Pike continues with his dissertation about the mysteries before Christianity. I most enjoyed what he said about the mystery of love, “Love is one of the mythological images of the grand secret and the grand agent, because it expresses at once an action and a passion, a void and a plenitude, an arrow and a wound. The Initiates ought to understand this, and, lest the profane should overhear, Masonry never says too much.” Did you catch that? In short, a portion of the mysteries is the power of love, and each initiate of Masonry needs to understand it and not reveal its power to the profane. But honestly, the profane will never understand the true power of love; I’m sorry, I just had to say that:
To this epoch of ardent abstractions and impassioned logomachies belongs the philosophical reign of Julian, an illuminatus and Initiate of the first order, who believed in the unity of God and the universal Dogma of the Trinity, and regretted the loss of nothing of the old world but its magnificent symbols and too graceful images. He was no Pagan, but a Gnostic, infected with the allegories of Grecian polytheism, and whose misfortune it was to find the name of Jesus Christ less sonorous than that of Orpheus.
We may be sure that so soon as Religion and Philosophy become distinct departments, the mental activity of the age is in advance of its Faith; and that, though habit may sustain the latter for a time, its vitality is gone.
The dunces who led primitive Christianity astray, by substituting faith for science, reverie for experience, the fantastic for the reality; and the inquisitors who for so many ages waged against Magism a war of extermination, have succeeded in shrouding in darkness the ancient discoveries of the human mind; so that we now grope in the dark to find again the key of the phenomena of nature. But all natural phenomena depend on a single and immutable law, represented by the philosophal stone and its symbolic form, which is that of a cube. This law, expressed in the Kabala by the number 4, furnished the Hebrews with all the mysteries of their divine Tetragram.
Everything is contained in that word of four letters. It is the Azot of the Alchemists, the Thot of the Bohemians, the Taro of the Kabalists. It supplies to the Adept the last word of the human Sciences, and the Key of the Divine Power: but he alone understands how to avail himself of it who comprehends the necessity of never revealing it. If Œdipus, in place of slaying the Sphynx, had conquered it, and driven it into Thebes harnessed to his chariot, he would have been King, without incest, calamities, or exile. If Psyche, by submission and caresses, had persuaded Love to reveal himself, she would never have lost him. Love is one of the mythological images of the grand secret and the grand agent, because it expresses at once an action and a passion, a void and a plenitude, an arrow and a wound. The Initiates ought to understand this, and, lest the profane should overhear, Masonry never says too much.
When Science had been overcome in Alexandria by the fanaticism of the murderers of Hypatia, it became Christian, or, rather, it concealed itself under Christian disguises, with Ammonius, Synosius, and the author of the books of Dionysius the Areopagite. Then it was necessary to win the pardon of miracles by the appearances of superstition, and of science by a language unintelligible. Hieroglyphic writing was revived, and pantacles and characters were invented, that summed up a whole doctrine in a sign, a whole series of tendencies and revelations in a word. What was the object of the aspirants to knowledge? They sought for the secret of the great work, or the Philosophal Stone, or the perpetual motion, or the squaring of the circle, or the universal medicine; formulas which often saved them from persecution and general ill-will, by exposing them to the charge of folly; and each of which expressed one of the forces of the grand magical secret. This lasted until the time of the Roman de la Rose, which also expresses the mysterious and magical meaning of the poem of Dante, borrowed from the High Kabalah, that immense and concealed source of the universal philosophy (Albert Pike, Morals and Dogma, 1871, p. 731-732).
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