The Symbolism Of Freemasonry Part 11

Now, to reverse a word in English is to read its letters from right to left, because our normal mode of reading is from left to right. But in Hebrew the contrary rule takes place, for there the normal mode of reading is from right to left; and therefore, to reverse the reading of a word, is to read it from left to right.

Lanci applied this cabalistic mode to the tetragrammaton, when he found that IH-OH, being read reversely, makes the word HO-HI.135

But in Hebrew, ho is the masculine p.r.o.noun, equivalent to the English he; and hi is the feminine p.r.o.noun, equivalent to she; and therefore the word HO-HI, literally translated, is equivalent to the English compound HE-SHE; that is to say, the Ineffable Name of G.o.d in Hebrew, being read cabalistically, includes within itself the male and female principle, the generative and prolific energy of creation; and here we have, again, the widely-spread symbolism of the phallus and the cteis, the lingam and the yoni, or their equivalent, the point within a circle, and another pregnant proof of the connection between Freemasonry and the ancient Mysteries.

And here, perhaps, we may begin to find some meaning for the hitherto incomprehensible pa.s.sage in Genesis (i. 27): "So G.o.d created man in his own image; in the image of G.o.d created he him; male and female created he them." They could not have been "in the image" of IHOH, if they had not been "male and female."

The Cabalists have exhausted their ingenuity and imagination in speculations on this sacred name, and some of their fancies are really sufficiently interesting to repay an investigation. Sufficient, however, has been here said to account for the important position that it occupies in the masonic system, and to enable us to appreciate the symbols by which it has been represented.

The great reverence, or indeed the superst.i.tious veneration, entertained by the ancients for the name of the Supreme Being, led them to express it rather in symbols or hieroglyphics than in any word at length.

We know, for instance, from the recent researches of the archaeologists, that in all the doc.u.ments of the ancient Egyptians, written in the demotic or common character of the country, the names of the G.o.ds were invariably denoted by symbols; and I have already alluded to the different modes by which the Jews expressed the tetragrammaton. A similar practice prevailed among the other nations of antiquity. Freemasonry has adopted the same expedient, and the Grand Architect of the Universe, whom it is the usage, even in ordinary writing, to designate by the initials G.A.O.T.U., is accordingly presented to us in a variety of symbols, three of which particularly require attention. These are the letter G, the equilateral triangle, and the All-Seeing Eye.

Of the letter G I have already spoken. A letter of the English alphabet can scarcely be considered an appropriate symbol of an inst.i.tution which dates its organization and refers its primitive history to a period long anterior to the origin of that language. Such a symbol is deficient in the two elements of antiquity and universality which should characterize every masonic symbol. There can, therefore, be no doubt that, in its present form, it is a corruption of the old Hebrew symbol, the letter yod, by which the sacred name was often expressed. This letter is the initial of the word Jehovah, or Ihoh, as I have already stated, and is constantly to be met with in Hebrew writings as the symbol or abbreviature of Jehovah, which word, it will be remembered, is never written at length. But because G is, in like manner, the initial of G.o.d, the equivalent of Jehovah, this letter has been incorrectly, and, I cannot refrain from again saying, most injudiciously, selected to supply, in modern lodges, the place of the Hebrew symbol.

Having, then, the same meaning and force as the Hebrew yod, the letter G must be considered, like its prototype, as the symbol of the life-giving and life-sustaining power of G.o.d, as manifested in the meaning of the word Jehovah, or Ihoh, the generative and prolific energy of the Creator.

The All-Seeing Eye is another, and a still more important, symbol of the same great Being. Both the Hebrews and the Egyptians appear to have derived its use from that natural inclination of figurative minds to select an organ as the symbol of the function which it is intended peculiarly to discharge. Thus the foot was often adopted as the symbol of swiftness, the arm of strength, and the hand of fidelity. On the same principle, the open eye was selected as the symbol of watchfulness, and the eye of G.o.d as the symbol of divine watchfulness and care of the universe. The use of the symbol in this sense is repeatedly to be found in the Hebrew writers. Thus the Psalmist says (Ps. x.x.xiv. 15), "The eyes of the Lord are upon the righteous, and his ears are open to their cry," which explains a subsequent pa.s.sage (Ps. cxxi. 4), in which it is said, "Behold, he that keepeth Israel shall neither slumber nor sleep." 136

On the same principle, the Egyptians represented Osiris, their chief deity, by the symbol of an open eye, and placed this hieroglyphic of him in all their temples. His symbolic name, on the monuments, was represented by the eye accompanying a throne, to which was sometimes added an abbreviated figure of the G.o.d, and sometimes what has been called a hatchet, but which, I consider, may as correctly be supposed to be a representation of a square.

The All-Seeing Eye may, then, be considered as a symbol of G.o.d manifested in his omnipresence-his guardian and preserving character-to which Solomon alludes in the Book of Proverbs (xv. 3), when he says, "The eyes of Jehovah are in every place, beholding (or as it might be more faithfully translated, watching) the evil and the good." It is a symbol of the Omnipresent Deity.

The triangle is another symbol which is ent.i.tled to our consideration. There is, in fact, no other symbol which is more various in its application or more generally diffused throughout the whole system of both the Spurious and the Pure Freemasonry.

The equilateral triangle appears to have been adopted by nearly all the nations of antiquity as a symbol of the Deity.

Among the Hebrews, it has already been stated that this figure, with a yod in the centre, was used to represent the tetragrammaton, or ineffable name of G.o.d.

The Egyptians considered the equilateral triangle as the most perfect of figures, and a representative of the great principle of animated existence, each of its sides referring to one of the three departments of creation-the animal, the vegetable, and the mineral.

The symbol of universal nature among the Egyptians was the right-angled triangle, of which the perpendicular side represented Osiris, or the male principle; the base, Isis, or the female principle; and the hypothenuse, their offspring, Horus, or the world emanating from the union of both principles.

All this, of course, is nothing more nor less than the phallus and cteis, or lingam and yoni, under a different form.

The symbol of the right-angled triangle was afterwards adopted by Pythagoras when he visited the banks of the Nile; and the discovery which he is said to have made in relation to the properties of this figure, but which he really learned from the Egyptian priests, is commemorated in Masonry by the introduction of the forty-seventh problem of Euclid's First Book among the symbols of the third degree. Here the same mystical application is supplied as in the Egyptian figure, namely, that the union of the male and female, or active and pa.s.sive principles of nature, has produced the world. For the geometrical proposition being that the squares of the perpendicular and base are equal to the square of the hypothenuse, they may be said to produce it in the same way as Osiris and Isis are equal to, or produce, the world.

Thus the perpendicular-Osiris, or the active, male principle-being represented by a line whose measurement is 3; and the base-Isis, or the pa.s.sive, female principle-by a line whose measurement is 4; then their union, or the addition of the squares of these numbers, will produce a square whose root will be the hypothenuse, or a line whose measurement must be 5. For the square of 3 is 9, and the square of 4 is 16, and the square of 5 is 25; but 9 added to 16 is equal to 25; and thus, out of the addition, or coming together, of the squares of the perpendicular and base, arises the square of the hypothenuse, just as, out of the coming together, in the Egyptian system, of the active and pa.s.sive principles, arises, or is generated, the world.

In the mediaeval history of the Christian church, the great ignorance of the people, and their inclination to a sort of materialism, led them to abandon the symbolic representations of the Deity, and to depict the Father with the form and lineaments of an aged man, many of which irreverent paintings, as far back as the twelfth century, are to be found in the religious books and edifices of Europe.137 But, after the period of the renaissance, a better spirit and a purer taste began to pervade the artists of the church, and thenceforth the Supreme Being was represented only by his name-the tetragrammaton-inscribed within an equilateral triangle, and placed within a circle of rays. Didron, in his invaluable work on Christian Iconography, gives one of these symbols, which was carved on wood in the seventeenth century, of which I annex a copy.

But even in the earliest ages, when the Deity was painted or sculptured as a personage, the nimbus, or glory, which surrounded the head of the Father, was often made to a.s.sume a triangular form. Didron says on this subject, "A nimbus, of a triangular form, is thus seen to be the exclusive attribute of the Deity, and most frequently restricted to the Father Eternal. The other persons of the trinity sometimes wear the triangle, but only in representations of the trinity, and because the Father is with them. Still, even then, beside the Father, who has a triangle, the Son and the Holy Ghost are often drawn with a circular nimbus only." 138

The triangle has, in all ages and in all religions, been deemed a symbol of Deity.

The Egyptians, the Greeks, and the other nations of antiquity, considered this figure, with its three sides, as a symbol of the creative energy displayed in the active and pa.s.sive, or male and female, principles, and their product, the world; the Christians referred it to their dogma of the trinity as a manifestation of the Supreme G.o.d; and the Jews and the primitive masons to the three periods of existence included in the signification of the tetragrammaton-the past, the present, and the future.

In the higher degrees of Masonry, the triangle is the most important of all symbols, and most generally a.s.sumes the name of the Delta, in allusion to the fourth letter of the Greek alphabet, which is of the same form and bears that appellation.

The Delta, or mystical triangle, is generally surrounded by a circle of rays, called a "glory." When this glory is distinct from the figure, and surrounds it in the form of a circle (as in the example just given from Didron), it is then an emblem of G.o.d's eternal glory. When, as is most usual in the masonic symbol, the rays emanate from the centre of the triangle, and, as it were, enshroud it in their brilliancy, it is symbolic of the Divine Light. The perverted ideas of the pagans referred these rays of light to their Sun-G.o.d and their Sabian worship.

But the true masonic idea of this glory is, that it symbolizes that Eternal Light of Wisdom which surrounds the Supreme Architect as with a sea of glory, and from him, as a common centre, emanates to the universe of his creation, and to which the prophet Ezekiel alludes in his eloquent description of Jehovah: "And I saw as the color of amber, as the appearance of fire round about within it, from the appearance of his loins even upward, and from his loins even downward, I saw, as it were, the appearance of fire, and it had brightness round about." (Chap. 1, ver. 27.)

Dante has also beautifully described this circ.u.mfused light of Deity:-

"There is in heaven a light whose goodly shine Makes the Creator visible to all Created, that in seeing him, alone Have peace; and in a circle spreads so far, That the circ.u.mference were too loose a zone To girdle in the sun."

On a recapitulation, then, of the views that have been advanced in relation to these three symbols of the Deity which are to be found in the masonic system, we may say that each one expresses a different attribute.

The letter G is the symbol of the self-existent Jehovah.

The All-Seeing Eye is the symbol of the omnipresent G.o.d.

The triangle139 is the symbol of the Supreme Architect of the Universe-the Creator; and when surrounded by rays of glory, it becomes a symbol of the Architect and Bestower of Light.

And now, after all, is there not in this whole prevalence of the name of G.o.d, in so many different symbols, throughout the masonic system, something more than a mere evidence of the religious proclivities of the inst.i.tution? Is there not behind this a more profound symbolism, which const.i.tutes, in fact, the very essence of Freemasonry? "The names of G.o.d," said a learned theologian at the beginning of this century, "were intended to communicate the knowledge of G.o.d himself. By these, men were enabled to receive some scanty ideas of his essential majesty, goodness, and power, and to know both whom we are to believe, and what we are to believe of him."

And this train of thought is eminently applicable to the admission of the name into the system of Masonry. With us, the name of G.o.d, however expressed, is a symbol of DIVINE TRUTH, which it should be the incessant labor of a Mason to seek.

XXV.

The Legends of Freemasonry.

The compound character of a speculative science and an operative art, which the masonic inst.i.tution a.s.sumed at the building of King Solomon's temple, in consequence of the union, at that era, of the Pure Freemasonry of the Noachidae140 with the Spurious Freemasonry of the Tyrian workmen, has supplied it with two distinct kinds of symbols-the mythical, or legendary, and the material; but these are so thoroughly united in object and design, that it is impossible to appreciate the one without an investigation of the other.

Thus, by way of ill.u.s.tration, it may be observed, that the temple itself has been adopted as a material symbol of the world (as I have already shown in former articles), while the legendary history of the fate of its builder is a mythical symbol of man's destiny in the world. Whatever is visible or tangible to the senses in our types and emblems-such as the implements of operative masonry, the furniture and ornaments of a lodge, or the ladder of seven steps-is a material symbol; while whatever derives its existence from tradition, and presents itself in the form of an allegory or legend, is a mythical symbol. Hiram the Builder, therefore, and all that refers to the legend of his connection with the temple, and his fate,-such as the sprig of acacia, the hill near Mount Moriah, and the lost word,-are to be considered as belonging to the cla.s.s of mythical or legendary symbols.

And this division is not arbitrary, but depends on the nature of the types and the aspect in which they present themselves to our view.

Thus the sprig of acacia, although it is material, visible, and tangible, is, nevertheless, not to be treated as a material symbol; for, as it derives all its significance from its intimate connection with the legend of Hiram Abif, which is a mythical symbol, it cannot, without a violent and inexpedient disruption, be separated from the same cla.s.s. For the same reason, the small hill near Mount Moriah, the search of the twelve Fellow Crafts, and the whole train of circ.u.mstances connected with the lost word, are to be viewed simply as mythical or legendary, and not as material symbols.

These legends of Freemasonry const.i.tute a considerable and a very important part of its ritual. Without them, the most valuable portions of the masonic as a scientific system would cease to exist. It is, in fact, in the traditions and legends of Freemasonry, more, even, than in its material symbols, that we are to find the deep religious instruction which the inst.i.tution is intended to inculcate. It must be remembered that Freemasonry has been defined to be "a system of morality, veiled in allegory and ill.u.s.trated by symbols." Symbols, then, alone, do not const.i.tute the whole of the system: allegory comes in for its share; and this allegory, which veils the divine truths of masonry, is presented to the neophyte in the various legends which have been traditionally preserved in the order.

The close connection, at least in design and method of execution, between the inst.i.tution of Freemasonry and the ancient Mysteries, which were largely imbued with the mythical character of the ancient religions, led, undoubtedly, to the introduction of the same mythical character into the masonic system.

So general, indeed, was the diffusion of the myth or legend among the philosophical, historical, and religious systems of antiquity, that Heyne remarks, on this subject, that all the history and philosophy of the ancients proceeded from myths.141

The word myth, from the Greek ????, a story, in its original acceptation, signified simply a statement or narrative of an event, without any necessary implication of truth or falsehood; but, as the word is now used, it conveys the idea of a personal narrative of remote date, which, although not necessarily untrue, is certified only by the internal evidence of the tradition itself.142

Creuzer, in his "Symbolik," says that myths and symbols were derived, on the one hand, from the helpless condition and the poor and scanty beginnings of religious knowledge among the ancient peoples, and on the other, from the benevolent designs of the priests educated in the East, or of Eastern origin, to form them to a purer and higher knowledge.

But the observations of that profoundly philosophical historian, Mr. Grote, give so correct a view of the probable origin of this universality of the mythical element in all the ancient religions, and are, withal, so appropriate to the subject of masonic legends which I am now about to discuss, that I cannot justly refrain from a liberal quotation of his remarks.

"The allegorical interpretation of the myths," he says, "has been, by several learned investigators, especially by Creuzer, connected with the hypothesis of an ancient and highly-instructed body of priests, having their origin either in Egypt or the East, and communicating to the rude and barbarous Greeks religious, physical, and historical knowledge, under the veil of symbols. At a time (we are told) when language was yet in its infancy, visible symbols were the most vivid means of acting upon the minds of ignorant hearers. The next step was to pa.s.s to symbolical language and expressions; for a plain and literal exposition, even if understood at all, would at least have been listened to with indifference, as not corresponding with any mental demand. In such allegorizing way, then, the early priests set forth their doctrines respecting G.o.d, nature, and humanity,-a refined monotheism and theological philosophy,-and to this purpose the earliest myths were turned. But another cla.s.s of myths, more popular and more captivating, grew up under the hands of the poets-myths purely epical, and descriptive of real or supposed past events. The allegorical myths, being taken up by the poets, insensibly became confounded in the same category with the purely narrative myths; the matter symbolized was no longer thought of, while the symbolizing words came to be construed in their own literal meaning, and the basis of the early allegory, thus lost among the general public, was only preserved as a secret among various religious fraternities, composed of members allied together by initiation in certain mystical ceremonies, and administered by hereditary families of presiding priests.