Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry

by Albert Pike

The precise nature and details of the doctrines as to a future life, and rewards and punishments there, developed in the Mysteries, is in a measure uncertain. Little direct information in regard to it has come down to us. No doubt, in the ceremonies there was a scenic representation of Tartarus and the judgment of the dead, resembling that which we find in Virgil: but there is as little doubt that these representations were explained to be allegorical. It is not our purpose here to repeat the descriptions given of Elysium and Tartarus. That would be aside from our object. We are only concerned with the great fact that the Mysteries taught the doctrine of the soul's immortality, and that, in some shape, suffering, pain, remorse, and agony, ever follow sin as its consequences.

Human ceremonies are indeed but imperfect symbols; and the alternate baptisms in fire and water intended to purify us into immortality, are ever in this world interrupted at the moment of their anticipated completion. Life is a mirror which reflects only to deceive, a tissue perpetually interrupted and broken, an urn forever fed, yet never full.

All initiation is but introductory to the great change of death Baptism, anointing, embalming, obsequies by burial or fire, are preparatory symbols, like the initiation of Hercules before descending to the Shades, pointing out the mental change which ought to precede the renewal of existence. Death is the true initiation, to which sleep is the introductory or minor mystery. It is the final rite which united the Egyptian with his God, and which opens the same promise to all who are duly prepared for it.

The body was deemed a prison for the soul; but the latter was not condemned to eternal banishment and imprisonment. The Father of the Worlds permits its chains to be broken, and has provided in the course of Nature the means of its escape. It was a doctrine of immemorial antiquity, shared alike by Egyptians, Pythagoreans, the Orphici, and by that characteristic Bacchic Sage, "the Preceptor of the Soul," Silenus, that death is far better than life; that the real death belongs to those who on earth are immersed in the Lethe of its passions and fascinations, and that the true life commences only when the soul is emancipated for its return.

And in this sense, as presiding over life and death, Dionusos is in the highest sense the LIBERATOR: since, like Osiris, he frees the soul, and guides it in its migrations beyond the grave, preserving it from the risk of again falling under the slavery of matter or of some inferior animal form, the purgatory of Metempsychosis; and exalting and perfecting its nature through the purifying discipline of his Mysteries. "The great consummation of all philosophy," said Socrates, professedly quoting from traditional and mystic sources, "is Death: He who pursues philosophy aright, is studying how to die."

All soul is part of the Universal Soul, whose totality is Dionusos; and it is therefore he who, as Spirit of Spirits, leads back the vagrant spirit to its home, and accompanies it through the purifying processes, both real and symbolical, of its earthly transit. He is therefore emphatically the Mystes or Hierophant, the great Spiritual Mediator of Greek religion.

The human soul is itself [Greek: δαιμονιος] a God within the mind, capable through its own power of rivalling the canonization of the Hero, of making itself immortal by the practice of the good, and the contemplation of the beautiful and true. The removal to the Happy Islands could only be understood mythically; everything earthly must die; Man, like Œdipus, is wounded from his birth, his real elysium can exist only beyond the grave. Dionusos died and descended to the shades. His passion was the great Secret of the Mysteries; as Death is the Grand Mystery of existence. His death, typical of Nature's Death, or of her periodical decay and restoration, was one of the many symbols of the palingenesia or second birth of man.

Man descended from the elemental Forces or Titans [Elohim], who fed on the body of the Pantheistic Deity creating the Universe by self-sacrifice, commemorates in sacramental observance this mysterious passion; and while partaking of the raw flesh of the victim, seems to be invigorated by a fresh draught from the fountain of universal life, to receive a new pledge of regenerated existence. Death is the inseparable antecedent of life; the seed dies in order to produce the plant, and earth itself is rent asunder and dies at the birth of Dionusos. Hence the significancy of the phallus, or of its inoffensive substitute, the obelisk, rising as an emblem of resurrection by the tomb of buried Deity at Lerna or at Sais.

Dionusos-Orpheus descended to the Shades to recover the lost Virgin of the Zodiac, to bring back his mother to the sky as Thyone; or what has the same meaning, to consummate his eventful marriage with Persephone, thereby securing, like the nuptials of his father with Semele or Danaë, the perpetuity of Nature. His under-earth office is the depression of the year, the wintry aspect in the alternations of bull and serpent, whose united series makes up the continuity of Time, and in which, physically speaking, the stern and dark are ever the parents of the beautiful and bright.

It was this aspect, sombre for the moment, but bright by anticipation, which was contemplated in the Mysteries: the human sufferer was consoled by witnessing the severer trials of the Gods; and the vicissitudes of life and death, expressed by apposite symbols, such as the sacrifice or submersion of the Bull, the extinction and re-illumination of the torch, excited corresponding emotions of alternate grief and joy, that play of passion which was present at the origin of Nature, and which accompanies all her changes.