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.

Masonic Ritual: The Intention [Part III]

Masonic Ritual: The Intention [Part III]

PART III: INTENTION OR EXOTERIC


By Very Ills..... Bro... Kristine Wilson-Slack 33o


The third installment in the series on the effects of Masonic ritual. Masonic Ritual is the play; it stresses the structure and foundation of the story while the thought form and creativity are in the hands of the individual actors in the ritual.


The intent of the Masonic ritual working is the fundamental basis for the first bubble’s skin.

Masonic rituals are an initiatory rite, one that marks the beginning, entrance, or acceptance into a different state of being. It is a transformation of one state of consciousness into another. This is true for every degree of Freemasonry. The story enacted may be one of birth, death, mental or ethical transformation. It may be teaching morality via a play; in essence, the transformation of the human state of consciousness is enacted upon the human by thought form creation of the other humans enacting the play.masonic ritual

Masonic Ritual is the play; it stresses the structure and foundation of the story while the thought form and creativity are in the hands of the individual actors in the ritual. Mircea Eliade discussed initiation as a principal religious act by classical or traditional societies.

He defined initiation as “a basic change in existential condition,” which liberates man from profane time and history. “Initiation recapitulates the sacred history of the world. And through this recapitulation, the whole world is sanctified anew… [the initiate] can perceive the world as a sacred work, a creation of the Gods.”

Eliade believed that the basis of religions were hierophanies. A hierophany is a manifestation of the sacred. The word is a formation of the Greek adjective hieros (sacred) and the verb phainein (to show). In other words, initiatory rites are those which transport the participants from profane (before the temple) time and space into sacred space and time.

Preparedness

When the intention is created, by the form of the Lodge, it will take the outward manifestation of “work to be performed.” This could be a ritual ceremony with the focus on an individual, a ceremony that invokes different energies for the accomplishment of some “thing,” or it may be the creation of ideas from an educational essay and discussion. The Lodge as a living entity in and of itself creates the intention by the will of its membership; a request for an increase of knowledge, a desire to discuss ideas, or the joy of simply performing a ceremonial service for the good of the world are the intentions of the members. The Master of the Lodge takes these intentions and solidifies them into a working plan for a period of time, intending each Lodge meeting to be an act on the will of the Whole.Mozart_in_lodge,_Vienna

The intention of the Lodge is first created through the sending of a Lodge summons to each of the members. By this act, the Work of the Lodge is planned, and a thought form begins for the individual Freemason. The Brother thinks about the ceremony to be performed, his physical part and actions in it, as well as preparing for the mental work to be accomplished. He thinks about who he will be working with, how he should move, and how his intention will meet its mark.

For those who cannot attend, their response helps the Master solidify the workers and their positions, thus ensuring that the work to be performed is focused towards the needs of the Lodge. Neither the acceptance or rejection of the summoning should be a matter of indifference to the Freemason, as their personal energies, ways of working, and thoughts are what build that first bubble once the gathering begins. The intent and preparation of the members of the Lodge are what form that first bubble of energy, surrounding the Lodge and Temple and securing the mindset for the work within.

While this bubble is the first to be created, it is the last to be discharged. Discharging comes at the end of the day, once the work has been completed. We will examine the dispersal of energies at the end of this essay.


This is Part III of a Five part series. You can find the previous installments here: Part I and 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.

Two Masonic Pillars: Guardians of the Temple

Two Masonic Pillars: Guardians of the Temple

I have a sense that every person on this planet is being tested at this time. This impression came to me recently while watching the tragic burning of the Notre Dame Cathedral in Paris. The fire blazing impacted the world greatly. How could this happen? The faces of the French people singing the Ave Marie, some while kneeling and weeping, was unforgettable. I knew in my heart that they were not just responding to a building on fire. There was something deeper going on. But, what?

One of the most impactful images was the flames bursting forth in front of the twin pillars on the cathedral, which both survived. The spire and roof, however, burned down. As a Freemason, I have learned the symbolic importance of the two pillars featured prominently at the entrance of Masonic Temples. Since the beginning of time, sacred and mysterious places have been guarded by two such pillars acting as guardians at the gateway into unknown realms.

It seems to me that the burning of Notre Dame was an extreme situation. But throughout history, we could name many more such situations. Freemasons are familiar with the lessons associated with tales of destruction, especially of King Solomon’s Temple. Notre_Dame_ Public Domain

Do these tragic events point to dramatic changes in human consciousness? Are we being challenged to look deeply into each and every situation on the earth to see what is really taking place? Are we being tested? Does an examination of the two masonic pillars give any insight?

Historicity in the Bible

In Freemasonry, the pillars of the Temple are called B. and J. The left- hand pillar, or north pillar is named Boaz (B.) which means “In Him is Strength.” The right- hand pillar, or south pillar is named Jakin (J.) which means “He Establishes.” The two pillars were among the many notable features of Solomon’s Temple. I found a study of the physical characteristics to be very interesting. The bible deals with the subject in several different passages.

In regards to the material that they were made of, 1 Kings implies the pillars were solid brass but in another interpretation in Jeremiah 52, they were said to be hollow. They were probably made in parts, cast in clay molds. The masonic lecture says the following:

“These pillars cast hollow the better to serve as a safe deposit for the archives of Masonry against all conflagrations and inundations.”

The pillars were built to be enormous – almost 30 feet tall and 6 feet thick! While the Biblical account does not provide a clear picture of what the capitals (chapiters) looked like, it does indicate they were highly ornate with leaves of lily work, network, and chains of pomegranate.

solomon_temple1 Wiki CommonsWhy were the pillars put there to begin with? It is tempting to presume that their purpose was to hold up the roof of the portico. However, in view of today’s design precedents, they were probably merely ornamental, to give a dynamic entrance to the plaza.

What about the orientation of the pillars? From which direction did one see J. on the right and B. on the left? From the outside looking in or from the inside looking out? The most accepted and masonic theory placed the right pillar, J., in the south, and the left pillar, B., in the north. Perhaps the placement had a ceremonial purpose, the king receiving an official position next to J. and the High Priest next to B.

When the First Temple was destroyed, the pillars did not survive. They were not replaced with the building of the Second Temple. Many viewed this as a travesty as the operative building Masons in those days went to great lengths to memorialize pillars into architecture for posterity.

The Temple is said to be destroyed twice, captured and recaptured 44 times, besieged 23 times and attacked 52 times. The edifice was re-built twice. Since its destruction, no researcher has been able to solve the innumerable contradictions from the various biblical texts. This leads a person to look beyond the physical appearance to a more symbolic significance.

What, then, do the pillars represent, speculatively?

Eternal in the Heavens

The most common theory among Freemasons is that the pillars B. and J. represent what is known in Eastern philosophy as the pairs of opposites. A Freemason is taught to balance the opposing forces of his own nature by aligning his or her own thoughts, feelings, and actions with the grand plan. He learns through allegory that physical death is only of the body, the form nature, which according to the masonic philosophy will be reborn again in another form. Each individual mason is said to be the symbol of a spiritual temple – “a temple not made with hands, eternal in the heavens.”

Brother W.L. Wilmshurst refers to the opposites of “good and evil; light and darkness; active and passive; positive and negative; yes and no; outside and inside; man and woman” and so on.

Brother C.W. Leadbeater claims that the two pillars correlate to dharma and karma. He says that “In the harmonious working of these two laws a man may attain the stability and strength required to reach the circle within which a Master Mason cannot err.”

Life and Death are also represented as pairs of opposites in the pillar symbolism. Sometimes the death of the form nature is necessary to remove that which is old and hindering. This is later followed by the clear shining forth of the birth of constructive forces of new ideas and principles. JachinBoaz Public Domain

Why do we find destruction frightening, then? it is my opinion, our response against destruction can be our greatest error. Some creations by mankind need to be destroyed. If we resist the destroying angels, we miss the opportunities of healthy cycles of growth.

Builders long ago never questioned that they lived and worked under the ever-present watchful eye of the Great Architect of the Universe. Today many people dismiss that way of thinking, as rubbish perhaps.

In the simplest of terms, my sense is that human labor alone did not build and re-build the Temple of Solomon. It will not re-build the Notre Dame cathedral. Faith and reverence for the Divine are the lasting ingredients carved into any edifice. We are being tested in these difficult times on our worthiness as builders.  In balancing the two pillars of our own nature, we are guarding every moral and social virtue.

“The Two Great Pillars which stand at the entrance, invite the Initiate into its mysteries; so noble in proportion, so intricate in design, so beautiful to see. They seem to keep solemn watch above the scheme, as if to throw a hush of awe about the soul that would mount to the Upper Room of the Spirit.” ~ Brother H.L. Haywood 

What do Masons’ Marks reveal?

What do Masons’ Marks reveal?

The subject of marks forms an interesting study in the history of Freemasonry that begins in much earlier times with the ancient cathedrals. In the days of operative builders, a mason’s mark was defined as a figure, an emblem, or some other arbitrary symbol chiseled on the surface of a stone for the purpose of identifying his own work and distinguishing it from that of other workmen.

A few years ago, I was fortunate enough to visit the cathedral site of Rosslyn Chapel in Scotland, built-in the mid-15th century. Looking closely at the walls, carefully inscribed masons’ marks can be seen. These were made by the stonemasons who cut the blocks that make up the columns, piers, windows and arches of the chapel. The masons’ marks at Rosslyn Chapel stood out to me as strikingly well crafted. That much was clear.

What wasn’t clear to me is why did these stonemasons leave these marks? Was there hidden meaning in their unique symbols or were they drawn for practical purposes?

In the everyday world “making your mark” is a phrase that means you have created a lasting impression on someone or mankind itself. You have added something positive that will be remembered after you pass to the Grand Lodge Eternal above. We all want to make our mark on this world, a legacy—to know that our life mattered.

Often, however, “making a mark” has become diluted as a common household phrase. Has it has lost its deeper import? What purpose do masonic marks serve, or do they?

Past Theories, Speculations and Thoughts

The purpose of masons’ marks in medieval buildings, especially churches and cathedrals, is not entirely known. Researchers have offered many hypotheses, but the problem is not easy to unravel. In time and place, marks had several different uses.

Free to use EB1911_Rome_-_Masons'_Marks

Many scholars think that marks were placed on stones for solely practical reasons. It was much like a signature. The mason, would either be assigned or choose a mark, and that would be his professional symbol. He would chisel his mark into each stone he worked on and this allowed an accurate account of his work and payment.

Others believe that there may be more to these marks than mere signatures; they believe that the masons were trying to carve their messages into stone so that they could not be lost to future generations and those who came after them. Given that many of the masons’ marks may be repeated, and not related to an individual, there may be some truth to this claim. However, no one has managed to decipher what those messages might mean.

One hypothesis about Rosslyn Chapel is that the hanging cubes were designed to compose a musical score. The patterns reveal a piece of music waiting to be played and a musical code. Tommy and Stuart Mitchell, both musicians, wrote a book called “The Rosslyn Motet” and they claim that actual sounds are carved into the stones. This particular theory created some controversy and has been debunked by many writers who think there is no pattern, musical or otherwise. Thought – provoking, nevertheless.

As you can imagine, there is no shortage of theories as to the meaning that may be embedded within the enigmatic symbols.

How does a Freemason today apply these ancient methods?

Leaving a Mark and To Mark Well

In current times, a Freemason who has advanced through the degrees of York Rite learns the significant purpose behind a masons’ mark and to mark well. What does it mean to mark well? Probably, the most stunning symbol encountered in these rites is that of the Keystone, which is a symbol of completion.

KeystoneThe teaching of the Keystone forms an interesting link to the cathedral builders of ancient times.

Brother Albert G. Mackey writes:

“The stone placed in the center of an arch which preserves the others in their places, and secures firmness and stability to the arch. As it was formerly the custom of Operative Masons to place a peculiar mark on each stone of a building to designate the workman by whom it had been adjusted, so the Keystone was most likely to receive the most prominent mark, that of the Superintendent of the structure.”

The Keystone in the symbolic arch, signifies the completion of the individual Temple which each craftsman is erecting. It is the Temple not made with hands. With the keystone, we see that “leaving a mark” means putting a stamp on the future, and making a lasting contribution to coming generations.

In symbolic terms, there are many examples in the world of people who have left a mark on a beautifully wrought stone. The life works of Brother Annie Besant, a woman instrumental in founding Co-masonry, comes to mind. Her contributions display masterly skill in execution, and creating something useful and important for humanity.

How does a Freemason make such a mark in the world? In other words, what is the service that is beckoning? How does an individual handle the resistance to following that impulse? What happens when we say yes? What happens when we say no?

I have found the answers to these questions are not simple, only slightly less arduous that deciphering the Voynich Manuscript. Cracking the code requires discernment which will occasionally have you up nights. Perhaps you have seen the design of something and try to shape your service from that thought or memory. And then you fail when trying to follow it through. Or more often, the truth is inconvenient and so you don’t even pursue it. Discernment is demanding work. It’s also prone to error and imperfect.

Fortunately, the Craftsman learns that all “true” service, no matter how imperfect, is acceptable. He learns the lessons of patience, endurance, faithful service and perfect humility. The reward of true merit for the workman comes when egoism and pride fall away.

The Freemason marks well when he aligns with the plan and purpose of the Great Architect who has a greater design or pattern. The chisel is used as an instrument of refinement to further shape and polish that stone to fit into the Temple’s Plan with right exactitude.

What were the ancient builders of old thinking when they carved their marks on beautiful temples and cathedral buildings? And today? What do masons’ marks reveal?

Only each craftsman can know the mystery for himself –  his true legacy –  before reaching that undiscovered country from whose bourne no traveler returns.

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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