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The Universal Language of Freemasonry - ArchiMeD - Johannes ...

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250<br />

Chapter 4 - Signs & Symbols<br />

A: <strong>The</strong>y travelled [sic] East for instruction, and went West to<br />

propagate the knowledge they had obtained. 709<br />

In <strong>Freemasonry</strong>, travels are symbolic <strong>of</strong> the flow <strong>of</strong> knowledge from the East<br />

(the Orient and place <strong>of</strong> provenance <strong>of</strong> wisdom) to the West (the yet unlightened<br />

region). Introductory to this section on particular Masonic movements, the space<br />

or room where these are executed has to be defined. Hence, the symbolism <strong>of</strong> the<br />

lodge plays a role again. As to the metaphorical denotation <strong>of</strong> the lodge room,<br />

this enclosure has been explained in Section 4.2 as a symbol <strong>of</strong> King Solomon's<br />

temple, <strong>of</strong> the earth, and <strong>of</strong> universality (microcosm and macrocosm). Forms<br />

resembling the lodge are already found in the rituals <strong>of</strong> savages, folklore<br />

survivals, and heathen religions. As a sacred ground for the performance <strong>of</strong><br />

ritualistic ceremonies, the lodge can be compared to the ancient enclosures <strong>of</strong><br />

primitive cultures, although few people are conscious <strong>of</strong> this resemblance today,<br />

since "[t]he idea <strong>of</strong> an enclosure is so practical and commonplace that it is not<br />

easy for us to see any ritual significance in it at all." 710 When the primitive<br />

collectors and hunters transformed from nomads to agricultural people having<br />

permanent dwellings, mythology began to develop, the earth was regarded as the<br />

"mother earth" and was not taken for granted any more. Thus, "mother earth"<br />

became involved into ritualistic practice. Favor was asked <strong>of</strong> her, thanks were<br />

given to her, and attempts were made to still her anger through spring<br />

ceremonies, rain ceremonies, etc. Evil forces had to be chased and prevented<br />

from stealing the crop, killing the animals or the people, or from doing other<br />

damage. Some tribes used circular representations <strong>of</strong> their sacred ground.<br />

Examples include the natives in Australia and the North American Navajos. <strong>The</strong><br />

latter were dwellers in teepees. <strong>The</strong> Hopis had stone houses ro<strong>of</strong>ed with beams,<br />

and therefore made their diagrams square or oblong. <strong>The</strong> outer form <strong>of</strong> the sacred<br />

enclosure, whether circular, triangular, square, or curved, has a symbolic<br />

meaning in any culture. Thus, in Craft Masonry, the form <strong>of</strong> the lodge is an<br />

"oblong square." Royal Arch Masonry, which is considered by many the<br />

crowning <strong>of</strong> the Craft and thus the "strongest" part <strong>of</strong> Masonry, uses a Catenarian<br />

arch:<br />

A rope being loosely suspended by its two ends forms a curve, which is<br />

called a Catenarian Curve; and this inverted is said to be the strongest <strong>of</strong><br />

all arches, and is called the Catenarian Arch. As the form <strong>of</strong> a symbolic<br />

Lodge is a parallelogram, that <strong>of</strong> a Royal Arch Chapter, according to the<br />

English ritual, is, or should be, held in the form <strong>of</strong> an arch. 711<br />

It is interesting to observe that the "holy ground" <strong>of</strong> the Hopi Indians<br />

resembles a Masonic lodge in certain features: "<strong>The</strong> sacred diagrams or sand<br />

709 Anonymous ("Compiled by a member <strong>of</strong> the Craft."), <strong>The</strong> Text Book <strong>of</strong> <strong>Freemasonry</strong>, p. 128.<br />

710 Quoted from Bros. A. L. Kress and R. J. Meekren, "<strong>The</strong> Form <strong>of</strong> the Lodge," printed in <strong>The</strong><br />

Builder from 1926, vol. XII, p. 186.<br />

711 TRMC, p. 110. Illustration: ibid.

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