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p. 173
Freemasonic Symbolism
IN several early Masonic
manuscripts--for example, the Harleian, Sloane, Lansdowne, and Edinburgh-Kilwinning--it
is stated that the craft of initiated builders existed before the Deluge, and
that its members were employed in the building of the Tower of Babel. A
Masonic Constitution dated 1701 gives the following naive account of the
origin of the sciences, arts, and crafts from which the major part of Masonic
symbolism is derived:
"How this worthy Science was
first begunne, I shall tell. Before Noah's Flood, there was a man called
Lameck as it is written in the 4 Chap. of Gen.: and this Lameck had two Wives.
The one was called Adah, and the other Zillah; by the first wife Adah he gott
two Sons, the one called Jaball, and the other Juball, and by the other wife
Zillah he got a Son and Daughter, and the four children found the beginning of
all Crafts in the world. This Jaball was the elder Son, and he found the Craft
of Geometric, and he parted flocks, as of Sheep and Lambs in the fields, and
first wrought Houses of Stone and Tree, as it is noted in the Chap, aforesaid,
and his Brother Juball found the crafte of Musick, of Songs, Organs and Harp.
The Third Brother [Tubal-cain] found out Smith's craft to work Iron and steel,
and their sister Naamah found out the art of Weaving. These children did know
thatt God would take Vengeance for Sinne, either by fire or water, wherefor
they wrote these Sciences which they had found in Two Pillars of stone, thatt
they might be found after the Flood. The one stone was called Marbell--cannott
burn with Fire, and the other was called Laturus [brass?], thatt cannott drown
in the Water." The author of this Constitution there upon declares that one of
these pillars was later discovered by Hermes, who communicated to mankind the
secrets thereon inscribed.
In his Antiquities of the
Jews, Josephus writes that Adam had forewarned his descendants that sinful
humanity would be destroyed by a deluge. In order to preserve their science
and philosophy, the children of Seth there fore raised two pillars, one of
brick and the other of stone, on which were inscribed the keys to their
knowledge. The Patriarch Enoch--whose name means the Initiator--is evidently a
personification of the sun, since he lived 365 years. He also constructed an
underground temple consisting of nine vaults, one beneath the other, placing
in the deepest vault a triangular tablet of gold bearing upon it the absolute
and ineffable Name of Deity. According to some accounts, Enoch made two golden
deltas. The larger he placed upon the white cubical altar in the lowest
vault and the smaller he gave into the keeping of his son, Methuseleh, who did
the actual construction work of the brick chambers according to the pattern
revealed to his father by the Most High. In the form and arrangement of these
vaults Enoch epitomized the nine spheres of the ancient Mysteries and the nine
sacred strata of the earth through which the initiate must pass to reach the
flaming Spirit dwelling in its central core.
According to Freemasonic
symbolism, Enoch, fearing that all knowledge of the sacred Mysteries would be
lost at the time of the Deluge, erected the two columns mentioned in the
quotation. Upon the metal column in appropriate allegorical symbols he
engraved the secret reaching and upon the marble column placed an inscription
stating that a short distance away a priceless treasure would be discovered in
a subterranean vault. After having thus faithfully completed his labors, Enoch
was translated from the brow Of Mount Moriah. In time the location of the
secret vaults was lost, but after the lapse of ages there came another
builder--an initiate after the order of Enoch--and he, while laying the
foundations for another temple to the Great Architect of the Universe,
discovered the long-lost vaults and the secrets contained within.
John Leylande was appointed by
King Henry VIII to go through the archives of the various religious
institutions dissolved by the king and remove for preservation any books or
manuscripts of an important character. Among the documents copied by Leylande
was a series of questions and answers concerning the mystery of Masonry
written by King Henry VI. In answer to the question, "How came Masonry into
England?" the document States that Peter Gower, a Grecian, traveled for
knowledge in Egypt, Syria, and every land where the Phnicians had planted
Masonry; winning entrance in all lodges of Masons, he learned much, and
returning, dwelt in Greater Greece. He became renowned for his wisdom, formed
a great lodge at Groton, and made many Masons, some of whom journeyed in
France, spreading Masonry there; from France in the course of time the order
passed into England.
To even the superficial student
of the subject it must be evident that the name of Peter Gower, the
Grecian, is merely an Anglicized form of Pythagoras; consequently
Groton, where he formed his lodge, is easily identified with Crotona. A link
is thus established between the philosophic Mysteries of Greece and mediæval
Freemasonry. In his notes on King Henry's questions and answers, William
Preston enlarges upon the vow of secrecy as it was practiced by the ancient
initiates. On the authority of Pliny he describes how Anaxarchus, having been
imprisoned in order to extort from him some of the secrets with which he had
been entrusted, bit out his own tongue and threw it in the face of Nicocreon,
the tyrant of Cyprus. Preston adds that the Athenians revered a brazen statue
that was represented without a tongue to denote the sanctity with which they
regarded their oath-bound secrets. It is also noteworthy that, according to
King Henry's manuscript, Masonry had its origin in the East and was the
carrier of the arts and sciences of civilization to the primitive humanity of
the western nations.
Conspicuous among the symbols
of Freemasonry are the seven liberal arts and sciences. By grammar man
is taught to express in noble and adequate language his innermost thoughts and
ideals; by rhetoric he is enabled to conceal his ideals under the
protecting cover of ambiguous language and figures of speech; by logic
he is trained
THE MYSTERY OF THE MACROCOSM.
Redrawn from Cesariano's
Edition of Vitruvius.
Summarizing the relationship between the
human body and the theory of architectonics, Vitruvius writes:
"Since nature has designed the human
body so that its members are duly proportioned to the frame as a whole, it
appears that the ancients had good reason for their rule, that in perfect
building the different members must be in exact symmetrical relations to the
whole general scheme. Hence, while transmitting to us the proper arrangements
for buildings of all kinds, they were particularly careful to do so in the
case of temples of the gods, buildings in which merits and faults usually last
forever. * * * Therefore, if it is agreed that number was found out from the
human fingers, and that there is a symmetrical correspondent between the
members separately and the entire form of the body, in accordance with a
certain part selected as standard, we can have nothing but respect for those
who, in constructing temples of the immortal gods, have so arranged the
members of the works that both the separate parts and the whole design may
harmonize in their proportions and symmetry." (See The Ten Books on
Architecture)
By some it is believed that St. Paul was
initiated into the Dionysiac Mysteries, for in the tenth verse of the third
chapter of First Corinthians he calls himself a "master-builder" or adept:
"According to the grace of God which is given into me, as a wise
master-builder, I have laid the foundation and another buildeth thereon. " As
survivals of the ancient Dionysiac rites, the two diagrams of Cesariano,
accompanying this chapter are of incalculable value to the modern mystic
architect.
p. 174
in the organization of the
intellectual faculties with which he has been endowed; by arithmetic he
not only is instructed in the mystery of universal order but also gains the
key to multitude, magnitude, and proportion; by geometry he is inducted
into the mathematics of form, the harmony and rhythm of angles, and the
philosophy of organization; by music he is reminded that the universe
is founded upon the laws of celestial harmonics and that harmony and rhythm
are all-pervading; by astronomy he gains an understanding of the
immensities of time and space, of the proper relationship between himself and
the universe, and of the awesomeness of that Unknown Power which is driving
the countless stars of the firmament through illimitable space. Equipped with
the knowledge conferred by familiarity with the liberal arts and sciences, the
studious Freemason therefore finds himself confronted by few problems with
which he cannot cope.
THE DIONYSIAC
ARCHITECTS
The most celebrated of the
ancient fraternities of artisans was that of the Dionysiac Architects. This
organization was composed exclusively of initiates of the Bacchus-Dionysos
cult and was peculiarly consecrated to the science of building and the art of
decoration. Acclaimed as being the custodians of a secret and sacred knowledge
of architectonics, its members were entrusted with the design and erection of
public buildings and monuments. The superlative excellence of their handiwork
elevated the members of the guild to a position of surpassing dignity; they
were regarded as the master craftsmen of the earth. Because of the first
dances held in honor of Dionysos, he was considered the founder and patron of
the theater, and the Dionysians specialized in the construction of buildings
adapted for the presentation of dramatic performances. In the circular or
semicircular orchestra they invariably erected an altar to Æschylus, the
famous Greek poet, that while appearing in one of his own plays he was
suspected by a mob of angry spectators of revealing one of the profound
secrets of the Mysteries and was forced to seek refuge at the altar of
Dionysos.
So carefully did the Dionysiac
Architects safeguard the secrets of their craft that only fragmentary records
exist of their esoteric teachings. John A. Weisse thus sums up the meager data
available concerning the order:
"They made their appearance
certainly not later than 1000 B.C., and appear to have enjoyed particular
privileges and immunities. They also possessed secret means of recognition,
and were bound together by special ties only known to themselves. The richer
of this fraternity were bound to provide for their poorer brethren. They were
divided into communities, governed by a Master and Wardens, and called
γυνοικιαι (connected houses). They held a grand festival annually, and were
held in high esteem. Their ceremonials were regarded as sacred. It has been
claimed that Solomon, at the instance of Hiram, King of Tyre, employed them at
his temple and palaces. They were also employed at the construction of the
Temple of Diana at Ephesus. They had means of intercommunication all over the
then known world, and from them, doubtless, sprang the guilds of the Traveling
Masons known in the Middle Ages." (See The Obelisk and Freemasonry.)
The fraternity of the Dionysiac
Architects spread throughout all of Asia Minor, even reaching Egypt and India.
They established themselves in nearly all the countries bordering on the
Mediterranean, and with the rise of the Roman Empire found their way into
Central Europe and even into England. The most stately and enduring buildings
in Constantinople, Rhodes, Athens, and Rome were erected by these inspired
craftsmen. One of the most illustrious of their number was Vitruvius, the
great architect, renowned as the author of De Architectura Libri Decem.
In the various sections of his book Vitruvius gives several hints as to the
philosophy underlying the Dionysiac concept of the principle of symmetry
applied to the science of architecture, as derived from a consideration of the
proportions established by Nature between the parts and members of the human
body. The following extract from Vitruvius on the subject of symmetry is
representative:
"The design of a temple depends
on symmetry, the principles of which must be most carefully observed by the
architect. They are due to proportion, in ἀναλογία. Proportion is a
correspondence among the measures of the members of an entire work, and of the
whole to a certain part selected as standard. From this result the principles
of symmetry. Without symmetry and proportion there can be no principles in the
design of any temple; that is, if there is no precise relation between its
members, as in the case of those of a well shaped man. For the human body is
so designed by nature that the face, from the chin to the top of the forehead
and the lowest roots of the hair, is a tenth part of the whole height; the
open hand from the wrist to the tip of the middle finger is just the same; the
head from the chin to the crown is an eighth, and with the neck and shoulder
from the top of the breast to the lowest roots of the hair is a sixth; from
the middle of the breast to the summit of the crown is a fourth. If we take
the height of the face itself, the distance from the bottom of the chin to the
under side of the nostrils [and from that point] to a line between the
eyebrows is the same; from there to the lowest roots of the hair is also a
third, comprising the forehead. The length of the foot is one sixth of the
height of the body; of the forearm, one fourth; and the breadth of the breast
is also one fourth. The other members, too, have their own symmetrical
proportions, and it was by employing them that the famous painters and
sculptors of antiquity attained to great and endless renown."
The edifices raised by the
Dionysiac Builders were indeed "sermons in stone." Though unable to comprehend
fully the cosmic principles thus embodied in these masterpieces of human
ingenuity and industry, even the uninitiated were invariably overwhelmed by
the sense of majesty and symmetry resulting from the perfect coordination of
pillars, spans, arches, and domes. By variations in the details of size,
material, type, arrangement, ornamentation, and color, these inspired builders
believed it possible to provoke in the nature of the onlooker certain distinct
mental or emotional reactions. Vitruvius, for example, describes the
disposition of bronze vases about a room so as to produce certain definite
changes in the tone and quality of the human voice. In like manner, each
chamber in the Mysteries through which the candidate passed had its own
peculiar acoustics. Thus in one chamber the voice of the priest was amplified
until his words caused the very room to vibrate, while in another the voice
was diminished and softened to such a degree that it sounded like the distant
tinkling of silver bells. Again, in some of the underground passageways the
candidate was apparently bereft of the power of speech, for though he shouted
at the top of his voice not even a whisper was audible to his ears. After
progressing a few feet, however, he would discover that his softest sigh would
be reechoed a hundred times.
The supreme ambition of the
Dionysiac Architects was the construction of buildings which would create
distinct impressions consistent with the purpose for which the structure
itself was designed. In common with the Pythagoreans, they believed it
possible by combinations of straight lines and curves to induce any desired
mental attitude or emotion. They labored, therefore, to the end of producing a
building perfectly harmonious with the structure of the universe itself. They
may have even believed that an edifice so constructed because it was in no
respect at variance with any existing reality would not be subject to
dissolution but would endure throughout the span of mortal time. As a logical
deduction from their philosophic trend of thought, such a building--en
rapport with Cosmos--would also have become an oracle. Certain early works
on magical philosophy hint that the Ark of the Covenant was oracular in
character because of specially prepared chambers in its interior. These by
their shape and arrangement were so attuned to the vibrations of the invisible
world that they caught and amplified the voices of the ages imprinted upon and
eternally existent in the substance of the astral light.
Unskilled in these ancient
subtleties of their profession, modern architects often create architectural
absurdities which would cause their creators to blush with shame did they
comprehend their actual symbolic import. Thus, phallic emblems are strewn in
profusion among the adornments of banks, office buildings, and department
stores. Christian churches also may be surmounted with Brahmin or Mohammedan
domes or be designed in a style suitable for a Jewish synagogue or a Greek
temple to Pluto. These incongruities may be considered trivial in importance
by the modern designer, but to the trained psychologist the purpose for which
a building was erected is frustrated in large measure by the presence of such
architectural discordances. Vitruvius thus defines the principle of propriety
as conceived and applied by the Dionysians:
"Propriety is that: perfection
of style which comes when a work is authoritatively constructed on approved
principles. It arises from prescription (Greek θεματισμῷ), from usage, or from
nature. From prescription, in the case of hypæthral edifices, open to the sky,
in honour of Jupiter Lightning, the Heaven, the Sun, or the Moon: for these
are gods whose semblances and manifestations we behold before our very eyes in
the sky when it is cloudless and bright. The temples of Minerva, Mars, and
Hercules will be Doric, since the virile strength of these gods makes
daintiness entirely inappropriate to their houses. In temples to Venus, Flora,
Proserpine, Spring-Water, and the Nymphs, the Corinthian order will be found
to have peculiar significance, because these are delicate divinities and so
its rather slender outlines, its flowers, leaves, and ornamental volutes will
lend propriety where it is due. The construction of temples of the Ionic order
to Juno, Diana, Father Bacchus, and the other gods of that kind, will be in
keeping with the middle position which they hold; for the building of such
will be an appropriate combination of the severity of the Doric and the
delicacy of the Corinthian."
p. 175
In describing the societies of
Ionian artificers, Joseph Da Costa declares the Dionysiac rites to have been
founded upon the science of astronomy, which by the initiates of this order
was correlated to the builder's art. In various documents dealing with the
origin of architecture are found hints to the effect that the great buildings
erected by these initiated craftsmen were based upon geometrical patterns
derived from the constellations. Thus, a temple might be planned according to
the constellation of Pegasus or a court of judgment modeled after the
constellation of the Scales. The Dionysians evolved a peculiar code by which
they were able to communicate with one another in the dark and both the
symbols and the terminology of their guild were derived, in the main, from the
elements of architecture.
While stigmatized as pagans by
reason of their philosophic principles, it is noteworthy that these Dionysiac
craftsmen were almost universally employed in the erection of early Christian
abbeys and cathedrals, whose stones even to this very day bear distinguishing
marks and symbols cut into their surfaces by these illustrious builders. Among
the ornate carvings upon the fronts of great churches of the Old World are
frequently found representations of compasses, squares, rules, mallets, and
clusters of builders' tools skillfully incorporated into mural decorations and
even placed in the hands of the effigies of saints and prophets standing in
exalted niches. A great mystery was contained in the ancient portals of the
Cathedral Of Notre Dame which were destroyed during the French Revolution, for
among their carvings were numerous Rosicrucian and Masonic emblems; and
according to the records preserved by alchemists who studied their
bas-reliefs, the secret processes for metallic transmutation were set forth in
their grotesque yet most significant figures.
The checkerboard floor upon
which the modern Freemasonic lodge stands is the old tracing board of the
Dionysiac Architects, and while the modern organization is no longer limited
to workmen's guilds it still preserves in its symbols the metaphysical
doctrines of the ancient society of which it is presumably the outgrowth. The
investigator of the origin of Freemasonic symbolism who desires to trace the
development of the order through the ages will find a practical suggestion in
the following statement of Charles W. Heckethorn:
"But considering that
Freemasonry is a tree the roots of which spread through so many soils, it
follows that traces thereof must be found in its fruit; that its language and
ritual should retain much of the various sects and institutions it has passed
through before arriving at their present state, and in Masonry we meet with
Indian, Egyptian, Jewish, and Christian ideas, terms therefrom the supreme
ambition of their craft and symbols." (See The Secret Societies of All Ages
and Countries.)
The Roman Collegia of
skilled architects were apparently a subdivision of the greater Ionian body,
their principles and organization being practically identical with the older
Ionian institution. It has been suspected that the Dionysians also profoundly
influenced early Islamic culture, for part of their symbolism found its way
into the Mysteries of the dervishes. At one time the Dionysians referred to
themselves as Sons of Solomon, and one of the most important of their symbols
was the Seal of Solomon--two interlaced triangles. This motif is frequently
seen in conspicuous parts of Mohammedan mosques. The Knights Templars--who
were suspected of anything and everything--are believed to have contacted
these Dionysiac artificers and to have introduced many of their symbols and
doctrines into mediæval Europe. But Freemasonry most of all owes to the
Dionysiac cult the great mass of its symbols and rituals which are related to
the science of architecture. From these ancient and illustrious artisans it
also received the legacy of the unfinished Temple of Civilization-that vast,
invisible structure upon which these initiated builders have labored
continuously since the inception of their fraternity. This mighty edifice,
which has fallen and been rebuilt time after time but whose foundations remain
unmoved, is the true Everlasting House of which the temple on the brow of
Mount Moriah was but an impermanent symbol.
Aside from the operative aspect
of their order, the Dionysiac Architects had a speculative philosophic code.
Human society they considered as a rough and untrued ashlar but lately
chiseled from the quarry of elemental Nature. This crude block was the true
object upon which these skilled craftsmen labored--polishing it, squaring it,
and with the aid of fine carvings transforming it into a miracle of beauty.
While mystics released their souls from the bondage of matter by meditation
and philosophers found their keenest joy in the profundities of thought, these
master workmen achieved liberation from the Wheel of Life and Death by
learning to swing their hammers with the same rhythm that moves the swirling
forces of Cosmos. They venerated the Deity under the guise of a Great
Architect and Master Craftsman who was ever gouging rough ashlars from the
fields of space and truing them into universes. The Dionysians affirmed
constructiveness to be the supreme expression of the soul, and attuning
themselves with the ever-visible constructive natural processes going on
around them, believed immortality could be achieved by thus becoming a part of
the creative agencies of Nature.
SOLOMON, THE
PERSONIFICATION OF UNIVERSAL WISDOM
The name Solomon may be divided
into three syllables, SOL-OM-ON, symbolizing light, glory, and truth
collectively and respectively. The Temple of Solomon is, therefore, first of
all "the House of Everlasting Light," its earthly symbol being the temple of
stone on the brow of Mount Moriah. According to the Mystery teachings, there
are three Temples of Solomon--as there are three Grand Masters, three
Witnesses, and three Tabernacles of the Transfiguration. The first temple is
the Grand House of the Universe, in the midst of which sits the sun (SOL) upon
his golden throne. The twelve signs of the zodiac as Fellow-Craftsmen gather
around their shining lord. Three lights--the stellar, the solar, and the
lunar--illuminate this Cosmic Temple. Accompanied by his retinue of planets,
moons, and asteroids, this Divine King (SOLomon), whose glory no earthly
monarch shall ever equal, passes in stately pomp down the avenues of space.
Whereas CHiram represents the active physical light of the sun, SOLomon
signifies its invisible but all-powerful, spiritual and intellectual
effulgency.
The second symbolic temple is
the human body-the Little House made in the image of the Great Universal
House. "Know ye not," asked the Apostle Paul, "that ye are the temple of God,
and that the Spirit of God dwelleth in you?" Freemasonry within a temple of
stone cannot be other than speculative, but Freemasonry within the living
temple of the body is operative. The third symbolic temple is the Soular
House, an invisible structure, the comprehension of which is a supreme
Freemasonic arcanum. The mystery of this intangible edifice is concealed under
the allegory of the Soma Psuchicon, or Wedding Garment described by St.
Paul, the Robes of Glory of the High Priest of Israel, the Yellow Robe of the
Buddhist monk, and the Robe of Blue and Gold to which Albert Pike refers in
his Symbolism. The soul, constructed from an invisible fiery substance,
a flaming golden metal, is cast by the Master Workman, CHiram Abiff, into the
mold of clay (the physical body) and is called the Molten Sea. The temple of
the human soul is built by three Master Masons personifying Wisdom, Love, and
Service, and when constructed according to the Law of Life the spirit of God
dwells in the Holy Place thereof. The Soular Temple is the true
Everlasting House, and he who can raise
THE MYSTERY OF THE MICROCOSM.
Redrawn from Cesariano's
Edition of Vitruvius.
Herein is depicted the mysterious
Word of Plato which was crucified in space before the foundation of the
world. The anonymous author of The Canon writes:
"The Logos or soul of the world,
according to Plato, the Greek Hermes, and the Christ, according to the
Christian Gnostics, are all one and the same as the Hebrew Adam Kadmon, who is
the second person of the cabalistic triad. The Cyllenian Hermes, described by
Hippolytus, so exactly resembles the lesser man found in Cesariano's edition
of Vitruvius, that they may be justifiably considered to be identical."
After relating the figure to Dionysus
because of the vine leaves wound in the hair, the same writer concludes: "Here
we have clearly and distinctly a curious survival of the cosmic deity of
Greece, copied and disfigured by the crude draughtsmen of the Middle Ages, but
faithfully preserved, and recognizable to the last." Similar figures are to be
found in Agrippa's De Occulta Philosophia. Like Cesariano's diagrams,
however, the key given for their interpretation is most inadequate. Agrippa
declares that, being a type of the lesser world, man contains in himself all
numbers, measures, weights, motions, and elements. The secret doctrine of
Freemasonry, like that of the Dionysiac Architects, is concerned primarily
with the effort to measure or estimate philosophically the parts and
proportions of the microcosm, so that by the knowledge derived therefrom the
supreme ambition of their craft might be realized--the creation of a perfect
man.
p. 176
or cast it is a Master
Mason indeed! The best-informed Masonic writers have realized that
Solomon's Temple is a representation in miniature of the Universal Temple.
Concerning this point, A. E. Waite, in A New Encyclopædia of Freemasonry,
writes: "It is macrocosmic in character, so that the Temple is a symbol of the
universe, a type of manifestation itself."
Solomon, the Spirit of
Universal Illumination--mental, spiritual, moral, and physical--is personified
in the king of an earthly nation. While a great ruler by that name may have
built a temple, he who considers the story solely from its historical angle
will never clear away the rubbish that covers the secret vaults. The
rubbish is interpolated matter in the form of superficial symbols,
allegories, and degrees which have no legitimate part in the original
Freemasonic Mysteries. Concerning the loss of the true esoteric key to Masonic
secrets, Albert Pike writes:
"No one journeys now 'from the
high place of Cabaon to the threshing floor of Oman the Yebusite,' nor has
seen, 'his Master, clothed in blue and gold;' nor are apprentices and
Fellow-crafts any longer paid at their respective Columns; nor is the Master's
working tool the Tracing Board, nor does he use in his work 'Chalk, Charcoal,
and an Earthen Vessel,' nor does the Apprentice, becoming a Fellow Craft, pass
from the square to the compass; for the meanings of these phrases as symbols
have long been lost."
According to the ancient
Rabbins, Solomon was an initiate of the Mystery schools and the temple which
he built was actually a house of initiation containing amass of pagan
philosophic and phallic emblems. The pomegranates, the palm-headed columns,
the Pillars before the door, the Babylonian cherubim, and the arrangement of
the chambers and draperies all indicate the temple to have been patterned
after the sanctuaries of Egypt and Atlantis. Isaac Myer, in The Qabbalah,
makes the following observation:
"The pseudo-Clement of Rome,
writes: 'God made man male and female. The male is Christ: the female, the
Church.' The Qabbalists called the Holy Spirit, the mother, and the Church of
Israel, the Daughter. Solomon engraved on the walls of his Temple, likenesses
of the male and female principles, to adumbrate this mystery; such, it is
said, were the figures of the cherubim. This was, however, not in obedience to
the words of the Thorah. They were symbolical of the Upper, the spiritual, the
former or maker, positive or male, and the Lower, the passive, the negative or
female, formed or made by the first."
Masonry came to Northern Africa
and Asia Minor from the lost continent of Atlantis, not under its present name
but rather under the general designation Sun and Fire Worship. The ancient
Mysteries did not cease to exist when Christianity became the world's most
powerful religion. Great Pan did not die! Freemasonry is the proof of his
survival. The pre-Christian Mysteries simply assumed the symbolism of the new
faith, perpetuating through its emblems and allegories the same truths which
had been the property of the wise since the beginning of the world. There is
no true explanation, therefore, for Christian symbols save that which is
concealed within pagan philosophy. Without the mysterious keys carried by the
hierophants of the Egyptian, Brahmin, and Persian cults the gates of Wisdom
cannot be opened. Consider with reverent spirit, therefore, the sublime
allegory of the Temple and its Builders, realizing that beneath its literal
interpretation lies hidden a Royal Secret.
According to the Talmudic
legends, Solomon understood the mysteries of the Qabbalah. He was also an
alchemist and a necromancer, being able to control the dæmons, and from them
and other inhabitants of the invisible worlds he secured much of his wisdom.
In his translation of Clavicula Salomonis, or The Key of Solomon the
King, a work presumably setting forth the magical secrets gathered by
Solomon and used by him in the conjuration of spirits and which, according to
Frank C. Higgins, contains many sidelights on Masonic initiatory rituals, S.
L. MacGregor-Mathers recognizes the probability that King Solomon was a
magician in the fullest sense of that word. "I see no reason to doubt," he
affirms, "the tradition which assigns the authorship of the 'Key' to King
Solomon, for among others Josephus, the Jewish historian, especially mentions
the magical works attributed to that monarch; this is confirmed by many
Eastern traditions, and his magical skill is frequently mentioned in the
Arabian Nights."
Concerning Solomon's
supernatural powers, Josephus writes in his Eighth Book of the Antiquities
of the Jews:
"Now the sagacity and wisdom
which God had bestowed on Solomon was so great that he exceeded the ancients,
in so much that he was no way inferior to the Egyptians, who are said to have
been beyond all men in understanding; * * * God also enabled him to learn that
skill which expelled demons, which is a science useful and sanative to him. He
composed such incantations also by which distempers are alleviated. And he
left behind him the manner of using exorcisms, by which they drive away
demons, so that they never return; and this method of cure is of great force
unto this day."
The mediæval alchemists were
convinced that King Solomon understood the secret processes of Hermes by means
of which it was possible to multiply metals. Dr. Bacstrom writes that the
Universal Spirit (CHiram) assisted King Solomon to build his temple,
because Solomon being wise in the wisdom of alchemy knew how to control this
incorporeal essence and, setting it to work for him, caused the invisible
universe to supply him with vast amounts of gold and silver which most people
believed were mined by natural methods.
The mysteries of the Islamic
faith are now in the keeping of the dervishes--men who, renouncing
worldliness, have withstood the test of a thousand and one days of temptation.
Jelal-ud-din, the great Persian Sufic poet and philosopher, is accredited with
having founded the Order of Mevlevi, or the "dancing dervishes," whose
movements exoterically signify the motions of the celestial bodies and
esoterically result in the establishment of a rhythm which stimulates the
centers of spiritual consciousness within the dancer's body.
"According to the mystical
canon, there are always on earth a certain number of holy men who are admitted
to intimate communion with the Deity. The one who occupies the highest
position among his contemporaries is called the 'Axis' (Qūtb) or 'Pole' of his
time. * * * Subordinate to the Qūtb are two holy beings who bear the title of
'The Faithful Ones,' and are assigned places on his right and left
respectively. Below these is a quartette of 'Intermediate Ones' (Evtād); and
on successively lower planes ate five 'Lights' (Envār), and seven 'Very Good'
(Akhyār). The next rank is filled by forty 'Absent Ones' (Rijal-i-ghaib), also
termed 'Martyrs' (Shuheda). When an 'Axis' quits this earthly existence, he is
succeeded by the 'Faithful One' who has occupied the place at his right hand.
* * * For to these holy men, who also bear the collective titles of 'Lords of
Souls,' and 'Directors,' is committed a spiritual supremacy over mankind far
exceeding the temporal authority of earthly rulers." (See Mysticism and
Magic in Turkey, by L. M. J. Garnett.)
The Axis is a mysterious
individual who, unknown and unsuspected, mingles with mankind and who,
according to tradition, has his favorite seat upon the roof of the Caaba. J.
P. Brown, in The Dervishes, gives a description of these "Master
Souls."
FREEMASONRY'S PRICELESS
HERITAGE
The sanctum sanctorum of
Freemasonry is ornamented with the gnostic jewels of a thousand ages; its
rituals ring with the divinely inspired words of seers and sages. A hundred
religious have brought their gifts of wisdom to its altar; arts and sciences
unnumbered have contributed to its symbolism. Freemasonry is a world-wide
university, teaching the liberal arts and sciences of the soul to all who will
hearken to its words. Its chairs are seats of learning and its pillars uphold
an arch of universal education. Its trestleboards are inscribed with the
eternal verities of all ages and upon those who comprehend its sacred depths
has dawned the realization that within the Freemasonic Mysteries lie hidden
the long-lost arcana sought by all peoples since the genesis of human reason.
The philosophic power of
Freemasonry lies in its symbols--its priceless heritage from the Mystery
schools of antiquity. In a letter to Robert Freke Gould, Albert Pike writes:
"It began to shape itself to my
intellectual vision into something more imposing and majestic, solemnly
mysterious and grand. It seemed to me like the Pyramids in their loneliness,
in whose yet undiscovered chambers may be hidden, for the enlightenment of
coming generations, the sacred books of the Egyptians, so long lost to the
world; like the Sphynx half buried in the desert. In its symbolism, which and
its spirit of brotherhood are its essence, Freemasonry is more ancient than
any of the world's living religions. It has the symbols and doctrines which,
older than himself, Zarathustra inculcated; and ii seemed to me a spectacle
sublime, yet pitiful--the ancient Faith of our ancestors holding out to the
world its symbols once so eloquent, and mutely and in vain asking for an
interpreter. And so I came at last to see that the true greatness and majesty
of Freemasonry consist in its proprietorship of these and its other symbols;
and that its symbolism is its soul."
Though the temples of Thebes
and Karnak be now but majestic heaps of broken and time-battered stone, the
spirit: of Egyptian philosophy still marches triumphant through the centuries.
Though the rock-hewn sanctuaries of the ancient Brahmins be now deserted and
their carvings crumbled into dust, still the wisdom of the Vedas endures.
Though the oracles be silenced and the House of the Mysteries be now but rows
of ghostly columns, still shines the spiritual glory of Hellas with luster
undiminished. Though Zoroaster, Hermes, Pythagoras, Plato, and Aristotle are
now but dim memories in a world once rocked by the transcendency of their
intellectual genius, still in the mystic temple of Freemasonry these god-men
live again in their words and symbols; and the candidate, passing through the
initiations, feels himself face to face with these illumined hierophants of
days long past.
Next: Mystic Christianity