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It’s official: The Rubicon Masonic Society’s fourteenth annual festive board and conference is set for the weekend of August 14 in Kentucky.
The Magpie Mason is an obscure journalist in the Craft who writes, with occasional flashes of superficial cleverness, about Freemasonry’s current events and history; literature and art; philosophy and pipe smoking. He is a Past Master of both The American Lodge of Research in New York City and of New Jersey Lodge of Masonic Research and Education 1786; and also is at labor in Virginia’s Civil War Lodge of Research 1865. He is a past president of the lamented Masonic Society as well.
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Why is it that the initiate (and indeed then the Apprentice and Fellow Craft as well) are esoterically asked as to their qualifications and birth status at each step, but are only exoterically asked once whether they’re doing so to gain anything? A man may become less worthy and well qualified as time passes, and his motives may certainly change, yet the answer to the question of being free-born is the only one that presumably cannot change between the degrees. We must consider that what we are asking—what we have always been asking—when we are asking if someone is free-born in our ritual is whether or not their motives remain pure. Our degrees are an initiatory experience, understood to philosophically reflect upon a man’s journey from life to death. We ask them before they are reborn not as a candidate but as a brother both esoterically and exoterically if they are seeking this rebirth for the correct reasons—whether they are controlled by another or are seeking only the mundane gains of the physical world.
He begins [the Essay] with a romance on how all arts, and in particular architecture, are originally inspired by nature, and the original precedent always dictates what is good and right. He then examines a primitive man “without any aid or guidance other than his natural instincts” — a character that resembled Jean-Jacques Rousseau’s Émile, which is a clear opposition to the philosophy of Thomas Hobbes. (In general, the primitive hut as thought experiment is in opposition to Hobbesian philosophy). This “noble savage” first rests on a grassy bank beside a stream, which is at first comfortable until the noonday sun becomes too hot for him and he seeks shelter from the sun. He then finds shelter in the shade of a nearby forest and is then content until it begins to rain. Next, he seeks refuge from the storm in a cave, but this too proves uncomfortable owing to its darkness and foul air. Now fed up: “He . . . is resolved to make good by his ingenuity the careless neglect of nature. He wants to make himself a dwelling that protects but does not bury him. Some fallen branches in the forest are right material for his purpose; he chooses four of the strongest, raises them upright and arranged them in a square; across their top he lays four other branches; on these he hoists from two sides yet another row of branches which, inclining towards each other, meet at the highest point. He then covers this kind of roof with leaves so closely packed that neither sun nor rain can penetrate. Thus man is housed. [...] Such is the course of simple nature; by imitating the natural process, art was born. All the splendors of architecture ever conceived have been modeled on the little rustic hut I have just described.”
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| Grand Lodge of New York |
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| Martin Faulks |
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| Nineteenth century Vermont apron as described in the current issue of Philalethes. See below. |
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| Jason Sheridan |
Rubicon Masonic Society A glimpse of last year’s festive board. |
The allusions to Jews and magicians in Swedenborg’s diaries present a difficulty to the historian, because they are couched in a peculiar, symbolic language. Moreover, Swedenborg confounds actual, identifiable people with anonymous “spirits,” though he later explained to the Queen of Sweden that all his spirit-conversations were based on actual acquaintances, whether from personal experience or from “reading.” Two Masonic scholars, Gabriele Rossetti (father of the painter) and Ethan Allen Hitchcock (military adviser to Abraham Lincoln) claimed that Swedenborg’s cryptic language and veiled allusions were a deliberate usage of Masonic terminology, which would be comprehensible to initiates but not to outsiders... . My own theory is that many of the characters were actual people and that others function like Luzzatto’s maggid, i.e., psychological projections of Kabbalistic instructors or exteriorization of mental images gained through Kabbalistic meditations.
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| Philalethes Society membership jewel. New York’s colors: orange and blue! |
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