Every failure to cope with a life situation must be laid, in the end, to a restriction of consciousness. War and temper tantrums are the makeshifts of ignorance. Regrets are illuminations come to late! Therefore it is formulated in the broadest terms. The individual has only to discover his own position with reference to this general human formula, and let it then assist him past his restricting walls. Who and where are his ogres? Those are the reflections of the unsolved enigmas of his own humanity. What are his ideals? Those are the symptoms of his grasp of life.
Joseph Cambell
The Hero With a Thousand Faces
Friday, October 30, 2009
Wednesday, October 21, 2009
The Skull
Symbolism of the Skull
EA Architecture #2 by Kevin Horton
The symbolism of the skull has many meanings: time, power, divinity, gateway, creation, initiation, concentration and quite possibly, many more. This architecture only scratches the surface of just a few…
The most common symbolic use of the skull is the representation of death and mortality, but this varies with ever-changing cultural contexts and beliefs. The emblem of the skull cannot be assumed to be just a mere symbol of death. In some cultures they are venerated as the vessel of the soul, or simply as relics of ancestors. They were also thought to represent wisdom and guidance. They symbolize death and were often used as ornaments or weapons to terrorize enemies. They were used in various ceremonies and mystical rituals as symbols of gods or aspects of nature in order to commune with the dead or the gods themselves.
It is believed that the skull was originally used to represent the symbol of 'great change'. In analyzing what was traditionally meant in ancient society, we discover that it was related to the great changes happening in the world at that time. It was highly probable that the association with death grew because that death is the greatest change that we will experience.
A skull that is often engraved or carved on the head of early New England tombstones may simply be a symbol of mortality, but the skull is also often backed by an angelical pair of wings, which may indicate the lofting of mortality beyond its own death.
Our present society predominantly associates skulls with death and evil. However, to some ancient societies it is believed to have had the opposite association, where objects like crystal skulls represent "life": the honoring of humanity in the flesh and the embodiment of consciousness.
Today, a very popular tattoo, for example, is the skull. There are many reasons why people, particularly males, select this particular design. One is that it invokes a degree of masculinity in the wearer. This is because of the implication that the skull relates to fear, danger and death.
The symbol of the skull is often associated with terrorist groups and regimes, death squads, the Nazis, etc. - those who use this symbol to exploit the fear of death in their fellow man for their own power because that is what they intend to deliver.
When the skull is represented in Nazi SS insignia, it deals with the fear of death, but when tattooed on the forearm its power helps an outlaw biker cheat death.
Celtic culture viewed the head or skull to be the seat of power. Some texts point to the skull as the house of the soul. As the house of thought, it would make sense the head or skull would hold profound significance for these people.
The skull was a symbol of melancholy for Shakespeare's contemporaries. One of the best-known examples of skull symbolism occurs in Shakespeare's Hamlet, where Hamlet recognizes the skull of an old friend: "Alas, poor Yorick! I knew him, Horatio; a fellow of infinite jest. . ."
When a skull was worn as a trophy on the belt of the Lombard King Alboin, or as he drank from it, it was a constant grim reminder of the triumph over his enemy. A skull was a warning when it adorns the palisade of a city, or a pike at a city’s gate. Drinking the blood of slain enemies from a skull was an Irish custom after battle as was of bathing the face in the blood of the slain. The Skull Tower in Serbia was built in 1809 with embedded skulls of Serbian rebels as a stark warning from the Ottoman government. In these cases the skulls are a statement that the current owner had the power to kill the former.
The symbolism of the skull and crossbones, otherwise known as the “Deaths Head”, is recognized the world over, first and foremost as the flag flown by pirates on the high seas going about their business of looting, rape and murder – it seemingly being nothing more than a device meant to strike fear into the hearts of those who saw a ship flying the dreaded Jolly Roger flag bearing down on them. Pirates originally seized the symbol of mortality from ship captains who used the skull 'as a marginal sign in their logs to indicate the record of a death'. However, today, the skull and crossbones signify "Poison" when they appear on a container.
In Masonry, the skull and crossbones are called the Memento Mori and is a grim reminder of our own mortality. The Latin phrase Memento Mori is generally interpreted as “Remember that you must die”, and is often associated with other fatalistic expressions such as Hora Fugit (The Hour Flees) or Tempus Fugit (Time Flies). The first Masonic implementation of the Memento Mori appears to have its roots in the York Rite Chivalric Orders, especially the Order of Malta and the Order of the Temple. The establishment of these Orders coincides with the periods in which the Memento Mori was reaching its zenith as an expression of Christian belief concerning death and dying.
The skull, the skull and crossbones, and the skeleton were all used extensively in early artwork to symbolize death. One particular representation of the skull in artwork is that found in a tile mosaic from a tabletop which was found in the ruins of Pompeii. The mosaic shows a skull crowned by an ancient plumb-line, illustrating death as the great leveler, while below is an image of a butterfly atop a wheel indicating the fleeting and changeable nature of life.
The skull becomes an icon itself when its painted representation becomes a substitute for the real thing. It is unfortunate that the majority of the modern general public does not understand the true meanings of the skull. Society in general automatically relates the symbol to fear, danger and death. Most loathe the design because of its perceived meaning; however, if they were aware of the truer meanings behind the symbolism of the skull, it may open their minds to a more complete knowledge of history and themselves.
EA Architecture #2 by Kevin Horton
The symbolism of the skull has many meanings: time, power, divinity, gateway, creation, initiation, concentration and quite possibly, many more. This architecture only scratches the surface of just a few…
The most common symbolic use of the skull is the representation of death and mortality, but this varies with ever-changing cultural contexts and beliefs. The emblem of the skull cannot be assumed to be just a mere symbol of death. In some cultures they are venerated as the vessel of the soul, or simply as relics of ancestors. They were also thought to represent wisdom and guidance. They symbolize death and were often used as ornaments or weapons to terrorize enemies. They were used in various ceremonies and mystical rituals as symbols of gods or aspects of nature in order to commune with the dead or the gods themselves.
It is believed that the skull was originally used to represent the symbol of 'great change'. In analyzing what was traditionally meant in ancient society, we discover that it was related to the great changes happening in the world at that time. It was highly probable that the association with death grew because that death is the greatest change that we will experience.
A skull that is often engraved or carved on the head of early New England tombstones may simply be a symbol of mortality, but the skull is also often backed by an angelical pair of wings, which may indicate the lofting of mortality beyond its own death.
Our present society predominantly associates skulls with death and evil. However, to some ancient societies it is believed to have had the opposite association, where objects like crystal skulls represent "life": the honoring of humanity in the flesh and the embodiment of consciousness.
Today, a very popular tattoo, for example, is the skull. There are many reasons why people, particularly males, select this particular design. One is that it invokes a degree of masculinity in the wearer. This is because of the implication that the skull relates to fear, danger and death.
The symbol of the skull is often associated with terrorist groups and regimes, death squads, the Nazis, etc. - those who use this symbol to exploit the fear of death in their fellow man for their own power because that is what they intend to deliver.
When the skull is represented in Nazi SS insignia, it deals with the fear of death, but when tattooed on the forearm its power helps an outlaw biker cheat death.
Celtic culture viewed the head or skull to be the seat of power. Some texts point to the skull as the house of the soul. As the house of thought, it would make sense the head or skull would hold profound significance for these people.
The skull was a symbol of melancholy for Shakespeare's contemporaries. One of the best-known examples of skull symbolism occurs in Shakespeare's Hamlet, where Hamlet recognizes the skull of an old friend: "Alas, poor Yorick! I knew him, Horatio; a fellow of infinite jest. . ."
When a skull was worn as a trophy on the belt of the Lombard King Alboin, or as he drank from it, it was a constant grim reminder of the triumph over his enemy. A skull was a warning when it adorns the palisade of a city, or a pike at a city’s gate. Drinking the blood of slain enemies from a skull was an Irish custom after battle as was of bathing the face in the blood of the slain. The Skull Tower in Serbia was built in 1809 with embedded skulls of Serbian rebels as a stark warning from the Ottoman government. In these cases the skulls are a statement that the current owner had the power to kill the former.
The symbolism of the skull and crossbones, otherwise known as the “Deaths Head”, is recognized the world over, first and foremost as the flag flown by pirates on the high seas going about their business of looting, rape and murder – it seemingly being nothing more than a device meant to strike fear into the hearts of those who saw a ship flying the dreaded Jolly Roger flag bearing down on them. Pirates originally seized the symbol of mortality from ship captains who used the skull 'as a marginal sign in their logs to indicate the record of a death'. However, today, the skull and crossbones signify "Poison" when they appear on a container.
In Masonry, the skull and crossbones are called the Memento Mori and is a grim reminder of our own mortality. The Latin phrase Memento Mori is generally interpreted as “Remember that you must die”, and is often associated with other fatalistic expressions such as Hora Fugit (The Hour Flees) or Tempus Fugit (Time Flies). The first Masonic implementation of the Memento Mori appears to have its roots in the York Rite Chivalric Orders, especially the Order of Malta and the Order of the Temple. The establishment of these Orders coincides with the periods in which the Memento Mori was reaching its zenith as an expression of Christian belief concerning death and dying.
The skull, the skull and crossbones, and the skeleton were all used extensively in early artwork to symbolize death. One particular representation of the skull in artwork is that found in a tile mosaic from a tabletop which was found in the ruins of Pompeii. The mosaic shows a skull crowned by an ancient plumb-line, illustrating death as the great leveler, while below is an image of a butterfly atop a wheel indicating the fleeting and changeable nature of life.
The skull becomes an icon itself when its painted representation becomes a substitute for the real thing. It is unfortunate that the majority of the modern general public does not understand the true meanings of the skull. Society in general automatically relates the symbol to fear, danger and death. Most loathe the design because of its perceived meaning; however, if they were aware of the truer meanings behind the symbolism of the skull, it may open their minds to a more complete knowledge of history and themselves.
Sunday, September 20, 2009
The perfetc ashlar...NAY the broached thurnel!
The Broached Thurnel: A Continuing Mystery
Every symbol has usually more than one meaning. Throughout time, symbols have been used to conceal their true meanings, from all but a favored few, to their true meanings. To most of the initiated, only commonplace and obvious explanations are given. As a freemason most of us have learned or will learn there are four distinct meanings for every symbol, one within the other: moral, political, philosophical and spiritual.
So, what is a Broached Thurnel? There are many theories of its origin. The word “broach” or “broche” is believed to be an old English term for “spire” and Thurnel from the old French “tournelle” meaning turret or little tower. Thus, the Broached Thurnel would be defined as a Spired Turret. That is to say, the Broached Thurnel resembles a cube with a pyramid on top. It also resembles the Entered Apprentice’s Apron (with the flap up), a sledge hammer with a chisel end (hammer on one end and a chisel on the other).
In the 1700’s, the Broached Thurnel was found in lectures and tracing boards of the Entered Apprentice. It was described as one of the immoveable Jewels along with the Rough Ashlar and the Tarsel Board. Today, many of the lodges have replaced the Broached Thurnel with the Perfect Ashlar but the French Lodges continue to use this as one of the Immoveable Jewels calling it the “Pierre Cubique”, in English meaning “Cubical Stone”.
The compasses are intimately related to the Broached Thurnel. They are a symbolic allusion to its triangular surfaces. When compasses are placed on the altar they are always opened to sixty degrees. This is because sixty degrees is the internal angle of every corner of an equilateral triangle. The sum of all the angles in an equilateral triangle is always 180 degrees which is also equal to half a circle. This pattern continues the theme of the lodge being 180 degrees the opposite of the historical temple of Solomon. The idea being that once a Mason had mastered the art his view of the cosmos would be altered by 180 degrees from that which he had previously known.
As the sun rises in the east, to open and govern the day, so rises the Worshipful Master in the east, to open and govern his Lodge, set the craft to work, and give them proper instructions.
A Masonic lodge is situated exactly opposite of that of Solomon's Temple; therefore the Worshipful Master could not possibly observe the rising of the sun in the east because he is facing west. Yet, all Masons are repeatedly told that Masonic Light originates in the east. Another consideration is the aspect of the light and its relationship to the altar. A Mason is never to walk or stand between the Worshipful Master and the altar because the "Three Great Lights" reside there. So where is the real Light?
When the Broached Thurnel is upon the altar and the sun rises in the east the Worshipful Master observes its glistening rays as they are reflected off the polished surfaces of the Broached Thurnel. At first it rises up through the cube and then into the pyramid. Slowly it moves towards the left side of the pyramid and passes on to the Junior Warden who would say:
“As the sun is in the south, at high meridian, it is the beauty and glory of the day, so stands the Junior Warden in the south, the better to observe the time, call the craft from labor to refreshment, superintend them during the hours thereof, and see that the means of refreshment be not converted into intemperance or excess; and call them to labor again, that they may have pleasure and profit thereby”.
With the assistance of the Broached Thurnel the Junior Warden can truly "observe the time" because High Twelve will always be when the sun's reflection reaches at or near the apex of the pyramid. As the sun travels past the station of the Junior Warden it sets in the west. At no time is any light reflected to the north from the surfaces of the Broached Thurnel. This means that the north is literally "dark" (This in only true for latitudes equal to or north of London). Therefore, stepping between the Worshipful Master and the altar would block his view of the Light.
In the old Entered Apprentice Degree it was asked:
What are the three Immovable Jewels?
The Tarsel Board, the Rough Ashlar and the Broached Thurnel.
What are their uses?
A Tarsel Board for the Master to draw his designs upon, the Rough Ashlar for the Fellow-Craft to try their jewels upon and the Broached Thurnel for the Entered Apprentice to learn to work upon.
Today, in many of the Blue Lodges, the Entered Apprentice Degree has replaced the Broached Thurnel with the Perfect Ashlar. How can an Entered Apprentice learn to work upon something that is already finished? How do you make improvements to “perfection”? Why the substitution?
Languages, words and meanings change through the passages of time. In Scotland, broach meant to rough-hew and thurnel (or the derivative, turner) is a chisel in with which to rough-hew. Boasted is now used in the place of broached, and means to shape a stone roughly using a chisel. So this presents the possibility of the Broached Thurnel (or Boasted Turner) being not only a tool but a product of the tools use as well. Does logic not dictate that this would be what an Entered Apprentice would need to learn to work upon? Would this not enable one to learn to perfect their skill, to chip away the imperfections to create a Rough Ashlar and ultimately the Perfect Ashlar? Or as in life, for the Mason to strip away one’s vices and superfluities to bring out the great man we all have inside of us?
Every symbol has usually more than one meaning. Throughout time, symbols have been used to conceal their true meanings, from all but a favored few, to their true meanings. To most of the initiated, only commonplace and obvious explanations are given. As a freemason most of us have learned or will learn there are four distinct meanings for every symbol, one within the other: moral, political, philosophical and spiritual.
So, what is a Broached Thurnel? There are many theories of its origin. The word “broach” or “broche” is believed to be an old English term for “spire” and Thurnel from the old French “tournelle” meaning turret or little tower. Thus, the Broached Thurnel would be defined as a Spired Turret. That is to say, the Broached Thurnel resembles a cube with a pyramid on top. It also resembles the Entered Apprentice’s Apron (with the flap up), a sledge hammer with a chisel end (hammer on one end and a chisel on the other).
In the 1700’s, the Broached Thurnel was found in lectures and tracing boards of the Entered Apprentice. It was described as one of the immoveable Jewels along with the Rough Ashlar and the Tarsel Board. Today, many of the lodges have replaced the Broached Thurnel with the Perfect Ashlar but the French Lodges continue to use this as one of the Immoveable Jewels calling it the “Pierre Cubique”, in English meaning “Cubical Stone”.
The compasses are intimately related to the Broached Thurnel. They are a symbolic allusion to its triangular surfaces. When compasses are placed on the altar they are always opened to sixty degrees. This is because sixty degrees is the internal angle of every corner of an equilateral triangle. The sum of all the angles in an equilateral triangle is always 180 degrees which is also equal to half a circle. This pattern continues the theme of the lodge being 180 degrees the opposite of the historical temple of Solomon. The idea being that once a Mason had mastered the art his view of the cosmos would be altered by 180 degrees from that which he had previously known.
As the sun rises in the east, to open and govern the day, so rises the Worshipful Master in the east, to open and govern his Lodge, set the craft to work, and give them proper instructions.
A Masonic lodge is situated exactly opposite of that of Solomon's Temple; therefore the Worshipful Master could not possibly observe the rising of the sun in the east because he is facing west. Yet, all Masons are repeatedly told that Masonic Light originates in the east. Another consideration is the aspect of the light and its relationship to the altar. A Mason is never to walk or stand between the Worshipful Master and the altar because the "Three Great Lights" reside there. So where is the real Light?
When the Broached Thurnel is upon the altar and the sun rises in the east the Worshipful Master observes its glistening rays as they are reflected off the polished surfaces of the Broached Thurnel. At first it rises up through the cube and then into the pyramid. Slowly it moves towards the left side of the pyramid and passes on to the Junior Warden who would say:
“As the sun is in the south, at high meridian, it is the beauty and glory of the day, so stands the Junior Warden in the south, the better to observe the time, call the craft from labor to refreshment, superintend them during the hours thereof, and see that the means of refreshment be not converted into intemperance or excess; and call them to labor again, that they may have pleasure and profit thereby”.
With the assistance of the Broached Thurnel the Junior Warden can truly "observe the time" because High Twelve will always be when the sun's reflection reaches at or near the apex of the pyramid. As the sun travels past the station of the Junior Warden it sets in the west. At no time is any light reflected to the north from the surfaces of the Broached Thurnel. This means that the north is literally "dark" (This in only true for latitudes equal to or north of London). Therefore, stepping between the Worshipful Master and the altar would block his view of the Light.
In the old Entered Apprentice Degree it was asked:
What are the three Immovable Jewels?
The Tarsel Board, the Rough Ashlar and the Broached Thurnel.
What are their uses?
A Tarsel Board for the Master to draw his designs upon, the Rough Ashlar for the Fellow-Craft to try their jewels upon and the Broached Thurnel for the Entered Apprentice to learn to work upon.
Today, in many of the Blue Lodges, the Entered Apprentice Degree has replaced the Broached Thurnel with the Perfect Ashlar. How can an Entered Apprentice learn to work upon something that is already finished? How do you make improvements to “perfection”? Why the substitution?
Languages, words and meanings change through the passages of time. In Scotland, broach meant to rough-hew and thurnel (or the derivative, turner) is a chisel in with which to rough-hew. Boasted is now used in the place of broached, and means to shape a stone roughly using a chisel. So this presents the possibility of the Broached Thurnel (or Boasted Turner) being not only a tool but a product of the tools use as well. Does logic not dictate that this would be what an Entered Apprentice would need to learn to work upon? Would this not enable one to learn to perfect their skill, to chip away the imperfections to create a Rough Ashlar and ultimately the Perfect Ashlar? Or as in life, for the Mason to strip away one’s vices and superfluities to bring out the great man we all have inside of us?
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