Brotherhood

Brotherhood

We are fast approaching the time when we share all those lovely good wishes for a happy holiday season. It seems that in general, people need the cold of winter and the idea of parties to bond together. In some ways, it is a sad affair – why do we wait until the end of the year to celebrate people with shallow displays? People in the U.S. have holidays galore, the UK has its bank holidays, and everywhere people get together in the summer for all kinds of recreation and relaxation. This, though, isn’t the same. We wait for Thanksgiving to ‘give thanks’ to our families and loved ones, then shower them with commercial ideas of a festive Christmas, Hanukkah, or Kwanza. It seems to me there has to be something more, something that we just can’t quite touch with commercialism. It makes me question if we truly value our fellow humans or merely follow the conventions of our day.

I’m not a cynic. Stoic, perhaps, but not a cynic. I know that many people feel this same way, and are not sure what to do with it. We want something more, we feel it, and can’t seem to find it.

You might remember a song in the early ’90’s called “What’s Up” by 4 Non Blonds. There’s a phrase in the song that has always stuck with me:

“I realized quickly when I knew I should
That the world was made up of this brotherhood of man
For whatever that means.”

For at least 25 years, I’ve been searching, like the author, for “whatever that means.” I think it about it more at the end of the year, in the winter, when we want to bond together more, when we’re a hoping to be a little more full of grace and forgiveness, when everything we hope for is looking for softness and warmth. (This leaves aside the one place where there is no grace or forgiveness: retail parking lots at Christmastime. No, I won’t digress…)  Most of human history is not filled with this alien, modern way of living, in asphalt-covered cities and in high-rises; we are ensconced in concrete structures and shopping malls, where our every-need-provided mentalities take away that sense of brotherhood and even community. No one in American cities truly lives or works together. We exist closer together and yet are farther apart emotionally, and certainly farther apart from nature. We have no idea how to debate, discuss, or theorize because we do not socialize. Facebook is a poor human community, and it certainly is no brotherhood.

Nature relies on a collective to get through the autumn and winter, to live until springtime, when everything is renewed. Birds and insects migrate to warmer climates, communitybanding together to achieve their goal for the good of the “group.” Some animals, mice and squirrels, huddle together in enclaves to stay warm and keep out of harm’s way. Humans sometimes migrate to warmer climates; some humans gather in houses, staying warm and sharing food. We humans have corrupted some of this to follow a prescribed dogma of festivities, duties, and “musts” during a time when we could be more selective, more mindful of our fellow species. Nature has no dogma.

Brotherhood is a relationship between brothers, comrades – those who have a common association. A brotherhood is this created group of people, who may or may not be your family, where common interests are discussed, shared, and respected. The word “brotherhood” has certain characteristics in its reference; it implies a close relationship but not intimate, it implies something that is almost a blood-bond, but greater because its idealized, and it implies intelligent selection rather than genealogy. It reflects common purposes and goals, where brothers are dedicated to each other more than the rest of the world, and more perhaps than to family.

The idea of brotherhood is crystallizing ideals into personal goals that we share with others, with the idea that together we can achieve more than we could apart. It is, perhaps, about the survival of those ideas and ideals, and  that the whole is far greater than the sum of its parts. We don’t expect those in the brotherhood to be perfect; we expect them to continue to work towards the prosperity of the all as best they can, with their own unique talents and skills. The human clans do not survive on only one type of labor, one type of mentality; human groups survive on the skills of the many flowing into the good of the whole. Uniqueness is valued as long as the purpose is shared.

Human beings need friendships (the tribe), community, and brotherhood. Friendships help us transcend loneliness and provide us greater insight into our personal nature. Friends help validate our thoughts and emotions and assist us to perfect our victor-hugo-author-the-human-soul-has-still-greater-need-of-the-ideal-than-of-therelationships with human beings in general. Community helps fulfill our very human need for connection without actually requiring a lot from us. It expects us to show up, be who we are, be present, and participate at the level at which we are able. Community attends to an almost physical, matter-related purpose; brotherhood is where we really shine.

As a community, we are able to meet a concrete need with action, and there’s little overlap into our lives. Brotherhood delves into the reasons we come together, the personal goals and aspirations of the individual, and binds us together in action for that purpose. The ideals of brotherhood, whatever brotherhood they may be, transcend both community and tribe. We need these latter two to take care of physical needs, protect us, perhaps provide us with a shared history with which to bond and form purpose.

Perhaps I’m an idealist, but I see brotherhood as something more, something chosen. We may not choose our tribe; we may not choose our communities, but we sure as heck choose brotherhood. And it must also choose us. We choose to be in these bonds of commitment, regardless of the diversity of our backgrounds. We choose, when entering a brotherhood, to focus on purpose rather than “who you are.” Brotherhood requires commitment; brotherhood has to be maintained. Constantly. For the rest of your life.  If you choose to stop adhering to the commitments you made, then you fall out of the idealism you value. Brotherhood is a privilege and a consciousness. Done right, brotherhood is extraordinary.

Brotherhood, to be clear, is not friendship, although brothers may be friends. Brotherhood transcends the personal affectations and affections. We may have many friends in our lives but we have few true brothers, few “comrades-in-arms,” if you will.

So, is “brotherhood of man” the entirety of the human race? What does that mean? Maybe it means that we’ve chosen to be part of the human condition, and we need to cloud-team-590x384start looking at each other, all of the people we encounter, as part of our ideal of a better condition in which to live. Taking from nature, we have to work together to survive the ugliness of the world, human-created and natural, in order to build a better place. I also think, though, that brotherhood of man is a consciousness of the human condition. The human brotherhood has chosen us, us, to fulfill the ideal of itself. It’s chosen every human to play their part; it’s up to us to choose to live in a way were our ideals are about the human condition, not simply our personal needs or desires. Being part of the brotherhood of man requires us to be constant in our consciousness. We want the human race to be better, no? Perhaps, that’s part of what Freemasonry also tries to achieve – this “brotherhood of man” that our 4 Non Blonds advocate.

As I write this, the outside world is filled with the gray of an early snowstorm; branches are laden with wet globs of icy powder, and the streets are soaked with the fast-melting flakes. Soon, the true winter will be on us, and we’ll be frantic yet again. Perhaps this year, we can be conscious of our human brothers and bond together, in some small way, that transcends the dogma of the season. Perhaps we can reach inside and chose to finally be part of that “brotherhood of man.”

[Note: I use the term brotherhood not to segregate or be divisive. I use it because in the English language, there is no gender-neutral better term. When I speak of the brotherhood of man, I mean all humans, regardless of race, creed, religion, or gender.] 

practicaltheosophy

 

A Little Light Reading: The Arts and Freemasonry

A Little Light Reading: The Arts and Freemasonry

I have been asked often: “what are good books for people who are interested in Freemasonry?” Personally, I feel that any reading is good reading: it strengthens the mind, opens you up to diverse ideas, enhances your vocabulary, and makes you a far more interesting person for conversation. Regardless, there are a myriad of paths the aspirant’s reading may take, and still find they add substance and interest to the philosophies that make up your life. Nearly every genre has something to add, and I’ve personally found Masonic meaning in many non-“serious” readings. Masonry is everywhere, and for the ardent Freemason, it can be found in movies, science fiction writings, and even children’s books.

For those interested in Freemasonry, titles at The Masonic Publishing Company are robust places to start the journey. I’d highly recommend The Brother of the Third image-masonic-publishing-companyDegree, the Kybalion, and The Law. For those interested in Co-Masonry in general, On Holy Ground is a particularly engaging book on one organization’s foundation and history within the United States. There are really two aspects of reading in Freemasonry – about Freemasonry and about symbolismIf you’re interested in the symbolic nature of Freemasonry, The Secret Teaching of All Ages, by Manly P. Hall, is a fascinating romp through all kinds of studies and is a good foundation into alternative ways of looking at life, the universe, and everything.

Most late 19th century and early 20th century Masonic authors, like Leadbeater, J.F. Newton, Powell, and Wilmshurst, are also very good authors to explore some of the specifics of Freemasonry, without giving anything away. That is my caveat with anyone interested in becoming a Freemason: don’t read ahead. In fact, don’t read any ritual or about any degree you don’t have. Sure, you can find anything on the Internet; Freemasonry, however, is an experiential process and to truly find it work in yourself, it’s really a good idea to go in without expectations or knowledge. You might find you get in your own way. Books like The Science of the Sacraments, by Leadbeater, give one an idea of ritual work without speaking strictly to Freemasonic ritual.  The Golden Bough and The Magic of Freemasonry provide deeper insight into ritual and its importance in human life. Georges_de_La_Tour_-_Magdalen_of_Night_Light_-_WGA12337

As a Freemason, I see Freemasonry everywhere and find the concepts housed within almost every genre – fine arts (drama, oil paintings, etc.), science fiction, philosophy, fantasy writings, and many movies. Walking through an art museum, one may find the aspect of a ritual here, or a teaching there. Many Renaissance and Baroque painters styled their subjects in familiar Masonic situations. In writing, I find Freemasonry in Asimov, Le Guin,  Pullman, L’Engle, and Zelazny, as well as in various philosophies like Pythagoras, Plutarch, and Seneca. Reading autobiographies of people like the Founding Fathers (United States), provides some clarity in the type of “enlightened mind” that feeds a Freemasonic soul.

Movies are always fascinating to watch through a Masonic lens. Movies such as “The Adjustment Bureau,” “Inception,” The-Matrix“The Matrix,” and “I, Robot” capture the challenging questions of reality and what is the perfection of humanity.  In music, one can explore Mozart’s “Magic Flute” and Holst’s “The Planets” to find how music can be influenced by a Masonic mind. Any artistic medium that addresses the larger questions of life, why are we here, and how can we find meaning, speak to the Freemason who is seeking to add more to their Masonic work.

Beware of those authors who sensationalize Freemasonry. If it sounds too good to be true, it generally is. That is equally true of Freemasonry writings founded in speculation and falsehoods. There is much speculation without much fact, and while Freemasons are speculative, they are also rooted in truth, nature, and science.

That said, the arts are wonderful places to explore the concepts contained within Freemasonry and help broaden the minds of those seeking more of life. The secrets of Freemasonry are all around us and we have only to open our senses to find the way.

 

The Quadrivium

The Quadrivium

What scholars call the “foundation of Liberal Arts” – the Trivium – is taught in order that one may expand to other subjects, building upon the skills learned. These subjects have been varied over time, based on the philosopher teaching them but they are now generally accepted as mathematics, geometry, music, and astronomy – the Quadrivium. While these subjects were taught by ancient philosophers (Pythagoras, Plato, Aristotle, etc.), they became “the Quadrivium” in the Middle Ages in Western Europe, after Boethius or Cassiodorus had a go at translation.

(Encyclopedia Britannica has an excellent article on Mathematics in the Middle Ages, which discusses the Quadrivium briefly.)

Anicius Manlius Severinus Boethius (usually known simply as Boethius) (c. 480 – 525) was a 6th Century Roman Christian philosopher of the late Roman period. Flavius Magnus Aurelius Cassiodorus Senator (c. 485 – c. 585), commonly known as Cassiodorus, was a Roman statesman and writer, serving in the administration of Theoderic the Great, king of the Ostrogoths.  The former, Boethius, did a great deal to translate most of the ancient philosophers from Greek to Latin. Many of his works on Aristotle were foundational learning in the Middle Ages. Cassiodorus made education his life’s passion, particularly the liberal arts, and worked diligently to ensure classical literature was at the heart of Medieval learning. Both men have been credited with coining the term “Quadrivium,” or “where four roads meet.” Adding to the mix of Medieval education “influencers” is Proclus Lycaeus, one of the last classical philosophers and an ardent translator of Plato. He is considered one of the founding “fathers” of neoplatonism and had a great influence on Medieval education as well. His translations of Plato are peppered with his own ideas of education and philosophy. One of his most interesting books, considered a major work, is “The Platonic Theology.”

sevenLA1For the serious student of the classics, all of these philosophers, in their original Greek or Latin (with English translations alongside the original) can be found in the Loeb Classical Library series. Many used book stores, especially near universities, carry these books and they can be had for about 10$ each. There are hundreds of books but all are quite good as original references (See NOTE below) Back to the Quadrivium…

While many see the Trivium and Quadrivium as “separate,” I think this is a manufacture of our modern educational system. The Trivium are the basics for communicating thought, generating ideas, and conveying those thoughts clearly; yet, like Freemasonry, I don’t know that you would have jumped completely away from your foundations. Plato, in The Republic, does note that the quadrivium subjects, as identified above, should be taught separately. The Pythagorean School divided the subjects up between quantity (mathematics and harmonics, or otherwise known as music) and magnitude (geometry, cosmology or astronomy.) Personally, I find it difficult to talk about music without first having at least fundamental mathematics and exploring both together makes sense. I have not delved into the curriculum of the universities of the Middle Ages in Europe but if someone else has, it would be interesting to hear about it. sevenliberalarts

What I find most fascinating about the art surrounding the Quadrivium (and the Trivium, for that matter) is that nearly all of the plates, pictures, or engravings represent the subject matter as female or feminine. Perhaps it has to do with the receptive qualities of studiousness, or the idea of fecundity or maybe gentleness; whatever the reason, many of the Medieval and Renaissance European depictions show all subjects with a feminine demeanor. Since nearly all scholars in the middle ages in Europe were men, perhaps it was simply a bleed-over of the Medieval ideal of women. I am sure this is another subject for another time.

On an additional side note, I searched for representations of the Quadrivium and Trivium in Islamic art, also knowing full well that Islam is aniconistic. Islam really had begun to gain ground at the last part of the classical period in North Africa & Europe and as such did not really experience the same type of “downfall” or Dark Ages, that Europe did. The schools of Islam continued to develop the subjects of the quadrivium and trivium uninterrupted until Europe “caught up.” In fact, many of the mathematics, geometry, and astronomy texts of the latter Middle Ages were translated from Greek to Syriac Aramaic or from Arabic to Latin, and later taught in Latin universities in Europe.  Suffice to say that Islam did have an impact of the learning of the West, probably much more than most people today are aware.

So, why would the Freemason study the Quadrivium? The answer, to me, is obvious. If the one of the primary studies we must take on is Geometry, we need to understand how number fits into this process. We need Mathematics to understand Geometry, and Music to understand relationship of numbers, working in harmony. Astronomy teaches us our place in universe, and allows us to expand our knowledge of our own earth toward the heavens. Geometry, or the study of the measurement of the earth, is far more than the squares and triangle theorems we all know…and love. It’s about how to apply these numbers to the world around us. As we will see in each of the subjects, they can be taken for their base modern “ideas” or we can expand and overlap them, apply them to the natural world, and thereby become better caretakers of not only the earth we live on but the beings who live on it with us. The idea of a Renaissance Man is one who is well-versed in these foundations and has ideas that expand the world around us. They make the world a better place to live in, now and for the future. The Freemason, to me, embodies this idea completely.

Next stop, the subjects of the Quadrivium. Thank you for joining me!


NOTE For those interested in more of the Loeb Classical Library, but limited access to purchase these books, Harvard University Press has been working to put them online. The link is here: http://www.hup.harvard.edu/features/loeb/digital.html.

Individuals can subscribe for a yearly cost, with subsequent years being cheaper, and non-profits can also subscribe for a reduced cost. If you are a serious researcher and you would like primary sources, this library is an excellent resource.

Beethoven’s Last Work – Ode to Joy

Beethoven’s Last Work – Ode to Joy

As a classically trained musician, I often frame the way I think about the mysteries of the universe in terms of music. I love the quote of Einstein where he says, “I live my daydreams in music. I see my life in terms of music.” A world without music would be lifeless, silent, and depressing. Almost every moment in a person’s life is continually underscored by music — from birth to death, at weddings and other celebrations. The ancients were convinced that music could become internalized by the individual; the music influencing, as it were, the manner of our thoughts, feelings, and actions.  

Beethoven’s Ninth Symphony and Ode to Joy 

The “Ode to Joy” in Beethoven’s Ninth Symphony, first performed on May 7, 1824, is one of those musical treasures that invites me to dream, to turn within and to contemplate my mortal coil. The chorus was the finale in the “last work” that Beethoven ever composed.

The idea for “Ode to Joy,” and the words for the chorus, came to Beethoven in his early 20’s.  The famous poet Friedrich Schiller had written in 1785 an excessively cheerful drinking song, and Beethoven was creatively impressed to set the poem to music. He was the first major composer to include a chorus and vocal soloists in the last movement of a symphony. In the chorus, we hear the joy of a man who, through suffering and compassion, embraced all.  

It is such a glorious moment. So shocking. So hopeful: even though we know the violence and burdens of the world are out there surrounding us, waiting for us. The joyful lyrics ring true the message of uniting all people in universal brotherhood. Beethoven’s little introduction to the poem also mentions not dwelling on sad things but being happy instead.

The last words direct themselves to heaven, and in some amazing m34481589172_8d767a068a_o 1usical craftsmanship, the movement ends with a sublime message:

Be embraced, ye millions!
For the universe, this kiss!
Brothers – above the canopy of stars
A loving Father surely dwells.

Millions, do you fall upon our knees?
Do you sense the Creator, world?
Seek him above the canopy of stars!
Surely he dwells above the stars!

Just imagine that Beethoven was fully deaf and writing about being happy!  He was acquainted with a deep compassion that swept through him for others in a destitute situation. He dearly loved mankind and his skill as a master musician provided the means to reveal to us the hidden nature of the world within us, touching our souls.  Could this message possibly be a metaphor in itself? Who is really hard of hearing — him or us?

Beethoven’s music has been said to awaken compassion and the desire for universal brotherhood.  Because of the feelings contained in Beethoven’s music, his works can stir crowds to higher levels of realization. One wonders what power graced Beethoven that he could write such music. His joyful message still has the ability to lift the souls of all who hear it. How does this piece or any music tend to shape and mold us?  I have wondered that so many times and questioned myself. I have tried to touch the heart of the composer; Tried to turn my life into an “Ode to Joy.”352228023_28f8dd197a_o

Ancient Philosophers and the Mysteries of Music

David Tame, in his excellent book on The Secret Power of Music describes how a select group of composers have been able to show us what the ancient philosophers knew about the mysteries of music:

Pythagoras’ understanding of music was far more than a merely materialistic, academic one, and such an understanding is lamentably rare today. Yet we discover something of this timeless flame of ageless wisdom preserved in that small minority of musicians who still today have combined academic knowledge and the practical experience of music with a genuine and earnest inner spiritual development.

A Modern Take on Immortal Beloved

I consider Beethoven to be among this elite group.  In the 90’s, there was a film that came out about Beethoven’s life called “Immortal Beloved.”  Critics disagree with much of the movie’s historical contents, but there is one scene that took my breath away. I have pondered the meaning of it ever since. 

It begins by showing Beethoven standing before the orchestra while he is conducting the finale of the Ninth Symphony. He finds himself thinking back to a childhood memory of running away from his abusive father. The film draws us in as this young boy runs through the woods to escape the awful beatings that have plagued him all his life. His journey leads him to a lake where he wades in to float on his back to look up at the stars. The whole scene is illumined by a radiant full moon. 

Suddenly, we are transported to a change of perspective as the camera pans back.  The lake becomes a reflection of the sky, making Beethoven look as if he is suspended amid the stars until eventually his young body has merged with the heavens. He finds himself in his own universe, yet above the pain and uncertainty of his troubled adolescence. From this, we are left to wonder if Beethoven was truly alone and if his immortal beloved was music: his music. 

An Ode to Joy and Freemasonry 

There are many times that I have given myself over to Beethoven’s “Ode to Joy” masterpiece.  I bathe in the sounds, leave the troubles of my world behind and allow the joy to slowly purify me.  Freemasonry is much like any beautiful well-crafted piece of music in that the ceremonies and rituals give inspiration and perspective.  While the millions of stars in the sky may make us feel small in comparison, Freemasonry teaches that we are capable of so much.  We are truly a significant part of this very same Universe, and we have within us capacity to behold a sacred moment of transcendent power.

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Footnote:  Some say that Beethoven was a Freemason, although there is a lack of absolute evidence to that fact. Further exploration of this theory can be found in the article: http://freemasonry.bcy.ca/biography/beethoven_l/beethoven_l.html
 

The Seven Liberal Arts – The Trivium

The Seven Liberal Arts – The Trivium

There is a real affinity for the goals of Freemasonry and the Seven Liberal Arts. From earliest teachings, we see that they are the foundation of many degree rites, the first of which is the FellowCraft Degree. To understand why this is, I think we must first understand the structure of the Seven Liberal Arts and what their history is.

The Liberal Arts have been, from antiquity, been the foundation stone upon which knowledge of the natural world rests. The seven liberal arts have been utilized since ancient Greece. Plato and Pythagoras were first in codifying their importance; the flowering of our western understanding of the liberal arts took place in medieval education systems, where they were categorized into the Trivium and the Quadrivium. Grammar, Logic, Rhetoric are the Trivium, and Arithmetic, Geometry, Music, and Astronomy are the Quadrivium. The Trivium combines the use of the senses with knowledge to lay the foundation for further study. The Quadrivium was considered to be the higher level education for the philosopher, and employed the use of the Trivium to be able to compose higher ideas and thereby, expand the knowledge of the human condition.

Freemasons the world over have expounded on the Seven Liberal Arts ad infinitum. All you need to do is search Freemasonry and Seven Liberal Arts, and you get a great deal of regurgitated drivel. That is not what I am striving to do in this next series. Here, my goal is to simply explain why the Seven Liberal Arts seem to have a kinship with Freemasonry, and perhaps provide small examples of each – withsevenliberalarts and without a Freemasonic connection. It’s up to you, the reader, to decide what you’d like to do with the information.

Plato’s Dialogues explain the curriculum outlined in detail and for any serious student of liberal arts, Plato is required reading. I, therefore, will not relate these concepts here. Suffice to say that the study of the Liberal Arts is more of a study of knowledge than it is of any specific actual data and information. As we may have learned by now, knowledge without application is dead and useless. Knowledge in the pursuit of higher ideals and higher ideas is more valuable than… than… well, you get the idea. Remember, one of the goals of Freemasonry is to better the human condition while standing up in defiance of falsehood, ignorance, and hatred. How do we do that if we are not searching to better our communication and knowledge, and the ways to bring both to life?

The Trivium is, as I said above, the foundation stone of the Seven Liberal Arts and really provides us the method and ability to communicate. It is composed of Grammar, Logic, and Rhetoric.

  • Grammar: Knowledge and Learning of Language
  • Logic: Reasoning, Questioning, and Thinking with Language
  • Rhetoric: Directing, moving, and Persuading using Language

While these all seem to be in relation to language, they are much more than language. They are the skills involved in achieving these ends. Therefore, the study of Grammar is also the study of history, geography, reading, and writing. It is basic, absolutely, but more encompassing than simply learning one’s ABCs and how to put pen on paper and write. Logic is about how we learn – we use our senses to experience, put our minds to thought, question, and experiment. We learn to ask the correct questions to achieve the answers we seek. They are not provided to us – we must seek them out and test for ourselves. Finally, rhetoric is the ability to take what we have learned with grammar and dialectic and put them firmly into the hands of an audience we are attempting to persuade. Rhetoric uses emotional discourse, thoughtfully created and properly applied, to communicate new ideas.

If it is not clear to the Freemason now why at least the Trivium is not important, one might want to question what they have actually learned while being a Freemason. Many may think that Freemasonry is all about enlightenment, walking in squares, or religious meanings. It might be those things to some but I think the true goals of Freemasonry are to provide a framework of how to be in the world, to make that world better for those that follow us but more importantly, for our own betterment. We cannot communicate lofty ideals via ritual alone – we need to be able to express what we have learned to a wider audience, to bring new thoughts to a wider world. To me, when we talk about service to the world, there is no greater service than being a hand-up to the betterment of the human condition and we do that by “teaching a man how to fish.” Study of the Liberal Arts is by one means to catch that “fish.”

Hortus_Deliciarum,_Die_Philosophie_mit_den_sieben_freien_Künsten

What is Literature? Bob Dylan and the Nobel Prize

What is Literature? Bob Dylan and the Nobel Prize

In 2016,  Bob Dylan was awarded the Nobel Prize for Literature, sparking controversy as to whether song lyrics constitute literature. What is literature, and does Bob Dylan’s work qualify him for the Nobel Prize?

The Nobel Prize in Literature

The Oxford English Dictionary defines “literature” as “written works, especially those considered of superior or lasting artistic merit.” When Alfred Nobel signed his last will and testament in 1895, he bequeathed the largest share of his fortune to a series of prizes now referred to as the Nobel Prizes. As stipulated in his will, one of the prizes would be dedicated to “the person who shall have produced in the field of literature the most outstanding work in an ideal direction.” Instituted in 1901, the Nobel Prize in Literature has been awarded 109 times to 113 Nobel Laureates, a group which includes the Freemasons Rudyard Kipling, Winston Churchill, and John Steinbeck.

nobelprize2016-litIn 2016, the Swedish Academy stated that they chose Bob Dylan “for having created new poetic expressions within the great American song tradition.” Following the announcement, the Permanent Secretary of the Swedish Academy, Professor Sara Danius, provided further explanation as to why Dylan was selected stating, “He is a great poet in the English speaking tradition.” When asked if the Academy had widened the horizon of the Nobel Prize in Literature, she replied, “It may look that way, but really we haven’t.” Professor Danius further compared Dylan’s work to that of Homer and Sappho, which were “meant to be performed,permanent-secretary-of-the-swedish-academy-sara-danius2016 often together with instruments.”

Bob Dylan: Lyrical Poet

Born in 1941, Bob Dylan has been influencing popular music and culture for more than five decades as a songwriter, singer, and artist. In the 1960s, Dylan’s work channeled America’s social unrest, and his songs, “Blowin’ in the Wind” and “The Times They Are a-Changin,” became anthems for the American Anti-War and Civil Rights movements. Dylan’s songwriting incorporated controversial subjects such as politics, race relations, philosophy, and religion. His music changed established pop music conventions and expanded the influence of music on the American public. As one of the best-selling artists of all time, Dylan has sold more than 100 million records. In addition to the Nobel Prize, Bob Dylan’s songwriting has also been recognized by the Pulitzer Prize Jury, who awarded him a special citation in 2008 on account of “his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power.”

With thirty-seven released studio albums, the list of songs credited to Bob Dylan is extensive and diverse. Below are lyrics from a few of his most celebrated works.

Every Grain of Sand

Don’t have the inclination to look back on any mistake. Like Cain, I now behold this chain of events that I must break. 

In the fury of the moment I can see the Master’s hand. In every leaf that trembles, in every grain of sand.

All Along the Watchtowerevery-grain-of-sand

“There must be some way out of here,” said the Joker to the Thief. “There’s too much confusion, I can’t get no relief. Businessmen, they drink my wine, plowmen dig my earth. None of them along the line know what any of it is worth.” 

“No reason to get excited,” the Thief, he kindly spoke. “There are many here among us who feel that life is but a joke. But you and I, we’ve been through that, and this is not our fate. So let us not talk falsely now, the hour is getting late.”

Blowin’ in the Wind

How many years can some people exist, before they’re allowed to be free? How many times can a man turn his head, and pretend that he just doesn’t see? 

The answer, my friend, is blowin’ in the wind. The answer is blowin’ in the wind.”

Shelter From the Storm

Twas in another lifetime, one of toil and blood. When blackness was a virtue and the road was full of mud. I came in from the wilderness, a creature void of form. “Come in,'” she said, “I’ll give you shelter from the storm.”

Well, I’m livin’ in a foreign country but I’m bound to cross the line. Beauty walks a razor’s edge, someday I’ll make it mine. If I could only turn back the clock to when God and her were born. “Come in,'” she said, “I’ll give you shelter from the storm.'”

Literature and the Masonic Philosophical Society

The Masonic Philosophical Society was created to destroy ignorance through enabling greater understanding of the sciences, arts, and humanities. Each Masonic Philosophical Society Study Center is designed to ignite discussion centered on nine topics of study, one of which is Literature which is described on the MPS website as “one of the most enduring of man’s creations, giving us glimpses masonicphilosophicalsocietyof our past, present and future.” When Professor Sara Danius compared Dylan’s lyrics to the works of the ancient poets Homer and Sappho, she demonstrated how poetic works can transcend time and connect the ancient past to our current world. Is it too far a stretch to compare Bob Dylan’s lyrics to Homer’s “Be still my heart; thou hast known worse than this” from The Odyssey? Could the lyrics from Sappho’s “Hymn to Aphrodite” be considered similar to Dylan’s ballads when she wrote, “come to me once more, and abate my torment; Take the bitter care from my mind, and give me all I long for?”

The question remains for many as to whether Bob Dylan’s work qualified him for the Nobel Prize in Literature. The album lyrics published do, indeed, meet the criteria of “written works” mentioned in the Oxford English Dictionary albeit most people are more familiar with hearing Dylan’s songs rather than reading his lyrics. In my opinion, the question as to whether Bob Dylan’s musical lyrics constitute “superior or lasting artistic merit” is a somewhat subjective determination,  which the Swedish Academy is at liberty to decide as they see fit. What do you think? 

Questioning Religion: The Rock Opera Jesus Christ Superstar

Questioning Religion: The Rock Opera Jesus Christ Superstar

In 1971, Andrew Lloyd Webber and Tim Rice debuted the rock opera, “Jesus Christ Superstar,” on Broadway at the Mark Hellinger Theatre. The musical began as a rock opera concept album which was released in 1970, and a film adaptation of the musical was released in 1973. The narrative is based on the New Testament Gospels’ account of the final week of Jesus’ life: spanning from the preparation of Jesus and his disciples prior to their arrival in Jerusalem to Jesus’ crucifixion. A worldwide phenomenon, “Jesus Christ Superstar” has been professionally produced in forty-two countries and has grossed more than $205 million dollars since 1970.

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The Rock Opera begins focused on the Apostle, Judas Iscariot as he watches Jesus with a group.  Judas expresses his growing concerns that Jesus and the disciples will be perceived as a threat to the Roman Empire and will receive deadly retribution.  In somber tones, he reflects his premonition “My mind is clearer now. At last all too well, I can see where we all soon will be.” As the pragmatist of the drama, Judas sees Jesus’ current behavior as reckless, foolish, and selfish.

Thinking that Jesus has put his own stardom above the safety of the group and the Jewish people, Judas pleads with Jesus with a series of questions. Has Jesus forgotten how put down the Jewish people are by the Romans? Has Jesus forgotten that the Empire has enormous power and could crush them if they are not careful? Does Jesus not see how close he is to ending all the good they have accomplished in the last three years?

More than anything, Judas wants to be heard and wants Jesus to listen to reason. He raises a series of valid points as to why Jesus should abandon his super-stardom and keep a low profile, so that the group can continue to spread tJudasheir message and help the people. It is important to note that at this point in history there were dozens of men claiming to be the Messiah: the fulfillment of the Jewish prophecies. Each one of the “supposed” messiah has his own group of followers and message. To Judas, this Messiah role was never a part of his group’s trajectory, and he is concerned that the public mistakenly believes that their movement is based on his Jesus being the Jewish Messiah. Clearly confused by this turn of events, he demands that Jesus answer if he believes that he is the Messiah. If Jesus is the Messiah, Judas feels entitled to that information considering his dedication and service to their cause. The musical does an uncanny job of allowing Judas to serve as a “placeholder” for all Christians who are questioning their faith in Jesus. Jesus remains an enigma both to Judas and the questioning audience. Just what was he thinking in the week leading up to his crucifixion? 

The High Priest, Caiaphas and his associate Annas, echo Judas’ concern that Jesus’ popularity will bring down the wrath of the Romans. The Priests’ Council determines that Jesucaiaphass and his movement must be crushed, and that Jesus must be killed, sharing the fate of John the Baptist. Undeterred by the danger involved, Jesus and his disciples triumphantly enter into Jerusalem, surrounded by cheering, palm waving crowds singing, “Hosanna.” Finding the Temple overrun by money lenders and unsavory merchants, Jesus lashes out and angrily throws them out of the Temple. At this point, Judas decides that Jesus has lost his mind, and he feels obligated to do something to stop the impending Roman attack on the disciples and the Jewish people. He is driven by fear, trying to protect those he cares about and himself.  What he does to stop the Romans is for the good of all, he believes, and it is not because he seeks “blood money.” He is aware enough to realize that he may be “damned for all time,” but he acts because he feels he has no choice otherwise. Judas goes to the Romans and tells them that Jesus will be at the Garden of Gethsemane the following night and receives thirty silver pieces in return for the information. JesusChristSuperstar Last Supper

The next night at the Garden, the audience witnesses the famous last supper. When Jesus announces that one of his followers will betray him, an angry Judas jumps up and retorts “cut the dramatics you know very well who!…To think I’d admired you,” Judas lashes out. “Well now I despise you!” Jesus responds by calling him “a liar” and tells him to go. The two men, teacher and pupil, share a final embrace, and the audience can see the pain, compassion, and regret exhibited on both sides. “Every time I look at you,” a frustrated Judas sings, “I don’t understand, why you let the things you did get so out of hand.” He then flees to retrieve the Roman soldiers and identifies Jesus with a kiss. Jesus is arrested, sent to a series of inquisitions: first with Caiaphas, the High Priest; second, with the Roman Pontius Pilate; and third, with King Herod.

In the performance, Pontius Pilate serves as another questioning archetype, compassionate and full of reason. Pilate argues Jesus’ innocence before the crowds, only to have Jesus’ supporters retort, “we have no king but Caesar.” The angry mob now threatens to end Pilate’s career if he does not fulfill his duty and crucify Jesus. Pilate knows Jesus’ innocence and entreats Jesus to save his own life, but Jesus declares the future to be fixed. Responding with disgust, Pilate declares Jesus a fool, sentences Jesus to death, and exclaims “die if you want to, you misguided martyr.” With the crowds screaming, “Crucify him,” Jesus is whipped, sentenced, and condemned to death on the cross. 

Judas and Jesus: Pragmatism and Idealism for the same Cause

“We made him a type of Everyman. Judas did not think of himself as a traitor. He did what he did, not because he was basically evil, but because he was intelligent. He could see Christ becoming something he considered harmful to the Jews. Judas felt that they had been persecuted enough. As far as what Christ was saying, general principles of how human beings should live together, Judas approved of this. What Judas was worried about was that as Christ got bigger and bigger and more popular, people began switching their attentions from what Christ was saying to Christ himself… Judas reckoned that if the movement got too big and people began worshiping Christ as a god, the Romans who were occupyingJesusChristCross Israel would come down and clobber them.” – “Jesus Christ Superstar” Lyricist Tim Rice

Jesus, Judas, and the rest of the disciples share a belief in the philosophy of love, peace, and brotherhood. They dedicate their lives to serving humanity, but they maintain very different beliefs in what choices the group should make in the final days of Jesus’ life. The dichotomy between Judas and Jesus is a fascinating one. Judas is the practical one, concerned with image, message, public opinion, money, etc. Jesus is concerned only with the Message. That central relationship shows us a mammoth tug-of-war between pragmatism, represented by Judas, and ideas, represented by Jesus. Judas finds himself constantly frustrated and confused by Jesus’ refusal to look at the practical side of their situation, as verbalized in many songs from the Rock Opera, including “Heaven On Their Minds” and “Superstar.” They fight because they both care passionately about the cause and about each other. There are three main arguments that break out between them, during the songs “Strange Thing Mystifying” and “Everything’s Alright,” as well as, at the Last Supper. Judas acts as a kind of business agent and PR man, concerned over the political message they’re sending out, the perceived inconsistencies in Jesus’ teachings, and the money wasted on Mary’s ointments and oils.superstarcarlanderson

Questioning Religion and Freemasonry’s Role

Freemasonry is not a religion, but it requires its members to believe in God, whatever name they choose to give him. Masonry embraces all world religions, rejects dogmatic teachings, and teaches its members to question their beliefs. Those who have studied comparative religion will find that many facets of Christianity, including the Genesis story, the sacrifice and resurrection hero myth, and the miracles performed by Jesus were present in other world religious texts long before Jesus was born. While these similarities do not discount all of Christianity for many believers, they do raise questions that are voiced in Jesus Christ Superstar.  In the song “Superstar,” Judas questions Jesus about Christianity’s relationship with other world religions and whether all religions are essentially one. He sings, “Tell me what you think about your friends at the top. Who’d you think besides yourself’s the pick of the crop? Buddha, was he where’s it at, is he where you are? Could Mahomet move a mountain or was that just PR?” A Mason is at liberty to practice any religion in the worship of God, but Freemasonry does obligate him to question his beliefs in an effort to better know himself and his God. 

Mozart’s Masonic Opera: The Magic Flute

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Described as “an Enlightenment allegory, veiled in Masonic ritual,” The Magic Flute was Wolfgang Amadeus Mozart’s final opera. A prolific composer, Mozart’s portfolio of works included over six hundred pieces of symphonic, chamber, operatic, and choral music. Of all his compositions, The Magic Flute receives a distinctive status due to its critical acclaim and public intrigue over the Opera’s esoteric themes. The fact that Mozart and his collaborator Emanuel Schikaneder were both Freemasons has only added to the mystery surrounding his enigmatic masterpiece.magic_flute

Premiering on September 30, 1791 at Schikaneder’s Theatre in Vienna, The Magic Flute tells the tale of a prince compelled to complete a series of Herculean tasks, including vanquishing a wicked queen, assisted by the Princess Pamina. Mozart conducted the orchestra until his illness and death in December of 1791. Experienced through the eyes of the hero, the viewer shares in his enlightenment as Tamino gains knowledge and insight. At the beginning of the Opera, the prince believes without questioning what he sees and hears, however, through the journey, he matures in perception and understanding as he is eventually united with Pamina as members of Sarastro’s order.

Synopsis of The Magic Flute

Set in ancient Egypt, Prince Tamino is lost and pursued by a serpent. Collapsing from exhaustion, Tamino is saved by three ladies inthe service of the Queen of the night, who kill the serpent. When Tamino awakens, he meets a bird catcher named Papageno, who resembles a bird himself being covered with plumSchinkelDesignMagicFluteAct2Scene3age. When Papageno boasts that he strangled the serpent, the three ladies reappear and punish Papageno for lying to the Prince. The women place a padlock over Papageno’s mouth.

After he learns that the women killed the serpent, the Prince expresses his appreciation for their actions in saving his life. The women give him a picture of Pamina, the beautiful daughter of the Queen of the Night, who they say has been kidnapped by the evil magician Sarastro. Tamino instantly falls in love with Pamina. The Queen appears and entreats Tamino to rescue Pamina promising that he can marry Pamina if he is successful. He agrees to the quest, and the women give Tamino a magic flute that can change men’s hearts. Removing the padlock from Papageno, the women present him with silver bells to be used for protection. Papageno and Tamino set forth on their quest, guided by three boys.

In Sarastro’s Palace, Pamina is guarded by a villain named Monostatos, who is attempting to seduce her.  Sent ahead by Tamino, Papageno arrives and terrifies Monostatos into fleeing. Papageno then announces to Pamina that her mother has sent Tamino to rescue her. Pamina rejoices to hear that Tamino is in love with her.carl-offterdinger-papageno-the-bird-catcher-from-the-magic-flute-by-wolfgang-amadeus-mozart-1756-91

Lead by the three boys, Prince Tamino arrives at a temple. He finds three doors, but he is denied entrance to the doors of Nature and Reason. When he tries the third door, the Gate of Wisdom, a priest appears and explains that Sarastro is good and the Queen is the evil figure. After the priest leaves, Tamino plays his magic flute in hopes of summoning Pamina and Papageno and ward off wild beasts.

The tones of his magical instrument are returned with the sound of Papageno’s bells, causing Tamino to leave the scene. Papageno appears with Pamina and they are apprehended by Monostatos and his servants. Papageno plays his magic bells, and the villains are enchanted to release Pamina and Papageno.

Hearing the approach of Sarastro, Papageno is frightened and asks Pamina what they should say. She replies, “The truth! The truth! Even if it were a crime.” Sarastro and his followers arrive and Sarastro conducts a judicial proceeding. During the trial, Pamina confesses that she was trying to escape because Monostatos had demanded her love. Forgiving her, Sarastro informs Pamina she is free of Monostatos , but he will not allow her to leave. Arriving with Tamino as captive, Monostatos enters and tries to convince Sarastro that Tamino deserves retribution. Sarastro denies Monostatos’ claims and sentences him to receive 77 strokes of the bastinado. Tamino and Papageno are taken into the Temple of Trial to be purified, and the First Act ends with a chorus:

“Brethren! Initiates of the Temple of Wisdom; Servants of Isis and Osiris! Tamino, who is waiting at the Northern Gate of the Temple, is yearning to be free of the veil of the night, he wants to behold the sanctuary of Light.”

Act II

tumblr_n6q9o5htsx1rtynt1o3_r1_1280A council of priests, including Sarastro, deliberate and determine that Tamino shall be allowed to have Pamina if he succeeds in passing through the Temple of Ordeal. The council does not want Pamina to be returned to her mother, the Queen of the Night, who they believe has infected the world with superstition. Subsequently, Sarastro prays to the gods Isis and Osiris, askings for the protection of Tamino and Pamina by requesting that the Gods take the two into their heavenly dwelling place should they meet death in the course of their trials.

Back at the Temple of the Ordeal, Tamino is cautioned that this is his last chance to turn back. He responds that he will undergo every trial to win his Pamina. The priest also asks Papageno if he will concede to every trial, but he replies that he is uninterested in obtaining wisdom. The priest responds that Papageno may receive a woman, Papagena, if he undergoes the trials. Papageno agrees to also undergo the trials. Tamino and Papageno are instructed that their first trial is that they must remain silent under the temptation of women.

Three ladies appear and tempt them to speak.  Tamino and Papageno remain firm, although Tamino must constantly restrain Papageno commanding him to be “Still!” Papageno confronts one of the priests demanding to know why he must undergo tests if Sarastro already has a woman that wants to be his wife. The priest responds that it is the only way.

In a garden, Monostatos approaches and gazes upon a sleeping Pamina with rapture. The Queen of the Night appears and tells Pamina that she must kill Sarastro if she wishes to remain her daughter. She gives Pamina a dagger with which to kill Sarastro. Observing the conversation, Monostatos tries to force Pamina to love him by telling her that he will reveal the exchange. Sarastro appears and rebukes Monostatos, while reassuring Pamina.  

Approached by Pamina, Tamino and Papageno continue in their ordeal mandated silence. Papageno can no longer hold his tongue, but Tamino remains firm. Since Tamino refuses to answer, Pamina believes he no longer loves her and is heartbroken.Yearning for his wo524cedc2640499297472a5cfc1001581man, Papageno plays his magic bells. At the first ordeal, an old woman approached Papageno declaring herself his bride. Reappearing, she has transformed herself into the young and pretty Papagena. The priests send her away with thunder and lightning. Frightened, She vanishes and Papageno is miserable. Shattered by Tamino’s rejection, Pamina attempts to commit suicide but is stopped by the three boys.

Counseled by two men in armor, Tamino is given advice and instruction. Sarastro and Pamina appear, and Tamino is allowed to speak with her and assures Pamina of his love. Pamina and Tamino are allowed to undertake their final ordeals together, fire and water. Pamina leads him through the ordeals, and they triumph with the help of the magic flute.

Contemplating suicide, Papageno is distraught wishing for Papagena. Three Boys appear and remind him to use his magic bells, which indeed summon Papagena. The two are united, stuttering at first in astonishment. Seeking to destroy the temple, Monsanto’s and the Queen of the Night reappear, but they are magically cast out into eternal night. Sarastro bids the young lovers welcome at the entrance of the Temple and unites them. The members of the Temple praise Tamino and Pamina for their success in enduring their trials and give thanks to the Gods. 

Masonic Symbolism in The Magic Flute

At the age of twenty-eight, Mozart joined a Masonic Lodge in the autumn of 1784 and spent a total of seven years as a Mason. Many of his compositions during this period demonstrate his dedication to Masonry, including his final masterpiece, The Magic Flute. The Opera celebrates several integral Masonic themes: the importance of morality, the destMozart_magic_fluteruction of ignorance through enlightenment, and the virtues of knowledge, justice, wisdom, and truth. Moreover, the Opera includes the evocation of the four elements of earth, air, water and fire and the requirement of silence.

The number three is repeated throughout the story and in the music of opera: three women in service to the Queen of the Night, three boys, three doors to the Temple, three loud chords at the beginning of the Overture, the three flats of E-flat Major key throughout much of the score.

“He who treads the road full of care,

Is purified by fire, water, air and earth.

If he can overcome the fear of death,

he soars heavenwards away from earth!”

Viewed within a historical and political context of the Age of Enlightenment, the Opera’s Queen of the Night was seen to represent the Austrian empress Maria Theresa who vehemently opposed Freemasonry. Her antagonist, Sarastro, symbolized an enlightened sovereign who ruled according to the principles of reason and wisdom. Providing an allegory to the ideal progress of humanity towards enlightenment, Tamino journeys from chaos as represented by the serpent through the religious superstition of the Queen of the Night, and eventually arrives at rational enlightenment at the Temples of Sarastro.

The Magic Flute demonstrates an enlightened portrayal of gender equality through Pamina’s invitation to join Sarastro’s order by undergoing her own initiation. Scholar Julian Rushton argues in the publication, New Grove Opera, that “the implication that women should become initiates is the opera’s title to true Enlightenment.” In the second act, the Two Men in Armor counsel Tamino and address Pamina’s fate stating, “A woman who is not afraid of night and death, is worthy, and will be initiated.” Musicologist H. C. Robbins-Landon has postulated that the Opera demonstrated Mozart’s wish “to reform the St. John Masonry to which he belonged by asking that women be included in the Craft’s membership.”

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