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

by Albert Pike

The greater Eleusiniæ; were celebrated in the month Boëdromion, when the seed was buried in the ground, and when the year, verging to its decline, disposes the mind to serious reflection. The first days of the ceremonial were passed in sorrow and anxious silence, in fasting and expiatory or lustral offices. On a sudden, the scene was changed: sorrow and lamentation were discarded, the glad name of Iacchus passed from mouth to mouth, the image of the God, crowned with myrtle and bearing a lighted torch, was borne in joyful procession from the Ceramicus to Eleusis, where, during the ensuing night, the initiation was completed by an imposing revelation. The first scene was in the [Greek: προναος], or outer court of the sacred enclosure, where amidst utter darkness, or while the meditating God, the star illuminating the Nocturnal Mystery, alone carried an unextinguished torch, the candidates were overawed with terrific sounds and noises, while they painfully groped their way, as in the gloomy cavern of the soul's sublunar migration; a scene justly compared to the passage of the Valley of the Shadow of Death. For by the immutable law exemplified in the trials of Psyche, man must pass through the terrors of the under-world, before he can reach the height of Heaven. At length the gates of the adytum were thrown open, a supernatural light streamed from the illuminated statue of the Goddess, and enchanting sights and sounds, mingled with songs and dances, exalted the communicant to a rapture of supreme felicity, realizing, as far as sensuous imagery could depict, the anticipated reunion with the Gods.

In the dearth of direct evidence as to the detail of the ceremonies enacted, or of the meanings connected with them, their tendency must be inferred from the characteristics of the contemplated deities with their accessory symbols and mythi, or from direct testimony as to the value of the Mysteries generally.

The ordinary phenomena of vegetation, the death of the seed in giving birth to the plant, connecting the sublimest hopes with the plainest occurrences, was the simple yet beautiful formula assumed by the great mystery in almost all religions, from the Zend-Avesta to the Gospel. As Proserpina, the divine power is as the seed decaying and destroyed; as Artemis, she is the principle of its destruction; but Artemis Proserpina is also Cotē Soteria, the Saviour, who leads the Spirits of Hercules and Hyacinthus to Heaven.

Many other emblems were employed in the Mysteries,—as the dove, the myrtle-wreath, and others, all significant of life rising out of death, and of the equivocal condition of dying yet immortal man.

The horrors and punishments of Tartarus, as described in the Phædo and the Æneid, with all the ceremonies of the judgments of Minos, Eacus, and Rhadamanthus, were represented, sometimes more and sometimes less fully, in the Mysteries; in order to impress upon the minds of the Initiates this great lesson,—that we should be ever prepared to appear before the Supreme Judge, with a heart pure and spotless; as Socrates teaches in the Gorgias. For the soul stained with crimes, he says, to descend to the Shades, is the bitterest ill. To adhere to Justice and Wisdom, Plato holds, is our duty, that we may some day take that lofty road that leads toward the heavens, and avoid most of the evils to which the soul is exposed in its subterranean journey of a thousand years. And so in the Phædo, Socrates teaches that we should seek here below to free our soul of its passions, in order to be ready to enter our appearance, whenever Destiny summons us to the Shades.

Thus the Mysteries inculcated a great moral truth, veiled with a fable of huge proportions and the appliances of an impressive spectacle, to which, exhibited in the sanctuaries, art and natural magic lent all they had that was imposing. They sought to strengthen men against the horrors of death and the fearful idea of utter annihilation. Death, says the author of the dialogue, entitled Axiochus, included in the works of Plato, is but a passage to a happier state; but one must have lived well, to attain that most fortunate result. So that the doctrine of the immortality of the soul was consoling to the virtuous and religious man alone; while to all others it came with menaces and despair, surrounding them with terrors and alarms that disturbed their repose during all their life.

For the material horrors of Tartarus, allegorical to the Initiate, were real to the mass of the Profane; nor in latter times, did, perhaps many Initiates read rightly the allegory. The triple-walled prison, which the condemned soul first met, round which swelled and surged the fiery waves of Phlegethon, wherein rolled roaring, huge, blazing rocks; the great gate with columns of adamant, which none save the Gods could crush; Tisiphone, their warder, with her bloody robes; the lash resounding on the mangled bodies of the miserable unfortunates, their plaintive groans, mingled in horrid harmony with the clashings of their chains; the Furies, lashing the guilty with their snakes; the awful abyss where Hydra howls with its hundred heads, greedy to devour; Tityus, prostrate, and his entrails fed upon by the cruel vulture: Sisyphus, ever rolling his rock; Ixion on his wheel; Tantalus tortured by eternal thirst and hunger, in the midst of water and with declicious fruits touching his head; the daughters of Danaus at their eternal, fruitless task; beasts biting and venomous reptiles stinging; and devouring flame eternally consuming bodies ever renewed in endless agony; all these sternly impressed upon the people the terrible consequences of sin and vice, and urged them to pursue the paths of honesty and virtue.

And if, in the ceremonies of the Mysteries, these material horrors were explained to the Initiates as mere symbols of the unimaginable torture, remorse, and agony that would rend the immaterial soul and rack the immortal spirit, they were feeble and insufficient in the same mode and measure only, as all material images and symbols fall short of that which is beyond the cognizance of our senses: and the grave Hierophant, the imagery, the paintings, the dramatic horrors, the funeral sacrifices, the august mysteries, the solemn silence of the sanctuaries, were none the less impressive, because they were known to be but symbols, that with material shows and images made the imagination to be the teacher of the intellect.

So, too, it was represented, that except for the gravest sins there was an opportunity for expiation; and the tests of water, air, and fire were represented; by means of which, during the march of many years, the soul could be purified, and rise toward the ethereal regions; that ascent being more or less tedious and laborious, according as each soul was more or less clogged by the gross impediments of its sins and vices. Herein was shadowed forth, (how distinctly taught the Initiates we know not), the doctrine that pain and sorrow, misfortune and remorse, are the inevitable consequences that flow from sin and vice, as effect flows from cause; that by each sin and every act of vice the soul drops back and loses ground in its advance toward perfection: and that the ground so lost is and will be in reality never so recovered as that the sin shall be as if it never had been committed; but that throughout all the eternity of its existence, each soul shall be conscious that every act of vice or baseness it did on earth has made the distance greater between itself and ultimate perfection.

We see this truth glimmering in the doctrine, taught in the Mysteries, that though slight and ordinary offences could be expiated by penances, repentance, acts of beneficence, and prayers, grave crimes were mortal sins, beyond the reach of all such remedies. Eleusis closed her gates against Nero: and the Pagan Priests told Constantine that among all their modes of expiation there was none so potent as could wash from his soul the dark spots left by the murder of his wife, and his multiplied perjuries and assassinations.