Colors in Freemasonry: Part I

Colors in Freemasonry: Part I

Freemasonry is a system of age-old knowledge handed down primarily through the language of symbolism, and a part of the vocabulary of symbolism that is most significant is that of color. Color saturates our entire experience, and can be quite easy to take for granted, or simply see as a case of happenstance. This or that object simply “happens” to be this or that color, and while it certainly has aesthetic effects, this is more or less the scope of it’s significance, as people normally think.

Yet anyone who has spent time learning the language of symbolism, whether in the context of Masonry, the interpretation of dreams, or analysis of art and fiction will know that color carries enormous symbolic significance. To dream of a blue boat can be quite different in meaning than to dream of a red boat, and the same principle applies to any dream symbol and it’s color. As a body of knowledge communicated in the same language of symbol as dreams, the arts, or religious mythology, color in the Masonic Lodge is likewise an essential layer of meaning for the Initiate. 

So, what is the meaning of colors in the language of symbolism in general, and to Masons specifically?

Black

finaltumblr_inline_nxatcedBV71riiuei_500_1 (2)Color of darkness, the endless expanse of space, the depths of the Earth, and absence of light. Black is first and foremost the unknown, as it is literally what is dark, what is not illuminated. As such, it can also represent not just the unknown, but the hidden, and the act of concealing. 

Archetypally, we often associate black with evil, as we see evil as a kind of darkness, an existence not brightened by the light of love and knowledge. Black does not correspond to any standardly recognized chakra, however the absence of light from any given chakra can be said to be blackness, in effect.

In Freemasonry, black can represent grief, can be connected to Anubis the God of Death and all that he represents, as well as carrying all of the symbolism described above. The role of black in the Masonic mosaic pavement is a central element of the Lodge, and worth pondering. 

Red

Color of blood, fire, passion, gore, and anger. We say we “see red” when we are angry beyond maintaining composure; prostitution occurs in red light districts; we give red roses to those we are in love with, and “paint the town red” when we release all inhibitions and indulge our whims and passions. It can represent anything from war and bloodshed to health and vitality.

Tubal Cain

Red is also the color of Vulcan, or Tubal-Cain (see image), descendant of Cain, progenitor of civilization. It’s also noteworthy that the name Adam is akin to the word for red, and so the mythological first human is connected to the first chakra, and the first level of the hierarchy of needs.

The red chakra is usually associated with the most basic physical needs and drives, including money, sex, and health.In Masonry, red carries an association inherited from the ancient Egyptians, that of fire, which is the regenerator and purifier of souls.

Orange

Color of autumn, dawn and dusk, and bright flames. Orange is a color which tends to elicit strong reactions from people, whether positively or negatively; as the saying goes, either you love it or you hate it. Orange conjures feelings of vibrancy and energetic overflowing, perhaps due to its association with the sun and fire. The orange chakra is associated with both personal power as well as sexual the sex drive.  

Oddly, the color orange seems not to make many appearances in the Lodge. Perhaps it is lumped in with red in some cases, and yellow in others, but we can assume it carries much the same symbolism as above, when it does appear. 

Yellow/Gold

Color of the element of gold, the sun, sunflowers, and the happy face. Yellow is a color which has mostly positive symbolism, perhaps because of its association with gold, and is often also connected to the intellect, as well as radiance, as that of the sunflower, and happiness.Yellow Golden Wheat

We also use it to describe cowardice, but this is virtually the only negative association. The yellow chakra has to do with the intellect, and also social aspects of life, those having to do with society at large. 

Yellow appears on various regalia and aspects of the lodge, often in the form of metallic gold, and in addition to the inherent associations with the precious metal, was also the symbol of light in the ancient world. Thus, although it may not play a central role in the lodge, it nevertheless represents the goal of Light which the Mason seeks, including the radiant beams reaching out from the All-seeing Eye


Alright, we’ve made it halfway through the spectrum, we’ll continue our review of the symbolism of colors in Part II.

Behind the Widow’s Son: A Deeper Dive into the Enigmatic Mythology

Behind the Widow’s Son: A Deeper Dive into the Enigmatic Mythology

I recently covered the topic of the Widow’s Son in Freemasonry, and several avenues of interpretation and investigation about this concept, ranging from biblical genealogy to archetypal mythology.

Now, I would like to take you along for a deeper dive into the topic of the Widow’s Son, and the possible source of it in Rosicrucian, Gnostic, and generally esoteric thought. Here again, there is a range of realistic vs mythological interpretations, but the occult significance of either, or both, will be further explored. 

As always, this writing does not represent the official views of Universal Co-Masonry, but is only the reflections of one Co-Mason. 

A Tale of Fire and Water

At the heart and origin of the Widow’s Son concept, according to the Rosicrucian writings of Max Heindel, is an alternative take on the biblical story of Adam, Eve, Cain, and Abel, which is itself embedded in an alternative cosmology related to, but quite different from the biblical story of creation. 

fire and water in freemasonryIn this Rosicrucian take on biblical cosmology, briefly, the spirits or angels of various elements represent different spiritual forces and archetypes unfolding in the early events of creation, and the Angels of Fire play a major role. In this story, the Angels are spirits of various elements, and the Spirits of Fire are those who decided to manifest the latent potential in matter by ignition; in the form of the sun and other stars, this effulgent quality provided a polar contrast with the cold vacuum of space and inert matter.

By burning, they created an engine of manifestation, as the heat evaporated the water, which re-condensed to fall and cool the surface of the planets, eventually creating a habitable crust-zone for biological life. Therefore, the Spirits of Fire, and all who are affiliated with them, are aligned with the archetype of dynamic power, manifestation, and light, and are also somewhat rebellious in nature, hence breaking energy free from the bonds of matter, literally what Fire does.

The Spirits of Water, on the other hand, have exactly the opposite essence and agenda, chiefly to quench the flame of the Spirits of Fire, and to keep energy bound in matter. Thus, the evaporated water condenses and rains down onto the hot molten earth, cooling it, and stabilizing it back into a more structured, albeit less free existence. Thus, the world as we know it, and in fact every individual, is some combination of these two fundamental forces, Fire and Water, dynamism and restraint, power and passivity, entwined together, encased within one another, playing out their polaric dance upon the stage provided by Earth and Air, Solidity and Space.

What does the dynamic of the elements have to do with the Widow’s Son, and the biblical first family? 

Good Old Uncle Samael?

Chapter Two of this Gnostic creation story presents us with the more familiar characters of Adam, Eve, Cain, and Abel, with one less familiar guest appearance: an angel by the name of Samael. In this version of the story, Samael is said to be of the hierarchy of the Angels of Fire, and is identical with the serpent who convinced Eve to eat of the Tree of Knowledge. Thus, true to fiery archetypal form, he paved the way for the freeing of the latent potential of the human mind from the blissfully ignorant liquid passivity of the Garden existence. freemasonry mythology

In this version of the story, though, Samael did a bit more than just some slick apple-salesmanship; he also provided Eve with her first child, Cain. However, before Cain was born, Jehova forced Samael to flee elsewhere, for his crime of corrupting Eve. By the way, Adam hadn’t been created yet, in this version; he was only created after Samael’s banishment. This means that Cain is not only a Fire Angel/Human hybrid, but also the Son of a Widow, although he got a stepfather and half brother in the form of Adam and Abel, respectively. As a child of a Fire-angel, it’s safe to say Cain probably didn’t have much in common with them.

The apple doesn’t fall far from the tree, as they say, and while Cain is best known for his murder of his (perhaps half) brother Abel, water-child of Adam, he was also the first who labored to till the soil, indicating his identity as the original innovator of agriculture, the basis of all civilization, while his water-brother Abel went with the flow, and lived a leisurely life of animal husbandry.

Furthermore, after his rejection by Jehova, ostensibly for being a bit too clever and independent for the jealous god’s tastes, and the resulting fratricidal episode of course, Cain went on to found his own civilization, and his descendants are also identified as the inventors of metalworking, writing, and music, essentially the beginnings of all intellectual and technological endeavors. You could say they had, as it were, Fire in their blood, and they used that Fire to forge the foundations of civilization. 

Meanwhile, Cain’s younger brother Seth, and his proceeding generations, like their late brother Abel, were of solely human birth, and therefore had a much more watery disposition, being mostly obedient and, though attuned to spirit and intuition, not all that bright, hard working, or innovative.

According to the myth, these two kinds of people continue to exist from ancient history to the modern day. The idea is that people are usually of one or the other disposition, either fiery, rebellious, intellectual, and valuing works over faith, or watery, trusting, faithful and obedient, the good flock who don’t stir up a fuss, and rely on (hopefully) divine guidance, often from religious authority figures. In fact, you could also characterize these two types of people as goats and sheep

Liquid Light

What has all this to do with Masonry? As you probably know, the construction of Solomon’s temple is an important biblical myth in Masonic lore.

What many may not have realized from their Bible studies is that Solomon’s need to hire Hiram Abiff, the Master Craftsman, to build his temple wasn’t simply a matter of delegation; Solomon was himself a descendant of Seth, and for all his wisdom and poetic acumen, wasn’t particularly up to the task of designing and overseeing the construction of the Grand Temple. It required a fiery descendant of Cain to get the job done, and widows son in freemasonryHiram Abiff was not only a descendant of the original Widow’s Son, but was also a Widow’s Son, himself. This makes him both a Widow’s Son, and a Widow’s great great great great great…Grandson. 

This duality within humanity is said by some to continue even now, with the church representing the sons of Seth, quenching the thirst of the weary with their holy water at the entryway to every church, rituals of baptism, and symbolism of the good shepherd and his obedient flock. Meanwhile, the sons of Cain build, advance intellectually and technologically, shun authority, tame the wilds and illuminate the world with their Fire. Perhaps these two sides, that of the goat and the sheep, the fire and the water, the intellect and intuition, are ultimately destined to meet, intertwine, and come to balance.

Whatever the case, it’s hard to deny that Freemasonry leans heavily on the fiery side of this equation, as evidenced by all of the symbolism around being craftsmen, builders, intellectuals, valuing labor for the betterment of man, personal initiative, and of course, the significance of Hiram Abiff, the Widow’s Son and Master builder from the Fire-tinged bloodline of Cain, himself. 

What does it all mean? As with any mythology, one can take it in a variety of ways; perhaps there is some literal truth to it, different populations of people from the ancient past, born of different dispositions, with threads of this dichotomy continuing even today. We could also, however, take it as symbolic of our own inner polarities, with our inner intuitive Solomon, wise and watery son of Seth, needing the intellect and determination of our inner son if Fire, Hiram, to complete the great work of the Temple within us, and vice versa. It’s always possible to form our own theories, but the only way to find out for sure what it means to a Mason, is to ask one.

Who Is the Widow’s Son?

Who Is the Widow’s Son?

Perhaps most well known as a Masonic Biker organization, the origin of the term Widow’s Son is actually quite old and deep in Masonic Lore. What is the significance of this term, why is every Mason considered to be a Widow’s Son? As with so many other aspects of Freemasonry, the mystery of the Widow’s Son is part of a multi-layered living tapestry of myth which is both investigated, discovered, passed on, and reconstructed over time by each Mason individually, and all Masons collectively.

As always, this writing is not an expression of the official views of Universal Co-Masonry, but simply the reflections of one Co-Mason.

Biblical Lineage?

As even non-Masons may be aware, Freemasonry takes as its primary mythological framework various aspects of Biblical history, particularly King Solomon, and of course the central figure of the architect which he chose to build the Temple of God during his reign, Hiram Abiff. One line of investigation into the term Widow’s Sons speculates that the title refers to a literal genealogical lineage, a vine whose fruits include Jesus, Solomon, David, all the way back to Enoch, and Adam, the biblical first human. As you might imagine, Masonic Grail Bloodline theorists have a heyday with this interpretation.

The reason this lineage is referred to as Widow’s Son is that one of it’s early maternal ancestors is the biblical character of Ruth. She was a Moabite, a people descended from the incestuous episode with Lot and his daughters after Sodom and Gomorrah were destroyed. However, Moab was also a nephew of Abraham. Therefore, Ruth was a member of this somewhat “tainted” yet still royal branch of the Israelite family, and was particularly righteous because of her loyalty to her husband (from Judah), even after death. For this, she was eventually blessed by becoming husband of another Judean, Boaz, and eventually, Great Great Great… (30 generations’ worth) Grandma to Jesus.

Does being a Widow’s Son, in the sense of being a Mason, have some connection to biblical genealogy? Given that there’s no particular genealogical or genetic analysis when you become a Mason, this is doubtful, although we can’t say there’s not some way in which it might be relevant. I can’t even begin to touch any sort of thorough investigation of this topic within the span of this short article, but the above links and some related Googling can no-doubt lead you down a deep rabbit hole, if your heart so desires.

On the other hand, it’s probably more likely that the meaning is more symbolic, perhaps having to do with bringing Lost Children of God back into the fold, or in an internal sense, aspects of the self which have gone astray back into alignment with the internal divinity. As with just about anything, you can also interpret it in a Jungian fashion. In that vein, another line of reasoning says that the Widow’s Sons are actually the children of matter who are separated from the spiritual paternity of God the Father, with the Widow, in this case, being the feminine aspect of God, as manifested in the material world.

This would make the “Widow’s Sons” those who have lost their connection to their divine origin, God the Father, resulting in a clinging to Mother Nature, but seeking to find that paternal divine connection again. Interestingly enough, one etymological interpretation of Hiram Abiff means “the king that was lost.” Of course, this also has relevance to the Egyptian origins of the story, and the mythical deceased God-King.

The Orphan Hero Archetype

One archetype you may have noticed about the various stories that have captured the popular imagination is that of the Orphan Hero. If you’ve never thought about it, take a moment to consider how many heroes and villains of fiction are orphans of one kind or another, a list which includes notables ranging from some the most popular superheroes like Superman, Batman, or Spiderman, to various fantasy protagonists like Frodo Baggins or Harry Potter himself. What is it about the Orphan Hero that speaks so strongly to the collective mind?

It’s a well-known psychological fact that fatherless children are at greater risk of a variety of mental health issues, and general life problems, and this may be why many villains are also orphans. However, as we see played out in our fictional orphan heroes ad infinitum, that risk may actually represent merely one half of a potential to go farther in either direction than an otherwise normal person would, simply by virtue of facing the harsh truths of life so early on. Perhaps there is a reason that Freemasonry is known for caring for widows and orphans, and taking the literal widows’ sons under their wing in traditional male Freemasonry. Certainly widows and their sons are some of those most in need, but perhaps are also known to possess some unique potential, due to the psychological consequences of their situation?

It doesn’t require much imagination to see how such an event as the early loss of one or more parents might jump-start the consideration of the larger questions in life, a dark night of the soul long before most people ever have to confront such things, at the very least. An analysis of the orphan archetype reveals that it contains both perils and potential. However, given that actual orphans are relatively few and far between, compared to the vast majority of relatively normal family situations, why does the orphan hero play such a prominent role in popular mythology?

Diamond in the Rough Ashlar?

Indeed, if we look carefully at the orphan hero archetype, the personality traits the characters  exhibit are often those of the type of person drawn to Masonry. Think about the common orphan heroes: Harry Potter, Peter Parker, the young Clark Kent, Bruce Wayne, or even Cinderella. Their dire situations in life set them apart from the herd, and make them more reflective, serious, and possessing some extra quality, which may be fictionally manifested as intelligence or some kind of magic, edge, or latent superpower; however, they are also often lacking in certain key skills like confidence, decision-making, discipline, and leadership, things ideally learned from a father. The hero’s journey they undergo is typically about learning these aspects by facing their fears and embarking on a quest of facing the darkness of life, at first with some assistance from wise helpers, but ultimately on their own.

Why this “something extra?” In the realm of personality, what you do is what you become. If an early major crisis prevents you from easily relating with your peers, and also compels you to seek greater meaning in life, then much of the energy that would normally be spent on “normal” socially-driven activities will be spent on something else, and what often manifests from this is an increase in other skill-sets mostly unrelated to social activity, such as creativity, rationality, philosophy, and insight. By virtue of being somewhat detached from the primate dynamics of normal human social hierarchies, such people are more likely to develop things like wisdom and intellect early-on.

The Widow’s Son is ultimately something we all find relatable and significant, whether or not destiny has literally foisted an early dark night of the soul upon us.

On a more symbolic level, from Horus to Luke Skywalker, we can all see a bit of ourselves in the many iterations of the Orphan Hero, perhaps because of the symbolic disconnect from the mundane world, and sense of some higher purpose to be discovered. The challenge which is faced by us all is to learn the inner tools necessary to manifest the potential within us, and that is exactly what Freemasonry is designed to do. The end result, when properly executed, is leaders or “Kings” in society who are not simply common, beastly people playing the dominance hierarchy games of human society purely to fulfill their own base desires, but thoughtful and wise leaders, who may have otherwise never risen to the occasion, had they not undergone the learning, healing, and strengthening necessary to play the role.

 

Baseball: America’s Esoteric Pastime?

Baseball: America’s Esoteric Pastime?

It’s difficult to deny America’s status as a state profoundly influenced by esotericism, and specifically Masonry, from it’s very inception. From the number of influential Masons in American history, to the Masonic design of Washington D.C. and many other capital monuments of individual states, and the blatant esoteric symbolism on the American dollar itself – not believing it is simply being either ignorant of the extent of the evidence, or in denial.

So, what else that is quintessentially American has mostly unseen esoteric, and perhaps Masonic significance? In recent articles I’ve discussed Masonic ties to jazz, said to be the only purely American genre of music, and today I’ll present the case that none other than the Great American Pastime, the sport of baseball, may have been influenced by Theosophists and Freemasons in it’s early history, and might carry esoteric symbolism throughout its structure and rules.

As always, this writing does not reflect the official views of Universal Co-Masonry, but is simply the reflections of one Co-Mason.

The Diamond and the Checkered Green

From the beginning, this all might sound a bit like frantic conspiracy theorizing, even if it’s not particularly conspiratorial per se, if we didn’t first acknowledge the well-known fact that one of the central figures of early baseball coming into its modern form, Abner Doubleday, was a Theosophist, and another important figure in it’s early days was a Freemason by the name of Alexander CartwrightWhether Abner or Alexander were truly the sole or primary progenitors of the game is heavily debated, but even if it arose as more of a gradual evolution from its recreational ancestor Rounders, the many esoteric symbols and numbers are difficult to explain away.

esoteric baseballFor starters, there’s the diamond shape of the baseball field itself. While most major sports are played in bipolar rectangles (think soccer, football, hockey, basketball, etc.), baseball is the only one to take place on a diamond, which strongly resembles a square and compass, especially when viewed from the perspective of behind second base, which would make home plate the circular apex of the compass. Whether inverted or not, there’s clearly a resemblance, and the fact that the square end is in dirt may also be related to the earthly qualities said to be represented by right angles.

To take it even further, many baseball fields have recently begun to be mowed in a checkerboard fashion, perhaps unwittingly adding to the Masonic overtones.

All Freemasons will also begin to recognize some similarities of the shape of the field, placement of the bases, and journey of the batter to elements of a Lodge, which I won’t allude to here very concretely. Many may also be surprised and interested to find that the journey of the batter around the bases, in the historical origins of the game, was in reverse of the direction it runs now. The shape of home plate, where the player both begins and ends, may strike a cord. 

A Game of Threes

Three is a number with mystical significance to many esoteric teachings, and Freemasonry is no exception. The 3° being the pivotal point at which a Mason becomes a Master Mason, and the 33° being the penultimate achievement of Masonry, and many other instances of 3 in Masonic Life and Lodge are themselves, of course, symbolic allusions to the deeper significance of the number three. As it so happens, baseball is a game entirely based on 3, and multiples thereof.

The scoring of baseball occurs in threes: 3 strikes, 3 outs, 9 innings, 9 positions, 27 total outs, and 81 each of either at home games or away games. Of course, 3 and 9 have quite interesting mathematical properties in and of themselves, which is partly why they are considered sacred by so many traditions. Nine times any other number equals something which is numerologically nine, and also which divides the ten fingers into it’s product, to name just a couple of it’s “mathemagical” properties

Take Me Out to the Soul Game

Some have also read even further symbolic significance into the nature of how baseball is played, as a metaphor for the soul’s gnostic journey. By such an account, the pitcher is seen as the demiurge throwing obstacles at the batter, who is the individual soul, who must use exact timing and precision to attempt to hit the ball out of the park, representing the soul leaving the limited world of physicality, and allowing the individual to run through the bases without obstruction, as well as allowing any others on the path to pass through as well, representing what happens when a soul becomes illumined, and is able to illumine others. On the other hand, if they “strike out” by not being successful at least 1/3 of the time, then they must go back into the ancestral realm until they’re “called up to bat” at another incarnation. 

Did baseball’s founders intend this extent of esoteric meaning? It’s difficult to say, perhaps we could expect something like that from Abner Doubleday, as a Theosophist, or Alexander Cartwright, a Freemason; but again, the claim of who originated the modern version of the game is hotly contested. If I’m being honest, aspects of it seem to me like a bit of a reach. It’s possible that the way baseball is played actually is a much more mundane metaphor of meeting life’s challenges. Perhaps it’s both.

Ultimately, it’s up to each individual to decide what they think about all that, but it’s nevertheless interesting Masonic food for thought. 

Do the Shriners Connect Freemasonry to Islam?

Do the Shriners Connect Freemasonry to Islam?

Who are the Shriners? How are they related to Freemasonry, and do they connect Freemasonry to Islam in some way?

While most believe the Shriners, or the Ancient Arabic Order of the Nobles of the Mystic Shrine, to be merely a Masonic club where Masons get together outside the regular Lodge, to have fun, and do some charity work, is there actually a more mysterious history to the organization, beneath the surface level? Today, we’ll learn a few things about the Shriners and their origins, and investigate whether they truly connect Freemasonry to Islam.

As always, this writing does not reflect the official views of Universal Co-Masonry, but is merely the views of one Co-Mason.

Partying for the Greater Good?

One of the things that Shriners are best known for is being an organization in which Freemasons cut loose a bit, engage in socializing, convene and organize for celebrations or pursuit of various hobbies. One does have to be a Master Mason (3°) to become a Shriner, although the Shrine itself does not represent a new or different degree within the Scottish Rite.

Each Shriner Temple, often decorated in middle-Eastern style, draws Masons from a wide area, as they are fewer and further-between than Masonic temples are. Thus, these buildings are places where Masons from the surrounding region convene and are somewhat more like convention centers than a typical Temple. Each contains clubs or units within it, which are related to various hobbies or activities that Masons may take an interest in: ranging from chess clubs to motorcycle groups. Shriners also engage in fundraising activities for charity and organizing lively parades.

Relatively Recent Origins

Formed in 1872, the Shriners are a self-described “spin-off” from Freemasonry, with an added element of fun and philanthropy. The conventional story of Shriner origins goes that the organization was created by Walter M. Fleming and William J. Florence. This was after Florence, an actor on tour, was initiated by an Arabian diplomat at a party in France by virtue of being a member of the audience of a performance the diplomat had organized. Later, Florence and Fleming combined elements they had learned from Masonry with what Florence had seen from the performance at the party and created the Ancient Arabic Order of the Nobles of the Mystic Shrine. The organization grew from there, eventually becoming what it is today.

Of course, like anything connected to Freemasonry or any other “secret society,” there are Shriner conspiracy theorists, usually of the fundamentalist variety, which believe otherwise. These conspiracists based their arguments on the usual leaps to conclusions and sporadic dot-connecting we are accustomed to seeing from that crowd. They seem to think that the organization is connected to the religion of Islam, tracing back to the first millennium A.D.

While it is true that there is some Islam-related symbolism in Shriner regalia, not least of which some variations of their signature Fez including the word Mecca, there is no firmly established historical evidence tying the Shriners to Islam. Indeed, it would be difficult to adopt an Arabic aesthetic without some elements of Islam cropping up. The Fez itself long predates Shriners, originating in Morocco perhaps as far back as the 900s A.D., and was merely adopted by the Shriners.

Is It As Simple As It Seems?

However, as we saw in the standard origin narrative, it did begin with the initiation of two Masons into a secret society by an Arabian diplomat. Although this seemed to be a simple party initiation of not much consequence, something like “you’ve seen the play, now I declare you members,” at least from the story handed down to us. However, is that really the case? What was the organization they were initiated into that began this Fraternal spin-off?

I have not been able to find any information on the diplomat or even the name of the organization. However, some Shriner sources do mention that Bro. Florence got his inspiration for the Shriner aesthetic not just from that party in France but also from attending two more ceremonies, presumably of the same organization, in Algiers and Cairo.

I suppose we could speculate without much evidence, but what would be the point? There are no clear and concrete indications of the Shriner’s connection to Islam that I could find only conspiratorial suppositions based primarily on the icons they used and a mysterious question mark as to the organization that originally initiated them – via the Arabian diplomat. Is there more to be found here? Perhaps. But until then, I am not convinced that there is a connection. If anyone has more information on this topic, I would welcome it in the comments.

Masonic Motto: Ordo Ab Chao

Masonic Motto: Ordo Ab Chao

Of the many symbols and phrases of Freemasonry, a few mottoes are important enough to be prominently, and sometimes publicly displayed on flags, seals, or regalia. The phrase “Ordo Ab Chao,” is the motto of the 33rd degree, which can be found on the grand decorations of the Order of the Sovereign Grand Inspectors General, one of the highest honors and roles which can be bestowed upon a Mason. It is also featured on other seals and flags representing various Orders.

This phrase being depicted so prominently, particularly in relation to the 33rd degree, indicates a tremendous importance to Freemasonry. Indeed, Ordo Ab Chao, translated to “Order from Chaos,” is also associated with another latin phrase, Lux In Tenebris, which translates to “Light from Darkness.” Why is the idea of Order from Chaos or Light from darkness so significant to Freemasonry? Let’s explore this question together.

As always, this article does not represent the official views of Universal Co-Masonry, but are simply the reflections of one Co-Mason.

Historical Artifact, or Essence of the Craft?

One theory about the origin and significance of this phrase has mostly to do with Masonic history in the United States. In the early 1800s, there was some division and conflict between the Northern and Southern jurisdictions of the Scottish Rite, in the US. According to this theory, when the Rite being practiced in the North was found to be aorder from chaos fraud, and the conflict resolved in the restoration of the original Rite, this was where the original use of the phrase emerged.

Perhaps the most dismissive theory, in this case the “Order from Chaos” was simply the order restored from the chaos of the schism between jurisdictions, and all other meanings commonly attributed to it are purely speculative.

While it’s important not to rule out such an explanation simply because it’s only historically interesting, it’s hard to believe that the motto would be considered so significant if it didn’t have a deeper symbolic meaning. What are some other possible meanings?

The Universal Phoenix?

The first clue to the more profound meaning and significance of this phrase is the origin of it’s correlate, Lux in Tenebris. This phrase comes to us from the Latin translation of the Gospel of John, in which it is said “The Light shone in the darkness, and the darkness did not comprehend it.” While Ordo Ab Chao can be traced to the early 19th century, this other phrase is obviously much older, and carries similar meaning.

What is meant when we say to bring Light from darkness, or Order from chaos? Much as the operative Masons of old took the rough stone of the natural world and hewed and smoothed it in such a way as to be fit for the construction of elaborate and pristine structures such as cathedrals, so the speculative Masons of today apply the same discipline, and even the metaphor of the builder’s tools, to draw forth Order from the Chaos of their own lives and minds. Just as God is said to have made a Light to shine in the darkness which comprehended it not, so are we to be as Lights of knowledge and integrity in the darkness and ignorance of the world, even when it does not understand that Light.

On an even deeper level, what is this universe made of? There are many ways to answer that, and one of them is that it is made of gradients of Order and Chaos. We can see in history and in our own lives that these are not two separate things, but are both a continuum, and a dynamic process of change. As Chaos ensues, old orders are broken down to allow new ones to emerge. Like Ying and Yang, death and rebirth, Order and Chaos follow from and give birth to one another, in an ever-renewing cycle of creation and evolution.

Why Have So Many Famous Jazz Musicians Been Freemasons?

Why Have So Many Famous Jazz Musicians Been Freemasons?

When we think of the connection between Freemasonry and music, where most people’s minds probably go first is to Mozart, who is the most famous classical composer to be a documented Mason, although some speculate about Beethoven as well. Indeed, Mozart even wrote Masonic themes into some of his music, as was discussed in another of our posts.

What many do not realize is that there are perhaps more famous jazz musicians who were Masons than classical composers, or perhaps any other genre. Why does Freemasonry count so many renowned jazz artists among its ranks? That’s what we’ll be learning about in this post: both the history and reasons for Masonry’s jazz connections.

As always, this writing does not reflect the official views of Universal Co-Masonry, but is merely the reflections of one Co-Mason.

A History of Great Jazz Masons

First, let’s just take a look at some of the big names from jazz history who have been a part of the Brotherhood. Duke Ellington, Irving Berlin, Nat King Cole, Count Basie, Glenn Miller, and Dizzy Gillespie are just a few household names you might recognize who were either proven or almost certainly Freemasons. There are yet more to list, but these are probably the biggest names who even casual jazz fans will recognize. 

sun ra freemasonSun Ra, an interesting character by any measure, is also theorized to have been a member of a Prince Hall Lodge, or a lodge of a related fraternal order, throughout his career. While not the most well-documented Mason, his flamboyant, Egyptian-inspired stage garb and “cosmic” philosophical expressions certainly make him at least the most colorful character to be associated with both jazz and the Masonic tradition.

So, why is there such a connection between Freemasonry and jazz?

Hip to Be Square

One of the suggested reasons that Freemasonry has been so appealing to musicians throughout history is that along with valuing music as one of the seven liberal arts, it also made it easier for those who lived on the road. By being a Freemason, traveling musicians could easily plug into any community and support network they encountered, via the local lodge. It also provided support at times of sickness and death, which to the sometimes empty-pocketed musicians, could be a godsend.

prince hall freemasonryJazz history is also intimately intertwined with African American history, and so it shouldn’t surprise us that many of these jazz musicians were connected to Freemasonry through Prince Hall Lodges. Prince Hall Freemasonry is an order that was chartered by the Grand Lodge of England for African Americans who were rejected from mainstream Lodges at the time, and are predominantly African American in their membership.

At the time when jazz proliferated, and many of the African American jazz Masons were in their hayday, much of the country was still segregated, and racial tensions were still quite high. Life as a musician already wasn’t easy, and if you add to that being part of an actively persecuted ethnic group, it’s not hard to see why the benefits of Fraternal Life would be appealing, even empowering to African American jazz musicians in the early-to-mid 20th century. 

However, it also seems likely that there are deeper reasons for the connection than simple utility and networking.

On the Same Wavelength

Jazz is known by most as a type of music, but it’s also a subculture, and that subculture has its own sort of philosophy and ethic. If we reflect upon both the ideas embodied in the music of jazz, as well as the culture surrounding it, we can find many correlations which give a deeper understanding to the connections between jazz and Freemasonry than simply being a useful fraternal organization for musicians.

Both Freemasonry and jazz, for instance, are about generating new ideas; innovation and forward thinking are qualities that are embraced both in the Lodge and in the creation of jazz music. There is also an inclusiveness to jazz, having originated in the intermingling of various cultures and musical styles in New Orleans in the early 20th century, and that symbiosis and confluence of cultures towards a common goal of progress together is certainly a value held by Masonry, as well.

freemasonry and musicOn a more abstract level, we can look at the actual musical nature and structure of jazz, some of which can be quite abstract, and draw another correlation. Anyone who has developed an appreciation for jazz, especially the more abstract variety, can understand how the phrase “Ordo Ab Chao” could be equally relevant to the craft of jazz as it is in the Craft of Freemasonry. 

 

Universal Freemasonry

TO THE GLORY OF GOD

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