Pike now delves into several related Templar topics, like the Dante’s Divine Comedy and the great Ghibellin, both of which hold revelations of the mysteries. He further relates the topic of hell, like when he wrote, “Hell is impassable for those only who know not how to turn back from it.” There is, of course, much more as well; enjoy this most fascinating read from Pike my friends:
Commentaries and studies have been multiplied upon the Divine Comedy, the work of DANTE, and yet no one, so far as we know, has pointed out its especial character. The work of the great Ghibellin is a declaration of war against the Papacy, by bold revelations of the Mysteries. The Epic of Dante is Johannite and Gnostic, an audacious application, like that of the Apocalypse, of the figures and numbers of the Kabalah to the Christian dogmas, and a secret negation of every thing absolute in these dogmas. His journey through the supernatural worlds is accomplished like the initiation into the Mysteries of Eleusis and Thebes. He escapes from that gulf of Hell over the gate of which the sentence of despair was written, by reversing the positions of his head and feet, that is to say, by accepting the direct opposite of the Catholic dogma; and then he reascends to the light, by using the Devil himself as a monstrous ladder. Faust ascends to Heaven, by stepping on the head of the vanquished Mephistopheles. Hell is impassable for those only who know not how to turn back from it. We free ourselves from its bondage by audacity.
His Hell is but a negative Purgatory. His Heaven is composed of a series of Kabalistic circles, divided by a cross, like the Pantacle of Ezekiel. In the centre of this cross blooms a rose, and we see the symbol of the Adepts of the Rose-Croix for the first time publicly expounded and almost categorically explained.
For the first time, because Guillaume de Lorris, who died in 1260, five years before the birth of Alighieri, had not completed his Roman de la Rose, which was continued by Chopinel, a half century afterward. One is astonished to discover that the Roman de la Rose and the Divina Commedia are two opposite forms of one and the same work, initiation into independence of spirit, a satire on all contemporary institutions, and the allegorical formula of the great Secrets of the Society of the Roses-Croix.
The important manifestations of Occultism coincide with the period of the fall of the Templars; since Jean de Meung or Chopinel, contemporary of the old age of Dante, flourished during the best years of his life at the Court of Philippe le Bel. The Roman de la Rose is the Epic of old France. It is a profound book, under the form of levity, a revelation as learned as that of Apuleius, of the Mysteries of Occultism. The Rose of Flamel, that of Jean de Meung, and that of Dante, grew on the same stem.
Swedenborg’s system was nothing else than the Kabalah, minus the principle of the Hierarchy. It is the Temple, without the keystone and the foundation.
Cagliostro was the Agent of the Templars, and therefore wrote to the Free-Masons of London that the time had come to begin the work of re-building the Temple of the Eternal. He had introduced into Masonry a new Rite called the Egyptian, and endeavored to resuscitate the mysterious worship of Isis. The three letters L∴ P∴ D∴ on his seal, were the initials of the words “Lilia pedibus destrue;” tread under foot the Lilies [of France], and a Masonic medal of the sixteenth or seventeenth century has upon it a sword cutting off the stalk of a lily, and the words “talem dabit ultio messem,” such harvest revenge will give (Albert Pike, Morals and Dogma, 1871, p. 822-823).
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