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 religions — 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.
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The Sacred and the Profane : The Nature of Religion: The Significance of Religious Myth, Symbolism, and Ritual within Life and Culture (1961), translated from the French by William R. Trask, [first published in German as Das Heilige und das Profane (1957)]Mircea Eliade
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When the sacred manifests itself in any hierophany, there is not only a break in the homogeneity of space; there is also a revelation of an absolute reality, opposed to the nonreality of the vast surrounding expanse. The manifestation of the sacred ontologically founds the world. In the homogenous and infinite expanse, in which no point of reference is possible and hence no orientation can be established, the hierophany reveals an absolute fixed point, a center.
Mircea Eliade
Like Freud and Jung and Rudolf Otto, all of whom contributed deep strands to his work, Eliade argued boldly for universals where he might more safely have argued for widely prevalent patterns. Yet many of the patterns that he identified in religions that spanned the entire globe and the whole of human history — a span that no one has ever known as well as he did — inspired an entire generation of both scholars and amateurs of the study of religion, and they still prove useful as starting points for the comparative study of religion and still hold water even after the challenges posed by new data to which Eliade did not have access. His concept of hierophany, the sudden irruption of the sacred in the profane world, sacred time opening to the transcendent, resulting in radical discontinuities, has proved a far more widely applicable and heuristic term than the older, narrower term "theophany," denoting the manifestation of a god. And his argument that religious forms, particularly myths, are usefully studied in popular culture as well as in the great scriptures is a postmodern idea that he formulated long before postmodernism. He taught us that myths (and, to a great extent, rituals) retold and reenacted in the present transport the worshipper back to the world of origins, the world of events that took place in illo tempore, "in that time"; this basic idea of what he called (after Nietzsche) "the eternal return" has become a truism in the study of religion and does, I think, apply to many mythologies, though not, as Eliade claimed, to all. His ideas about the alternation and interaction of cosmos and chaos, and cyclical/mythical time and linear/historical time, the sacred and the profane, are similarly fruitful starting points for many, if not all, cultures. Above all, his insistence that it is possible to find meaningful synchronic patterns of symbolism in addition to the phenomena that are unique to each time and place--this is the foundation on which the entire field of comparative religion still stands, and Eliade laid the cornerstone.
Mircea Eliade
The hearer of myth, regardless of his level of culture, when he is listening to a myth, forgets, as it were, his particular situation and is projected into another world, into another universe which is no longer his poor little universe of every day. . . . The myths are true because they are sacred, because they tell him about sacred beings and events. Consequently, in reciting or listening to a myth, one resumes contact with the sacred and with reality, and in so doing one transcends the profane condition, the "historical situation." In other words one goes beyond the temporal condition and the dull self-sufficiency which is the lot of every human being simply because every human being is "ignorant" — in the sense that he is identifying himself, and Reality, with his own particular situation. And ignorance is, first of all, this false identification of Reality with what each one of us appears to be or to possess.
Mircea Eliade
Those things which are sacred, are to be imparted only to sacred persons; and it is not lawful to import them to the profane until they have been initiated in the mysteries of the science.
Hippocrates
Eliade's interest is neither in the concept of profane experience nor in the derived concept of the sacred, but rather in the way these two are actually experienced. It is the phenomenological method that claims to describe these experiences of the sacred and the profane... When Eliade defines myth as a "true story" he is giving us a phenomenological description. For the people for whom the myth is a true story, it is not a figment of the imagination or merely a subjective belief but the perceived reality in which they live out their lives. What constitute's one's life, is the world fraught with meaning and value. It is the living perception of people. That and that alone is what is meant by phenomena.
Mircea Eliade
Eliade, Mircea
Elias, Norbert
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