Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry. Albert Pike
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which the woman sits in the wilderness, has seven heads and ten horns. So also has the beast that rises up out of the sea. Seven thunders uttered their voices. Seven angels sounded seven trumpets. Seven lamps, of fire, the seven spirits of God, burned before the throne; and the Lamb that was slain had seven horns and seven eyes.
EIGHT is the first cube, that of two. NINE is the square of three, and represented by the triple triangle.
TEN includes all the other numbers. It is especially seven and three; and is called the number of perfection. Pythagoras represented it by the TETRACTYS, which had many mystic meanings. This symbol is sometimes composed of dots or points, sometimes of commas or yōds, and in the Kabalah, of the letters of the name of Deity. It is thus arranged:
,
, ,
, , ,
, , , ,
The Patriarchs from Adam to Noah, inclusive, are ten in number, and the same number is that of the Commandments.
TWELVE is the number of the lines of equal length that form a cube. It is the number of the months, the tribes, and the apostles; of the oxen under the Brazen Sea, of the stones on the breast-plate of the high priest.
III.
THE MASTER.
To understand literally the symbols and allegories of Oriental books as to ante-historical matters, is willfully to close our eyes against the Light. To translate the symbols into the trivial and commonplace, is the blundering of mediocrity.
All religious expression is symbolism; since we can describe only what we see, and the true objects of religion are THE SEEN. The earliest instruments of education were symbols; and they and all other religious forms differed and still differ according to external circumstances and imagery, and according to differences of knowledge and mental cultivation. All language is symbolic, so far as it is applied to mental and spiritual phenomena and action. All words have, primarily, a material sense, however they may afterward get, for the ignorant, a spiritual non-sense. "To retract," for example, is to draw back, and when applied to a statement, is symbolic, as much so as a picture of an arm drawn back, to express the same thing, would be. The very word "spirit" means "breath," from the Latin verb , breathe.
To present a visible symbol to the eye of another is not necessarily to inform him of the meaning which that symbol has to you. Hence the philosopher soon superadded to the symbols explanations addressed to the ear, susceptible of more precision, but less effective and impressive than the painted or sculptured forms which he endeavored to explain. Out of these explanations grew by degrees a variety of narrations, whose true object and meaning were gradually forgotten, or lost in contradictions and incongruities. And when these were abandoned, and Philosophy resorted to definitions and formulas, its language was but a more complicated symbolism, attempting in the dark to grapple with and picture ideas impossible to be expressed. For as with the visible symbol, so with the word: to utter it to you does not inform you of the exact meaning which it has to me; and thus religion and philosophy became to a great extent disputes as to the meaning of words. The most abstract expression for DEITY, which language can supply, is but a sign or symbol for an object beyond our comprehension, and not more truthful and adequate than the images of OSIRIS and VISHNU, or their names, except as being less sensuous and explicit. We avoid sensuousness only by resorting to simple negation. We come at last to define spirit by saying that it is not matter. Spirit is—spirit.
A single example of the symbolism of words will indicate to you one branch of Masonic study. We find in the English Rite this phrase: "I will always hail, ever conceal, and never reveal;" and in the Catechism, these:
Q.'. "I hail."
A.'. "I conceal;"
and ignorance, misunderstanding the word "hail," has interpolated the phrase, "From whence do you hail?"
But the word is really "hele," from the Anglo-Saxon verb Ðelan, helan, to cover, hide, or conceal. And this word is rendered by the Latin verb tegere, to cover or roof over. "That ye fro me no thynge woll hele," says Gower. "They hele fro me no priuyte," says the Romaunt of the Rose. "To heal a house," is a common phrase in Sussex; and in the west of England, he that covers a house with slates is called a Healer. Wherefore, to "heal" means the same thing as to "tile,"—itself symbolic, as meaning, primarily, to cover a house with tiles—and means to cover, hide, or conceal. Thus language too is symbolism, and words are as much misunderstood and misused as more material symbols are.
Symbolism tended continually to become more complicated; and all the powers of Heaven were reproduced on earth, until a web of fiction and allegory was woven, partly by art and partly by the ignorance of error, which the wit of man, with his limited means of explanation, will never unravel. Even the Hebrew Theism became involved in symbolism and image-worship, borrowed probably from an older creed and remote regions of Asia—the worship of the Great Semitic Nature-God AL or ELS and its symbolical representations of JEHOVAH Himself were not even confined to poetical or illustrative language. The priests were monotheists: the people idolaters.
There are dangers inseparable from symbolism, which afford an impressive lesson in regard to the similar risks attendant on the use of language. The imagination, called in to assist the reason, usurps its place or leaves its ally helplessly entangled in its web. Names which stand for things are confounded with them; the means are mistaken for the end; the instrument of interpretation for the object; and thus symbols come to usurp an independent character as truths and persons. Though perhaps a necessary path, they were a dangerous one by which to approach the Deity; in which many, says PLUTARCH, "mistaking the sign for the thing signified, fell into a ridiculous superstition; while others, in avoiding one extreme, plunged into the no less hideous gulf of irreligion and impiety."
It is through the Mysteries, CICERO says, that we have learned the first principles of life; wherefore the term "initiation" is used with good reason; and they not only teach us to live more happily and agreeably, but they soften the pains of death by the hope of a better life hereafter.
The Mysteries were a Sacred Drama, exhibiting some legend significant of nature's changes, of the visible Universe in which the Divinity is revealed, and whose import was in many respects as open to the Pagan as to the Christian. Nature is the great Teacher of man; for it is the Revelation of God. It neither dogmatizes nor attempts to tyrannize by compelling to a particular creed or special interpretation. It presents its symbols to us, and adds nothing by way of explanation. It is the text without the commentary; and, as we well know, it is chiefly the commentary and gloss that lead to error and heresy and persecution. The earliest instructors of mankind not only adopted the lessons of Nature, but as far as possible adhered to her method of imparting them. In the Mysteries, beyond the current traditions or sacred and enigmatic recitals of the Temples, few explanations were given to the spectators, who were left, as in the school of nature, to make inferences for themselves. No other method could have suited every degree of cultivation and capacity. To employ nature's universal symbolism instead of the technicalities of language, rewards the humblest inquirer, and discloses its secrets to every one in proportion to his preparatory training and his power to comprehend them. If their philosophical meaning was above the comprehension of some, their moral and political meanings are within the reach of all.
These mystic shows and performances were not the reading of a lecture, but the opening of a problem. Requiring research, they were calculated to arouse the dormant intellect. They implied no hostility to Philosophy, because Philosophy is the great expounder of symbolism; although its ancient interpretations were often ill-founded and incorrect. The alteration from symbol to dogma is fatal to beauty of expression, and leads to intolerance