · | hippos for Franchesco tiboni however this is the decisive part of the |
| 16:04 | · | script hom speaks precisely of aoras hippos which only became a horse made of wood over the |
| 16:13 | · | centuries what exactly is meant by duros hipos what does it |
| 16:25 | · | mean the oldest documents show that d does not actually mean made of wood but |
| 16:31 | · | of plants for Homer durata is not wood in |
| 16:37 | · | general but is the word he uses to describe the planking of bolts in all sections of the Iliad and the |
| 16:46 | · | Odyssey a horse made from the planks of the ship Homer chooses this specific |
| 16:51 | · | designation at the point in The Odyssey where he recounts the ruse with the wooden horse in more detail |
| 16:59 | · | in the Greek city of patras Thomas hondros professor of engineering has |
| 17:04 | · | calculated how the Greeks might have built the horse for him the wooden horse |
| 17:09 | · | is a war [Music] machine this machine was designed to |
| 17:19 | · | resolve a specific problem of the war and this might be considered as a |
| 17:27 | · | primitive design task they had to invent a specific tool |
| 17:33 | · | to resolve the 10 years SED of |
| 17:39 | · | Troy when the Greeks set out for Troy they probably did not think of building a wooden horse as a war |
| 17:46 | · | machine but since the huge Fleet had to be constantly maintained there were many |
| 17:51 | · | ship |
| 17:57 | · | builders who was the designer of the troyan horse was the chief Naval |
| 18:05 | · | architect of the Greek army in |
| 18:11 | · | Troya when asked where the material for the horse came from hondros thinks of |
| 18:16 | · | the ships of the many warriors who were killed in battle or died of diseases over the years the galleys lay deserted |
| 18:24 | · | and partly rotten on the beach since you have the main part of |
| 18:31 | · | the construction ready which comes from the ready parts from the two halves of |
| 18:36 | · | the sheep then the MS were already available at the time so they could put |
| 18:43 | · | the whole structure on the four masts and secure them on the Chariot on the |
| 18:49 | · | chassis the researcher estimates the weight of the horse at around 5 tons |
| 18:54 | · | with a height of about 9 M and a length of about 11 m they had to pull it with those 28 horses |
| 19:02 | · | to climb upwards and those 28 horses were enough to pull the five tones |
| 19:10 | · | construction up to the top of the hill inside the fores in Homer Stories the |
| 19:16 | · | horse is pulled into the Trojan Castle Thomas hondros has a specific gate in |
| 19:23 | · | mind they call it the dark gate and we |
| 19:28 | · | depicted the entrance of the horse over there we don't know exactly because in |
| 19:34 | · | Homer there is referred another gate that is in a hill Cliff that |
| 19:41 | · | was it it was impossible for the horse to be transported through the gate that |
| 19:47 | · | Homer describes so we found the gate that was |
| 19:52 | · | comfortable for the whole construction to pass through from case studies under ideal |
| 19:59 | · | conditions to reality to the excavation site of Troy |
| 20:05 | · | it is located in the northwest of turkey the legendary city is said to have been |
| 20:10 | · | located on a hill rustem asan has been the excavation director there since |
| 20:17 | · | [Music] 2013 Troy became insignificant about |
| 20:23 | · | 3,000 years ago it remained so until archaeologists discovered its ruins a |
| 20:29 | · | good 200 years ago the imposing complex Bears witness to the city's former |
| 20:43 | · | power the special importance of Troy can also be seen in the numerous defensive walls around the entire city which are |
| 20:50 | · | particularly attributed to the late Bronze Age one can see that Troy took measures |
| 20:58 | · | to protect itself with its strategically important |
| 21:03 | · | location Troy was ultimately a place that everyone wanted to |
| 21:11 | · | own the city of Troy lies on the Dells the only sea route between the |
| 21:17 | · | Mediterranean and the Black Sea an important trade route in the late Bronze Age at that time Troy controlled |
| 21:25 | · | shipping traffic levied custom duties and became a flourishing |
| 21:31 | · | Metropolis in 1870 it was a German archaeologist who set out in search of |
| 21:37 | · | the legendary City Hinrich schan suspects that Homer's Troy is on the |
| 21:43 | · | hill of hij |
| 21:50 | · | Alik he begins to dig and makes a find schleman succeeds in uncovering the |
| 21:57 | · | various settlement layers and causes a worldwide |
| 22:15 | · | sensation Shan's work aimed to prove this important site |
| 22:23 | · | archaeologically he wanted to prove that the scenes from The Iliad were a historical |
| 22:34 | · | fact the remains of Troy have been found but what led to the city's |
| 22:48 | · | downfall humer Iliad describes how Helen p and Paris watch the battlefield from |
| 22:54 | · | The Fortress wall they see the Trojan Warriors trying to recapture the lower |
| 23:00 | · | City this is one of the most important and tragic scenes in The |
| 23:08 | · | Iliad in Homer's epics the war ends Troy's Heyday research allows several |
| 23:15 | · | conclusions did a great final blow seal the end of the city or a long series of |
| 23:22 | · | grueling Wars and natural disasters |
| 23:29 | · | especially at the south gate there are clear signs of Destruction and the objects found such as arrowheads other |
| 23:37 | · | tools of war and skeletons although not many prove that they were not buried but |
| 23:43 | · | simply lay there Troy was destroyed in a single War |
| 23:52 | · | a fire or an attack from outside |
| 24:03 | · | fore fore Troy was like a |
| 24:09 | · | fortress in some places the inner city walls were 5 m thick and 10 m High |
| 24:16 | · | impregnable by the standards of the time only thanks to their cunning could the Greeks overcome the walls but would the |
| 24:24 | · | Trojans have been fooled by a wooden horse there is evidence of many horse Bones |
| 24:31 | · | from the final phase of the Bronze Age this shows us that horses were of great |
| 24:37 | · | importance to the Trojans in the Elliot Homer also speaks of a Troy that has |
| 24:43 | · | beautiful ponies beautiful horses the ruins of Troy do not provide |
| 24:50 | · | an answer to the riddle of the Trojan Horse just as Homer failed to describe |
| 24:56 | · | the horse in detail in in both the Iliad and the Odyssey the archaeological finds |
| 25:01 | · | in Troy leave many questions [Music] |
| 25:09 | · | unanswered Franchesco tiboni did not get far on the trail of the horse the |
| 25:15 | · | hippo perhaps the term duros made of planks gives a |
| 25:21 | · | clue in Malta he meets the Marine archaeologist Tim gambin the research Archer is |
| 25:28 | · | investigating a shipwreck from the time of Homer we were serving off schend Bay |
| 25:35 | · | using a a high resolution Sona in this uh in this area and one of the targets |
| 25:40 | · | we came across some somewhere here turned out to be this uh this this |
| 25:45 | · | beautiful ancient shipwreck which is considered to be the uh the oldest one in the in the central |
| 25:51 | · | Mediterranean the ancient wreck is not easy to reach the dive is not only technically |
| 25:57 | · | but also physically extremely |
| 26:09 | · | demanding it's a very challenging site the site is uh situated at a depth of uh |
| 26:16 | · | 110 M so the boat is tied directly over the site it takes divers about uh 8 |
| 26:23 | · | minutes to descend we've got a maximum of 12 minutes on the site and after 12 |
| 26:29 | · | minutes the divers would have been in the water for a total of uh of 20 minutes then they start this slow slow |
| 26:39 | · | Ascent for the short stay at the wreck the divers have to allow an additional 5 |
| 26:44 | · | hours for the ascent but the effort is worth it for gambin and his |
| 26:52 | · | team the first sign that material will be well preserved is this gray material |
| 26:58 | · | this is big news for us because now we have a good indication that the wooden |
| 27:04 | · | remains of the ship will be there the wreck at the bottom of the sea promises to be a treasure for |
| 27:11 | · | archaeologists it is a ship of the Phoenicians legendary seaf farers who |
| 27:16 | · | once ruled the Mediterranean their trading bases stretched from the Eastern Mediterranean |
| 27:23 | · | to the Atlantic we know next to nothing uh |
| 27:29 | · | about Phoenician ship building so yes one of our primary aims is to uh locate |
| 27:36 | · | uh uncover and and and study um the uh the wooden remains of this of this |
| 27:42 | · | Phoenician [Music] ship it will be several years before the |
| 27:50 | · | wreck can be [Music] |
| 27:56 | · | salvaged the archaeologists meticulously bring up parts of the cargo including |
| 28:03 | · | ancient amrey these allow the scientists a glimpse into the |
| 28:15 | · | past this is an emper 2,700 years old this is of the 7 Century |
| 28:21 | · | BC that is the time of Homer it could well be that while |
| 28:28 | · | leaving the port of shendi the ship was using the the cape as a waypoint to now |
| 28:35 | · | change direction and continue on its Journey something that in in in in |
| 28:40 | · | homeric seaf fairing or or or or homeric descriptions of sea fairing comes up quite often I I believe that first of |
| 28:47 | · | all an open mind is necessary to to better understand the ancient myths |
| 28:54 | · | because we can read the homeric epics and just see them as these sort of |
| 29:01 | · | Fantastical descriptions but not very deep under the surface you can actually |
| 29:07 | · | link um these these these descriptions to |
| 29:16 | · | [Music] |
| 29:25 | · | realities Homer describes the pH S as skilled seafarers construction plans of their |
| 29:31 | · | ships however have not yet been |
| 29:37 | · | found Franchesco tiboni discovers depictions of Phoenician ships ancient |
| 29:43 | · | reliefs show them with horses heads did Homer know this type of ship from his |
| 29:48 | · | own |
| 29:53 | · | observations these ships were called hippos or Hippo meaning |
| 29:59 | · | horse they were probably about 15 M long and were built with a horse's head at the bow or at the bow and Stern and were |
| 30:06 | · | ships of levantine origin we know very well that the early |
| 30:12 | · | Greeks already knew this type of ship for tibon the question arises |
| 30:20 | · | whether the Homer could have meant the Phoenician type of ship the hippos by duros hippos was the Cho horse a ship |
| 30:29 | · | seaf fairing plays a major role in Homer's narratives therefore his texts are an |
| 30:36 | · | important source for studies on Ancient seaf fairing Osman eort also refers to |
| 30:42 | · | the Greek poet for over 30 years he has been collecting data referring to the |
| 30:47 | · | construction of ancient [Music] ships Homer is a very important traveler |
| 30:55 | · | who recorded his travels in writing and whose word can be relied upon fortunately he existed and we can refer |
| 31:03 | · | to him from this point of you he is of course an important source for those of us who want to rebuild an ancient |
| 31:10 | · | ship but Homer was not a ship Builder he was only an observer in his travels he |
| 31:16 | · | only observed how the ships were built and how they were launched into the [Music] |
| 31:24 | · | water we can't communicate the whole subject by just writing articles about it in books and journals what we do is |
| 31:31 | · | called experimental archaeology we only get the experimental findings through our project |
| 31:39 | · | work for this reason Osman aut and his team are rebuilding ancient ships |
| 31:45 | · | including a hippos there are various techniques that have been handed down for joining planks one method is the |
| 31:53 | · | tongue and groove technique another is the so-call lacing |
| 31:59 | · | Technique we gain knowledge by building the hippo how is it loaded how are the sales the or is used the best way to get |
| 32:08 | · | answers is to just build |
| 32:13 | · | [Music] |
| 32:19 | · | it Homer describes the lacing of the planks as a ship building technique of the |
| 32:25 | · | Greeks the planks were fir connected to each other with the help of ropes when |
| 32:30 | · | the boat is launched they automatically pull together the boat becomes tight and |
| 32:36 | · | stable the poet also describes the Greek's huge Fleet |
| 32:42 | · | knowledgeably in his catalog of ships in The Iliad he meticulously lists which |
| 32:47 | · | ships sailed against Troy Franchesco tiboni is convinced that |
| 32:52 | · | Homer did not mean a horse but a ship |
| 32:58 | · | the idea of the horse and the ship is very widespread in Antiquity that is the parallel between |
| 33:05 | · | horse and ship is even so widespread that there are texts in which ships are described as |
| 33:12 | · | Horses it was common in Antiquity to call ships horses we find the first |
| 33:18 | · | evidence of this in Homer's fourth kto there the ships are called hilos hippo |
| 33:24 | · | that is horses of the sea and then there is evidence of this in all ancient literature up to late |
| 33:32 | · | Antiquity the Greek ships as Horses of the sea an image from |
| 33:39 | · | mythology in fact posidon is the god of the sea but also the god of horses and |
| 33:45 | · | he sails across the sea with a team of horses not as we might expect with a |
| 33:55 | · | ship [Music] |
| 34:07 | · | despite all the evidence there are early accounts that speak against the theory of the Trojan Horse as a |
| 34:16 | · | [Music] ship the representations of the Trojan |
| 34:23 | · | Horse already since the time of Homer or very shortly after are real |
| 34:28 | · | horses so the Trojan hippos was obviously already considered a horse by Homer |
| 34:35 | · | himself for him it was a horse if a misunderstanding happened |
| 34:40 | · | here between the hippos as a ship and the hippos as a horse this misunderstanding must have happened in |
| 34:46 | · | the time of this oral tradition between the collapse of the meinian civilization and the recovery of writing in Homer's |
| 34:55 | · | time |
| 35:02 | · | for example from the early 7th Century we have the pythos and mikonos a RF |
| 35:07 | · | pthos with Rich figurative decoration and there very prominently on the neck |
| 35:12 | · | is the horse of Troy the image on The Clay Pot suggests |
| 35:18 | · | that Homer's audience understood the hippo to be a horse from the |
| 35:24 | · | beginning of course I cannot ignore the fact that the idea of a horse as an animal was already present in ancient |
| 35:31 | · | iconography in the 7th |
| 35:41 | · | Century the illustrations show very different Trojan horses down to the smallest |
| 35:50 | · | detail for tiboni this precisely is a |
| 35:55 | · | contradiction not even two depictions can be assigned to one |
| 36:05 | · | [Music] prototype the horse is a fantasy you can fill it and it has been filled in the |
| 36:12 | · | beginning with Homer it's all still very plain black and white television but in late Antiquity it becomes more and more |
| 36:19 | · | colorful so in late Antiquity you have a horse in Technic |
| 36:24 | · | color more than 600 years after Homer a Roman author with a masterpiece in Latin |
| 36:31 | · | fuels the myth of the Trojan Horse [Music] |
| 36:37 | · | Vergil in fact the horse is much more horse in Virgil than in |
| 36:43 | · | Homer in Homer the Whole Thing Remains relatively in limbo linguistically |
| 36:49 | · | speaking Homer could speak of a horse but he could also speak of a |
| 36:55 | · | ship tiboni knows the impact of Virgil's |
| 37:04 | · | epic Virgil is the author who first introduced the idea of a horse into Roman culture or rather he's the one who |
| 37:11 | · | permanently Consolidated |
| 37:19 | · | it in Virgil's work the ined the story of the Trojan Horse is further |
| 37:25 | · | embellished in it he describes how the cokan warns the Trojans about the |
| 37:32 | · | trickery of the Greeks and the wooden |
| 37:39 | · | horse wretches he cries from afar what frenzy delusion oh ye |
| 37:45 | · | citizens do you think the enemy has sailed away and do you hope that a gift |
| 37:51 | · | will come from the Greek people do you know ulyses thus |
| 38:01 | · | here either the Greeks are secretly locked in the wood or the armor was built in our |
| 38:07 | · | walls to look high into the houses and to approach the city from above or else |
| 38:13 | · | it holds treachery do not trust the Steed oh you |
| 38:22 | · | Trojans Virgil is a very learned poet he has the idea deal of the POA do the |
| 38:28 | · | Learned poet not only had he studied Homer but he also knew the secondary literature very |
| 38:35 | · | well there were all kinds of interpretations for example it's a war machine a Siege engine a battering ramp |
| 38:42 | · | all kinds of things were invoked and Virgil knew this discussion and used it for his |
| 38:55 | · | poetry Virgil's description is indeed the description of a horse up to the point |
| 39:02 | · | where he translates duro's hippos as EOS lenos thus he finally transforms it into |
| 39:08 | · | a wooden |
| 39:14 | · | horse why would the Trojans drag the Greek's wooden horse into the bowels of their Castle after 10 years of bitter |
| 39:22 | · | Warfare perhaps one of the greatest reines of the 20th Century Can Shed light on the |
| 39:29 | · | [Music] matter around 1330 BC a ship fully laden |
| 39:39 | · | with treasures from various countries sailed along what is now the Turkish Coast the merchant ship is said to have |
| 39:46 | · | sunk in a storm off cape |
| 39:55 | · | urun in 1982 a sponge diver discovers the |
| 40:03 | · | cargo of an ancient wreck it is a chance |
| 40:19 | · | find the Salvage by archaeologists begins 2 years later during the numerous |
| 40:25 | · | Dives it turns out that the wreck could not have been a simple merchant ship the cargo indicates that it must |
| 40:32 | · | have been on a special Mission scientists spent more than 10 years diving the wreck harun aash is one |
| 40:41 | · | of the leading underwater |
| 40:49 | · | archaeologists this find is one of the greatest discoveries of the last century because the uluburun wreck has made |
| 40:55 | · | accessible a unique body of knowledge about bronze AG ship |
| 41:06 | · | building since 1984 the wreck of urun has also been a project for experimental |
| 41:13 | · | archaeologist Osman [Music] |
| 41:18 | · | OT theun simply has everything the oldest sails found so far the oldest |
| 41:24 | · | Keel the oldest rudder everything you can think of in terms of |
| 41:34 | · | [Music] details in addition to the important information about ship building the urun |
| 41:42 | · | recck offers another unique treasure this ship is no ordinary cargo |
| 41:47 | · | ship in no other ship do we have a cargo that has such a wide variety of raw materials and other precious items all |
| 41:54 | · | this shows that there was an exchange on a royal level on no normal ship would you find |
| 42:01 | · | 22 anchors 150 amarai 10 tons of copper and a ton of tin that's an enormous |
| 42:08 | · | cargo and very expensive even nowadays the destination of the journey |
| 42:13 | · | was the Myan |
| 42:25 | · | Empire on the ulon archaeologists found seals |
| 42:30 | · | and personal items belonging to two high ranking officials unusual passengers on |
| 42:36 | · | a simple merchant ship researchers therefore suspect that |
| 42:42 | · | the uroon is evidence of diplomatic relations in the late Bronze Age it is |
| 42:48 | · | possible that the practice of giving gifts of precious goods between kingdoms was common at the time consider |
| 42:58 | · | if the urun ship is accepted as evidence of a ruler's gift as payment or tribute |
| 43:03 | · | to a prince then this is crucial for Research into the historical truth surrounding the Trojan |
| 43:10 | · | Horse because this boat sank towards the end of the 14th century BC that is |
| 43:15 | · | shortly before the destruction of |
| 43:21 | · | [Music] tro [Music] |
| 43:33 | · | at the time of H it was mainly the Phoenicians who ventured far out with their ships they had outstanding |
| 43:39 | · | nautical [Music] |
| 43:44 | · | knowledge their ship building technology enabled them to establish dominance in the |
| 43:50 | · | Mediterranean or at least to play a decisive role in trade |
| 43:57 | · | the Phoenicians built ships with Technologies they developed themselves including the hippo the boats |
| 44:04 | · | with the horse's [Music] |
| 44:22 | · | head according to Homer's narrative the Trojan Horse was a GI from the Greeks to the |
| 44:27 | · | Trojans if it had really been a ship a hippo would the Trojans have accepted it |
| 44:33 | · | as a gift Francesco tiboni is convinced of |
| 44:53 | · | [Music] this as evidence for his theory he brings |
| 44:59 | · | into play the so-called bronze freeze of balawat it depicts the subjugation of |
| 45:04 | · | various peoples before the Assyrian King sanasar III including seafarers in their |
| 45:15 | · | ships here above all two hippo are depicted or rather there are three metal |
| 45:20 | · | bands with two hipo per band and there are Phoenician ships we can tell that |
| 45:26 | · | they are phenician by this pointed headgear and clothing they bring their tribute after |
| 45:32 | · | defeat in a battle in a war for control of the sea |
| 45:38 | · | Lanes so here we see what basically happened in Troy it was a war for the control of the sea roots and the loser |
| 45:45 | · | paid his tribute with a |
| 45:51 | · | hippo the fact that we find the hippo at this gate they are paid as tribute by by the losers at the end of a war is very |
| 45:58 | · | important for my research we know that these bolts loaded |
| 46:05 | · | with lepus laeli gold silver precious metals and ivory very often came from |
| 46:11 | · | Phoenician territory they were Phoenician boats Phoenician hipo or predecessors of the |
| 46:18 | · | hipo used for the payment of |
| 46:24 | · | tributes the bronze reliefs depicting the hippo for the Assyrian King are dated to the |
| 46:32 | · | 9th century BC whether Homer was aware of the custom of such gestures and included them in |
| 46:39 | · | his epic cannot be proven [Music] |
| 46:45 | · | however if we imagine that the horse is left on the beach or the ship called the |
| 46:51 | · | horse is left on the beach then it is quite conceivable that the Trojans |
| 46:56 | · | understand it as a gift left by the Greeks at the end of the |
| 47:06 | · | war but if the cargo was meant as a tribute why would the Trojans pull the |
| 47:12 | · | whole ship into the [Music] |
| 47:24 | · | city the story only works because the Greeks leave a v of gift which is meant |
| 47:30 | · | for Athena this means that it belongs to the goddess Athena and must be brought to |
| 47:37 | · | the sanctuary of Athena which is located in the |
| 47:45 | · | [Applause] city the Greeks at the time of Homer Franchesco tiboni surmises could assume |
| 47:52 | · | that a ship Left Behind would be understood as a gift and a sign of retreat and the Trojans in turn would |
| 48:00 | · | have accepted this form of submission and brought the hippos to their city in |
| 48:05 | · | the certainty that the grueling War for Troy was finally [Music] |
| 48:15 | · | [Music] [Applause] |
| 48:20 | · | [Music] over |
| 48:29 | · | [Music] |
| 48:35 | · | as researchers we must always be in search of the truth that is what drives us we must not be afraid to debunk the |
| 48:42 | · | myths and dare to make difficult interpretations I have tried to be constantly in search of the truth a bit |
| 48:50 | · | like Ulisses starting a journey without knowing the entire route you have to have the courage to |
| 48:56 | · | move forward even if the current is against you and try to reach your destination your itha and your |
| 49:12 | · | Truth The Legend of the war for Troy was only passed on orally for many centuries |
| 49:18 | · | until Homer immortalized it in his epics the tales continue to have an |
| 49:24 | · | effect the Trojan Horse of yester year has long since become part of today's |
| 49:35 | · | culture the Trojan horse has been seen as a horse for 2,000 years in literary |
| 49:42 | · | terms it was a horse and not a ship this means that it must have at least |
| 49:47 | · | appealed to Something in people's imagination that there was a wooden horse that was then pulled into the city |
| 50:04 | · | it is the story of the end of a legendary city after endless years of bloody |
| 50:11 | · | battles brought about by the cunning adicus he is the hero of |
| 50:19 | · | Troy whether a hippo a horse of the sea or a larger than life wooden horse so |
| 50:25 | · | the Greeks as a hiding place and seal Troy's downfall cannot be proven despite |
| 50:31 | · | exciting research the myth of the Trojan Horse |
| 50:36 | · | lives [Music] |
| 50:54 | · | on |
| 51:06 | · | [Music] |
| 51:22 | · | [Music] |
| 51:29 | · | [Music] |
| 51:37 | · | |
