In his third pause, he therefore arrives at that point in which the whole circle of human science is to be explained. Symbols, we know, are in themselves arbitrary and of conventional signification, and the complete circle of human science might have been as well symbolized by any other sign or series of doctrines as by the seven liberal arts and sciences. But Masonry is an institution of the olden time; and this selection of the liberal arts and sciences as a symbol of the completion of human learning is one of the most pregnant evidences that we have of its antiquity.
In the seventh century, and for a long time afterwards, the circle of instruction to which all the learning of the most eminent schools and most distinguished philosophers was confined, was limited to what were then called the liberal arts and sciences, and consisted of two branches, the trivium and the quadrivium.[154] The trivium included grammar, rhetoric, and logic; the quadrivium comprehended arithmetic, geometry, music, and astronomy.
"These seven heads," says Enfield, "were supposed to include universal knowledge. He who was master of these was thought to have no need of a preceptor to explain any books or to solve any questions which lay within the compass of human reason, the knowledge of the trivium having furnished him with the key to all language, and that of the quadrivium having opened to him the secret laws of nature." [155]
At a period, says the same writer, when few were instructed in the trivium, and very few studied the quadrivium, to be master of both was sufficient to complete the character of a philosopher. The propriety, therefore, of adopting the seven liberal arts and sciences as a symbol of the completion of human learning is apparent. The candidate, having reached this point, is now supposed to have accomplished the task upon which he had entered--he has reached the last step, and is now ready to receive the full fruition of human learning.
So far, then, we are able to comprehend the true symbolism of the Winding Stairs. They represent the progress of an inquiring mind with the toils and labors of intellectual cultivation and study, and the preparatory acquisition of all human science, as a preliminary step to the attainment of divine truth, which it must be remembered is always symbolized in Masonry by the WORD.
Here let me again allude to the symbolism of numbers, which is for the first time presented to the consideration of the masonic student in the legend of the Winding Stairs. The theory of numbers as the symbols of certain qualities was originally borrowed by the Masons from the school of Pythagoras. It will be impossible, however, to develop this doctrine, in its entire extent, on the present occasion, for the numeral symbolism of Masonry would itself constitute materials for an ample essay. It will be sufficient to advert to the fact that the total number of the steps, amounting in all to fifteen, in the American system, is a significant symbol. For fifteen was a sacred number among the Orientals, because the letters of the holy name JAH, were, in their numerical value, equivalent to fifteen; and hence a figure in which the nine digits were so disposed as to make fifteen either way when added together perpendicularly, horizontally, or diagonally, constituted one of their most sacred talismans.[156] The fifteen steps in the Winding Stairs are therefore symbolic of the name of God.
But we are not yet done. It will be remembered that a reward was promised for all this toilsome ascent of the Winding Stairs. Now, what are the wages of a Speculative Mason? Not money, nor corn, nor wine, nor oil. All these are but symbols. His wages are TRUTH, or that approximation to it which will be most appropriate to the degree into which he has been initiated. It is one of the most beautiful, but at the same time most abstruse, doctrines of the science of masonic symbolism, that the Mason is ever to be in search of truth, but is never to find it. This divine truth, the object of all his labors, is symbolized by the WORD, for which we all know he can only obtain a substitute; and this is intended to teach the humiliating but necessary lesson that the knowledge of the nature of God and of man's relation to him, which knowledge constitutes divine truth, can never be acquired in this life. It is only when the portals of the grave open to us, and give us an entrance into a more perfect life, that this knowledge is to be attained. "Happy is the man," says the father of lyric poetry, "who descends beneath the hollow earth, having beheld these mysteries; he knows the end, he knows the origin of life."
The Middle Chamber is therefore symbolic of this life, where the symbol only of the word can be given, where the truth is to be reached by approximation only, and yet where we are to learn that that truth will consist in a perfect knowledge of the G.A.O.T.U. This is the reward of the inquiring Mason; in this consist the wages of a Fellow Craft; he is directed to the truth, but must travel farther and ascend still higher to attain it.
It is, then, as a symbol, and a symbol only, that we must study this beautiful legend of the Winding Stairs. If we attempt to adopt it as an historical fact, the absurdity of its details stares us in the face, and wise men will wonder at our credulity. Its inventors had no desire thus to impose upon our folly; but offering it to us as a great philosophical myth, they did not for a moment suppose that we would pass over its sublime moral teachings to accept the allegory as an historical narrative, without meaning, and wholly irreconcilable with the records of Scripture, and opposed by all the principles of probability. To suppose that eighty thousand craftsmen were weekly paid in the narrow precincts of the temple chambers, is simply to suppose an absurdity. But to believe that all this pictorial representation of an ascent by a Winding Staircase to the place where the wages of labor were to be received, was an allegory to teach us the ascent of the mind from ignorance, through all the toils of study and the difficulties of obtaining knowledge, receiving here a little and there a little, adding something to the stock of our ideas at each step, until, in the middle chamber of life,--in the full fruition of manhood,--the reward is attained, and the purified and elevated intellect is invested with the reward in the direction how to seek God and God's truth,--to believe this is to believe and to know the true design of Speculative Masonry, the only design which makes it worthy of a good or a wise man's study.
Its historical details are barren, but its symbols and allegories are fertile with instruction.
XXVII.
The Legend of the Third Degree.
The most important and significant of the legendary symbols of Freemasonry is, undoubtedly, that which relates to the fate of Hiram Abif, commonly called, "by way of excellence," the Legend of the Third Degree.
The first written record that I have been able to find of this legend is contained in the second edition of Anderson's Constitutions, published in 1738, and is in these words:--
"It (the temple) was finished in the short space of seven years and six months, to the amazement of all the world; when the cape-stone was celebrated by the fraternity with great joy. But their joy was soon interrupted by the sudden death of their dear master, Hiram Abif, whom they decently interred, in the lodge near the temple, according to ancient dusage." [157]
In the next edition of the same work, published in 1756, a few additional circumstances are related, such as the participation of King Solomon in the general grief, and the fact that the king of Israel "ordered his obsequies to be conducted with great solemnity and decency." [158] With these exceptions, and the citations of the same passages, made by subsequent authors, the narrative has always remained unwritten, and descended, from age to age, through the means of oral tradition.
The legend has been considered of so much importance that it has been preserved in the symbolism of every masonic rite. No matter what modifications or alterations the general system may have undergone,--no matter how much the ingenuity or the imagination of the founders of rites may have perverted or corrupted other symbols, abolishing the old and substituting new ones,--the legend of the Temple Builder has ever been left untouched, to present itself in all the integrity of its ancient mythical form.
What, then, is the signification of this symbol, so important and so extensively diffused? What interpretation can we give to it that will a
ccount for its universal adoption? How is it that it has thus become so intimately interwoven with Freemasonry as to make, to all appearances, a part of its very essence, and to have been always deemed inseparable from it?
To answer these questions, satisfactorily, it is necessary to trace, in a brief investigation, the remote origin of the institution of Freemasonry, and its connection with the ancient systems of initiation.
It was, then, the great object of all the rites and mysteries which constituted the "Spurious Freemasonry" of antiquity to teach the consoling doctrine of the immortality of the soul.[159] This dogma, shining as an almost solitary beacon-light in the surrounding gloom of pagan darkness, had undoubtedly been received from that ancient people or priesthood[160] what has been called the system of "Pure Freemasonry," and among whom it probably existed only in the form of an abstract proposition or a simple and unembellished tradition. But in the more sensual minds of the pagan philosophers and mystics, the idea, when presented to the initiates in their Mysteries, was always conveyed in the form of a scenic representation.[161] The influence, too, of the early Sabian worship of the sun and heavenly bodies, in which the solar orb was adored, on its resurrection, each morning, from the apparent death of its evening setting, caused this rising sun to be adopted in the more ancient Mysteries as a symbol of the regeneration of the soul.
Thus in the Egyptian Mysteries we find a representation of the death and subsequent regeneration of Osiris; in the Phoenician, of Adonis; in the Syrian, of Dionysus; in all of which the scenic apparatus of initiation was intended to indoctrinate the candidate into the dogma of a future life.
It will be sufficient here to refer simply to the fact, that through the instrumentality of the Tyrian workmen at the temple of King Solomon, the spurious and pure branches of the masonic system were united at Jerusalem, and that the same method of scenic representation was adopted by the latter from the former, and the narrative of the temple builder substituted for that of Dionysus, which was the myth peculiar to the mysteries practised by the Tyrian workmen.
The idea, therefore, proposed to be communicated in the myth of the ancient Mysteries was the same as that which is now conveyed in the masonic legend of the Third Degree.
Hence, then, Hiram Abif is, in the masonic system, the symbol of human nature, as developed in the life here and the life to come; and so, while the temple was, as I have heretofore shown, the visible symbol of the world, its builder became the mythical symbol of man, the dweller and worker in that world.
Now, is not this symbolism evident to every reflective mind?
Man, setting forth on the voyage of life, with faculties and powers fitting him for the due exercise of the high duties to whose performance he has been called, holds, if he be "a curious and cunning workman," [162] skilled in all moral and intellectual purposes (and it is only of such men that the temple builder can be the symbol), within the grasp of his attainment the knowledge of all that divine truth imparted to him as the heirloom of his race--that race to whom it has been granted to look, with exalted countenance, on high;[163] which divine truth is symbolized by the WORD.
Thus provided with the word of life, he occupies his time in the construction of a spiritual temple, and travels onward in the faithful discharge of all his duties, laying down his designs upon the trestle-board of the future and invoking the assistance and direction of God.
But is his path always over flowery meads and through pleasant groves? Is there no hidden foe to obstruct his progress? Is all before him clear and calm, with joyous sunshine and refreshing zephyrs? Alas! not so. "Man is born to trouble, as the sparks fly upward." At every "gate of life"--as the Orientalists have beautifully called the different ages--he is beset by peril. Temptations allure his youth, misfortunes darken the pathway of his manhood, and his old age is encumbered with infirmity and disease. But clothed in the armor of virtue he may resist the temptation; he may cast misfortunes aside, and rise triumphantly above them; but to the last, the direst, the most inexorable foe of his race, he must eventually yield; and stricken down by death, he sinks prostrate into the grave, and is buried in the rubbish of his sin and human frailty.
Here, then, in Masonry, is what was called the aphanism[164] in the ancient Mysteries. The bitter but necessary lesson of death has been imparted. The living soul, with the lifeless body which encased it, has disappeared, and can nowhere be found. All is darkness--confusion--despair. Divine truth--the WORD--for a time is lost, and the Master Mason may now say, in the language of Hutchinson, "I prepare my sepulchre. I make my grave in the pollution of the earth.
I am under the shadow of death."
But if the mythic symbolism ended here, with this lesson of death, then were the lesson incomplete. That teaching would be vain and idle--nay, more, it would be corrupt and pernicious--which should stop short of the conscious and innate instinct for another existence. And hence the succeeding portions of the legend are intended to convey the sublime symbolism of a resurrection from the grave and a new birth into a future life. The discovery of the body, which, in the initiations of the ancient Mysteries, was called the euresis,[165] and its removal, from the polluted grave into which it had been cast, to an honored and sacred place within the precincts of the temple, are all profoundly and beautifully symbolic of that great truth, the discovery of which was the object of all the ancient initiations, as it is almost the whole design of Freemasonry, namely, that when man shall have passed the gates of life and have yielded to the inexorable fiat of death, he shall then (not in the pictured ritual of an earthly lodge, but in the realities of that eternal one, of which the former is but an antitype) be raised, at the omnific word of the Grand Master of the Universe, from time to eternity; from the tomb of corruption to the chambers of hope; from the darkness of death to the celestial beams of life; and that his disembodied spirit shall be conveyed as near to the holy of holies of the divine presence as humanity can ever approach to Deity.
Such I conceive to be the true interpretation of the symbolism of the legend of the Third Degree.
I have said that this mythical history of the temple builder was universal in all nations and all rites, and that in no place and at no time had it, by alteration, diminution, or addition, acquired any essentially new or different form: the myth has always remained the same.
But it is not so with its interpretation. That which I have just given, and which I conceive to be the correct one, has been very generally adopted by the Masons of this country. But elsewhere, and by various writers, other interpretations have been made, very different in their character, although always agreeing in retaining the general idea of a resurrection or regeneration, or a restoration of something from an inferior to a higher sphere or function.
Thus some of the earlier continental writers have supposed the myth to have been a symbol of the destruction of the Order of the Templars, looking upon its restoration to its original wealth and dignities as being prophetically symbolized.
In some of the high philosophical degrees it is taught that the whole legend refers to the sufferings and death, with the subsequent resurrection, of Christ.[166]
Hutchinson, who has the honor of being the earliest philosophical writer on Freemasonry in England, supposes it to have been intended to embody the idea of the decadence of the Jewish religion, and the substitution of the Christian in its place and on its ruins.[167]
Dr. Oliver--"clarum et venerabile nomen"--thinks that it is typical of the murder of Abel by Cain, and that it symbolically refers to the universal death of our race through Adam, and its restoration to life in the Redeemer,[168] according to the expression of the apostle, "As in Adam we all died, so in Christ we all live."
Ragon makes Hiram a symbol of the sun shorn of its vivifying rays and fructifying power by the three winter months, and its restoration to generative heat by the season of spring.[169]
And, finally, Des Etangs, adopting, in part, the interpretation of Ragon, adds to it another, which he calls the moral
symbolism of the legend, and supposes that Hiram is no other than eternal reason, whose enemies are the vices that deprave and destroy humanity.[170]
To each of these interpretations it seems to me that there are important objections, though perhaps to some less so than to others.
As to those who seek for an astronomical interpretation of the legend, in which the annual changes of the sun are symbolized, while the ingenuity with which they press their argument cannot but be admired, it is evident that, by such an interpretation, they yield all that Masonry has gained of religious development in past ages, and fall back upon that corruption and perversion of Sabaism from which it was the object, even of the Spurious Freemasonry of antiquity, to rescue its disciples.
The Templar interpretation of the myth must at once be discarded if we would avoid the difficulties of anachronism, unless we deny that the legend existed before the abolition of the Order of Knights Templar, and such denial would be fatal to the antiquity of Freemasonry.[171]
And as to the adoption of the Christian reference, Hutchinson, and after him Oliver, profoundly philosophical as are the masonic speculations of both, have, I am constrained to believe, fallen into a great error in calling the Master Mason's degree a Christian institution. It is true that it embraces within its scheme the great truths of Christianity upon the subject of the immortality of the soul and the resurrection of the body; but this was to be presumed, because Freemasonry is truth, and Christianity is truth, and all truth must be identical. But the origin of each is different; their histories are dissimilar. The institution of Freemasonry preceded the advent of Christianity. Its symbols and its legends are derived from the Solomonic temple, and from the people even anterior to that. Its religion comes from the ancient priesthood. Its faith was that primitive one of Noah and his immediate descendants. If Masonry were simply a Christian institution, the Jew and the Moslem, the Brahmin and the Buddhist, could not conscientiously partake of its illumination; but its universality is its boast. In its language citizens of every nation may converse; at its altar men of all religions may kneel; to its creed disciples of every faith may subscribe.
The Symbolism of Freemasonry by Albert G. Mackey Page 16
