伦弗鲁的标准对于识别某些语境的仪式是有价值的,我们能根据它很好地识别大规模公共仪式遗址,包括英格兰教堂和巨石墓群。在苏格兰,显然这些标准适用于很多中世纪小礼拜堂或国教堂,比如琴泰半岛的爱奥那岛、鲁德尔岛、哈里斯岛(Ritchie and Harman, 1996),或者圣科伦巴岛、斯凯岛。很显然,这些都是特殊的、专门用于仪式的建筑,它们以封闭的围墙为界,它们的建筑饰有雕刻——在教堂院子和墓地石碑上——一些重复的神像,包括圣徒和圣母玛利亚。作为此地仅存的中世纪石头建筑(这里撇开城堡不论),这些建筑的陈设和费用都是十分可观的。考古学家通过这些遗址的独特面貌和特征,能够轻易地把它们与普通的日常居住建筑遗址区分开。
如洗衣妇故事所揭示,景观现象不只用于协商人类世界的社会关系,也经常是遭遇冥界,甚至不得不与冥界打交道的地方。石冢成为妖魔的住所,也是冥界的入口(MacGregor,1922:28),很多有石冢的山叫做灵山(Sithean),苏格兰高地有大量关于旅行者不幸被诱进灵冢的历险故事。很多这种故事中,人只有紧紧抓住一个金属物(通常为一把刀),才能避免落入妖魔的圈套。还有很多故事讲述人企图拆除或重新使用古石头遗物,结果落入了困境。最后,民俗还记录了在古墓和直立石堆上进行的各种行为,包括放置牛奶或面包等奉献物以安抚妖魔等等。这一行为可从发现于13——14世纪的马儿岛,于青铜时代放置石堆上未去皮烧成了炭的谷物上得到例证(Martlew and Ruggles,1996:128)。
焖火仪式是美妙又有象征性的,仪式表演充满了关切的爱意。灰烬均匀地铺在炉床上(炉床一般在地板中央)并围成一圈。这圈灰烬被分为三个对等的部分,一个圆形金属凸起物在中间。每两堆灰烬之间都放着一块泥炭,三块泥炭倚着中间的金属物,以它作共同的中心。第一块泥炭凭生命之神的名义放下,第二块以和平之神,第三块以仁慈之神。然后这一堆火就被灰烬覆盖了,使得火很弱但不至于熄灭,它被赋以光明三圣的名义。中间微微隆起的那一小堆叫做Tula nan Tri,三圣炉床之意。焖火过程结束,妇女闭上眼睛,伸开她的手并轻声吟诵这种场合惯用的一段套语:
苏格兰和马萨诸塞州的许多人士给我提出过建议,帮我搜寻材料,支持我写作并修改此文。我特别要感谢阿维·斯瓦茨(Ave Schwartz)、伊丽莎白·斯瓦茨 (Elizabeth Schwartz)、马丁·沃布斯特(Martin Wobst)、约翰·麦克唐纳(John Macdonald)、安尼·麦克唐纳 (Anne Macdonald)、雷贝卡·麦凯(Rebecca Mackay)、马丁·威尔德古斯(Martin Wildgoose)以及苏格兰国家图书馆(National Library of Scotland)和爱丁堡大学苏格兰研究学院(School of Scottish Studies, University of Edingburgh)的工作人员。马修·约翰森(Matthew Johnson)和一位匿名评论家对文章的修改建议给了我大量的帮助。本文所做研究受到西格玛研究基金 (Sigma-Xi Grand in Aid for Research)的部分资助。
注释:
①译者注:此处有表二列出物品的范围和用途,以及材料出处,因篇幅有限此处略掉。
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