XI.
The Speculative Science and the Operative Art.
And now, let us apply this doctrine of symbolism to an investigation of the nature of a speculative science, as derived from an operative art; for the fact is familiar to every one that Freemasonry is of two kinds. We work, it is true, in speculative Masonry only, but our ancient brethren wrought in both operative and speculative; and it is now well understood that the two branches are widely apart in design and in character--the one a mere useful art, intended for the protection and convenience of man and the gratification of his physical wants, the other a profound science, entering into abstruse investigations of the soul and a future existence, and originating in the craving need of humanity to know something that is above and beyond the mere outward life that surrounds us with its gross atmosphere here below.[44] Indeed, the only bond or link that unites speculative and operative Masonry is the symbolism that belongs altogether to the former, but which, throughout its whole extent, is derived from the latter.
Our first inquiry, then, will be into the nature of the symbolism which operative gives to speculative Masonry; and thoroughly to understand this--to know its origin, and its necessity, and its mode of application--we must begin with a reference to the condition of a long past period of time.
Thousands of years ago, this science of symbolism was adopted by the sagacious priesthood of Egypt to convey the lessons of worldly wisdom and religious knowledge, which they thus communicated to their disciples.[45] Their science, their history, and their philosophy were thus concealed beneath an impenetrable veil from all the profane, and only the few who had passed through the severe ordeal of initiation were put in possession of the key which enabled them to decipher and read with ease those mystic lessons which we still see engraved upon the obelisks, the tombs, and the sarcophagi, which lie scattered, at this day, in endless profusion along the banks of the Nile.
From the Egyptians the same method of symbolic instruction was diffused among all the pagan nations of antiquity, and was used in all the ancient Mysteries[46] as the medium of communicating to the initiated the esoteric and secret doctrines for whose preservation and promulgation these singular associations were formed.
Moses, who, as Holy Writ informs us, was skilled in all the learning of Egypt, brought with him, from that cradle of the sciences, a perfect knowledge of the science of symbolism, as it was taught by the priests of Isis and Osiris, and applied it to the ceremonies with which he invested the purer religion of the people for whom he had been appointed to legislate.[47]
Hence we learn, from the great Jewish historian, that, in the construction of the tabernacle, which gave the first model for the temple at Jerusalem, and afterwards for every masonic lodge, this principle of symbolism was applied to every part of it. Thus it was divided into three parts, to represent the three great elementary divisions of the universe--the land, the sea, and the air. The first two, or exterior portions, which were accessible to the priests and the people, were symbolic of the land and the sea, which all men might inhabit; while the third, or interior division,--the holy of holies,--whose threshold no mortal dared to cross, and which was peculiarly consecrated to GOD, was emblematic of heaven, his dwelling-place. The veils, too, according to Josephus, were intended for symbolic instruction in their color and their materials. Collectively, they represented the four elements of the universe; and, in passing, it may be observed that this notion of symbolizing the universe characterized all the ancient systems, both the true and the false, and that the remains of the principle are to be found everywhere, even at this day, pervading Masonry, which is but a development of these systems. In the four veils of the tabernacle, the white or fine linen signified the earth, from which flax was produced; the scarlet signified fire, appropriately represented by its flaming color; the purple typified the sea, in allusion to the shell-fish murex, from which the tint was obtained; and the blue, the color of the firmament, was emblematic of air.[48]
It is not necessary to enter into a detail of the whole system of religious symbolism, as developed in the Mosaic ritual. It was but an application of the same principles of instruction, that pervaded all the surrounding Gentile nations, to the inculcation of truth. The very idea of the ark itself[49] was borrowed, as the discoveries of the modern Egyptologists have shown us, from the banks of the Nile; and the breastplate of the high priest, with its Urim and Thummim,[50] was indebted for its origin to a similar ornament worn by the Egyptian judge.
The system was the same; in its application, only, did it differ.
With the tabernacle of Moses the temple of King Solomon is closely connected: the one was the archetype of the other. Now, it is at the building of that temple that we must place the origin of Freemasonry in its present organization: not that the system did not exist before, but that the union of its operative and speculative character, and the mutual dependence of one upon the other, were there first established.
At the construction of this stupendous edifice--stupendous, not in magnitude, for many a parish church has since excelled it in size,[51] but stupendous in the wealth and magnificence of its ornaments--the wise king of Israel, with all that sagacity for which he was so eminently distinguished, and aided and counselled by the Gentile experience of the king of Tyre, and that immortal architect who superintended his workmen, saw at once the excellence and beauty of this method of inculcating moral and religious truth, and gave, therefore, the impulse to that symbolic reference of material things to a spiritual sense, which has ever since distinguished the institution of which he was the founder.
If I deemed it necessary to substantiate the truth of the assertion that the mind of King Solomon was eminently symbolic in its propensities, I might easily refer to his writings, filled as they are to profusion with tropes and figures. Passing over the Book of Canticles,--that great lyrical drama, whose abstruse symbolism has not yet been fully evolved or explained, notwithstanding the vast number of commentators who have labored at the task,--I might simply refer to that beautiful passage in the twelfth chapter of Ecclesiastes, so familiar to every Mason as being appropriated, in the ritual, to the ceremonies of the third degree, and in which a dilapidated building is metaphorically made to represent the decays and infirmities of old age in the human body. This brief but eloquent description is itself an embodiment of much of our masonic symbolism, both as to the mode and the subject matter.
In attempting any investigation into the symbolism of Freemasonry, the first thing that should engage our attention is the general purport of the institution, and the mode in which its symbolism is developed. Let us first examine it as a whole, before we investigate its parts, just as we would first view, as critics, the general effect of a building, before we began to inquire into its architectural details.
Looking, then, in this way, at the institution--coming down to us, as it has, from a remote age--having passed unaltered and unscathed through a thousand revolutions of nations--and engaging, as disciples in its school of mental labor, the intellectual of all times--the first thing that must naturally arrest the attention is the singular combination that it presents of an operative with a speculative organization--an art with a science--the technical terms and language of a mechanical profession with the abstruse teachings of a profound philosophy.
Here it is before us--a venerable school, discoursing of the deepest subjects of wisdom, in which sages might alone find themselves appropriately employed, and yet having its birth and deriving its first life from a society of artisans, whose only object was, apparently, the construction of material edifices of stone and mortar.
The nature, then, of this operative and speculative combination, is the first problem to be solved, and the symbolism which depends upon it is the first feature of the institution which is to be developed.
Freemasonry, in its character as an operative art, is familiar to every one. As such, it is engaged in the application of the rules and principles of architecture to the construction o
f edifices for private and public use--houses for the dwelling-place of man, and temples for the worship of Deity. It abounds, like every other art, in the use of technical terms, and employs, in practice, an abundance of implements and materials which are peculiar to itself.
Now, if the ends of operative Masonry had here ceased,--if this technical dialect and these technical implements had never been used for any other purpose, nor appropriated to any other object, than that of enabling its disciples to pursue their artistic labors with greater convenience to themselves,--Freemasonry would never have existed. The same principles might, and in all probability would, have been developed in some other way; but the organization, the name, the mode of instruction, would all have most materially differed.
But the operative Masons, who founded the order, were not content with the mere material and manual part of their profession: they adjoined to it, under the wise instructions of their leaders, a correlative branch of study.
And hence, to the Freemason, this operative art has been symbolized in that intellectual deduction from it, which has been correctly called Speculative Masonry. At one time, each was an integrant part of one undivided system. Not that the period ever existed when every operative mason was acquainted with, or initiated into, the speculative science.
Even now, there are thousands of skilful artisans who know as little of that as they do of the Hebrew language which was spoken by its founder.
But operative Masonry was, in the inception of our history, and is, in some measure, even now, the skeleton upon which was strung the living muscles, and tendons, and nerves of the speculative system. It was the block of marble--rude and unpolished it may have been--from which was sculptured the life-breathing statue.[52]
Speculative Masonry (which is but another name for Freemasonary in its modern acceptation) may be briefly defined as the scientific application and the religious consecration of the rules and principles, the language, the implements and materials of operative Masonry to the veneration of God, the purification of the heart, and the inculcation of the dogmas of a religious philosophy.
XII.
He Symbolism of Solomon'S Temple.
I have said that the operative art is symbolized--that is to say, used as a symbol--in the speculative science. Let us now inquire, as the subject of the present essay, how this is done in reference to a system of symbolism dependent for its construction on types and figures derived from the temple of Solomon, and which we hence call the "Temple Symbolism of Freemasonry."
Bearing in mind that speculative Masonry dates its origin from the building of King Solomon's temple by Jewish and Tyrian artisans,[53] the first important fact that attracts the attention is, that the operative masons at Jerusalem were engaged in the construction of an earthly and material temple, to be dedicated to the service and worship of God--a house in which Jehovah was to dwell visibly by his Shekinah, and whence he was, by the Urim and Thummim, to send forth his oracles for the government and direction of his chosen people.
Now, the operative art having, for us, ceased, we, as speculative Masons, symbolize the labors of our predecessors by engaging in the construction of a spiritual temple in our hearts, pure and spotless, fit for the dwelling-place of Him who is the author of purity--where God is to be worshipped in spirit and in truth, and whence every evil thought and unruly passion is to be banished, as the sinner and the Gentile were excluded from the sanctuary of the Jewish temple.
This spiritualizing of the temple of Solomon is the first, the most prominent and most pervading of all the symbolic instructions of Freemasonry. It is the link that binds the operative and speculative divisions of the order. It is this which gives it its religious character.
Take from Freemasonry its dependence on the temple, leave out of its ritual all reference to that sacred edifice, and to the legends connected with it, and the system itself must at once decay and die, or at best remain only as some fossilized bone, imperfectly to show the nature of the living body to which it once belonged.
Temple worship is in itself an ancient type of the religious sentiment in its progress towards spiritual elevation. As soon as a nation emerged, in the world's progress, out of Fetichism, or the worship of visible objects,--the most degraded form of idolatry,--its people began to establish a priesthood and to erect temples.[54] The Scandinavians, the Celts, the Egyptians, and the Greeks, however much they may have differed in the ritual and the objects of their polytheistic worship, all were possessed of priests and temples. The Jews first constructed their tabernacle, or portable temple, and then, when time and opportunity permitted, transferred their monotheistic worship to that more permanent edifice which is now the subject of our contemplation. The mosque of the Mohammedan and the church or the chapel of the Christian are but embodiments of the same idea of temple worship in a simpler form.
The adaptation, therefore, of the material temple to a science of symbolism would be an easy, and by no means a novel task, to both the Jewish and the Tyrian mind. Doubtless, at its original conception, the idea was rude and unembellished, to be perfected and polished only by future aggregations of succeeding intellects. And yet no biblical scholar will venture to deny that there was, in the mode of building, and in all the circumstances connected with the construction of King Solomon's temple, an apparent design to establish a foundation for symbolism.[55]
I propose now to illustrate, by a few examples, the method in which the speculative Masons have appropriated this design of King Solomon to their own use.
To construct his earthly temple, the operative mason followed the architectural designs laid down on the trestle-board, or tracing-board, or book of plans of the architect. By these he hewed and squared his materials; by these he raised his walls; by these he constructed his arches; and by these strength and durability, combined with grace and beauty, were bestowed upon the edifice which he was constructing.
The trestle-board becomes, therefore, one of our elementary symbols. For in the masonic ritual the speculative Mason is reminded that, as the operative artist erects his temporal building, in accordance with the rules and designs laid down on the trestle-board of the master-workman, so should he erect that spiritual building, of which the material is a type, in obedience to the rules and designs, the precepts and commands, laid down by the grand Architect of the universe, in those great books of nature and revelation, which constitute the spiritual trestle-board of every Freemason.
The trestle-board is, then, the symbol of the natural and moral law. Like every other symbol of the order, it is universal and tolerant in its application; and while, as Christian Masons, we cling with unfaltering integrity to that explanation which makes the Scriptures of both dispensations our trestle-board, we permit our Jewish and Mohammedan brethren to content themselves with the books of the Old Testament, or the Koran. Masonry does not interfere with the peculiar form or development of any one's religious faith. All that it asks is, that the interpretation of the symbol shall be according to what each one supposes to be the revealed will of his Creator. But so rigidly exacting is it that the symbol shall be preserved, and, in some rational way, interpreted, that it peremptorily excludes the Atheist from its communion, because, believing in no Supreme Being, no divine Architect, he must necessarily be without a spiritual trestle-board on which the designs of that Being may be inscribed for his direction.
But the operative mason required materials wherewith to construct his temple. There was, for instance, the rough ashlar--the stone in its rude and natural state--unformed and unpolished, as it had been lying in the quarries of Tyre from the foundation of the earth. This stone was to be hewed and squared, to be fitted and adjusted, by simple, but appropriate implements, until it became a perfect ashlar, or well-finished stone, ready to take its destined place in the building.
Here, then, again, in these materials do we find other elementary symbols.
The rough and unpolished stone is a symbol of man's natural state--ignorant, uncultivated, and, as th
e Roman historian expresses it, "grovelling to the earth, like the beasts of the field, and obedient to every sordid appetite;" [56] but when education has exerted its salutary influences in expanding his intellect, in restraining his hitherto unruly passions, and purifying his life, he is then represented by the perfect ashlar, or finished stone, which, under the skilful hands of the workman, has been smoothed, and squared, and fitted for its appropriate place in the building.
Here an interesting circumstance in the history of the preparation of these materials has been seized and beautifully appropriated by our symbolic science. We learn from the account of the temple, contained in the First Book of Kings, that "The house, when it was in building, was built of stone, made ready before it was brought thither, so that there was neither hammer nor axe, nor any tool of iron, heard in the house while it was in building." [57]
Now, this mode of construction, undoubtedly adopted to avoid confusion and discord among so many thousand workmen,[58] has been selected as an elementary symbol of concord and harmony--virtues which are not more essential to the preservation and perpetuity of our own society than they are to that of every human association.
The perfect ashlar, therefore,--the stone thus fitted for its appropriate position in the temple,--becomes not only a symbol of human perfection (in itself, of course, only a comparative term), but also, when we refer to the mode in which it was prepared, of that species of perfection which results from the concord and union of men in society. It is, in fact, a symbol of the social character of the institution.
The Symbolism of Freemasonry by Albert G. Mackey Page 6
