The Avalonians - Avalon

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Sample chapter:

1. Avalon


The name Avalon has become associated with Glastonbury to a point beyond question. It is everywhere: in house-names, businesses, a school, and more. It has long had a sort of vague acceptance among the local people as something to do with legend, King Arthur and the Grail and all that sort of thing. But to dig deeper, to try to find out why this is so, or how it happened, is to get into a very complicated area indeed. Perhaps we shouldn't worry. Might we not just as well content ourselves with Avalon as a 'feeling', recognized subjectively as a magical point of fusion between the known and the unknown applied to a small area of semi-rural England?

All places breathe their own atmosphere of destiny, hinting at some future deliverance coloured by a nostalgia for a once-known, but lost, past. Glastonbury's is writ larger than most.

The fact of it all lies in the landscape itself: nature has set the scene to allow our myth-making faculties full rein, opening a gateway, a bridge, to another world.

Every nation has its chief holy place. We can think of Jerusalem in the Middle East, Delphi in Greece, Tara in Ireland. For England it is Glastonbury. The name itself is a thing to conjure with, as John Michell shows in his New Light on the Ancient Mystery of Glastonbury:

"It is possible that the first syllable in 'Glastonbury' derives from an old British word for oak or woad, and it has also been linked with Glasteing, a legendary early settler at Glastonbury... but there is no reason to doubt the obvious explanation, that it is a simple translation from Glastonbury's former Celtic name, Iniswitrin, Isle of Glass or Crystal Isle. A glassy isle is mythologically a place of enchantment. Within it is Caer Wydr, the Glass Castle, and Caer Siddi, the Fairy Fort, also translated as the Spiral Castle. The country where these places are to be found is Annwn, the Celtic land of Faery. In The Spoils of Annwn, a poem attributed to the sixth-century Welsh bard, Taliesin, is described how Arthur sailed there to rob its ruler of his magical, pearl-rimmed cauldron which gave sustenance to all who were worthy of it. This vessel seems to have been an early version of the Holy Grail, and Arthur's quest for it in Annwn foreshadows the location in Christian times of the Grail Quest at Glastonbury."

There is little doubt that Glastonbury was a pagan centre long before it became the prime Christian shrine of the West. In ancient times it was a tidal island, a sea-shore place, and, as Geoffrey Ashe has suggested, may have been venerated as one of the 'Isles of the Dead' from which souls passed on into the other world.

From a distance, the landscape is dominated by the strange conical hill known as the 'Tor'. A lone church tower caps its summit, dedicated, as such places nearly always are, to the Archangel Michael. Apart from the lesser hills scattered round and about, the land westward towards the Bristol Channel is flat as far as the eye can see, the shelf of the Mendips to the north and the less dramatic ridge of the Poldens to the south-west. Near the side of the Tor, set in a well cared-for garden, is the ancient chalybeate spring known as Chalice Well. Water pours from it at all times even in periods of long drought.

The town of Glastonbury itself is ranged around the square of roads which frames the extensive grounds of the ruined Abbey, once the largest and grandest in the country. These days there is nothing 'quaint' about the town. There are supermarkets, filling stations, cafés, tourist shops, inns and car-parks. Some eight thousand people live there.

To the west, towards the long-closed railway station and these days intersected by the relief road, runs Benedict Street, passing an ancient church bearing the same dedication. More correctly this should not be Benedict at all, but Benignus, a Celtic personage whose name ought not to have been so blatantly expunged from memory. A half-mile further on, within a system of fields known on old maps simply as 'Bride', is the site of a hermitage and chapel, no longer visible, said to have been occupied by the Irish saint, Bridget, with her community of nuns. Nearby was once a spring known as St. Bride's Well, of which more later. On the southern edge of this area, close to the road leading to the neighbouring shoe-making town of Street, the whale-back shape of Wirral Hill rises up and falls sharply towards the crossing of the River Brue at Pomparles Bridge. This is the 'Weary-all' Hill of the Joseph of Arimathea story, the place where it is said he struck his staff into the ground. This took root, to become the famed Glastonbury 'Holy Thorn' which flowers remarkably every year at Christmas.

It is known that prehistoric settlements existed here. A hundred years ago a local antiquarian, Arthur Bulleid, discovered the foundations of two ancient lake villages, built for security on wooden piles in the sea-marshes a couple of miles or so outside the town.

In more recent times the suggestion has been put forward that the dominant prehistoric culture here was matriarchal - making it pre-eminently a 'goddess' place. This dovetails well with the theory, which we will explore later, that a women's druidic 'college' may have existed at Beckery, on the site of St Bridget's settlement, in early Celtic times.

There are two linked traditions at Glastonbury. The first is that Christianity came to Britain immediately after the crucifixion, with Glastonbury the chosen site of its foundation. The second is that Glastonbury is the ancient 'Isle of Avalon' where, as legend has it, King Arthur and Queen Guinevere lie buried. The two are connected by the story of the Holy Grail. One tradition has it that the uncle of Jesus, Joseph of Arimathea, brought the Cup of the Last Supper with him to Glastonbury, and disposed of it by either, as some say, burying it on Chalice Hill (near Chalice Well), or delivering it to the safekeeping of a secret priesthood. In time its location was forgotten, and this was deemed the cause of the many misfortunes that befell the Kingdom. In the Arthurian romances, the Quest of the Knights of the Round Table is for the recovery of the vessel leading to the restoration of the Waste-Land to life and fecundity. The trouble is that none of these stories comes into any kind of focus before the chronicles and other literature of the eleventh and twelfth centuries. It is not before this time, either, that there is any reference identifying Glastonbury with Avalon.

There are indications that point to a pagan origin for much of the later, Christianized material. This conclusion need not destroy anything for us if we are primarily apprehending these stories on the level of the 'soul', as atmosphere, as poetry. With Christianity came a sea change, an adjustment of the psyche, collectively and individually, which extended but did not demolish, the pagan rapture of the Celtic heart. So, too, the storytelling flowed on the inner currents. There was a new promise of Divine Love, of Transcendent Being, of Deification - but ever the battle with the forces of opposition, of destruction. It is not the place here to discuss the historical complexities of the development of the Glastonbury Arthurian and Avalonian lore, nor is it in my power to do so. The whole ground has already been thoroughly worked over by that greatest of latter-day Avalonians, Geoffrey Ashe, who has lived for more than thirty years in Dion Fortune's former home at the foot of the Tor. In his King Arthur's Avalon, all these questions are carefully sifted through and discussed sympathetically at length.

We should hold it as our basic premise that 'Avalon' is something spiritually real and valid, something that can be recognized by those whose destiny it is to travel close to the heart of 'inner' things. We can allow that it has both an identity with the location known as Glastonbury and a meaning on a level which transcends it. During the nineteenth century, an awareness gained momentum of what might generally be called 'The Matter of Britain'. Precisely where this revival began, if it had ever wholly died, is debatable. Possibly with certain poets; possibly within certain Masonic, Rosicrucian groups; certainly with William Blake. In his writings Blake foresaw a spiritual destiny for Britain, personified as the giant Albion, and the birth of a new awareness in men and women.

The idea that the sleeping Arthur might return, and that this represented something, took hold. Tennyson was the most notable exponent of the Arthurian myth, and its connection with Glastonbury, in his Idylls of the King. There was also a bevy of socialists and 'New Thought' radicals who saw it all as an allegory of the birth of the 'whole man', unexploited and emancipated with nature in useful toil.

This period saw the emergence of new occult and esoteric movements which taught that myth has meaning for our inner evolution. Initially, the impulse was from the East and the Theosophy of Madame Blavatsky, but first with Anna Kingsford, then with Rudolph Steiner, and finally with Dion Fortune, a sense of an indigenous western 'mystery tradition' saw light of day, giving credence to both Pagan and Christian elements.

These developments bore in an interesting way upon aspects of the Celtic revival being witnessed in Ireland and Scotland at that time. While much of this had to do with politics and the overthrow of the English oppressor, there were, within the cultural engine of the endeavour, key figures who were fellow-travellers with our fore-mentioned occultists. We can think here of William Butler Yeats and George William Russell (aka AE) in Ireland, and William Sharp (aka Fiona Macleod), Lewis Spence, Patrick Geddes and the painter John Duncan in Scotland. All had connections with the Theosophical Society. However, there were qualitative differences between the aspirants in the two countries: Yeats and Russell were prepared to invoke the powers of the Old Gods and heroes to give zeal and inspiration to the call to arms in Ireland, while the Scots preferred to confine themselves to fostering a more pacific spiritual awakening of the ancient Celtic spirit chiefly through the medium of the arts. The Welsh, too, should not be ignored here. Their arising ran on different lines with a highly successful restoration of their language and a reinstatement of the Bardic tradition with the Eisteddfod as the focus for its celebration.

Even if perversely, there was a minority in England that found it could easily identify with the developments happening just beyond its borders to the north and west, mindful that it had once itself been a Celtic land in ancient times. We can fairly identify this seeming anomaly as the "English Celtic revival"; if it requires a venue, then we need look no further than Glastonbury, with its green hills and apple-orchards. This is the God-given stage-set on which our Dramatis Personae now enter.

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