玛雅译波斯童话,让人想到基督教融合异教的历史——康斯坦丁的基督教大一统——他其实是异教徒。
这些天对圣杯之谜看了几篇文章。不系统。请内行来谈谈。
下面是转载的一篇文章。
What is a Grail?
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by Dr. Linda Malcor
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Medieval authors . . . seem to have been largely unclear about what a grail was. This "fuzziness" has led to an inordinate amount of ink being spilled on the subject by medieval and modern authors alike. In an effort not to add unduly to the dilemma, the following is a brief summary of the argument.
While Sterzenbach and others have asserted that the Grail is always the Chalice of the Last Supper, this is not so. Beginning in the early 1200s, many authors discussed the Grail in a variety of forms: the Chalice of the Last Supper, the Eucharistic chalice, the dish of the Paschal Lamb, the basin in which Pilate washed his hands, and the cup in which Joseph of Arimathea received Christ's blood. In the thirteenth-century Prose Lancelot a vessel, which may be a chalice, appears draped with white samite. Some scholars attribute these multiple forms to "confusion" by the medieval authors. Others suggest that a form, such as the dish, was primary and altered by the later medieval authors to one that made more sense to them, namely, the Chalice. (The figure of Christ in Robert's Joseph says that the vessel that contains the divine blood is "to be called 'calice.'")
The Chalice of the Last Supper is a relic of the Passion. Some scholars argue that the idea of the Grail as the platter preceded the notion of the Grail as the "Kiddush Cup" from the Last Supper, pointing out that the Paschal Dish is not a Eucharistic vessel and that, therefore, the Grail tradition was not influenced by the Eucharistic tradition of the Church. For the motif of the Chalice at the Cross, however, the connection between the Grail and the Eucharistic chalice is generally implicit and often explicit. One exception to this occurs in the metrical Joseph, where though the poet describes the Grail as containing the "blood of the slain god" and compares this vessel to the Eucharistic chalice, the two vessels are apparently distinct in his mind.
All the furor arises over the uncertainty surrounding the meaning of the word graal ("grail"). While some scholars have tried to make a case for the derivation of graal from the Welsh dysgyl, the more convincing etymology has been provided by a contemporary of the Grail romancers. Perhaps the most frequently quoted medieval author concerning the meaning of the word graal, Helinand (d. 1227), the Cistercian abbot of Froidmont (1215) in the diocese of Beauvais, who became one of the "most ardent preachers of the Albigensian Crusade" was a Flemish trouvere who was favored by Philip Augustus. In his chronicle, he derives graal from gradalis and sets the date for a hermit's vision of the Grail at 717-719 A.D. This passage is quoted by Vincent of Beauvais (Speculum Historiaie, 1200s) and John of Tynemouth (Historia Aurea). A contemporary of St. Francis, Helinand was greatly influenced by Bernard of Clairvaux, St. Odilo of Cluny, and Guerric of Igny. Some scholars have argued that Helinand's gradalis did not resemble a chalice but rather a dish on which fish were served. This description, however, is perfectly consistent with some descriptions of the Grail and all of the translations are well within the semantic field of Helinand's gradalis since the very fact that Joseph of Arimathea uses the Grail to catch blood implies that it is a vessel designed to hold liquid. Bergmann concurs with Helinand's etymology, pointing out that the medieval Latin noun m. gradail and n. gradale translate as "vase, goblet, or basin" and that in the south of France these forms became m. grasal and f. grazale. In the Burgundian dialect, which was used by Robert de Boron, the final consonants of Latin words drop off (e.g., grad-alis, grad-ale, gra-alz, gra-al), whereas the pronunciation of vowels sharpens in the dialects of Picardy and Normandy (e.g., gr俛l). It is interesting to note that the word garalis is translated as "a vessel for vinegar or cup"; this may account for a few rare examples of the Chalice at the Cross in the iconographical position that is usually reserved for the vinegar in scenes of the Crucifixion. Frappier concurs with Bergman, pointing out that the 'a' that Chretien de Troyes, author of the Conte del Graal, used in graal is more similar to the Provencal grazal and langue d'oc variations than to the langue d'ol greel.
The Chalice itself generally is formed of precious metal. Glass chalices were known and used in the ancient world, but they were outlawed by Charlemagne. In 873 the word garalis appeared in the will of Count Eberhard von Treviso, the grandfather of the German King Henry I, who left his son Adalardus V, among other items, three silver vessels. In another copy of the same will, the word calix is used for garalis. Similar examples appear in other wills and ecclesiastical inventories. From this evidence, it would appear that the words garalis and calix were interchangeable as were gradalis and scutella, the latter of which becomes escuele, or "vessel." In fact all of these words can be used to designate a chalice of precious metal.
Some scholars have offered various other etymologies for graal. For example, Rudolf Steiner translated graal as coming from gradalis, but he translates gradalis as "gradually." The pseudo-etymology of graal as "agreeable," while interesting and oft quoted, does not sound as reasonable as the etymology submitted by Helinand. In a further development of Helinand's etymology, some scholars propose that the Low Latin cratalis or gradalis derived from Ancient Greek krater, which is likely enough, but then these scholars go on to derive the Grail from the krater of the hermetic cults. The evidence for the motif of the Chalice at the Cross, however, simply does not support such a derivation. And still other authors have interpreted gradalis as the graduale, which was the "service-book or Antiphonary for High Mass."
To further muddy the waters Harwood believes that scholars have superimposed "Christianized themes" on the stories of the Grail as told by the Continuators of Chretien's Conte del Graal and the authors of the later variants. She declares that the Grail is not of the same metal as the other vessels in the Grail Procession and is, therefore, not a communion vessel. Several scholars cite the common reference that women were forbidden to carry such vessels except in the sickbed communion service.The symbolism of the Church, however, was very much in the minds of the medieval authors and artists. This needs to be considered in any discussion of the motif of the Chalice at the Cross. For example, Fisher argues (quite rightly) that, for the men of the Middle Ages, the paten--which covered the chalice and on which the bread, the body of the Lamb according to several medieval texts, was placed--was more likely the Grail than the Jewish dish, through its connection with the Agnus Dei.
By kind permission,
From the dissertation of Linda A. Malcor
THE CHALICE AT THE CROSS
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- posted on 02/11/2004
圣杯是何物已早寻不着根了,但守护不知何物的圣杯(Holy Grail)倒
化费了西方人不少的精神。别的不说,单就瓦格纳就来了两部大歌剧:
罗恩格林和帕西法尔,都有点守护纯真与信约的味道。只是第二部歌剧
太宗教了,只是第二部歌剧太宗教了,瓦格纳生前留言不让在拜罗依特
以外的剧院演出,另外第一场结束还不兴鼓掌或喊BRAVO。
因此,导致与尼采的决裂,从此尼采一门心夸卡门,夸法兰西或是西班
牙的血。
而瓦格纳的圣杯亦即是以音乐盾卫下的杂芜内心。
扯远了,最近不少人提到这个,不知为何? - posted on 02/13/2004
其实大家都在读《达芬奇密码》(The Da Vinci Code) 。
上纽约时报畅销榜了。
有一个老看法。耶稣和抹大拉相爱得子。不是三位一体。
卡赞扎基{耶稣最后的诱惑}就反对耶稣神化。八十年代在北京很流行。就是持此观点。
耶稣和犹大同谋主动上十字架,是为了新世纪。不是犹大叛卖。
密码由此发展。说,圣杯,其实是一个承载血脉的器皿;是子宫;是抹大拉;是女性诗意的象征。。。。。(也有雌雄同性说的成分——androgyny)起码我觉得有意思.
不光是小说玄念有意思,延伸到历史也有意思。比如说,[最后的晚餐]上就没有圣杯;是玻璃杯。是达芬奇故意为之。说,基督的神性是在尼西亚会议上,透过投票获致的;说,耶稣和抹大拉都是皇室后裔,耶稣是所罗门家族,而抹是加西亚家族,是两个皇族联姻;说,基督教是在尼西亚会议后异化为正统的正教合一之产物,不是原教旨。。。。。。不一而足。
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