The Temple Legend I
GA 93
2 December 1904, Berlin
7. The Essence and Task of Freemasonry from the Point of View of Spiritual Science I
Today I wish to make a brief survey of the Rites and Orders of Freemasonry, as I agreed to do. Of course I can only impart to you the main essentials, as the whole subject is so comprehensive, and so many inessential things are connected with it.
The basis for the whole of Freemasonry is to be found in the Temple Legend concerning Hiram-Abiff or Adonhiram about whom I have already spoken in connection with the Rosicrucian Order.1 Lecture 5 of 4th November 1904. Everything to do with what is called the secret of Freemasonry and its tendency is expressed in this Temple Legend.2 See note 3 to lecture 5 of 4th November 1904. We are led to a kind of Genesis or theory of evolution of the human race. Let us therefore recall to mind the essentials of this Temple Legend.
One of the Elohim united himself with Eve and out of this union of a divine creative spirit with Eve, Cain was born. Then another of the Elohim, Jehovah or Adonai, created Adam, who is to be regarded as the primal man of the third Root Race. This Adam then united himself with Eve, and from this union Abel was born. Thus at the outset of human evolution there are two starting points: Cain, the direct descendant of one of the Elohim with Eve, and Abel, who, with the help of a divinely created human being, Adam, is the true representative of Jehovah.
The whole conception underlying the creation story according to the Temple Legend is based upon the fact that there is a kind of enmity between Jehovah and everything which is derived from the other Elohim and their descendants, the ‘Sons of Fire’—this being the designation of the descendants of Cain according to the Temple Legend. Jehovah creates enmity between Cain and his race, and Abel and his race. The outcome of this was that Cain slew Abel. That is the arch-enmity which exists between those who receive their existence from the divine worlds, and those who work out everything for themselves. The fact that Abel makes the sacrifice of an animal to Jehovah, while Cain brings the fruits of the earth, is an illustration, which the Bible gives too, of this contrast between the race of Cain and the race of Abel. Cain has to wrest from the earth with hard labour the fruits which are necessary for the sustenance of mankind; Abel takes what is already living, what has been prepared for his livelihood. The race of Cain creates, as it were, the living out of the lifeless. Abel takes up what is already alive, what is already imbued with the breath of life. Abel's sacrifice is pleasing to God, but Cain's is not.
Thus we find two kinds of human being characterised in Cain and Abel. The one consists of those who accept what God has prepared for them. The others—the free humanity—are those who till the soil and labour to win living products out of what is lifeless. Those who regard themselves as Sons of Cain are they who understand the Temple Legend and wish to live by it. Out of the race of Cain spring all those who are the creators of the arts and sciences of mankind: Tubal-Cain who is the first true architect and the God of smithies and working tools; and also Hiram-Abiff, or Adonhiram, who is the hero of the Temple Legend. This Hiram is sent for by King Solomon, famous for his wisdom, who belongs to the race of Abel, those who receive their wisdom from God. Thus this contrast appears once more at the court of Solomon—Solomon the wise, and Hiram the independent worker, who has achieved his wisdom through human striving.
Solomon called to his court Balkis, the Queen of Sheba, and when she arrived her impression of him was as of a statue made of gold and precious stones; it was as though she were looking at a monument bestowed on mankind by the gods. As she gazed in wonderment at the great Temple of Solomon, her desire was to meet the architect of this wonderful building, and her wish was fulfilled. Merely through a single glance which the architect cast on her, she was able to appreciate his true worth. Solomon was immediately seized by a kind of jealousy of Hiram. This grew as Balkis demanded that all the workers engaged in the building of the Temple should be presented to her. Solomon declared that this was impossible, but Hiram conceded to her wishes. He climbed onto a slight eminence, made the mystical sign of the Tau and, behold, all the workers streamed towards him. The will of the Queen had been fulfilled.
Because of this, Solomon is disinclined to oppose the enemies of Hiram and to stand out against them. A Syrian stonemason, a Phoenician carpenter and a Jewish miner were antagonistic towards Hiram. These three fellow craftsmen had been totally denied the Master Word by Hiram-Abiff. The Master Word is that which would have enabled them to work independently as master builders. The Master Word is a secret which is imparted only to those who have made the grade. Therefore they came to the decision to do Hiram some harm.
The opportunity for this came about as Hiram-Abiff was about to fulfil his masterpiece, the casting of the Molten Sea. The movement of the waters was to be held fast in Form. The surging sea was to be preserved alive artistically in a rigid form. That is the point. The three apprentices conspired to make the casting in such a way that instead of flowing into the mould it would flow out over the surroundings. Hiram tried to arrest the flow of the fiery mass by throwing water over it, but this caused the metal to spray up into the air and descend again with great force in a rain of fire. Hiram was powerless to do anything. But suddenly a voice called out to him: ‘Hiram! Hiram! Hiram!’ He was ordered by the voice to plunge into the sea of fire. This he did and he sank down ever deeper until he reached the centre of the earth where fire has its origin. There he met two figures, his ancestor Tubal-Cain, and Cain himself. Cain was irradiated with the brightness of Lucifer, the angel of light. Then Tubal-Cain gave Hiram his hammer which had the magical property of restoring all things to their proper order and he said to him: You will beget a son who will gather about him a race of wise folk, and you will be the progenitor of those who have been born out of fire which brings wisdom and makes man thoughtful. The Molten Sea was now restored by means of the hammer.
Hiram and Queen Balkis then met again outside the city. She became his wife, but Hiram was unable to avert the jealousy of Solomon and the revenge of the three fellow craftsmen. He was slain by them. The only thing he was able to save was the Triangle with the Master Word engraved upon it, which he threw into a deep well. Then Hiram was buried and a branch of acacia was planted on his grave. The acacia branch betrayed the whereabouts of the grave to Solomon, and the Triangle was also discovered. It was sealed up and buried in a place known to only a few people—twenty-seven in all. [It was agreed that] the new Master Word should be the word first uttered after the finding of the corpse—it is the word which is used by the Freemasons. The Freemasons trace back their origin, with some justification, to the Temple Legend and to the old days in which the Temple was built by Solomon as a lasting memorial to the secret of the fifth Root Race.
And now we have to learn to understand how mankind can benefit by Freemasonry. That is not so easy. A person who gets to know something of the complicated initiation ceremonies of Freemasonry might be inclined to ask: is what takes place in such ceremonies very trivial and petty?
I will now describe to you the initiation ceremony of an apprentice wishing to join the Order of Craft Masonry.3 Craft Masonry covers the three degrees of Entered Apprentice, Fellow Craftsman and Master Mason. It is referred to by Heckethorn as ‘Blue Masonry’ and by Rudolf Steiner as ‘Johannesmaurerei.’ See notes 2 and 11 to the succeeding lecture (lecture 8, 9th December 1904). Just imagine someone has decided that he wants to become a member of the Craft Masonry. It consists of three degrees: Apprentice, Fellow Craftsman and Master Mason. After these three degrees come higher degrees which lead the candidate into occult knowledge. I will now describe what happens to a novice about to be initiated into the first degree,4 For this description Rudolf Steiner again drew on the account given in Charles William Heckethorn's Secret Societies, (pp. 267–271) some passages of which were marked by him accordingly. that is the degree of apprentice. When he is brought into the Lodge building for the first time, he is led into a remote chamber by the Brother Warden and left for some minutes to his own thoughts. Then he is deprived of all metal he has about him, such as gold, silver and other metals, his clothes are rent at the knee and the heel of his left shoe is trodden down. In this condition he is led into the midst of the brethren who are assembled in another room, a cord is passed round his neck and a sword is pointed at his naked breast. In this state he is confronted by the Worshipful Master, who asks him if he is still determined to undergo initiation. Then he is cautioned very seriously and during the further procedures the meaning of the treading down of the heel and other procedures are explained to him. There are three things which he is obliged to forego. If he is unable to forswear these three things he will never be accepted as a Freemason. He is told: If you retain the slightest curiosity about anything, then you must leave this house immediately. Secondly, he is told: If you should hesitate to acknowledge every one of your failings and mistakes, then you must leave this house immediately. Thirdly: If you are unable to rise in spirit above all things which differentiate one human being from another, then you must leave this house immediately. These three things are most strictly required from every candidate for initiation.
Then a kind of frame is held in front of the candidate. through which he is thrown, while at the same time an unpleasant noise is produced, so that he flies through the frame with the worst of feelings. In addition to this they shout to him that he is being thrown into Hell. At that same instant, a trapdoor is closed with a bang, and he is given the impression of being in very peculiar surroundings. His skin is then scratched slightly, so that blood is made to flow, and at the same time a gurgling sound is made by those around him, giving him the impression that he is losing a great deal of blood. After that three hammer blows are struck by the Worshipful Master. What is said thereafter in the Lodge must be treated in the strictest secrecy. Were the candidate to reveal it, his connection with Freemasonry, would be changed, just as the drink he is offered also changes: sweet from the one side, bitter from the other. This drink is handed to him in an artfully constructed vessel, so that the drink is sweet from one side, but when turned around it changes to bitter. That is to symbolise how it will be for the candidate if he betrays the secrets.
After these proceedings he is led to a flight of stairs in a room which is very dimly lit. This staircase is so constructed that it moves and thereby gives the impression that one has descended a long way, whereas one has really only descended a short distance. It is the same when the candidate falls. When he thinks he has fallen into a deep well, he has in reality only fallen a very short way. At this point it is explained to him that he has arrived at a decisive moment. In addition to this he is blindfolded again when he is by the staircase. Then the Brother Warden is asked: ‘Brother Senior Warden, deem you the candidate worthy of forming part of our Society?’ If the answer is ‘Yes’ he is then further asked: ‘What do you ask for him?’ He is obliged to answer: ‘Light’. Then the bandage is removed from the candidate's eyes and he sees himself in an illuminated chamber. Then follows the basic question: ‘Do you recognise who is your Master?’ He makes answer: ‘Yes, it is he who is wearing a yellow jacket and blue trousers.’ The blue trousers refer to the rank he possesses. Then he receives the three attributes of apprenticeship: Sign, Grip and Word. The Sign is a symbol of the same kind as occult symbols ... [Gap] The Grip is a special kind of handclasp to be used when shaking hands. These handclasps are different in the case of an apprentice and in the case of a Master. The Word changes according to degree, It does not behove me to reveal what the Words are.
After that, the person concerned can be admitted to his apprenticeship. On admission he is asked: ‘How old are you?’ He makes answer: ‘Not yet seven years.’ He has to serve seven years as an apprentice before he can progress to become a journeyman.
When someone has progressed so far that he is eligible for his Master I s degree, the initiation ceremony is somewhat more difficult. The main thing is, however, that what is contained in the Temple Legend is actually carried out in practice on the candidate himself. He who wishes to attain to the Master's degree is led into one of the rooms in the Lodge building and has to lie in a coffin and to undergo the same fate as the Master-builder Hiram suffered. Then the new Sign, Grip and Word are revealed to him. The Word is the same as the Master Word which was uttered at the finding of Hiram's body. The signs by which a Master is known are extremely complicated. Recognition is achieved with the help of many forms and gestures.
The Freemasonry Masters call themselves ‘Children of the Widow’. Thus the Company of the Masters is directly derived from the Manicheans. I shall still speak about the connection between Manicheism and Freemasonry.5 It is not known whether this intention was carried out.
The task of Freemasonry is connected with that belonging to the whole of the fifth Root Race. You could, of course, from the point of view of modern rationalist thinking, dismiss all I have told you about the initiation of an apprentice and the various ceremonies connected therewith as mere tomfoolery and play acting. But that is not what it is. All the things I have mentioned are the outward symbolical enactment of ancient occult practices which once took place on the astral plane through the mystery schools. Such proceedings, therefore, which take place symbolically among Freemasons, are carried out on the astral plane in the mystery temples. The initiation into the degree of a Master, the lying in the coffin and so on, is actually something which takes place on a higher level. However, in Freemasonry, it only takes place symbolically.
One could now ask: Where does all this lead? A Freemason should be conscious of the fact that one should act on the physical plane in a way which will maintain a connection with the spiritual worlds. It makes a difference whether one is a member of a community which believes in symbols which help to create a higher community, or whether ... [Gap] A Freemason need not necessarily have different thoughts from the man in the street, but his feelings are quite different. Feelings are connected with symbolical enactments, and it is not a matter of indifference whether or no a feeling of this kind is aroused, because it corresponds with a certain rhythm on the astral plane.
The meaning behind the first part of the ceremony—the taking away of metal objects—is that the candidate should not retain about his person anything which he has not produced by his own labours. A feeling for this is necessary for anyone who has had his attention drawn to the significance of symbols. He should also retain an enduring memory of the tearing of the trousers at the knee. He should think upon the fact that he ought to present himself in life as if he were appearing completely naked in the eyes of his fellow men. In like manner, the treading down of the heel should act as a constant reminder that—even though he may be strong as far as Freemasonry is concerned—he nevertheless is made vulnerable through his heel of Achilles. All subsequent parts of the ceremony have basically a meaning of this kind—particularly in the case of the eerie feeling which is engendered when a cold, sharp-edged sword is laid against his breast. That is a feeling which persists for a long time and becomes focussed in a suggestion which returns to his mind at important moments and reminds him that he should develop a kind of cold-blooded attitude. Cold-bloodedness should be the suggestion he receives. Complete responsibility for his own actions is what is symbolised by the cord laid about his neck which can be drawn tight at any moment. Presence of mind is suggested by the procedures connected with trapdoors, moving stairways, etc. Those are procedures which take place quite differently in the mysteries because they are performed on the astral plane.
The candidate must then take the oath. Everything about him is horrible, dark, the room only lit by one or two tiny flames. I want you to consider this oath in its full portent: ‘I hereby swear that by Word, Sign and Grip I shall never disclose anything which is henceforth revealed to me within this Lodge. Should I betray any of the secrets, I will allow any of the Brethren who may get to know about it, to slit my throat and wrench out my tongue.’ That is the oath of the apprentice. Still more dreadful is the oath of the journeyman, who consents to having his breast cut open and his heart torn out and thrown to the birds. The oath which the Master has to swear is so terrible that it cannot be repeated here.
These things are used as a means of evoking a certain kind of rhythm in the sensations of the astral body. The result of this is that the spirit is influenced intuitively. This influencing of the spirit was the main purpose of the masonic initiation in ancient times—Freemasonry is really very ancient.
The Freemasons of old were actually stonemasons. They performed all the duties of a mason. They were the builders of temples and public buildings in ancient Greece, where they were known as Dionysiacs.6 Dionysiacs are mentioned by Heckethorn pp. 79 and 250. The building work was carried out in the service of the temple of Dionysus. In Egypt they were the builders of the pyramids, in ancient Rome, the builders of cities, and during the Middle Ages they built cathedrals and churches. After the thirteenth century they also began to build independently of the authority of the Church. At this time the expression ‘Freemason’ came into use. Before that they were under the authority of the religious communities and were the recognised architects.
Let us take our start from the fact that the Freemasons were the builders of the pyramids, of the mystery temples, and of the churches. You will easily gain the conviction—especially by reading Vitruvius7 Vitruvius Poflio, royal architect under Caesar Augustus, wrote his ten-volume work, De Architectura, between 16 and 13 B.C., drawing from Greek sources and from his own experiences.—that the manner in which architecture was formerly studied is quite different from our present method. One did not study it at that time by making calculations, but instead, definite intuitions were imparted by means of symbols.
If you read in Luzifer8 Rudolf Steiner refers here to articles which he at that time contributed to his periodical Luzifer, later known under the title Luzifer Gnosis, which were then published in book form and are available in English under the title Cosmic Memory, (Rudolf Steiner Publications, Chapter ‘Lemuria’). how the Lemurians developed their building capacity you will get an inkling of the way in which this art was then practised. It is not possible today to build in that manner. With amazement and wonder we behold the buildings of the ancient Chinese and of the Babylonians and Assyrians, and know that they were constructed without a knowledge of our present-day mathematics. We behold the wonderful engineering feat of Lake Moeris in Egypt; a lake which was constructed to collect water which could be diverted into irrigation channels in times of need. It was not built with our modern engineering technique. The wonderful acoustic effects produced in old buildings were achieved in a way which modern architects are not yet able to imitate. At that time men were able to build by means of intuitive faculties, not through rational understanding.
The whole of this kind of architecture stood in relationship to a knowledge of the universe. If you take the Egyptian pyramids, for instance, their measurements correspond to certain measurements in heavenly space, to the distances of the stars in space. The whole configuration of stellar space was depicted in these buildings. There was a connection between the individual building and the dome of heaven. The mysterious rhythm presented to our gaze when we behold the starry heavens—not just with our outer sense, but with an intuitive gaze which penetrates to higher relationships, to rhythmical relationships—that was what the original architects included in their building, because they were building out of the universe.
This art of building was taught in a fashion as different from our own as the teaching of the art of medicine among certain primitive tribes today differs from our own. Our teaching today stems from the intellect. In primitive tribes the doctor is not trained like our doctors, but has certain occult forces developed in him. He has to undergo a bodily training which would be horrible for anybody of a nervous or weak disposition living in our modern culture. This training teaches him indifference to joy and pain and he who is indifferent to these is already in possession of occult powers. The extent to which the astral body could originally be trained was so great that it led to the development of powers which were designated as the Royal Art, which is an art derived from the mighty symbols of heavenly proportions.
Now you will have an idea of what Freemasonry used to be and you will realise that it had to outgrow its real task. It was bound to lose its significance as the world became rationalistic. It had its meaning when the fourth cultural epoch was still being developed. The fifth epoch brought about the loss of its importance. Today, Freemasons are no longer masons. Anybody can become a member. For occultists, symbols have a real meaning. A symbol that is merely a symbol, merely a copy or image, has no meaning; there is only significance in what can become a reality, in what can become a living force. If a symbol acts upon the spirit of humanity in such a way that intuitive forces are set free, then we are dealing with a true symbol. Today, Freemasons say they have symbols which mean this or that. An occult symbol, however, is one which takes hold of the will and leads over into the astral body. Inasmuch as our culture has become an intellectual culture, Freemasonry has lost its meaning.
Regarding connections with Manicheism ... [Gap]9 See note 5. And after that come the high degrees, which extend as far as the ninetieth, indeed the ninety-sixth degree, and start at the fourth degree. The importance of the first three degrees has gradually been transferred to the high degrees. There is a kind of residue still remaining in what is called the ‘Royal Arch’,10Since the Tolerance Agreement of 1813 the ‘Royal Arch Degree’ has passed as the Fourth Degree. See note 16 to the succeeding lecture, also the notes about ‘Goethe's relationship to Rosicrucianism’ which appear as an appendix to these lectures. which is still extant in Freemasonry today. About these lighter sides and some of the darker sides of Freemasonry we shall have to speak again.
7. Wesen Und Aufgabe Der Freimaurerei Vom Gesichtspunkt Der Geisteswissenschaft
Heute möchte ich einen kurzen Einblick geben in verschiedene Riten und Orden in der Freimaurerei, wie schon besprochen. Natürlich kann ich Ihnen nur das Allerwesentlichste der Freimaurerei mitteilen, weil das Gebiet ein so umfassendes ist und so unendlich viel Unwesentliches an der Sache daranhängt.
Die Grundlage für das ganze Freimaurertum haben wir ebenfalls in der Tempellegende von Hiram-Abiff oder Adonhiram zu sehen, von der ich Ihnen bereits bei Gelegenheit der Besprechung des Rosenkreuzerordens gesprochen habe. Das Ganze, was man Geheimnis und Tendenz der Freimaurerei nennt, spricht sich in dieser Tempellegende aus. Wir werden zu einer Art von Genesis, von Abstammungslehre des Menschen geführt. Lassen wir also die wesentlichen Züge dieser Tempellegende nochmals vor unserer Seele vorüberziehen.
Einer der Elohim verband sich mit Eva, und aus dieser Ehe eines der göttlichen Schöpfer mit Eva ging Kain hervor. Dann schuf ein anderer Elohim - nämlich Jehova oder Adonai - den Adam, welcher vorzustellen ist als der ursprüngliche Mensch unserer dritten Wurzelrasse. Dieser Adam verband sich nun mit Eva, und aus dieser Ehe ging Abel hervor. So haben wir am Ursprung des Menschengeschlechtes zwei Ausgangspunkte: Kain, den direkten Sprossen eines der Elohim und Eva, und Abel, welcher sozusagen mit Hilfe eines göttlich geschaffenen Menschen, des Adam, der eigentliche Jehova-Mensch ist.
Die ganze Auffassung, die der Schöpfungsgeschichte der Tempellegende zugrunde liegt, geht davon aus, daß Jehova eine Art von Feindschaft hat gegen alles, was von den anderen Elohim und ihren Sprossen, den Feuersöhnen, kommt — so nennt man in der Tempellegende die Nachkommen des Kain -, und daß er Unfrieden stiftete zwischen Kain und seinem Geschlecht und Abel und seinem Geschlecht. Die Folge davon war, daß Kain den Abel tötete. Das ist die Urfeindschaft, die besteht zwischen denen, die ihr Dasein als eine Art von Göttergabe haben und denen, die alles selbst erarbeiten. Daß Abel dem Gotte Jehova Tiere opfert, Kain aber Früchte der Erde, das zeigt auch in der Bibel den Gegensatz zwischen dem Kainsgeschlecht und dem Abelgeschlecht. Kain muß durch schwere Arbeit der Erde die Früchte, dasjenige, was notwendig ist für den Menschen, abringen, Abel nimmt das, was schon lebt, was schon vorbereitet ist zum Leben. Kains Geschlecht schafft sozusagen aus dem Unlebendigen das Lebendige. Abel nimmt das schon Lebendige, dem das Leben schon eingehaucht ist. Das Abelopfer ist dem Gotte angenehm, Kains Opfer aber nicht.
So sehen wir, daß in Kain und Abel zwei Menschheitsarten charakterisiert werden. Die eine Art ist die, welche das von Gott Zubereitete nimmt, die andere Art — die freie Menschheit - ist die, welche den Erdengrund beackert und sich müht, Lebendiges dem Unlebendigen abzugewinnen. Als solche Kainssöhne sehen sich diejenigen an, die diese Tempellegende verstehen und im Sinne dieser Legende leben wollen. Vom Geschlechte Kains stammen alle ab, welche die eigentlichen menschlichen Künste und Wissenschaften geschaffen haben: Tubal-Kain, der eigentliche ursprüngliche Baumeister und Gott der Schmiede und Werkzeuge; und auch jener Hiram-Abiff oder Adonhiram, der Held der Tempellegende. Dieser Hiram wird berufen durch König Salomo, der durch seine Weisheit berühmt ist, also zum Geschlecht der Abelkinder gehört, die ihre Weisheit als Gabe von Gott eingeflößt bekommen haben. So haben wir am Hofe von Salomo den Gegensatz wieder erneuert: Salomo der Weise und Hiram der freie Arbeiter, der seine Weisheit sich menschlich erarbeitet hat.
Salomo beruft an seinen Hof Balkis, die Königin von Saba, und als sie am Hofe erscheint, erblickt sie in ihm etwas wie eine Statue, aus Gold und Edelsteinen geschaffen. Wie von den Göttern der Menschheit geschenkt, so erscheint er monumentartig der Königin Balkis. Als sie das große Werk, den salomonischen Tempel, bewundert, will sie auch den Baumeister kennenlernen und lernt ihn auch kennen. Durch einen bloßen Blick, den der Baumeister ihr zuwirft, lernt sie den ganzen Wert von Hiram kennen. Salomo faßt sogleich eine Art von Eifersucht auf Hiram. Diese steigert sich besonders, als Balkis, die Königin, verlangt, daß man ihr alle Arbeiter vorführe, welche sich am Tempelbau beteiligt haben. Salomo erklärt es für unmöglich; Hiram dagegen gewährt es. Er steigt auf einen Hügel, macht das mystische Tau-Zeichen und daraufhin strömen alle Arbeiter herbei. Der Wille der Königin ist erfüllt.
Salomo ist deshalb auch abgeneigt, den Verfolgern des Hiram zu widerstreben, ihnen entgegenzutreten. Ein syrischer Maurer, ein phönizischer Zimmermann und ein hebräischer Grubenarbeiter waren Hiram feindlich gesonnen. Denn diese drei Gesellen konnten von Hiram-Abiff durchaus nicht das Meisterwort erfahren. Das Meisterwort ist dasjenige, was die Gesellen fähig gemacht hätte, wirklich selbständig zu bauen. Dieses Meisterwort ist ein Geheimnis, das nur den Fähigen zuteil wurde. Sie faßten daher den Entschluß, ihm etwas anzutun.
Die Gelegenheit dazu fand sich, als Hiram-Abiff sein Meisterstück, das Eherne Meer, gießen wollte. Die Bewegung des Wassers sollte in der Form festgehalten werden. Das bewegte Meer sollte lebendig, kunstvoll festgehalten werden in der starren Form. Das ist das Wichtige. Die drei Gesellen hatten sich verabredet, am Guß etwas zu machen, so daß er, statt in die Form zu rinnen, in der Umgebung herum sich verbreitete. Hiram wollte daraufhin durch Zugießen von Wasser den Feuerguß aufhalten, wodurch aber das Metall in die Luft sprühte und als Feuerregen unter furchtbarer Gewalt wieder herunterfiel. Hiram konnte da auch nichts machen. Aber plötzlich erscholl eine Stimme: Hiram! Hiram! Hiram! — Diese Stimme forderte ihn auf, sich in das Feuermeer zu stürzen. Er tat es und sank immer tiefer, bis zum Mittelpunkt der Erde, wo der Ursprung des Feuers ist. Da traf er zwei Gestalten an: den Stammvater Tubal-Kain und Kain selbst. Kain war bestrahlt von den Strahlen Luzifers, des Lichtengels. Nun übergab Tubal-Kain dem Hiram seinen Hammer, der die Zauberkraft hatte, alles wieder herzustellen, und sagte zu ihm: Du wirst einen Sohn haben, der wird ein Volk von Wissenden um sich haben, und du wirst Stammvater sein derer, die aus dem Feuer kommen, das weisheitsvoll und gedankenvoll macht. - Das Eherne Meer wurde nun durch den Hammer wieder hergestellt.
Hiram hatte dann die Königin Balkis wieder vor der Stadt getroffen. Sie wurde seine Gemahlin, aber er konnte die Eifersucht Salomos und die Rache der drei Gesellen nicht bannen. Die drei Gesellen erschlugen ihn. Nur das Dreieck, auf dem das Meisterwort eingegraben war, konnte er noch retten, indem er es in einen tiefen Brunnen versenkte. Dann wurde er begraben und auf seinem Grabe ein Akazienzweig gepflanzt. Der Akazienzweig verriet das Grab dem Salomo. Man fand auch das Dreieck. Es wurde verschlossen und vergraben. Nur wenige (27) wissen den Ort. [Es wurde verabredet:] Das erste Wort, das nach der Auffindung des Leichnams falle, sollte das neue Meisterwort sein. Das neue Meisterwort ist dasjenige, welches das der Freimaurer geworden ist. Sie führen ihren Ursprung mit einem gewissen Recht auf diese Tempellegende zurück, auf jene alten Tage, in denen der König Salomo den Tempel auferbaut hat als bleibendes Denkmal dessen, was das Geheimnis der fünften Wurzelrasse darstellt.
Nun müssen wir verstehen, was in der Freimaurerei für die Menschheit erworben, gelernt werden kann. Das ist nicht so leicht. Mancher, der etwas von den komplizierten Einweihungsriten der Freimaurerei erfährt, mag sich fragen: Ist das nicht etwas ungemein Triviales und Lappalienhaftes, was da als Einweihungszeremonie vorgeht?
Ich will Ihnen jetzt das am Aufnahmeritus bei der Johannesmaurerei vorführen. Denken Sie sich, es hätte sich jemand entschlossen, Johannesmaurer zu werden. Es gibt da drei Grade: Lehrling, Geselle und Meister. Nach diesen drei Graden beginnen die höheren Grade, welche in die okkulten Erkenntnisse hineinführen. Ich will Ihnen nun schildern, wie jemand in den Lehrlingsgrad aufgenommen wird. Wenn er zum ersten Mal in den Freimaurertempel geführt wird, dann wird er von dem Bruder Aufseher zunächst in ein dunkles, finsteres Gemach geführt. Da wird er einige Minuten allein gelassen, wo er sich seinen Gedanken zu überlassen hat. Dann werden ihm alle metallenen Gegenstände, was er an Gold, Silber und anderen Metallen bei sich hat, abgenommen, am Knie das Kleid aufgerissen, dann am linken Fuß der Absatz abgetreten. In diesem Zustande wird er in ein anderes Gemach, zu den versammelten Brüdern geführt. Dann wird ihm eine Schnur um den Hals gehängt und, nachdem ihm seine Brust entblößt worden ist, wird ihm ein gezücktes Schwert vor die Brust gehalten. In diesem Zustande tritt er vor den Meister. Der Meister frägt ihn, ob er noch dabei beharren will, aufgenommen zu werden. Dann wird er noch in ernster Weise ermahnt, und in der weiteren Vorbeteitung wird ihm die Bedeutung des Absatzabtretens erklärt und so weiter. Drei Dinge soll er abstreifen. Hat er diese drei Dinge an sich, so kann er niemals Freimaurer werden. Es wird ihm gesagt: Hast du irgendeinen Grad von Neugierde auf etwas, so verlasse sofort das Haus. Als zweites wird ihm gesagt: Scheust du dich, alle deine Fehler und Mängel zu erkennen, so verlasse sofort das Haus. Und als drittes wird ihm gesagt: Kannst du dich nicht aufschwingen dazu, über alle Ungleichheit der Menschen hinwegzuschauen, so verlasse sofort das Haus. Diese drei Dinge werden von jedem auf das strengste gefordert.
Dann wird ihm eine Art von Rahmen vorgehalten, durch den er durchgeworfen wird, gleichzeitig wird ein unangenehmes Geräusch erzeugt, so daß er mit recht schlimmen Gefühlen durch den Rahmen durchsegelt. Dabei wird ihm zugerufen, daß er in die Hölle fällt. In dem Augenblicke, wo er niederfällt, wird eine Falltür zugeworfen, so daß er die Suggestion hat, als wenn er in einer ganz merkwürdigen Umgebung wäre. Es wird ihm dann eine kleine Einritzung in die Haut gemacht, so daß Blut herausfließt, gleichzeitig werden gurgelnde Laute von den Umstehenden produziert, so daß er die Meinung bekommt, als ob er viel Blut verliere. Dann kommen drei Hammerschläge des Meisters. Was er nun innerhalb der Loge nach diesem Zeitpunkte hört, muß er in strengster Weise als Geheimnis betrachten. Würde er etwas davon verraten, würde sich seine Zugehörigkeit zur Freimaurerei so verwandeln wie der Trunk, der ihm gereicht wird: süß von einer Seite, bitter von der anderen. Der Trunk ist in einem kunstvollen Gefäß, so daß er einerseits süß und durch Drehung des Gefäßes bitter werden kann. Das soll symbolisieren, wie die Wirkung des Verrates für ihn werden kann.
Nachdem dies geschehen ist, wird er in einen Raum, der nur spärlich erhellt wird, vor eine Treppe geführt. Diese Treppe ist so eingerichtet, daß sie sich bewegt, so daß man glaubt, recht tief hinuntergestiegen zu sein, während man in Wirklichkeit nur wenig hinuntergestiegen ist. Ebenso ist es, wenn er fällt. Er fällt nur wenig, glaubt aber, in einen tiefen Brunnen gefallen zu sein. Wenn er da ist, wird ihm angezeigt, daß das eine wichtige Etappe für ihn ist. Außerdem wurden ihm vor der Treppe seine Augen verbunden. Dann werden zu dem Bruder Aufseher die Worte gesprochen: Bruder Aufseher, findest du den Bewerber würdig, in die Freimaurerei einzutreten? — Wenn er bejaht, so wird er gefragt: Was erwartest du von dem Eintritt für ihn? Er hat zu antworten: Licht! - Dann wird dem Kandidaten die Binde abgenommen und er befindet sich in einem erhellten Raum. Nun kommt die Grundfrage: Kennst du deinen Meister? Er antwortet: Ja, er hat eine gelbe Jacke und eine blaue Hose. - Mit der blauen Hose ist die Stellung gemeint. Dann erhält er die drei Signaturen der Lehrlingschaft: Zeichen, Griff und Wort. Das Zeichen ist ein Symbol, in ähnlicher Weise wie die okkulten Zeichen... [Lücke]. Der Griff besteht darin, daß ihm der besondere Handgriff gezeigt wird, mit dem er die Menschen zu begrüßen hat. Die Griffe sind anders beim Gesellen und anders beim Meister. Das Wort ist auch je nach dem Grad verschieden. Es kommt mir nicht zu, die «Worte» zu sagen.
Dann ist der Betreffende zur Lehrlingschaft zugelassen. Beim Eintritt wird er noch gefragt: Wie alt bist du? Er antwortet: Noch nicht sieben Jahre. - Er muß noch sieben Jahre der Lehrlingschaft durchmachen, und dann geht es weiter zum Gesellengrad.
Wenn jemand so weit ist, daß er zur Meisterschaft aufrücken kann, dann ist die Einweihung etwas schwieriger. Das Wesentliche besteht aber darin, daß das, was in der Tempellegende enthalten ist, an dem Betreffenden wirklich vollzogen wird. Wer ein Meister werden will, wird in eines der Gemächer der Loge geführt, wo er sich in einen Sarg legen und das Schicksal des Baumeisters Hiram durchzumachen hat. Dann werden ihm Zeichen, Griff und Wort mitgeteilt. Als Wort dasjenige Wort, das bei der Auffindung des Leichnams des Hiram als Meisterwort gesprochen worden ist. Die Erkennungszeichen bei dem Meister sind ungeheuer kompliziert. Das Erkennen geschieht durch viele Formen und Bewegungen.
Die Freimaurermeister nennen sich «Kinder der Witwe». So leitet sich diese Gemeinschaft der Meister unmittelbar von den Manichäern ab. Ich werde noch zu sprechen haben über den Zusammenhang des Manichäertums mit den Freimaurern.
Die Aufgabe der Freimaurerei hängt mit der Aufgabe unserer ganzen fünften Wurzelrasse zusammen. Nun können Sie natürlich von dem Standpunkte eines heutigen rationalistischen Menschen alles, was ich über die Einweihung eines Lehrlings gesagt habe, die verschiedenen Handlungen und Zeremonien wie Firlefanz, Maskerade und Komödie auffassen. Aber das ist es nicht. Alle Dinge, die ich gesagt habe, sind Vorgänge, äußerlich-symbolisch, aber in einer gewissen Beziehung Abbilder von alten okkulten Vorgängen, die sich in den Mysterien vollzogen haben, und zwar direkt auf dem astralen Plan. Solche Vorgänge also, wie sie sich symbolisch bei den Freimautern vollziehen, vollziehen sich in den Mysterientempeln auf dem astralischen Plan. Auch die Meistereinweihung, das Hineinlegen in den Sarg und so weiter, ist tatsächlich etwas, was sich auf dem höheren Plane abspielt. Das vollzieht sich aber in der Freimaurerei bloß symbolisch.
Man kann nun fragen: Wozu denn das? - Der Freimaurer soll sich bewußt sein, daß auf dem physischen Plane so gearbeitet werden soll, daß man den Zusammenhang mit den höheren Welten aufrecht erhält. Es ist ein Unterschied, ob Sie in einer Gemeinschaft sind, die etwas gibt auf Symbole, die zu einer höheren Gemeinschaft führen, oder ... [Lücke]. Der Maurer hat vielleicht keine anderen Gedanken als der gewöhnliche Mensch, aber der Maurer hat andere Gefühle. Das Gefühl ist mit den symbolischen Vorgängen verbunden, und es ist nicht gleichgültig, ob eine solche Empfindung, ein solches Gefühl hervorgerufen wird oder nicht, weil sie einem gewissen Rhythmus auf dem astralen Plan entspricht.
Der Sinn der ersten Handlung — Abnehmen der metallenen Gegenstände - ist: Der Mensch soll nichts an sich haben, was er nicht selbst erarbeitet hat. Eine Empfindung davon zu haben, ist wichtig und wesentlich für denjenigen, der schon auf das Bedeutungsvolle der Symbolik aufmerksam gemacht wurde. Er soll auch eine bleibende Erinnerung an das Zerreißen der Beinkleider am Knie haben. Er soll daran denken, daß er sich so ins Leben hineinstellen soll, als wenn er ganz nackend vor die Menschheit hintreten sollte. Ebenso soll das Abtreten des Absatzes, der Ferse, ihn bleibend daran erinnern, daß — obgleich er stark sein wird in der Maurerei — er doch noch eine Achillesferse hat. Alle folgenden Handlungen haben im Grunde genommen eine solche Bedeutung, vor allen Dingen im Zusammenhang mit jenem unheimlichen Gefühl, das hervorgerufen wird, wenn auf die Brust ein scharf geschliffenes kaltes Schwert gehalten wird. Das ist ein Gefühl, welches durch längere Zeit hindurch sich zu einer Suggestion verdichtet, so daß er sich in wichtigen Momenten erinnert, daß er eine Art von Kaltblütigkeit haben soll. Kaltblütigkeit soll dadurch suggetiert werden. Die volle Verantwortung übernehmen für das, was man tut, soll dadurch symbolisiert werden, daß man ihm eine Schnur um den Hals legt, die immer zusammengezogen werden kann. Die Geistesgegenwart soll suggeriert werden dadurch, daß diese Prozeduren mit Falltüren, mit Treppen und so weiter hervorgerufen werden. Das sind gewisse Vorgänge, die in den Mysterien aber völlig anders vollzogen werden, weil sie sich im Astralraum vollziehen.
Der Lehrling muß dann einen Eid leisten. Alles ist dabei schauerlich, finster, der Raum nur mit einigen Flämmchen beleuchtet. Diesen Eid bitte ich, in seiner ganzen Tragweite sich vorzuhalten: «Ich schwöre, daß ich nichts dem Worte, dem Zeichen, dem Griffe nach jemals verraten werde von dem, was mir von diesem Zeitpunkt ab innerhalb dieser Loge mitgeteilt wird. Sollte ich etwas verraten, so gestatte ich jedem der Brüder, der etwas davon erfährt, mir die Kehle durchzuschneiden und die Zunge herauszureißen.» Das ist der Schwur, den die Lehrlinge leisten. Noch furchtbarer ist der Gesellenschwur, der gestattet, die Brust aufzuschneiden, das Herz herauszureißen und den Vögeln vorzuwerfen. - Der Schwur des Meisters ist so schauerlich, daß er nicht wiederholt werden kann.
Diese Dinge sind dazu da, um einen gewissen Rhythmus von Empfindungen im Astralkörper hervorzurufen. Das hat dann zur Folge, daß der Geist des Menschen in einer bestimmten intuitiven Weise beeinflußt wird. Diese Beeinflussung des Geistes in intuitiver Weise war in alten Zeiten — die Freimaurerei ist wirklich uralt — der eigentliche Zweck der freimaurerischen Einweihung.
Die Freimaurer waren in alten Zeiten wirklich Maurer. Sie verrichteten alles das, was zur Maurerei gehört. Sie waren die Tempelbauer, die Erbauer der öffentlichen Gebäude in Griechenland. In Griechenland nannte man sie Dionysiacs. Das waren diejenigen, die im Dienste des Dionysos Tempel und öffentliche Gebäude bauten. In Ägypten waren es die Pyramidenerbauer, im alten römischen Reich die Erbauer von Städten. Im Mittelalter waren es die Erbauer von Domen und Kathedralen. Sie bauten vom 13. Jahrhundert ab auch unabhängig von der Geistlichkeit. Seit jener Zeit kam dann erst der Ausdruck Freimaurer auf. Vorher waren sie im Dienste der religiösen Gemeinschaften. Sie waren eigentlich die Baumeister.
Gehen wir von dem Gedanken aus, daß sie die Erbauer der Pyramiden, der Mysterientempel, die Erbauer der Kirchen waren. Nun werden Sie sich leicht überzeugen können - namentlich wenn Sie Vitruv lesen -, daß die Art und Weise, wie man ehedem die Baukunst studierte, ganz verschieden war von der unsrigen. Man studierte nicht wie heute, so daß man die Dinge berechnete, sondern was man übermittelt erhielt, waren bestimmte Intuitionen, die durch Symbole ausgedrückt waren. Wenn Sie im «Luzifer» nachlesen, wie die Lemurier bauten, wie sie es im Griff hatten, dann bekommen Sie eine Ahnung davon, wie damals gebaut wurde. Wie in alten Zeiten gebaut worden ist, das kann man heute nicht mehr nachmachen. Staunend und bewundernd stehen wir vor chinesischen Bauten, vor Bauten der Babylonier und Assyrer, und wissen doch, daß sie die Mathematik unserer Zeit nicht gekannt haben. Wir haben das wunderbare Werk der Ingenieurkunst in dem Mörissee in Ägypten; ein See, der gebaut worden ist, um das Wasser aufzufangen und wenn man es brauchte, durch künstliche Kanäle über das Land hinzuleiten. Er ist nicht mit unserer heutigen Ingenieurkunst gebaut worden. Auch die wunderbare Akustik, die in die alten Bauten hineingebaut worden ist, konnte man ausführen in einer Weise, wie die heutige Baukunst es noch nicht wieder kann. Man konnte also auf intuitive, nicht nur rationell-verstandesmäßige Art bauen.
Diese ganze Art der Baukunst stand in einem Verhältnis zu der Erkenntnis des ganzen Weltalls. Wenn Sie die ägyptischen Pyramiden in ihren Abmessungen nehmen, so stehen sie in Zusammenhang mit gewissen Abmessungen des Himmelsraums, Sternenentfernungen im Himmelsraum. Die ganze Konfiguration des Himmelsraumes wurde nachgebildet in solchen Gebäuden. Es war ein Zusammenhang des einzelnen Baues mit dem Himmelsdom. Jenen geheimnisvollen Rhythmus, der sich im Sternenanblick darbietet, wenn wir nicht bloß mit sinnlichen Augen sehen, sondern mit dem intuitiven Blick, der sich den höheren Verhältnissen, den rhythmischen Verhältnissen eröffnet, den bauten die ursprünglichen Baumeister in ihre Bauten hinein, weil sie aus dem Weltenall heraus bauten.
Diese Art und Weise der Baukunst wurde damals vermittelt, so ähnlich wie in gewissen wilden Völkern man heute noch einen ganz anderen Unterricht erhält in ärztlicher Kunst, als der unsrige ist. Unser Unterricht ist Verstandesunterricht. Bei den wilden Völkerschaften wird der Arzt nicht so ausgebildet wie bei uns, sondern dadurch, daß bestimmte okkulte Kräfte bei ihm ausgebildet werden. Er muß sich einer körperlichen Zucht unterwerfen, die für nervöse und wehleidige Menschen unserer Kultur sich wie etwas Schauderhaftes ausnimmt. Sie erzieht in ihm Unempfindlichkeit für Lust und Schmerz, und wer unempfindlich ist gegenüber diesen, der hat zugleich okkulte Kräfte in sich entwickelt. Die ursprüngliche Größe in der Ausbildung des Astralkörpers war imstande, zu jener großen Kraft hinzuführen, die man als die eigentliche königliche Kunst bezeichnet hat, die schon den großen Symbolen der Himmelsabmessung entnommen ist.
So bekommen Sie einen Begriff von dem, was Freimaurerei war, und Sie werden einsehen, daß sie entwachsen mußte ihrer eigentlichen Aufgabe. Sie hat ihre Bedeutung verlieren müssen in dem Maße, als die Welt rationalistisch wurde. Ihre Bedeutung hat sie gehabt in der Zeit, als die vierte Unterrasse noch entwickelt wurde. Die fünfte Unterrasse brachte es mit sich, daß die Maurerei ihre Bedeutung verlor. Jetzt sind die Freimaurer nicht mehr Maurer. Alle können jetzt aufgenommen werden. Für die Okkultisten haben die Symbole eine reale Bedeutung. Ein Symbol, das bloß Symbol, bloß Abbild ist, hat keine Bedeutung; nur ein solches, das Wirklichkeit werden kann, in Kraft übergehen kann. Wenn ein Symbol auf den Geistesmenschen so wirkt, daß dadurch intuitive Kräfte freiwerden, so ist es ein wirkliches Symbol. Heute sagen die Maurer, wir haben Symbole, die bedeuten das und das. Ein okkultes Symbol ist aber ein solches, das den Willen des Menschen ergreift und in den Astralkörper übergeht. In dem Maße, wie unsere Kultur eine Verstandeskultur geworden ist, verlor die Freimaurerei ihre Bedeutung.
Von Beziehungen zum Manichäismus ... [Lücke]. Dann gibt es noch die Hochgrade, die bis zu neunzig, bis zu sechsundneunzig Graden gehen, die erst beim vierten Grad beginnen. Von den drei unteren hat sich die Bedeutung allmählich zurückgezogen in die höheren Grade. Etwas wie eine Art von Bodensatz ist geblieben in dem, was man den «Royal Arch» nennt, den es auch heute noch in der Freimaurerei gibt. Über diese Lichtseiten und einige Schattenseiten wollen wir dann noch sprechen.
7. The Nature and Purpose of Freemasonry from the Perspective of Spiritual Science
Today I would like to give a brief insight into various rites and orders in Freemasonry, as already discussed. Of course, I can only tell you the most essential things about Freemasonry, because the subject is so vast and there are so many insignificant details attached to it.
We also find the basis for the whole of Freemasonry in the temple legend of Hiram-Abiff or Adonhiram, which I have already mentioned to you when discussing the Rosicrucian Order. Everything that is called the mystery and tendency of Freemasonry is expressed in this temple legend. We are led to a kind of Genesis, a theory of human descent. Let us therefore allow the essential features of this temple legend to pass before our minds once again.
One of the Elohim united himself with Eve, and from this marriage between one of the divine creators and Eve, Cain was born. Then another Elohim – namely Jehovah or Adonai – created Adam, who is to be regarded as the original human being of our third root race. This Adam then united with Eve, and from this marriage Abel was born. Thus, at the origin of the human race, we have two starting points: Cain, the direct offspring of one of the Elohim and Eve, and Abel, who is, so to speak, with the help of a divinely created human being, Adam, the actual Jehovah-human being.
The entire conception underlying the creation story of the Temple legend is based on the assumption that Jehovah has a kind of enmity toward everything that comes from the other Elohim and their offspring, the sons of fire—as the descendants of Cain are called in the Temple legend—and that he sowed discord between Cain and his line and Abel and his line. The result was that Cain killed Abel. This is the primordial enmity that exists between those who have their existence as a kind of gift from God and those who work for everything themselves. The fact that Abel sacrifices animals to the god Jehovah, but Cain sacrifices fruits of the earth, also shows in the Bible the contrast between the lineage of Cain and the lineage of Abel. Cain must wrest the fruits of the earth, that which is necessary for man, through hard work, while Abel takes that which is already alive, that which is already prepared for life. Cain's family creates, so to speak, the living out of the non-living. Abel takes that which is already alive, that into which life has already been breathed. Abel's sacrifice is pleasing to God, but Cain's sacrifice is not.
Thus we see that Cain and Abel characterize two types of humanity. One type is that which takes what God has prepared; the other type—free humanity—is that which tills the soil and strives to extract life from the lifeless. Those who understand this temple legend and want to live according to it see themselves as the sons of Cain. All those who created the true human arts and sciences are descended from the line of Cain: Tubal-Cain, the original builder and god of blacksmiths and tools; and also Hiram-Abiff or Adonhiram, the hero of the temple legend. This Hiram is summoned by King Solomon, who is famous for his wisdom and thus belongs to the lineage of the children of Abel, who received their wisdom as a gift from God. Thus, at the court of Solomon, we see the contrast renewed: Solomon the wise and Hiram the free worker, who acquired his wisdom through human effort.
Solomon summons Balkis, the Queen of Sheba, to his court, and when she appears at the court, she sees in him something like a statue made of gold and precious stones. As if gifted by the gods of mankind, he appears monumental to Queen Balkis. As she admires the great work, Solomon's temple, she also wants to meet the architect and gets to know him. From a single glance that the architect casts at her, she recognizes Hiram's true worth. Solomon immediately feels a kind of jealousy toward Hiram. This intensifies when Queen Balkis demands that all the workers who participated in the construction of the temple be brought before her. Solomon declares this impossible, but Hiram grants the request. He climbs a hill, makes the mystical sign of the tau, and all the workers flock to him. The queen's wish is fulfilled.
Solomon is therefore reluctant to resist Hiram's pursuers or to confront them. A Syrian mason, a Phoenician carpenter, and a Hebrew miner were hostile to Hiram. For these three journeymen had been unable to learn the master word from Hiram Abiff. The master word is what would have enabled the journeymen to build independently. This master word is a secret that was only revealed to those who were capable. They therefore decided to harm him.
The opportunity arose when Hiram Abiff wanted to cast his masterpiece, the bronze sea. The movement of the water had to be captured in the mold. The moving sea had to be captured in a rigid form in a lively and artistic manner. That is the important thing. The three journeymen had agreed to do something to the casting so that instead of flowing into the mold, it would spread around the area. Hiram then wanted to stop the fire casting by pouring water on it, but this caused the metal to spray into the air and fall back down as a rain of fire with terrible force. Hiram could do nothing. But suddenly a voice rang out: Hiram! Hiram! Hiram! — This voice told him to throw himself into the sea of fire. He did so and sank deeper and deeper until he reached the center of the earth, where the fire originated. There he met two figures: the progenitor Tubal-Cain and Cain himself. Cain was illuminated by the rays of Lucifer, the angel of light. Now Tubal-Cain gave Hiram his hammer, which had the magical power to restore everything, and said to him: You will have a son who will have a people of wise men around him, and you will be the progenitor of those who come out of the fire, which makes them wise and thoughtful. - The bronze sea was now restored by the hammer.
Hiram then met Queen Balkis again outside the city. She became his wife, but he could not banish Solomon's jealousy and the vengeance of the three journeymen. The three journeymen killed him. He was only able to save the triangle on which the master word was engraved by throwing it into a deep well. Then he was buried and an acacia branch was planted on his grave. The acacia branch revealed the grave to Solomon. The triangle was also found. It was sealed and buried. Only a few (27) know the location. [It was agreed:] The first word spoken after the discovery of the body would be the new master word. The new master word is the one that has become that of the Freemasons. They trace their origins with some justification to this temple legend, to those ancient days when King Solomon rebuilt the temple as a lasting monument to the secret of the fifth root race.
Now we must understand what can be acquired and learned for humanity in Freemasonry. This is not so easy. Some who learn about the complicated initiation rites of Freemasonry may ask themselves: Isn't what goes on in the initiation ceremony something extremely trivial and insignificant?
I will now demonstrate this to you using the initiation rite of Johannine Freemasonry. Imagine that someone has decided to become a Johannine Freemason. There are three degrees: apprentice, journeyman, and master. After these three degrees, the higher degrees begin, which lead into occult knowledge. I will now describe to you how someone is admitted to the degree of apprentice. When he is led into the Masonic temple for the first time, he is first taken by the brother supervisor into a dark, gloomy chamber. There he is left alone for a few minutes to his thoughts. Then all metal objects, whether gold, silver, or other metals, are taken from him, his clothes are torn open at the knee, and the heel of his left foot is removed. In this state, he is led into another room to the assembled brothers. Then a cord is hung around his neck and, after his chest has been bared, a drawn sword is held to his chest. In this state, he steps before the master. The master asks him if he still wishes to be accepted. He is then admonished in a serious manner, and in further preparation, the meaning of the removal of the heel is explained to him, and so on. He must renounce three things. If he has these three things, he can never become a Freemason. He is told: If you have any degree of curiosity about anything, leave the house immediately. Secondly, he is told: “If you are afraid to recognize all your faults and shortcomings, leave the house immediately.” And thirdly, he is told: “If you cannot bring yourself to look beyond all human inequality, leave the house immediately.” These three things are strictly demanded of everyone.
Then a kind of frame is held up in front of him, through which he is thrown, and at the same time an unpleasant noise is made, so that he sails through the frame with quite terrible feelings. At the same time, he is told that he is falling into hell. At the moment when he falls down, a trapdoor is slammed shut, giving him the impression that he is in a very strange environment. A small incision is then made in his skin so that blood flows out, and at the same time, gurgling sounds are produced by those standing around him, giving him the impression that he is losing a lot of blood. Then the master strikes three blows with a hammer. What he hears inside the lodge after this point must be kept strictly secret. If he reveals anything, his membership in Freemasonry will be transformed like the drink he is given: sweet on one side, bitter on the other. The drink is in an elaborate vessel so that it can be sweet on one side and bitter on the other by turning the vessel. This is meant to symbolize the effect that betrayal can have on him.
After this has happened, he is led into a sparsely lit room in front of a staircase. This staircase is designed to move, so that one believes one has descended quite deeply, when in reality one has descended only a short distance. The same happens when he falls. He falls only a short distance, but believes he has fallen into a deep well. When he is there, he is told that this is an important stage for him. In addition, his eyes were blindfolded before he reached the stairs. Then the following words are spoken to the brother supervisor: Brother supervisor, do you find the candidate worthy of entering Freemasonry? If he answers in the affirmative, he is asked: What do you expect from his entry? He must answer: Light! Then the blindfold is removed from the candidate and he finds himself in a brightly lit room. Now comes the fundamental question: Do you know your master? He replies: Yes, he has a yellow jacket and blue trousers. The blue trousers refer to his position. He then receives the three symbols of the apprenticeship: the sign, the handshake, and the word. The sign is a symbol, similar to occult symbols... [gap]. The hand sign consists of showing him the special hand gesture with which he is to greet people. The hand signs are different for journeymen and masters. The word also varies depending on the degree. It is not my place to reveal the “words.”
Then the person in question is admitted to the apprenticeship. Upon admission, he is asked: How old are you? He replies: Not yet seven years. He must complete seven years of apprenticeship, and then he can advance to the journeyman's degree.
When someone is ready to advance to mastery, the initiation is somewhat more difficult. The essential part, however, is that what is contained in the temple legend is actually performed on the person concerned. Anyone who wants to become a master is led into one of the chambers of the lodge, where he must lie down in a coffin and undergo the fate of the master builder Hiram. Then they are given signs, handshakes, and words. The word is the one that was spoken as the master word when Hiram's body was found. The signs of recognition among the masters are incredibly complicated. Recognition takes place through many forms and movements.
The master masons call themselves “children of the widow.” Thus, this community of masters derives directly from the Manicheans. I will have more to say about the connection between Manichaeism and Freemasonry.
The task of Freemasonry is connected with the task of our entire fifth root race. Now, of course, from the standpoint of a modern rationalist, you may regard everything I have said about the initiation of an apprentice, the various actions and ceremonies, as frivolity, masquerade, and comedy. But that is not the case. All the things I have said are processes that are outwardly symbolic, but in a certain sense they are reflections of ancient occult processes that took place in the mysteries, directly on the astral plane. Such processes, as they take place symbolically among the Freemasons, take place in the mystery temples on the astral plane. Even the initiation of the master, the placing in the coffin, and so on, is actually something that takes place on the higher plane. But in Freemasonry this is only symbolic.
One might ask: What is the purpose of this? The Freemason should be aware that work on the physical plane should be carried out in such a way that the connection with the higher worlds is maintained. There is a difference between being in a community that values symbols that lead to a higher community, and ... [gap]. The Mason may have no other thoughts than the ordinary person, but the Mason has different feelings. The feeling is connected with the symbolic processes, and it is not indifferent whether such a sensation, such a feeling is evoked or not, because it corresponds to a certain rhythm on the astral plane.
The meaning of the first action — removing the metal objects — is: Man should have nothing on him that he has not earned himself. It is important and essential for those who have already been made aware of the significance of symbolism to have a sense of this. He should also have a lasting memory of the tearing of his trousers at the knee. He should remember that he should enter life as if he were standing completely naked before humanity. Likewise, the removal of the heel should serve as a lasting reminder that, although he will be strong in Masonry, he still has an Achilles' heel. All of the following actions have, in essence, a similar meaning, especially in connection with the eerie feeling evoked when a sharp, cold sword is held to the chest. This is a feeling that intensifies over time, becoming a suggestion, so that at important moments he remembers that he should have a kind of cold-bloodedness. Cold-bloodedness is to be suggested by this. Taking full responsibility for one's actions is symbolized by placing a cord around his neck that can always be pulled tight. Presence of mind is suggested by these procedures involving trapdoors, stairs, and so on. These are certain processes that are carried out completely differently in the mysteries, however, because they take place in the astral realm.
The apprentice must then take an oath. Everything is eerie and dark, the room lit only by a few small flames. I ask you to consider the full significance of this oath: “I swear that I will never betray anything of what is communicated to me from this moment on within this lodge, either in words, signs, or gestures. Should I betray anything, I give permission to any of the brothers who learns of it to cut my throat and tear out my tongue.” This is the oath taken by the apprentices. Even more terrible is the oath of the journeymen, which allows them to cut open their chests, tear out their hearts, and throw them to the birds. The oath of the master is so gruesome that it cannot be repeated.
These things are intended to evoke a certain rhythm of sensations in the astral body. This then has the effect of influencing the human spirit in a certain intuitive way. In ancient times — Freemasonry is truly ancient — this intuitive influence on the spirit was the actual purpose of Masonic initiation.
In ancient times, Freemasons were actually masons. They did everything that belonged to masonry. They were the temple builders, the builders of public buildings in Greece. In Greece, they were called Dionysiacs. They were the ones who built temples and public buildings in the service of Dionysus. In Egypt, they were the pyramid builders, and in the ancient Roman Empire, they were the builders of cities. In the Middle Ages, they were the builders of domes and cathedrals. From the 13th century onwards, they also built independently of the clergy. It was only then that the term Freemason came into use. Before that, they were in the service of religious communities. They were actually the master builders.
Let us start from the idea that they were the builders of the pyramids, the mystery temples, the builders of the churches. Now you can easily convince yourself – especially if you read Vitruvius – that the way architecture was studied in the past was very different from ours. People did not study as we do today, calculating things, but rather what was passed down to them were certain intuitions expressed through symbols. If you read in “Lucifer” how the Lemurians built, how they mastered it, then you will get an idea of how people built in those days. How people built in ancient times can no longer be replicated today. We stand in awe and admiration before Chinese buildings, before buildings of the Babylonians and Assyrians, and yet we know that they did not know the mathematics of our time. We have the wonderful work of engineering in Lake Moeris in Egypt, a lake that was built to collect water and, when needed, to channel it across the land through artificial canals. It was not built with our modern engineering skills. The wonderful acoustics built into the ancient buildings could not be achieved in a way that is possible in today's architecture. It was therefore possible to build intuitively, not just rationally and intellectually.
This entire type of architecture was related to the knowledge of the entire universe. If you consider the dimensions of the Egyptian pyramids, they are related to certain dimensions of the celestial sphere, to the distances between stars in the sky. The entire configuration of the celestial sphere was replicated in such buildings. There was a connection between the individual building and the dome of the sky. The mysterious rhythm that presents itself in the view of the stars, when we see not only with our physical eyes but with an intuitive gaze that opens up to higher relationships, to rhythmic relationships, was built into the buildings by the original builders because they built from the universe.
This type of architecture was taught at that time, much as certain primitive peoples still receive a completely different kind of medical training than we do today. Our training is intellectual. Among primitive peoples, doctors are not trained as we are, but rather by developing certain occult powers. He must submit to physical discipline that seems horrifying to the nervous and whiny people of our culture. It trains him to be insensitive to pleasure and pain, and those who are insensitive to these have also developed occult powers within themselves. The original greatness in the training of the astral body was capable of leading to that great power which has been called the true royal art, which is already taken from the great symbols of the dimensions of the heavens.
This gives you an idea of what Freemasonry was, and you will see that it had to outgrow its original purpose. It had to lose its significance as the world became more rational. It had its significance at the time when the fourth subrace was still developing. The fifth subrace brought with it the loss of significance for Masonry. Now the Freemasons are no longer masons. Anyone can now be accepted. For occultists, symbols have a real meaning. A symbol that is merely a symbol, merely an image, has no meaning; only one that can become reality, that can come into effect, has meaning. If a symbol has such an effect on the spiritual human being that intuitive powers are released, then it is a real symbol. Today, masons say we have symbols that mean this and that. But an occult symbol is one that seizes the will of man and passes into the astral body. To the extent that our culture has become a culture of the intellect, Freemasonry has lost its significance.
On relations with Manichaeism ... [gap]. Then there are the higher degrees, which go up to ninety, up to ninety-six degrees, which only begin at the fourth degree. The meaning of the three lower degrees has gradually receded into the higher degrees. Something like a kind of sediment has remained in what is called the “Royal Arch,” which still exists in Freemasonry today. We will talk more about these bright sides and some of the dark sides later.