Chapter 2 Sacred Space and Landscape ح ل 2. ح ل ٠ خء ح وي ح خظ ح طز ٤ ؼ ٤ ش

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1 Chapter 2 Sacred Space and Landscape ح ل 2. ح ل ٠ خء ح وي ح خظ ح طز ٤ ؼ ٤ ش ح وي ش I. Introduction A. Religion and Tourism: Travel and religion have been connected for thousands of years through pilgrimage, and travelling with a spiritual purpose is something that continues on a considerable scale to this day. Indeed, pilgrimage, or what some people prefer to describe as spiritual tourism, increased significantly throughout the latter part of the twentieth century, aided in part by the increasing ease with which it is possible to travel and the increased leisure time enjoyed by many. Because people travelling to sacred places have the same needs as other tourists (e.g. places to eat and to stay, and souvenirs of their trip), many traditional pilgrimage centres have engendered complex service industries. B. Religion and Leisure: Religion and leisure are also linked not only in space but in time too: many national holidays originated in religious holy days, and many people spend at least some of their leisure time visiting places that can be defined as sacred. ح ي ٣ ح ٤ خكش: هي ط ر ٢ ل ح ي ٣ ٥ ف ح ٤ ه ح لؾ ح ل ح ك ٢ ح ٢ ء ح ١ ط ح ػ ٠ طخم ز ٤ كظ ٠ ٣ خ ح. ك ٢ ح حهغ ح لؾ أ خ ٣ ل ٠ رؼ ح خ ق ؼ ح ٤ خكش ح ك ٤ ش ٣ خىس ز ٤ س ك ٢ ؿ ٤ غ أ لخء ح ء ح ٧ ه ٤ ح و ح ؼ ٣ خػي ك ٢ ؿ ء ح ش ح ظ ح ٣ يس ح ظ ٢ ح ح ل ٣ خىس هض ح ل حؽ ح ظ ٢ ٣ ظ ظغ ر خ ؼ ٤. ٧ ح خ ح ل ا ٠ ح ٧ خ ح وي ش ي ٣ ل ح كظ ٤ خؿخص ٤ خف أه ) ؼ أ خ ظ خ ح طؼخ ح زوخء ح يح ٣ خ ح ظ خ ٣ ش ك ظ ( ٣ ؼ ٤ ح ؼي ٣ ي ح ح لؾ ح ظو ٤ ي ٣ ش خػخص ح وي خص ح ؼويس. ح ي ٣ ح ظ ك ٤ : ط طز ٢ ح ي ٣ ح ظ ك ٤ أ ٠٣ خ ٤ كو ٢ ك ٢ ح ل ٠ خء ك ٢ ح هض ح خ ذ ؿيح: ح ؼي ٣ ي ح ٧ ػ ٤ خى ح ٤ ١ ش ؤص ك ٢ ح ٣٧ خ ح وي ش ح ي ٤ ٣ ش ؼ ٤ ح خ ٣ و ٠ ػ ٠ ح ٧ ه رؼ أ خ ٣ خ س أ هخص ح ل حؽ ح ظ ٢ ٣ طؼ ٣ ل خ ػ ٠ أ خ " وي ش." 1. Religion: It is something that people do, and something that structures people s lives (i.e. it is not only about beliefs). Religion may involve rituals or ideas that seem unlikely or even ridiculous to outsiders, but it is part of the job of the academic study of religion to explain how people see the world and what informs how they act in it. II. What makes a place sacred? A. Sacred places may be natural landscape features or human constructions; inside or outside; ancient or modern. Their sacredness may be widely recognised and agreed upon, or acknowledged only by particular groups or individuals. The sacredness or special nature of a place may be connected with the presence of a particular person or divine figure, with a significant event, or with something about the location or natural feature itself. ح ي ٣ : ا ح ٢ ء ح ١ ٣ لؼ ح خ ٢ ء ك ٤ خس ٤ خ ح خ )أ ١ أ خ ٤ ض كو ٢ ك ح ؼظويحص(. هي ط ط ١ ػ ٠ ى ٣ ح طو أ ح ٧ ك خ ح ظ ٢ طزي ؿ ٤ ح لظ أ كظ ٠ و ٤ لش رخء ا خ ؿ ء ح ؼ ح ي ح ش ح ٧ خى ٤ ٣ ش ح ي ٣ ف ٤ ق ٣ خ إ ٣ ش ح ؼخ خ ٣ ز ؾ ٤ ق ٣ ظ ك ك ٢ ي. خ ح ١ ٣ ؼ وي ش ح خ هي ط ح ٧ خ ح وي ش ق ح ي ح طز ٤ ؼ ٤ ش أ ح آص ح ٩ خ ىحه أ هخ ؽ. ح وي ٣ ش أ ح لي ٣ ؼش. هي ٤ ظ خ ٣ ح ػظ حف ػ ٠ طخم ح غ ح طلخم ػ ٤ خ أ حػظ ف كو ٢ هز ؿ خػخص أ أك حى ؼ ٤ ش. هي ط طزطش هي ٤ ش أ ح طز ٤ ؼش ح وخ ش خ غ ؿ ى و ؼ ٤ أ و ٤ ش ا ٤ ش غ كيع ز ٤ أ غ ٢ ء ػ هغ أ ٤ س ح طز ٤ ؼ ٤ ش ل خ. Activity (p.39): In this activity you are asked to read extracts from the works of scholars interested in defining what makes some places (and people, objects, animals and events) sacred rather than profane or ordinary.

2 As you read the extracts, pay particular attention to claims about who or what makes places sacred. At the end of the activity, you should be able to summarise a range of interpretations of the word sacred and understand some of the differences of opinion and approach to the topic among scholars of religions. The first two extracts are from the work of an influential but increasingly controversial historian of religion, ك ٢ ح ح خ ١ ٣ ط ذ ي ه حءس وظطلخص أػ خ ح ؼ خء ح ظ ٤ ك ٢ طلي ٣ ي خ ح ١ ٣ ؼ رؼ ح ٧ خ ) ح خ ح ٤ ٧ خء ح ل ٤ ح خص ح ٧ كيحع( وي ش ري طي ٤ أ ػخى ٣ ش. خ ٣ ي ه حءس وظطلخص ا ٣ ء ح ظ خ هخ طخ زخص ك أ خ ح ١ ٣ ؼ ح ٧ خ ح وي ش. ك ٢ خ ٣ ش ح خ ١ ٣ ذ أ ط هخى س ػ ٠ ط و ٤ ػش ح ظل ٤ حص ش "ح وي ش" ك رؼ ح و كخص ك ٢ ح أ ١ ح ؾ ح ظزغ ك ٢ ح ح ع ر ٤ ػ خء ح ٧ ى ٣ خ. وظطلخص ح ٤ ٧ ٢ ػ ئ م ئػ ح ؼ ٤ ي ظ ح ٣ ي ح ي ٣ Mircea Eliade: Whatever the historical context in which he is placed, homo religiosus [the ideal religious person] believes that there is an absolute reality, the sacred, which transcends this world but manifests itself in this world, thereby sanctifying it and making it real. (Eliade, 1961, p. 202) Man becomes aware of the sacred because it manifests itself, shows itself, as something wholly different from the profane. To designate the act of manifestation of the sacred, we have proposed the term hierophany. It is a fitting term, because it does not imply anything further; it expresses no more than is implicit in its etymological content, i.e., that something sacred shows itself to us. It could be said that the history of religion from the most primitive to the most highly developed is constituted by a great number of hierophanies, by manifestations of sacred realities. From the most elementary hierophany e.g. manifestation of the sacred in some ordinary object, a stone or a tree to the supreme hierophany (which, for a Christian, is the incarnation of God in Jesus Christ) there is no solution of continuity. In each case we are confronted by the same mysterious act the manifestation of something of a wholly different order, a reality that does not belong to our world, in objects that are an integral part of our natural profane world. (Eliade, 1961, p. 11) Succinctly opposing Eliade s view, the next extract is from Kim Knott s book The Location of Religion: A Spatial Analysis: Nothing is inherently sacred, but things, places, persons, and events are attributed with that quality by societies, groups, or individuals according to their own cultural context. (Knott, 2005, p. 221) A more extensive presentation of this view is found in the following extract from a book about American sacred spaces which draws attention to the inherently contested nature of all sacred spaces: Sacred space may be set apart, but not in the absolute, heterogeneous sense that Eliade insisted upon. Against all the efforts of religious actors, sacred space is inevitably entangled with the entrepreneurial, the social, the political, and other profane forces. In fact, [...] a space or place is often experienced as most sacred by those who perceive it at risk of being desecrated by the very forces economic, social, and political that made its consecration possible in the first place. In one way or another, [we seek to] set to rest the Eliadian notion that the sacred is necessarily the opposite of the profane or absolutely separate from the profane. [...] [The] assertion that the sacred irrupts or manifests is a mystification that obscures the symbolic labor that goes into making space sacred. It erases all the hard work that goes into choosing, setting aside, consecrating, venerating, protecting, defending, and redefining sacred places. This mystification is even more seriously misleading, however, when it covers up the symbolic violence of domination or exclusion that is frequently involved in the making of sacred space. Sacred places have been exploited by dominant political and economic interests, and they have been reclaimed and even desecrated by those who have been dominated or excluded, all in the context of often violent contests over power and purity. (Chidester and Linenthal, 1995, p. 17) ٤ ٤ خ ا ٤ خى ١ : أ ٣ خ خ ح ٤ خم ح ظخ ٣ و ٢ ح ١ ط ؼ ٢١ ] religiosus ح و ح ي ٢ ٣ ح ؼخ ٢ [ ٣ ؼظوي أ خى حهؼخ ح ط ن ح وي ح ١ ٣ ظخ ح ح ؼخ ٣ ظ ٠ ك ٢ ح ح ؼخ رخ ظخ ٢ ح ظوي ٣ ؿؼ خ كو ٤ و ٤ ش. 1

3 ٣ زق ؿ ػ وي ٣ ظ ٠ ٧ ٣ ظ ل ٤ جخ وظ لخ ٤ خ ػ ح ي. ي ش ػ ٠ كؼ ظ ظخ وي ش حهظ ك خ ػ ٠ ٤ ك ٢ ح ي. ط ق ح خ ذ ٣ ؼ ٢ ٧ أ ١ ٢ ء آه. أ ٣ ؼز ػ أ ؼ خ ٢ ك ٢ ٠ خ ح ظوخه ٢ أ ١ أ ٤ جخ خ ٣ ظ ح وي ش ل خ رخ زش خ. ٣ ح و أ طخ ٣ ن ح ي ٣ - ح ٧ ؼ ريحث ٤ ش ا ٠ ح ٧ ؼ طط ح - ش ػيى ز ٤ hierophanies ه ظخ ح لوخثن ح وي ش. ٤ ك ٢ أر ٢ - ػ ٠ ز ٤ ح ؼخ ظ ظخ وي ش ك ٢ رؼ ؿ ح ؼخى ٤٣ ك أ س - ا ٠ ٤ ك ٢ ح ٧ ػ ٠ )ح ١ رخ زش ٤ ل ٤ ش ط ي هللا ك ٢ ح ٤ ق ٣ ع( ٤ خى ك ظ ح ٣ ش. ك ٢ كخ ش حؿ ل ح لؼ ؿخ - ظ ظخ ٢ ء ع وظ ق ط خ خ حهغ ط ظ ٢ ا ٠ ػخ خ ك ٢ ح ٤ ٧ خء ح ظ ٢ ٢ ؿ ء ٣ ظ أ ي ٣ خ ح طز ٤ ؼ ٢ "طي ٤ " ح ؼخ. ؼخ ش رب ٣ خ ػ ا ٤ خى ١ ح ظو حؽ ح ظخ ٢ ظخد ٤ ص ك ٢ ح هغ ح ي ٣ : طل ٤ ح خ ٢ : ٤ خى خ وي رطز ٤ ؼظ خ ط ذ ح ٤ ٧ خء ح ٧ خ ح ٧ وخ ح ٧ كيحع غ أ ػ ٤ ش ح ظ ؼخص أ ح ػخص أ ح ٧ ك حى كوخ ٤ خم ح ؼوخك ٢ ح وخ ر. ط ح ؼؼ ػ ٠ ػ أ ؼ ؿ ش ح ظ ك ٢ ح وظطق ح ظخ ٢ ظخد ػ ح خكخص ح ٤ ٣ ٧ ش ح وي ش ح ظ ٢ ط لض ح ظزخ ا ٠ ١ ز ٤ ؼش ح ظ خ ع ػ ٤ خ رطز ٤ ؼظ خ ؿ ٤ غ ح ٧ خ ح وي ش: هي ٣ ظ طؼ ٤٤ خ وي ػ ٠ كيس ٤ ك ٢ ح ؼ ؿ ٤ ظخ ش ح ط ن ح ١ ا ٤ خى ١ أ ػ ٤ خ. ي ح ى ح خص ح ي ٤ ٣ ش ح ل ٠ خء ح وي ظ خر خ كظ خ غ ط ظ ٤ ح خ ٣ غ ح ؿظ خػ ٤ ش ح ٤ خ ٤ ش ه حص "طي ٤ " ح ٧ ه. ك ٢ ح حهغ ]...[ ؿخ زخ خ يص ح ل ٠ خء أ ح خ خ أهي هز أ جي ح ٣ ٣ ظ ا ٤ خ ك ٢ هط ح ظؼ ظي ٤ هز ه حص ؿيح - ح هظ خى ٣ ش ح ؿظ خػ ٤ ش ح ٤ خ ٤ ش - ح ظ ٢ ؿؼ ض ط ٣ خ ك ٢ ح وخ ح ٧. رط ٣ وش أ رؤه ] ؼ ٠ ا ٠ [ غ حكش ك س Eliadian أ ح وي رخ ٠ س ػ ح ي أ ل ش ط خ خ ػ ح ي [...]. ]ا [ ح ظؤ ٤ ي ػ ٠ أ irrupts ح وي ش أ ر ٤ خ خص طؼ ٤ ش أ ٣ لذ ح ؼ ح ١ ح ١ ٣ ذ ا ٠ ؿؼ وي ح ل ٠ خء. كب ٣ ل ح ؼ ح خم ح ١ ٣ ذ ح ٠ حهظ ٤ خ غ ؿخ زخ ط ٣ طز ٤ ك خ ٣ ش ح يكخع ػ اػخىس طلي ٣ ي ح ٧ خ ح وي ش. ح طؼ ٤ ش أ ؼ ٠ ش ػ ٠ ل ح ي ػ ي خ طظ ظ ػ ٠ ح ؼ ق ح ١ ٤ ش أ اه خء ح ظ ٢ ط خ ى ك ٢ ؼ ٤ ح ٧ ك ٤ خ ك ٢ غ ح ل ٠ خء ح وي. ط ح ظ ح ٧ خ ح وي ش هز ح خ ق ح ٤ خ ٤ ش ح هظ خى ٣ ش ح خثيس خ هي ط ح ظ ك خ كظ ٠ طي ٤ هز أ جي ح ٣ ٤ ٣ أ ح ظزؼخى خ خ ك ٢ ٤ خم خروخص ك ٢ ؼ ٤ ح ٧ ك ٤ خ ػ ٤ لش ػ ٠ ح طش ح وخء. 2 مهم Discussion: The most obvious difference between these various definitions of sacred is that Eliade asserts that the sacred reveals itself, while Knott, Chidester and Linenthal insist that sacrality is always the product of human efforts. While all the authors recognise that sacred places (or people, animals, objects or events) are somehow separate from other places, i.e. those identified as ordinary or profane, Knott, and Chidester and Linenthal make it absolutely clear that they think sacredness is made, not found. Rituals in particular make places sacred. The word sacred indicates the deliberate separating or setting apart by particular people of whatever is thereafter labelled sacred. People make places sacred by separating them off from other places, perhaps initially with rituals and thereafter by acting in different (perhaps sacred ) ways within them. Knott offers the strongest statement ( Nothing is inherently sacred ) in opposition to Eliade s view. Chidester and Linenthal s extract adds the recognition that because the labour of defining what is sacred always excludes everything else it is a process entangled in powerful social, political and economic interests. In the part of their work that follows the extract above, they go on to cite the example of Jerusalem: at one and the same time a sacred city and a place of conflict. Stonehenge and Avebury, Glastonbury, and Milton Keynes do not provide such stark illustrations of what Chidester and Linenthal call violent contests over power and purity, but they are venues of disagreement and diversity. Some aspects of these disagreements are mentioned on the DVD Video, which we will come to in a while. ح ل م ح ٧ ؼ كخ ر ٤ ح ظؼ ٣ لخص ح وظ لش وي أ ا ٤ خى ١ ٣ ئ ي أ " وي ش" ط ق ػ ل خ ك ٢ ك ٤ ٣ ص ط ٤ ي ظ Linenthalأ ٢ sacrality ىحث خ ظخؽ ؿ ى ح ٩ خ. ك ٢ ك ٤ طؼظ ف ؿ ٤ غ ح ئ ل ٤ أ ح ٧ خ ح وي ش )أ ح خ ح ل ٤ ح خص ح ٤ ٧ خء أ ح ٧ كيحع( ل ش رط ٣ وش أ رؤه أ خ أه أ ١ ط ي ح ظ ٢ ط طلي ٣ ي خ خ ػخى ٣ ش أ ي ش ص ط ٤ ي ظ Linenthal ؼ ح ح ق ط خ خ أ ٣ ؼظوي ع هي ٤ ش ٣ ظ ح ؼؼ ػ ٠. ح طو ك ٢ ؿؼ ؼ ٤ ح ٧ خ ح وي ش. ش 'ح وي ش' ط ٤ ا ٠ ك ح ظؼ ي أ غ ر ف ح ظ هز ح خ ؼ ٤ خ لض رؼي ي وي ش. ح خ ؿؼ ح ٧ خ ح وي ش ػ ٣ ١ ن ك أؿز ط خ ػ ٠ ح ل ح أ خ أه ر خ ك ٢ ح زيح ٣ ش غ ح طو رؼي ي ه ح ؼ ك ٢ وظ ق ح ط م ) ر خ 'ح وي ش'( ىحه خ. طوي ص أه ر ٤ خ )'٤ خى خ وي رطز ٤ ؼظ '( ك ٢ ح ؼخ ش أ ١ ا ٤ خى ١. ٤٠٣ ق ط ٤ ي ظ Linenthalح ظو حؽ ح ػظ حف رؤ ٧ ح ؼ طلي ٣ ي خ وي ىحث خ ٣ ظزؼي ٢ ء آه ر ػ ٤ ش ظ خر خ ك ٢ ح خ ق ح ؿظ خػ ٤ ش ح ٤ خ ٤ ش ح هظ خى ٣ ش ح و ٣ ش. ك ٢ ؿ ء ػ ح ١ ٣ ظزغ ح ظو حؽ أػ ٣ ز ا ٠ ح ظ خى ر ؼخ ح وي : ك ٢ حكيس ل ح هض ي ٣ ش ح وي ش خ خ حع. ظ ؾ أ ٣ لز ١ ؿ ظ ز ١ ٤ ظ ٤ ط ك ؼ ح ح ظ ٤ ل ٤ ش خ هش خ ٤ ٣ ط ٤ ي ظ " Linenthal خروخص ػ ٤ لش ػ ٠ ح طش وخء" خ أ خ ح و ف ح ظ ع. رؼ ؿ ح ذ ح و كخص ػ ٠ ك ٤ ي ٣ ى ١ ك ٢ ى ١ ح ظ ٢ ف ؤط ٢ ا ٤ ك ٢ ك ٤. B. Underlying these divergent definitions of sacred is the question of the status of religious explanations. Eliade proffers religious definitions (sacred places manifest themselves), while the other authors insist that this begs the question. Religious explanations are what academic research sets out to discuss; they do not form the answers. When Chidester and Linenthal write about mystification they are accusing Eliade of presenting a religious belief rather than an academic argument. Much of Eliade s work promotes his own religious world view. It neither respects the different views of people he claims to be discussing, nor does it interrogate these claims from a non-religious perspective. Eliade encourages others to become homo religiosus rather than aiding them to engage critically with the actual data presented by diverse religious and cultural phenomena. ح خ ش حء ح ظؼ ٣ لخص ح ظزخ ٣ ش " وي " ؤ ش غ ح ظل ٤ حص ح ي ٤ ٣ ش. ا ٤ خى ١ proffers ح ظؼخ ٣ ق ح ي ٤ ٣ ش )ح ٧ خ ح وي ش طؼز ػ ل خ( ك ٢ ك ٤ ط ح ئ ل ٤ أه أ ح ٣ ط ف ح ئح. ح ظل ٤ حص ح ي ٤ ٣ ش ٢ خ ٣ ليى ح زل ع ح ٧ خى ٤ ٣ ش ا ٠ خه ش. أ خ ط اؿخرخص. ػ ي خ ط ٤ ي ظ Linenthalح ظخرش ػ "طؼ ٤ ش" ح ٣ ظ ا ٤ خى ١ طوي ٣

4 3 ح ؼظوي ح ي ٢ ٣ ري كش ح ٧ خى ٤ ٣ ش. ح ؼ ٤ ح ؼ ا ٤ خى ١ ٣ غ ر ي أ ١ ح ؼخ ح ي ٢ ٣. ح خ طلظ ؿ خص ظ وظ لش ح خ ٣ يػ ٢ أ خه ش خ أ ح ظ حد ح طخ زخص ظ ؿ ٤ ى ٢ ٣. ا ٤ خى ١ ط غ ح ٥ ه ٣ ظ زق "religiosus ٢١ 'ري خػيط ػ ٠ ح و ح ١ ر كخ غ ح ز ٤ خ خص ح لؼ ٤ ش ح ظ ٢ هي خ ح ظ ح ح ي ٤ ٣ ش ح ؼوخك ٤ ش ح ظ ػش. C. When we turn, as we do shortly, to the question of the religious significance of Stonehenge and Avebury, Glastonbury, and at least parts of Milton Keynes, our task must involve: 1. an attempt to understand what different religious people do and think, but it must not stop there. 2. We shall attend to the contested and multiple understandings of places that some people consider sacred, while others proffer different views. By examining what sacred means to a range of groups and individuals we shall gain a better understanding of the material and ideological construction of places as aspects of the formation, maintenance and contestation of identities performed in relation to those places. ػ ي خ ظو خ لؼ ك ٢ هض ه ٣ ذ ؤ ش ح ٤ ٧ ش ح ي ٤ ٣ ش ظ ؾ أ ٣ لز ١ ؿ ظ ز ١ ػ ٠ ح ٧ ه أؿ حء ٤ ظ ٤ ٣ ذ أ ط ط ١ ظ خ:. 1 لخ ش ل خ ٣ لؼ ح خ ح ي ٤ ٣ ش ح وظ لش ح ظل ٤ ٣ ذ أ طظ هق ػ ي ح ح لي.. 2 ل ٣ ذ ك ٠ ا ٠ طلخ خص ح ظ خ ع ػ ٤ خ ظؼيىس ح ٧ خ ح ظ ٢ ح زؼ ٣ ؼظز وي ك ٢ ك ٤ أ آه ٣ ٣ ؼ ؿ خص ظ وظ لش. ه ى ح ش خ ٣ ؼ ٢ " وي ش" ػش ح خػخص ح ٧ ك حى ٣ ذ ػ ٤ خ ح ل ػ ٠ ك أك ٠ خىس ح ٣٧ ي ٣ ؿ ٢ ر خء أ خ ؿ ح ذ ط ٤ ح ٤ خ ش ح طؼ ح ٣ خص ٣ ئى ٣ خ ك ٤ خ ٣ ظؼ ن رظ ي ح ٧ خ. D. Different Approaches to Sacred Sites 1. Some religious people might agree with Eliade s claims, especially the notion that sacred places are revealed not made, found not formed. They are sacred because of something inherent in themselves, not because people make them sacred. 2. Yet we shall see that other people not only accept that some places are set aside as sacred, sometimes with considerable expenditure of effort, but also value the diversity of opinions about them as somehow indicating that they are special, at least. 3. Others may doubt the sacredness of particular places which, nonetheless, they greatly value as places to visit for a range of meaningful purposes, including leisure, the acquisition of knowledge, commerce and employment. وخ رخص وظ لش حهغ ح وي ش. 1 رؼ ح ظي ٤ ٣ هي ٣ ظلن غ ح طخ زخص ا ٤ خى ١ هخ ش ك س أ ٣ ظ ح ق ػ ح ٧ خ ح وي ش ط ي ؿيص أ ط ٤ خ. 'ح وي ' ر زذ ٢ ء ظؤ ك ٢ كي حط خ ٧ ٤ ح خ ؿؼ خ وي ش. 2. غ ي كب خ أ ح ٥ ه ٣ ٣ وز ا أ ٣ ظ طؼ ٤٤ رؼ ح ٧ خ ؿخ زخ رخػظزخ خ وي ش أك ٤ خ خ غ ح ٩ لخم ز ٤ ح ح ي أ ٠٣ خ ه ٤ ش ط ع ح ٥ حء ك خ ط ٤ رط ٣ وش أ رؤه أ هخ ػ ٠ ح ٧ ه. هي 3. آه ٣ ك ٢ هي ٤ ش ح ٧ خ ح وخ ش ح ظ ٢ غ ي كب خ وي ؼ ٤ ح ؤ خ ٣ خ س ػش ح ٧ ؿ ح حص ر خ ك ٢ ي أ هخص ح ل حؽ ح ظ خد ح ؼ كش ح ظخ س ح ؼ. III. Stonehenge and Avebury 42): (p. Activity Look at the maps, photographs and illustrations of Stonehenge and Avebury (Figures and Plates in the Illustration Book) and jot down your impressions and responses. If you have visited either or both places you could add a brief summary of your memories. ظ ؾ أ ٣ لز ١ ح خ ١. ظ س ػ ٠ ح و حث ٢ ح ح ح ظ ٤ ل ٤ ش ظ ؾ أ ٣ لز ١ )أ هخ زخص ك ٢ ط ٤ لخص ظخد( طي ٣ ح طزخػخص ى ى. ا ح ه ض ر ٣ خ ط خ أ ٤ خ ح ٧ خ ٣ ي ا خكش و وظ ٠ ذ ٣ خطي. Discussion: Your impressions and responses to these places are as valid as anyone else s. They are part of the data about the multiple understandings and reactions to places that can be labelled sacred places. At the end of this chapter we shall invite you to reflect further on your notes about all the places discussed here. A. UNESCO (the United Nations Educational, Scientific, and Cultural Organization) has registered Stonehenge and Avebury as a combined World Heritage Site. They are described thus: Stonehenge and Avebury, in Wiltshire, are among the most famous groups of megaliths in the world. The two sanctuaries consist of circles of menhirs arranged in a pattern whose astronomical significance is still being explored. These holy places and the nearby Neolithic sites are an incomparable testimony to prehistoric times. (UNESCO, )

5 After your consideration of the problem of adopting religious explanations, it may strike you as peculiar that UNESCO uses religious language ( sanctuaries and holy ) here. In fact, UNESCO s listing of sacred sites elsewhere follows a similar practice of respecting the views of religious insiders. In the case of Stonehenge and Avebury, it also uses the language of archaeology ( megaliths, menhirs, neolithic and prehistoric ). Perhaps sanctuary has a double reference here, as the term is not only synonymous with temple but was, according to the antiquarian and eyewitness William Stukeley ( ), also the name given by local people to two concentric circles of standing stones at the end of an avenue leading to and from the larger Avebury circles, until its destruction in the winter of The UNESCO text also hints at the contested issue of the possible astronomical significance of the pattern of standing stones. But it begins and ends on a celebratory note that chimes with the notion that these are famous parts of a global heritage shared by all humanity. The majority of visitors to these sites come as tourists, but it is undoubtedly the case that among the many reasons for visiting (not least, an interest in ancient cultures and heritage, and the aesthetic appeal of the sites) a general sense that these are or were sacred places is significant. In the wider context in which tourism accounts for a significant portion of contemporary leisure (catered for by an expanding industry) places of religious interest are common venues for encounters between religiously committed and more broadly interested or curious visitors. ح طزخػخطي ح ى ى ػ ٠ ح ٧ خ خ لش ؼ أ ١ و آه. ؿ ء ح ز ٤ خ خص ك ح ظلخ خص ى ى كؼ ظؼيىس ا ٠ ح ٧ خ ح ظ ٢ ٣ أ ط ق "ح ٧ خ ح وي ش". ك ٢ خ ٣ ش ح ح ل ل يػ ى ٣ ي ح ظؤ ك ٢ ح كظخص ك ؿ ٤ غ ح ٧ خ خه ظ خ خ. ح ٤ ) ظ ش ح ٧ ح ظليس ظ ر ٤ ش ح ؼ ( ض ظ ؾ أ ٣ لز ١ هغ ظ حع ح ؼخ ٢ ظ ؼش. لض أ خ ػ ٠ ح ل ح ظخ ٢ : ظ ؾ أ ٣ لز ١ ك ٢ ٣ ظ ٤ ٢ ر ٤ ح لجخص ح ٧ ؼ س ك ٢ ح ٤ ؼ ٤ ش ك ٢ ح ؼخ. طظ ح وي خص حػ ٤ ى حث ح ظ زش طزش ك ٢ ٢ ح ١ ٣ ح ٣ ١ ح ظ خف أ ٤ ش ح ل ٤ ش. ح ٧ خ ح وي ش ح حهغ ح و ٣ زش ح ؼ ح ل ١ ح لي ٣ غ ٢ خىس ط ٠ خ ٠ ؼ خ هز ح ظخ ٣ ن. رؼي ح ظ ح وخ ش ري ش حػظ خى ح ظل ٤ حص ح ي ٤ ٣ ش هي د ؿ ٣ زش خ ٣ ظوي ح ٤ ش ى ٤ ٣ ش )' ل ٤ خص' 'ح وي ش'( خ. ك ٢ ح حهغ هخث ش ح ٤ حهغ ح وي ش ٣ ظزغ أ ١ خ آه خ ش خػ ش حكظ ح آ حء ح ط ؼ ٤ ح ي ٢ ٣. ك ٢ كخ ش ظ ؾ أ ٣ لز ١ كب ٣ ظوي أ ٠٣ خ ش ػ ح ٥ ػخ )'ح ٤ ؼ ٤ ش' 'ح ظ زش' 'ح ؼ ح ل ١ ح لي ٣ غ " " خ هز ح ظخ ٣ ن "(. ر خ " ح" ي ٣ ؿؼ ٤ ش ى ؿش خ ك ٤ غ أ ح ط ق ٤ حىكخ كو ٢ غ ' ؼزي' خ كوخ ى ح ؼ ٤ خ أػ ٣ ش ٤ ٣ خStukeley أ ٠٣ خ ح ح ؼط ٠ هز ح خ ح ل ٤٤ ػ ٤ ى حث ظليس ح ح لخ س حهلخ ك ٢ خ ٣ ش ٤ ش حثيس ا ٠ ح ي حث أ ٣ لز ١ أ ز كظ ٠ طي ٤ خ ك ٢ ظخء ػخ ط ٤ لخص ح ح ٤ أ ٠٣ خ ك ٢ ح و ٤٠ ش ح ظ خ ع ػ ٤ خ ح لظ ش "أ ٤ ش ح ل ٤ ش" ٢ ح لخ س حهلخ. ٣ زيأ ٣ ظ ٢ ػ ٠ س ح كظلخ ٤ ش أ ٣ غ ك س أ ٢ أؿ حء ح ٤ س ح ظ حع ح ؼخ ٢ ح ظ ى هز ح ز ٣ ش ؿ ؼخء. ؿخ ز ٤ ش ح ح حهغ طؤط ٢ ٤ خف ح ح لخ خ ي ك ٤ أ ر ٤ أ زخد ؼ ٤ س ٣ خ س )٤ آه ح لش ك ٢ ح ؼوخكخص ح وي ٣ ش ح ظ حع ح ح خ ٢ حهغ( ؼ ػخ رؤ ٢ أ خ ض ح ٧ خ ح وي ش ز ٤ س. ك ٢ ٤ خم أ غ ط ح ٤ خكش ؿ ءح ز ٤ ح ح ظ ك ٤ ح ؼخ ) ز ٤ ض هز خػش ط ٤ غ( ح ٧ خ حص ح ٤ ٧ ش ح ي ٤ ٣ ش ح ظ ٢ ٢ أ خ ظ ش وخءحص ر ٤ ح ح ح ظ ٤ أ ؿ ٣ زش ح ظ ٤ ى ٤ ٣ خ ػ ٠ طخم أ غ. تابع الحل B. Once you have said that they are arrangements of standing stones within roughly circular banks and ditches, and that they are located near other interesting and often enigmatic features (especially burial mounds, and other landscape features including Silbury Hill, at Avebury the largest artificial mound in Europe), everything else may be contested. 1. To say that these are prehistoric monuments may be to suggest that they are only of archaeological interest, or that current archaeological theories about the origins of a place should somehow determine its current meanings. 2. To say that Stonehenge has an entrance marked by outlying standing stones and an avenue that points to the sunrise on the summer solstice may be to privilege only one possible interpretation of the site as a focus for midsummer rituals. 3. Both contemporary Druids and heritage managers use the terms archaeological monument and sacred place in describing Stonehenge and Avebury, variously valuing the intersection between the ancient and presentday celebration of something at Stonehenge. 4. Even talking about standing stones invites further debate: for everyone who sees the stones as inanimate rock (inert matter), there are others for whom the stones are living and active participants in sacred ceremonies. ر ى ح ظ خء هخ أ ط ط ٤ زخص ح لخ س حهلخ ىحه ح ز ى ح و خىم ىحث ٣ ش طو ٣ زخ أ خ طوغ رخ و د ؿ ٤ خ ح ٤ حص ظ خ ؿخ زخ خ ح ز ش )ط ح يك هخ ش ٣ ظ ٤ ح ي ح ٥ ه ر خ ك ٢ ي ٠ زش ٤ ز ١ ك ٢ أ ٣ لز ١ - أ ز ح ظ ش ح ط خػ ٤ ش ك ٢ أ رخ( ٢ ء آه هي ٣ ح ظ خ ع ػ ٤ خ.. 1 ا ح و رؤ ٢ هي ط آػخ خ هز ح ظخ ٣ ن ط ٤ ا ٠ أ كو ٢ حص أ ٤ ش أػ ٣ ش أ أ ح ظ ٣ خص ح ٧ ػ ٣ ش ح لخ ٤ ش ك أ خ ٣ ذ طلي ٣ ي كي خ ؼخ ٤ ح لخ ٤ ش.. 2 ا ح و رؤ ظ ؾ يه - ط ٤ ص ح لخ س خ ش ح خث ٤ ش ٤ ش - أ ٤ ٣ ا ٠ م ح ك ٢ ح و د ح ٤ ل ٢ هي ظ ٤ خ ٣ حكي كو ٢ طل ٤ لظ هغ رخػظزخ رئ س طو ظ ق ح ٤ ق..3 ى ٣ ي ح ؼخ س ي ١ ٣ ح ظ حع ح ظويح 'ح ذ ح ٧ ػ ٣ ش "١ " خ وي "ك ٢ ق ظ ؾ أ ٣ لز ١ ؼ خ وظ لش ح ظوخ ١ غ ر ٤ ح كظلخ ح وي ٣ ح ؼخ ٢ ء ك ٢ ظ ؾ. 4

6 5. 4 كظ ٠ ح لي ٣ غ ػ "ح لخ س حهلخ" طيػ ٣ ي ح وخ : ٣ ح لخ س ح و ح خ يس ) ؤ ش ح وخ ش( خى آه ح ٣ ح لخ س ٣ ؼ ٤ خ ٤ ط ٤ ك ٢ ح كظلخ ص ح وي ش Activity (p. 47): Now turn to the DVD Video Sacred Space and Landscape and watch the film about Stonehenge and Avebury. Take note of the variety of activities engaged in by people visiting the sites and what the interviewees claim about these places. How do they compare with either Eliade s or with his critics understandings of sacred place? أ ظو ح ٥ ا ٠ ك ٤ ي ٣ ى ١ ك ٢ ى ١ "ح ل ٠ خء ح وي ح خظ ح طز ٤ ؼ ٤ ش" خ يس ك ٤ ػ ظ ؾ أ ٣ لز ١. ٣ ل ٢٤ ػ خ ظ ػش ح ٧ طش ط خ هز ح ٧ وخ ح ٣ ٣ ح حهغ خ وخر ظ طيػ ٢ ك ح ٧ خ. ٤ ق ٣ وخ ظ خ غ أ ١ ا ٤ خى ١ أ غ "طلخ خص" ظوي ٣ خ وي مهم Discussion: In the film, significant numbers of people are shown celebrating seasonal and cosmic events that appear to be of religious significance to them. Most obviously, the celebration of the summer solstice attracts large gatherings. Some people have felt such a strong attraction to the place that they have moved to Avebury. Some participants stand out because they wear unusual rather than everyday costume. Others perform acts that may appear peculiar to some observers. A group who object to the display of human remains in Avebury s museum, calling for the reburial of ancestral remains, are included as one example of a difference of opinion about the past. Sometimes it is hard to tell whether someone is dressed distinctively (e.g. wearing a blanket) for a religious purpose or because of the weather. Perhaps the notion of religion can dovetail with practical concerns like keeping warm and at the same time legitimise wearing a costume that makes someone distinctive (or reveals them to be so). Similarly, there have been heated debates about whether the solstice celebrations constitute a spiritual gathering or a party, with some seeing these interpretations as necessarily opposed to each other, and others asserting that carnival-like events are inherently sacred. Some of the costumes you can see in the film are almost certainly indicative of a carnivalesque approach to the solstice celebrations, or at least of a playful use of stereotypical images of Druids and wizards. In addition to the various people who are engaging in rituals or parties, the film also shows a number of people who might be described as tourists: people whose purpose in visiting these sites may be identical to their interest in any other archaeological or historical place. Security officials of various kinds and employees of the relevant heritage management groups (English Heritage at Stonehenge, the National Trust at Avebury) are also made visible by their costumes, actions and ways of talking about the sites. In the film you can also hear some claims that support the opinion that places are found to be sacred, and that they attract people because of some inherent sacrality or spirituality that is there whether or not people visit. In other words, people encounter sacredness here. Other people contest this claim and assert that the actions of particular people, perhaps especially the more ritualised actions, actively make Stonehenge and Avebury sacred. While these claims may match those of either Eliade or his critics, you should continue to ponder whether it is sufficient to accept either assertion or whether alternative explanations should be found. C. Pagans and Druids 1. Pagans: It may be sufficient to note here that Pagans identify their religion as a nature religion : the celebration of life in this world rather than an attempt to reach heaven or gain enlightenment. Their celebration of solstices at Stonehenge and Avebury are part of a wider celebration of the ever-changing life-cycles of the earth and all its inhabitants. (See the image of the Wheel of the year, Plate ) 2. Druids: The term Druid is derived from ancient Roman literature, referring to some kind of religious political leaders who held sway up until the Roman invasion of north-west Europe. For example, Julius Caesar says in his campaign histories that the Druids preside over sacred things, have the charge of public and private sacrifices, and explain their religion (Gallic Wars 6:13). In the eighteenth century not only were the Druids credited with the building of Stonehenge and Avebury, but this now discredited notion inspired the architect

7 John Wood the Elder, in his designs for the Crescent and Circus at Bath (see Figure 2.6). He based the dimensions for the Circus on rather idiosyncratic measurements of and theories about Stonehenge and the stone circles at nearby Stanton Drew. The poet and visionary William Blake ( ) identified Britain as bounded by Albion s Ancient Druid Rocky Shore and wrote of Druids as proponents of a Natural religion who erected a stupendous Building on the Plain of Salisbury (Blake, 1979 [1804], pp. 649, 701). 3. Precisely because Pagan and Druidic sacred places are other people s archaeological monuments or tourist venues, few Druids or Pagans forget or ignore alternative and dominant interpretations of these places. Especially at Stonehenge, the power dynamics are evident even when the authorities (in this case the organisation English Heritage, which also labels this a sacred place) strictly control entry. In other words, contemporary Druids offer explanations that might fit both with Eliade s idea that sacred places reveal themselves and with Knott, and Chidester and Linenthal s insistence that people set aside places as sacred. ك ٢ ح ل ٤ طظ أػيحى ز ٤ س ح خ ٣ لظل ح ٧ كيحع ح ٤ ش ح ٤ ش ح ظ ٢ طزي حص ح ٤ ٧ ش ح ي ٤ ٣ ش. ح ٧ ؼ كخ ح كظلخ ح و د ح ٤ ل ٢ ٣ د ح ظ ؼخص ح ز ٤ س. هي أ رؼ ح خ ؼ وطش ؿ د ه ٣ ش ا ٠ ح خ ح ١ ح ظو ح ا ٠ أ ٣ لز ١. ٣ وق رؼ ح خ ٤ ٧ ح طيحء ١ ؿ ٤ ػخى ١ ري ح ٢ ٤. ح زؼ ح ٥ ه أىحء ح ٧ ػ خ ح ظ ٢ هي طظ ؿ ٣ زش زؼ ح حهز ٤. ػش ح ٣ ٣ ؼظ ػ ٠ ػ ح كخص ح ز ٣ ش ك ٢ ظلق أ ٣ لز ١ طيػ ا ٠ اػخىس ىك كخص ح ٧ ؿيحى ط ى ؼخ ػ ٠ حهظ ف ك ٢ ح أ ١ ك ح خ ٢. أك ٤ خ خ ٣ ح ؼذ ؼ كش خ ا ح خ و ٣ طي ١ ظ ٤ ) ؼ ح طيحء ؿطخء( ى ٢ ٣ أ ر زذ ء ح ك ح ح ٣ ش. ؼ ك س ح ي ٣ ٣ أ طظ حكن غ ح ظ خ خص ح ؼ ٤ ش ؼ ح للخظ ػ ٠ ح يفء ك ٢ ح هض ل ا لخء ح ػ ٤ ش ٣ طي ١ ١ ح ١ ٣ ؼ و ٤ )أ ٣ ق خ أ ط ي(. رخ ؼ خ ض خى خه خص خه ش ك خ ا ح خ ض ح كظلخ ص ح و د ط ط ؼخ ح ك ٢ أ ك د غ إ ٣ ش ح ظل ٤ حص ٤ رخ ٠ س غ رؼ ٠ خ ح زؼ زؼ ؿ ٤ خ ئ يح أ ح ٧ كيحع ح ز ٤ ش ح لخ ٢ رطز ٤ ؼظ خ ح وي ش. رؼ ح ر ح ظ ٢ ٣ أ ك ٢ ح ل ٤ ٢ طو ٣ زخ رخ ظؤ ٤ ي ٣ ي ػ ٠ ؾ كظلخ ص carnivalesque ح و د أ ػ ٠ ح ٧ ه ح ظويح ؼ د ح ح ط ٤ ش ي ٣ ي ح ؼخ خص. رخ ٩ خكش ا ٠ وظ ق ح خ ح ٣ ٣ ظ ك ٢ ح طو أ ح ١٧ حف ٣ ظ ح ل ٤ أ ٠٣ خ ػيى ح خ ح ٣ ٣ ل ح ٤ خف: ح ٧ وخ ح ٣ ح ك ٢ ٣ خ س ح حهغ هي ط طخروش لظ ك ٢ أ ١ خ أػ ١ أ طخ ٣ و ٢ آه. ئ أ ٤ وظ ق ح ٧ حع ظل ٢ ح خػخص اىح س ح ظ حع حص ح ش )ح ١ ٤ ح ظ حع ك ٢ ظ ؾ ح ي م ح ٢ ١ ك ٢ أ ٣ لز ١ ( ػش أ ٠٣ خ ث ٤ ش رل ح ٣ ٧ خء ح ٩ ؿ حءحص ز ظليع ػ ح حهغ. ك ٢ ح ل ٤ ٣ ي أ ٠٣ خ أ ط غ رؼ ح طخ زخص ح ظ ٢ طيػ ح أ ١ ح وخث رؤ ح ٧ خ ؿيص ظ وي ش أ خ ط د ح خ ر زذ رؼ sacrality ح خ ش أ ح كخ ٤ ش أ خى أ ٣ ح خ. رؼزخ س أه ح خ ط حؿ هي ٤ ش خ. أ وخ آه ٣ ه ح ح ىػخء ٣ ئ ي أ ط كخص ح خ ؼ ٤ ر خ ه خ اؿ حءحص أ ؼ ١ و ٢ ؿؼ ر خ ١ ظ ؾ أ ٣ لز ١ وي ش. ك ٢ ك ٤ أ ح طخ زخص هي طظطخرن غ ط ي ا خ ا ٤ خى ١ أ ظوي ٣ ٣ ذ أ ٣ ظ ظل ٤ ا ح خ ض خك ٤ ش وز ا خ طؤ ٤ ي أ خ ا ح خ ٣ ز ٢ ا ٣ خى طل ٤ حص ري ٣ ش. ح ػ ٤٤ ى ٣ ي. 1 ح ٤ : هي ٣ خك ٤ خ أ كع خ أ ح ٤ طلي ٣ ي ى ٣ ى "ى ٣ ١ ز ٤ ؼش ': ح كظلخ ح ل ٤ خس ك ٢ ح ح ؼخ ري لخ ش ا ٠ ح خء أ ذ ح ظ ٣. حكظلخ ح و د ح ٢ ك ٢ ظ ؾ أ ٣ لز ١ ٢ ؿ ء حكظلخ ػ ٠ طخم أ غ ح ظ ٤ س رخ ظ ح ى حص ك ٤ خس ح ٧ ؿ ٤ غ خ خ.. 2 ى ٣ ي : ٣ ظن ط ق "ى ٣ ي" ح ٧ ىد ح خ ٢ ح وي ٣ ك ٢ ا خ س ا ٠ ع ح وخىس ح ي ٤٤ ٣ ح ٤ خ ٤ ش ح ١ ػوي ح ظؤػ ٤ كظ ٠ ح ح خ ٢ خ ؿ د أ رخ. ػ ٠ ز ٤ ح ؼخ ٣ و ٤ ٣ ه ٤ ك ٢ ك ظ طخ ٣ و خ أ ى ٣ ي " ثخ ش ح ٤ ٧ خء ح وي ش ي ٣ خ ط ش ح ظ ٠ ل ٤ خص ح ؼخ ش ح وخ ش ف ى ٣ " )ر ى ح خ ح ل د 6:13(. ك ٢ ح و ح ؼخ ػ ٤ كو ٢ خ ض ى ٣ ي ح ل ٠ ك ٢ ر خء ظ ؾ أ ٣ لز ١ ك ٢ ح ل س كويص يحه ٤ ظ خ ح ٥ ح ي ح ؼ خ ١ ؿ ى ح ٧ ز ك ٢ ط خ ٤ ٤ ى ك ٢ رخع. ح ظ ي ك ٢ أرؼخى ٤ ى ػ ٠ ه ٤ خ خص ح لو ٢ ري ح ظ ٣ خص ك ظ ؾ ح ي حث ح ل ٣ ش ك ٢ ح و ٣ ذ ظخ ظ ى. كيى ح خػ ح ز ٤ س ٤ ر ٤ ي ر ٣ طخ ٤ خ خ ٣ لي خ "أ ز ٤ ح خ ح وي ٣ ش " ٢ ظذ ى ٣ ي خ أ خ "ح ي ٣ ح طز ٤ ؼ ٢ " ح ١ ٤ ي " ز ٠ خث ش ػ ٠ خ ٤ ز ١ ". 3 ػ ٠ ؿ ح ظلي ٣ ي ٧ رخهخ ح ٧ خ ح وي ش Druidic أ وخ آه ٣ ك ٢ ح ؼخ ح ٧ ػ ٣ ش أ ح ٧ خ ح ٤ خك ٤ ش ػيى ه ٤ ى ٣ ي أ ح ػ ٤ ٠ أ ظخ ري ٣ ش - طل ٤ حص ح ٧ خ - ح ٤ ش. ه خ ك ٢ ظ ؾ ى ٣ خ ٤ ٤ خص ح طش ح لش كظ ٠ ػ ي خ ح طخص )ك ٢ ح لخ ش ح ظ ش ح ٣ ٤ ش ح ظ حع ح ظ ٢ ط ق أ ٠٣ خ ح خ وي ( ك هخرش خ ش ح يه. رؼزخ س أه ى ٣ ي ح ؼخ س طوي ح ظل ٤ حص ح ظ ٢ هي ط خ ذ غ ك س ا ٤ خى ١ ك ٢ أ ح ٧ خ ح وي ش ط ق ػ أ ل غ ص ط ٤ ي ظ Linenthalك ٢ ح ٩ ح ػ ٠ أ ح خ طليى ح ٧ خ ؿخ زخ وي ش IV. Glastonbury: Activity (p. 49): As you did with Stonehenge and Avebury, look at the photographs and illustrations of Glastonbury (Figure 2.7 and Plates ). Then jot down your impressions and responses, and summarise your memories if you have visited the town. Discussion: Once again, at the end of this chapter we will invite you to reflect further on your notes about all the places we are discussing here. ؿ ظ ز ١. خ ١ خ كؼ ظ غ ظ ؾ أ ٣ لز ١ ح ظ ك ٢ ح ح ح ظ ٤ ل ٤ ش ؿ ظ ز ١ )ح 2.7 زخص (. ػ طي ٣ ح طزخػخص ى ى ط و ٤ ٣ خطي ا ح ه ض ر ٣ خ ط خ ح ي ٣ ش. خه ش: س أه ك ٢ خ ٣ ش ح ح ل ف أىػ ح ش ح ظل ٤ ك ٢ ح كظخص ك ؿ ٤ غ ح ٧ خ ح ظ ٢ خه خ خ. A. Reasons for Attracting Visitors It is mainly natural phenomena that attract attention and myth-making in Glastonbury, and different parts of Glastonbury attract different people. 6

8 Glastonbury could be described as a multivalent location (a place having many meanings). In conventional terms, it is a small town (population c.9000) in rural Somerset. 1. It is probably best known as the venue of an annual performing arts festival (actually held on farmland near Pilton, seven miles from Glastonbury) that attracts large numbers of people with a remarkable array of different motivations and interests. 2. However, our focus is the town itself, because of the attraction it exerts on a variety of spiritual seekers and scholars on account of the many myths that surround it and the myriad claims made for it (Bowman, 1993, 2000, 2005; Ivakhiv, 2001). In popularly accepted chronological order, some believe that Glastonbury was a significant prehistoric centre of Goddess worship, an idea confirmed for present-day devotees by figures of the Goddess they feel they can discern in the very landscape of Glastonbury (Jones, 2000). 3. For others, Glastonbury s significance lies in the claim that it was the site of a great Druidic university, a centre of learning to which people flocked from all over Europe and beyond. 4. There are also those who assert that in Glastonbury the Druids had anticipated the coming of Christianity, and that here the transition from the old religion to the new was smooth. أ زخد ح ظوطخد ح ح أ خ خ ح ظ ح ح طز ٤ ؼ ٤ ش ح ظ ٢ ط د ح ظزخ غ أ ط س ك ٢ ؿ ظ ز ١ أؿ حء وظ لش ؿ ظ ز ١ ؿ د ح خ وظ لش. ٣ ل خ ؿ ظ ز ١ هغ ظؼيى ١ ) خ ؿ ى ح ؼي ٣ ي ح ؼخ ٢ (. ك ٤ غ ح ظو ٤ ي ٣ ش ٢ ي ٣ ش ٤ س 9000.c) ح خ ( ك ٢ ح خ ١ ن ح ٣ ل ٤ ش ك ٢ ض.. 1 ر خ ٣ أك ٠ ح ؼ ف خ ؿخ ح ل ح ك ٤ ش ح ١ )ح ١ ػوي ك ٢ ح حهغ ػ ٠ ح ٧ ح ٢ ح حػ ٤ ش رخ و دPilton زؼش أ ٤ خ ؿ ظ ز ١ ( ح ١ ٣ د أػيحىح ز ٤ س ح خ غ ػش حثؼش ى حكغ خ ق وظ لش.. 2 غ ي ط ٤ خ ح ي ٣ ش ل خ ظ ح خ ر ٤ ش ح ١ ٣ ل ػ ٠ ػش ظ ػش ١ خ ز ٢ ح ك ٤ ش ح ؼ خء ػ ٠ ك خد ح ؼي ٣ ي ح ٧ خ ٤١ ح ظ ٢ طل ٢٤ ر طخ زخص طؼي طل ٠ هي ض ي. ك ٢ ح ظ ط ٤ ذ ح ٢ وز ش ؼز ٤ خ ٣ ؼظوي ح زؼ أ ؿ ظ ز ١ خ ض ح خ خ ػ خ هز ح ظخ ٣ ن آ ش ح ؼزخىس ٢ ك س أ ي لز ك ٢ ح هض ح لخ هز و ٤ خص آ ش أ ٣ ؼ أ خ ٣ أ ظ ق ك ٢ ح ي ؿيح ؿ ظ ز ١.. 3 رخ زش ٦ ه ٣ أ ٤ ش ؿ ظ ز ١ ط ك ٢ ح ىػخء رؤ خ هغ ؿخ ؼش Druidic ز ٤ س ح ظؼ ح ظ ٢ ط حكي ح خ ؿ ٤ غ أ لخء أ رخ هخ ؿ خ.. 4 خى أ ٠٣ خ أ جي ح ٣ ٣ ئ ي أ ك ٢ ؿ ظ ز ١ ى ٣ ي خ ظ هؼخ ٢ ء ح ٤ ل ٤ ش ي خ ح ظوخ ح ي ٣ ح وي ٣ ا ٠ ح ي ٣ ي خ ض ػ ٠ ل. B. Different Interpretations/Significances of Glastonbury 1. Its Significance for Christians For many Christians, past and present, Glastonbury s status has rested on it being the so- called cradle of English Christianity, the point at which Christianity took root in England. Some claim that Joseph of Arimathea (the person who provided a tomb for Jesus, according to the Gospel of St John, 19: 38 42) brought Christianity to Britain and built the first church in the British Isles at Glastonbury. They say that after Jesus crucifixion Joseph arrived in Glastonbury with a staff which he thrust into the ground at Wearyall Hill. The staff took root and became the Glastonbury Thorn, a tree which flowers twice a year, in spring and around Christmas. Each year this legend is celebrated in the Holy Thorn Ceremony and a sprig of the Christmas flowering thorn is sent to the British monarch. (Offshoots of the thorn have been planted in Milton Keynes, among other places.) Joseph is also reputed to have brought with him the chalice used at the Last Supper, the Holy Grail, although in some versions of the legend he brought containers holding the blood and possibly the sweat of Jesus. Even more significantly, many believe that Jesus himself came to Glastonbury with Joseph, and furthermore that he may have spent some time living there before he commenced his ministry. The words of William Blake And did those feet in ancient time Walk upon England s mountains green? And was the holy Lamb of God On England s pleasant pastures seen? (Blake, preface to Milton, ) are widely thought to express this belief. More recently, the Northern Irish musician Van Morrison s song Summertime in England (1980) contains the line Did you ever hear about Jesus walkin, Jesus walkin down by Avalon?, demonstrating the continuing currency of this idea. Traditionally (though questionably) connected with Celtic saints such as Patrick, Bridget, Columba and David (see Carley, 1996, pp ), Glastonbury is regarded by some people as a bastion of Celtic Christianity, suggesting that here was a more nature-orientated, egalitarian, spiritually intuitive form of Christianity than the 7

9 Roman version which many of them consider was later imposed upon it. Some claim this early Christian form was shaped by the insights and esoteric knowledge incorporated from Druids who became Christians. 2. Arthurian Mythology and Glastonbury Van Morrison s lyric also touches on Arthurian mythology. King Arthur, probably a sixth-century Celtic leader, is well known in relation to numerous legends about his followers, the Knights of the Round Table (its roundness denoted equality), who were dedicated to the quest for the Holy Grail (this is never specifically described but is widely thought to be the chalice used by Jesus at the Last Supper). Most of the literary Arthurian myths date from the twelfth century or later, and there are many local legends connecting Arthur with places in Wales and the west country. Glastonbury has been identified with the Isle of Avalon, the place where Arthur was taken for healing after his last battle and where, according to popular tradition, he lies sleeping, waiting to return at a time of great national emergency. This Arthurian connection, apparently reinforced when the monks of Glastonbury allegedly found the bodies of Arthur and his wife Guinevere in the abbey grounds in the twelfth century, was for some further confirmed by the 1920s rediscovery of the Glastonbury Zodiac. By looking at maps and studying topography, artist and sculptor Katharine Maltwood (1964) claimed to discern a huge planisphere or zodiac, ten miles in diameter, in the landscape around Glastonbury. Some see in the Glastonbury Zodiac the original and true Round Table of Arthurian myth. طل ٤ حص وظ لش / ى ص ؿ ظ ز ١. 1 أ ٤ ظ خ رخ زش ٤ ل ٤٤ رخ زش ؼ ٤ ح ٤ ل ٤٤ ك ٢ ح خ ٢ ح لخ هي ح ظ حف غ ؿ ظ ز ١ ػ ٠ ي خ ي ىػخ ح ٢ ح ش ح ٩ ٣ ٤ ش ح ٤ ل ٤ ش ح وطش ح ظ ٢ حطو ص ح ٤ ل ٤ ش ح ٣ ش ك ٢ ح ظ ح. ٣ يػ ٢ ح زؼ أ ٣ ق ح ح ٢ ؿ ذ ح ٤ ل ٤ ش ا ٠ ر ٣ طخ ٤ خ ر ٤ ض أ ٤ ش ك ٢ ح ح ز ٣ طخ ٤ ش ك ٢ ؿ ظ ز ١. ٣ و أ رؼي ذ ٣ ع ٣ ق ك ٢ ؿ ظ ز ١ غ ح ظل ٤ ح ظ ٢ حهظل ض ح ٧ ك ٢ ٤. Wearyall ح ظ م ح ظل ٤ ح ٣ ش أ زق ؿ ظ ز ١ ػ ٢ ح س ح ظ ٢ ح ط ٤ ك ٢ ح ش ك ٢ ح ر ٤ غ ك ػ ٤ ي ح ٤ ى. ٣ ظ ا خ خ ػخ ٣ لظل ح ٧ ط س ك ٢ كل ػ ح ٣ ؿ ح ى خ ش ػ ٤ ي ح ٤ ى ش ر ٣ طخ ٤ خ. ط ظ ؿ ٣ ق أ ٠٣ خ هي أك ٠ ؼ ح ؤ ح ظوي ش ك ٢ ح ؼ خء ح ٧ ه ٤ ح ؤ ح وي ش ػ ٠ ح ؿ أ أك ٠ ك ٢ رؼ ح ٩ يح حص أ ط س كخ ٣ خص ػوي ح ي ر خ ػ م ٣ ع. ح ٧ ي كب ح ؼ ٣ ٤ ٣ ؼظوي أ ٣ ع ل ؿخء ا ٠ ؿ ظ ز ١ غ ٣ ق ػ س ػ ٠ ي أ هي أ ٠٠ رؼ ح هض ح ٣ ٣ ؼ ٤ خى هز أ طزيأ ح ط. خص ٤ ر ٤ ي- كؼ ض ط ي أهيح ك ٢ ح ح وي ٣ ح ٢ ػ ٠ ح ظ ح ح زخ ح و ٠ حء خ ك هللا ح وي ػ ٠ ح حػ ٢ ظؼش ح ظ ح أ ٣ ض - ٣ ؼظوي ػ ٠ طخم ح غ ظؼز ٤ ػ ح ح ػظوخى. ك ٢ ح ٥ ش ح ٧ ه ٤ س أؿ ٤ ش ح ٤ وخ ح ٣ ي ١ ح خ ٢ كخ ٣ "ح ٤ ق ك ٢ ا ظ ح" )1980( ٣ لظ ١ ػ ٠ ه ٢ " ؼض أ ١ هض ٠٠ ػ ٣ ع حطزؼ ٣ ع حطزؼ " ر زش أكخ " خ ٣ ي ػ ٠ ح ؼ ش ح ظ ح ل س. طو ٤ ي ٣ خ )ػ ٠ ح ؿ رظ خإ ( ظ ش غ ح وي ٤ ٣ ظ ٤ ي ؼ رخط ٣ ي ر ٣ يؿ ٤ ض زخ ى ٣ ل ٤ ي ٣ ؼظز ؿ ظ ز ١ هز رؼ ح خ ػ ٠ أ خ ؼو ظ ٤ ي ح ٤ ل ٤ ش خ ٣ ك ٢ رؤ خ خ أ ؼ ح ؿ ح طز ٤ ؼش ح خ حس ري ٤ ٣ ش ك ٤ خ ٤ ل ٤ ش ح وش ح خ ٢ ح ١ ؼ ٤ ح ظ ك ٢ ك ػ ٤ ك ٢ هض كن. ٣ يػ ٢ ح زؼ هي ح ح ؽ ح ٤ ل ٢ ح ز ح ٧ ك خ ح ؼ كش ح زخ ٤ ١ ش أى ؿض ى ٣ ي ح ١ أ زق ح ٤ ل ٤٤.. 2 آ ػ ح ٧ خ ٤١ ؿ ظ ز ١ ح خص ؿ خث ٢ كخ ٣ أ ٠٣ خ ػ ٠ ح ٧ خ ٤١ ح ي آ ػ. ح ي آ ػ ر خ ح ػ ٤ ظ ٤ ي ح و ح خى ح ؼ ف ؿ ٤ يح ك ٤ خ ٣ ظؼ ن ح ؼي ٣ ي ح ٧ خ ٤١ ك أطزخػ ك خ ح خثيس ح ظي ٣ س )ك ٢ ح ظيح س ح خ حس ٣ ( ح ٣ خ ح و زلغ ػ ح ؤ ح وي ش ) ح أريح ق ػ ٠ ؿ ح ظلي ٣ ي ٣ ؼظوي ػ ٠ طخم ح غ أ ٣ ح ؤ ح ظ ٢ ٣ ظوي خ ٣ ع ك ٢ ح ؼ خء ح ٧ ه ٤ (. ؼظ ح ٧ خ ٤١ آ ػ ح ٧ ىر ٤ ش طخ ٣ و خ ا ٠ ح و ح ؼخ ٢ ػ أ ك ٢ هض كن خى ح ؼي ٣ ي ح ٧ خ ٤١ ح ل ٤ ش ح ظ ٢ ط ر ٢ آ ػ غ أ خ ك ٢ ٣ ؿ د ح ز ى. ط ح ظؼ ف ؿ ظ ز ١ غ ؿ ٣ س أكخ ح خ ح ١ حهظ ٤ ي آ ػ ظ ٤ ٠ ي ح حف رؼي أ خ ش ح ؼ ش ك ٤ غ كوخ ظوخ ٤ ي ح ؼز ٤ ش د ح ح ظظخ ؼ ىس ك ٢ هض ح ط ح ة ح ٢ ١ ح ز ٤. ح ح يى آ ػ ػ ص ػ ٠ خ ٣ زي ػ ي خ ٣ ػ زخ ؿ ظ ز ١ ح ؼؼ ػ ٠ ؿؼغ آ ػ ؿظ ؿ ٤ ٣ ل ٤ ك ٢ خكش ح ي ٣ ك ٢ ح و ح ؼخ ٢ ػ خ زؼ أ ي ي هز s 1920 "اػخىس ح ظ خف" 'ؿ ظ ز ١ ى ٣ خى ". ه ح ظ ك ٢ ح و حث ٢ ى ح ش ح ظ ٠ خ ٣ ح ل خ ح لخص خػ ٣ (1964) Maltwood حىػ ٠ أ ظ ق هخ ١ ش ق ح س ح ٤ ٧ ش ح ٠ و ش أ ح ز ؽ ػ س أ ٤ خ ك ٢ ح وط ك ٢ ح ي ك ؿ ظ ز ١. ٣ ح زؼ ك ٢ ؿ ظ ز ١ ى ٣ خى ح ٢ ٧ ح خثيس ح ظي ٣ س "ح لو ٤ و ٢ " أ ط س ح ي آ ػ 3. Centre for New Age Travellers From the 1970s onwards Glastonbury gained a reputation as a centre for hippies, New Age Travellers and people seeking alternative lifestyles and spiritual experiences most prominently, but not only, in the context of the Festival. 4. Centre of Earth Energies Regarded as the epicentre of the New Age in England, Glastonbury is now seen by some as having significance in terms of ley lines (lines of alleged earth energy), and indeed as a node where ley lines converge: an important centre of earth energies. In global terms, Glastonbury is regarded as the heart chakra of planet Earth, or, as one Glastonbury resident puts it, the beginning of where the spiritual energy comes into the physical plane. 5. Communication Point with Aliens In the wake of numerous reports of UFO sightings and crop circles in the area, some feel that it is also an important communication point for extra-terrestrial contact. 8

10 ؿي ٣ ي ح ؼ ح خك sح ظ زض 1970 ك خػيح ؿ ظ ز ١ ؼش ٤ ز ٤٤ ح ؼ ح ي ٣ ي خك ٣ ح ٧ وخ ح ٣ ٣ ظ أ خ ١ ح ل ٤ خس ح زي ٣ ش ح وز حص ح ك ٤ ش - أر خ ٤ كو ٢ ك ٢ ٤ خم ؿخ. ح طخهخص ح ٧ طؼظز رئ س ح ؼ ح ي ٣ ي ك ٢ ح ظ ح ٣ ظ ؿ ظ ز ١ ح ٥ هز ح زؼ ػ ٠ ؿ ى أ ٤ ش ك ٤ غ هطLEY١ ح حهغ خ ػويس ك ٤ غ ط ظو ٢ هط ١ LEY: ح خ طخهخص ح ٧. ػ ٠ ح ؼ ٤ ي ح ؼخ ٢ ٣ ؼظز ؿ ظ ز ١ رخ ' و ح ح و ذ ذ ح ٧ أ رخػظزخ خ حكيس ؿ ظ ز ١ ح و ٤ ٤ ٠٣ ؼ "ريح ٣ ش أ ٣ طؤط ٢ ح طخهش ح ك ٤ ش ك ٢ ح طخث س ح خى ٣ ش." ح ظ ح غ ح ٧ ؿخ ذ وطش ك ٢ أػوخد طوخ ٣ ػي ٣ يس خ يحص ح ٧ ؿ خ ح طخث س ح ش ى حث ح لخ ٤ ك ٢ ح طوش ح زؼ ٣ ؼ أ أ ٠٣ خ وطش حط خ ش ط خ هخ ؽ ح ٧. C. Glastonbury's Multiple Meanings & Important Attractions 1. Mention Glastonbury to some people and they will immediately picture the Tor, a curiously contoured and conical hill that seems to stand alone above the flat Somerset levels. 2. At the foot of the Tor is the Chalice Well, sacred to some for its association with the Holy Grail (its red waters said to represent the blood of Jesus shed for humanity), while others insist it is the menstrual flow of the Goddess. 3. Wearyall Hill is of interest to many Christians as the site of Joseph of Arimathea s arrival in Glastonbury, while for others it is significant as one of the two fish making the sign of Pisces on the Glastonbury Zodiac. 4. On the hill is the Glastonbury Thorn to some, Joseph s staff miraculously rooted in the ground and flowering at Christmas; to others, a remnant of pre-christian tree veneration. 5. At the heart of the town are the ruins of the abbey, brutally dissolved at the time of the Reformation in the 1530s, which remain the focus of Christian devotion and are also significant to others who detect powerful energy lines and traces of sacred geometry there. In effect, Glastonbury is not one place but many; it is a place of parallel pasts and presents. Not surprisingly, we find that these different claims and visions sometimes complement, frequently interact and on occasion compete with each other (see Ivakhiv, 2001; Bowman, 2004). ك ٢ ؿ ظ ز ١ ؼخ ٢ ظؼيىس ح ٧ خ ح خ ش. 1 أ ؿ ظ ز ١ زؼ ح خ أ خ ف ط ك ح ط ط ش حك ٢٤ ح ٣ ذ ح و ٤١ ش ح ظ ٢ ٣ زي أ خ طوق كي خ ك م ظ ٣ خص ض طلش.. 2 ك ٢ لق ط ح ؤ ك خ ح وي ك ٢ رؼ طزخ ١ غ ح ؤ ح وي ش ) هخ ض ٤ خ ك حء ظ ؼ ٤ ى ٣ ع ٣ لي أؿ ح ٩ خ ٤ ش( ك ٢ ك ٤ ٣ آه أ طيكن ح ط غ ش..٤ 3 Wearyall لش ح ؼي ٣ ي ح ٤ ل ٤٤ هغ ٣ ق ح ح ش ك ٢ ؿ ظ ز ١ ك ٢ ك ٤ أ ح زؼ ح ٥ ه أ خ أ رخػظزخ خ حكيس ح ٧ خى حػ ٤ ؿؼ ػ ش ح ل ص ػ ٠ ؿ ظ ز ١ ى ٣ خى.. 4 ك ٢ ح ظ ؿ ظ ز ١ ػ - زؼ ح ظل ٤ ٣ ق ح رؤػ رش ك ٢ ح ٧ ح س ك ٢ ػ ٤ ي ح ٤ ى. ٦ ه ٣ روخ ٣ خ ح ظز ٤ س خ هز ح ٤ ل ٤ ش.. 5 ك ٢ ه ذ ح ي ٣ ش ٢ أ ١ ح ي ٣ ك ض ر ك ٤ ش ك ٢ هض ح ف ك ٢ s1530 ح ظ ٢ ط ح ل ٢ ح ظلخ ٢ ح ٤ ل ٢ ٢ أ ٠٣ خ ش ٦ ه ٣ ح ٣ ق ػ هط ١ ح طخهش ح و ٣ ش آػخ ح ي ش ح وي ش خى. ك ٢ ح حهغ ؿ ظ ز ١ ٤ خ حكي ح ؼ ٤. ر خ خ ح ح ٣ ش ح يح ٣ خ. ٤ ح ظ د أ ي أ ح طخ زخص ح إ ح وظ لش ط ك ٢ رؼ ح ٧ ك ٤ خ ؼ ٤ ح خ طظلخػ أك ٤ خ خ طظ خك غ رؼ ٠ خ ح زؼ Activity (p. 53): Now turn to the DVD Video Sacred Space and Landscape and watch the film about Glastonbury. Particularly note the ways in which different people or groups act in or speak about the same sites in different ways. In which ways does sacredness seem to be constructed, experienced or contested? What different views of Glastonbury are expressed and in which ways do they differ? Is it possible to completely disentangle religious and secular activities and/or motivations? أ ظو ح ٥ ا ٠ ك ٤ ي ٣ ى ١ ك ٢ ى ١ "ح ل ٠ خء ح وي ح خظ ح طز ٤ ؼ ٤ ش" خ يس ك ٤ ػ ؿ ظ ز ١. كظش ٤ خ ح ط م ح ظ ٢ أ وخ أ ػخص وظ لش طؼ ك ٢ أ ٣ ظليػ ػ ل ح حهغ رط م وظ لش. ح ١ ١ م هي ٤ ش ٣ زي أ ٤ يص ١ ح وز س أ ح ظ خ ع ػ ٤ خ خ طوظ ق آ حء ؿ ظ ز ١ ٣ ظ ح ظؼز ٤ ح ١ ح ط م ح ظ ٢ طوظ ق ح ك ط خ خ ح ٧ طش ح ي ٤ ٣ ش ح ؼ خ ٤ ش / أ ح ي حكغ Discussion: Glastonbury exerts an attraction on a wide variety of pilgrims and spiritual tourists many of whom are shown in the film, especially participants in contrasting pilgrimages. In particular, the interviewees reveal that Glastonbury is a contested site: a single place that looks completely different to different people. Nonetheless, it certainly seems that the place is perceived to reveal itself as sacred to many people. Even if Glastonbury boasts at least two springs, two lots of trees and two hills (each either attracting different people or generating different interpretations), various landscape features here are often seen to have an inherent sacredness. Yet again, however, the variety of interpretations suggests that visitors and residents are constructing sacred places with reference to different world views from those of their neighbours or competitors. 9

11 The film clearly shows that Glastonbury has many shops (and thus workers) supporting or benefiting from its religiously inspired visitors. The availability of leisure time enables people to make their visits, but many choose to live in Glastonbury permanently for religious reasons. A wider community of tourists visit the same sites but, perhaps, do so without seeking life-changing or world- view-confirming experiences. Perhaps the distinction between purposeful and purposeless activities (made in Chapter 1) is useful here as a way of distinguishing religion from leisure to some degree. But it is likely that you will have decided that it is not possible to entirely separate the two. ؿ ظ ز ١ ط خ ؿخ ر ٤ ش ػ ٠ ػش ح ؼش ح لخؽ ح ٤ خف ح ك ٢ - ؼ ٤ ز ٤ ك ٢ ح ل ٤ هخ ش ح خ ٤ ك ٢ ح لؾ ح ظ خه ٠ ش. ػ ٠ ؿ ح و ط ق ح وخر ص ح ظ ٢ ؿ ظ ز ١ هغ ح ظ خ ع ػ ٤ خ: خ حكي ح ظ ٢ طزي وظ لش ط خ خ ٧ خ وظ ل ٤. غ ي ٣ زي ح ئ ي أ ح خ ٣ ظ ظ ق ػ ل خ ػ ٠ أ خ وي ش ؼ ٤ ح خ. كظ ٠ طلظو ؿ ظ ز ١ حػ ٤ ػ ٠ ح ٧ ه ح ٤ خر ٤ غ خ ح ؼ ٤ ح ٧ خ حػ ٤ ح ظ ح خظ ح طز ٤ ؼ ٤ ش ح وظ لش ٣ ظ ٤ خ ؿخ زخ خ ٣ ظ أ ٣ خ هي ٤ ش ح خ ش. س أه غ ي كب ح ؼي ٣ ي ح ظل ٤ حص ط ٤ ا ٠ أ ح ح ح و ٤ ٤ ر خء أ خ ح وي ش غ ح ٩ خ س ا ٠ ؿ خص ح ؼخ ح وظ لش ػ ط ي ح ظ ٢ ؿ ٤ ح أ ح خك ٤. ٣ ظ ح ل ٤ ر ف أ ؿ ظ ز ١ ي ٣ خ ح ؼي ٣ ي ح ل ص ح ظخ ٣ ش ح ظ ٢ طيػ أ ح ظلخىس ح خ ك ٢ ى ٤ ٣ خ. ط حك هض ح ل حؽ ٣ ح خ ؿؼ ٣ خ حط ح ؼ ٤ ٣ وظخ ح ؼ ٤ ك ٢ ؿ ظ ز ١ ر ىحث ٧ زخد ى ٤ ٣ ش. ظ غ أ غ ح ٤ خف ٣ خ س ل ح حهغ ر خ أ طلؼ ي ى ح ل ػ ٠ ح ل ٤ خس ح ظ ٤ س أ هخىس ح أ ١ ك ٢ ح ؼخ ئ يح ػ ح وز حص. ؼ ح ظ ٤٤ ر ٤ ح ٧ طش " خىكش" "ؿ ػ ٠ " ل ٤ ي خ ٤ ش ظ ٤٤ ح ي ٣ ػ ح ظ ك ٤ ا ٠ كي خ. ح ؿق أ ٤ ي ٣ ي ه ص أ ٤ ح ك ط خ خ ر ٤ ح ػ ٤. D. Two Extreme Views of Sacred Sites might help to explain Glastonbury s attractiveness: these might be characterised as the empty vessel versus the cornucopia approach. 1. Anthropologists John Eade and Michael Sallnow claim: The power of a shrine [...] derives in large part from its character almost as a religious void, a ritual space capable of accommodating diverse meanings and practices.[...] This, in the final analysis, is what confers upon a major shrine its essential universalistic character: its capacity to absorb and reflect a multiplicity of religious discourses, to be able to offer a variety of clients what each of them desires.[...] The sacred centre, then, in this perspective, appears as a vessel into which pilgrims devoutly pour their hopes, prayers and aspirations. (Eade and Sallnow, 2000, p. 15) Eade and Sallnow s assessment of what makes a sacred centre echoes Knott s assertion that nothing is inherently sacred and that places are attributed with that quality by societies, groups, or individuals according to their own cultural context (Knott, 2005, p. 221). 2. At the other end of the spectrum is the view of the late Anthony Roberts (an alternative publisher and earth mysteries writer): The holy ground of Glastonbury holds many strange secrets. They are heavily festooned with the rich (often gaudy) accoutrements of myth and magic, but they all resolve themselves around a uniformly synergic nexus. This is that the Glastonbury terrain, with its physical and meta-physical alchemies, is a vast orrery [model of the solar system] and teaching environment for revealing (and enhancing) all that is spiritual in the nature of mankind. (Roberts, 1992, p. 18) Roberts (like many others) has a more Eliadian view of Glastonbury, seeing there the manifestation of something of a wholly different order, a reality that does not belong to our world (Eliade, 1961, p. 11). The sacred is perceived as inherent in and revealing itself through the holy ground of Glastonbury, but although people may feel that the landscape can communicate, clearly it tells a number of different stories. The presence and practices of different kinds of Christianity (most obviously, Roman Catholic, Anglican and Orthodox, but also high church and evangelical) at Glastonbury and its abbey both now and in the past resonate with the discussion earlier in this course. Seemingly monolithic structures and circumscribed landscapes serve distinct and even dramatically opposing interests and agendas. أ ٤٣ ح ظط كش حهغ ح وي هي ٣ خػي ػ ٠ طل ٤ ؿخ ر ٤ ش ؿ ظ ز ١ : هي طظ ٤ رخ 'ػخء كخ ؽ " وخر ؾ" ح ك س.". 1 ػ خء ح ٧ ؼ ر ؿ ٤ خ ؿ Eade خ ٣ Sallnow ح طخ زش: ه س ح ]...[ ظ ي ك ٢ ؿ ء ز ٤ ١ خرؼ خ طو ٣ زخ خ ح ل حؽ ح ي ٢ ٣ خكش ١ و هخى س ػ ٠ ح ظ ٤ ؼخد ح ؼخ ٢ ح خ خص ح ظ ػش. ]...[ ح ك ٢ ح ظل ٤ ح خث ٢ خ ٠٣ ل ٢ ػ ٠ ح ث ٢ ٤ ١ خرغ ح ٤ ش أ خ ٤ خ خ: هي ط ػ ٠ ح ظ ٤ ؼخد طؼ طؼيى ح وطخرخص ح ي ٤ ٣ ش ظ هخى س ػ ٠ طوي ٣ ػش ظ ػش ح ؼ ء خ حكي ٣ ؿذ ]...[ ح ح وي ػ ك ٢ ح ح ظ ٣ ظ ػ ٠ ل ٤ ش ا ٠ ح لخؽ ح ظ ٢ ط ذ أطو ٤ خء آ خ ح س طط ؼخط. Sallnow ظو ٤٤ Eade خ ٣ ؼ ح وي ٣ ىى ح ظؤ ٤ ي ص أ ٤ خى خ وي رطز ٤ ؼظ أ ح ٧ خ 'ط ذ غ أ ػ ٤ ش ح ظ ؼخص أ ح ػخص أ ح ٧ ك حى كوخ ٤ خم ح ؼوخك ٢ ح وخ ر ". 2 ػ ٠ ح ط ف ح ٥ ه ح ط ٤ ق أ ١ ح حك أ ظ ٢ ر ط ) خ أ ح ح ٧ ري ٣ ح خطذ:( 10