Are Sacred Places Important? The Labyrinth at Chartres

Are Sacred Places Important? The Labyrinth at Chartres

In our present time, there seems to be a huge market for “buying” your way to enlightenment. Everyone is peddling a secret. Chant this mantra. Hold this crystal. Buy some incense. Rub that oil. Say these words. Go to this retreat. Some of these things may have some value. Spiritual longing is a real part of the human experience. Labyrinths hold a special attraction for me. Can a labyrinth really be a tool for enlightenment? Are sacred places important?

The first labyrinth that I ever experienced was a Chartres Labyrinth, although I was not lucky enough to be in at the famous labyrinth in Chartres, France. I liked it so much I began to investigate labyrinths in general and the Chartres Labyrinth in particular.

Chartres Cathedral was built one thousand years ago to be the site of a Mystery School. Not only was the cathedral an architectural feat but was one of the leading learning centers at the time. The edifice combined the visionary teachings of Plato with Christian mysticism. You must walk the entire labyrinth path before gaining entrance to the Temple. It is the “way in,” if you will, a Chamber of Reflection of sorts.

Those who have been to the actual site in France say that the effect of the Cathedral is peaceful and nurturing. You are at rest, left to wander or to meditate in tranquility. The atmosphere suggests that the veil between the human and celestial worlds is thin, and God is very near. It represents the ideal of a sacred space: a blending of the divine and material. The impact of Chartres on people at that time must have been enormous. How can a place be so heavenly?

Sacred Geometry

The Divine mystery of the labyrinth walk might be due in part to the magical pattern. One path leads inwards to the center, and the same path leads back out again. Chartres has an eleven-circuit design, divided into four quadrants. They are encircled by an outer ring of lunations, thought to represent a type of lunar calendar. The quadrants suggest the even armed cross. At the center is a Rosette pattern of 6 petals which is the place of 14761614336_92dabf6bf4_zrest. It reminds us of the sacred lotus, symbol of enlightenment.

In medieval times, the path was considered a substitute for a pilgrimage to the Holy Land. It is symbolic of the pilgrim’s journey into his Soul: the Center. It must be a two-way journey, which ends at the starting point. The pilgrim must not seek to remain inside. He goes and comes back. He visits. He walks from the unreal to the real, from the periphery to the center, from the mundane to the spiritual and back. Is this not life?

Symmetry of the Design

In his book, The Mysteries of Chartres Cathedral, Louis Charpentier recalls his first experience of being inside the cathedral. He was immediately struck with the impression that “everything contained its opposite in itself.” He said that the same balance contained in the secret of the Chinese Tai Chi, is at work in Chartres where the “proportions, orientation, position and symbolism have all been designed to alert the psyche and refresh the spirit.”

This idea is hinted at in Chapter 14 of the Tao Te Ching

LabyrinthWhat we look for beyond seeing 
And call the unseen,
Listen for beyond hearing
And call the unheard.
Grasp for beyond reaching
And call the withheld,
Merge beyond understanding
In a oneness
Which does not merely rise and give light,
Does not merely set and leave darkness,
But forever sends forth a succession of living things as mysterious
As the unbegotten existence to which they return.

Charpentier further states:

“If the pilgrim experienced the entire sensuousness of the cathedral, it would be because the body’s senses had apprehended all the musical and geometrical proportions, and all the numbers and lines expressed in the building’s interior.”

Geometric forms that exist in the labyrinth or even the Masonic Temple such as the cube, triangle, sphere, square, or oblong square could act as a doorway into various states of awareness. “God Geometrizes.” Sacred Temples can be said to stand for an unseen condition of something that can be known.

Beauty as an Expression of Truth

Divine archetypes are said to be not only doorways to the unknown, but as Plato has indicated, they are the very essence of beauty. The nature of beauty cannot always be described in words, and so it is possible, that certain symbols act as a bridge between the visible and the invisible. Satisfying both a physical and metaphysical need, sacred architecture can:


1. Provide an energetic focusing center on the physical plane wherein the mysteries are learned and enacted;

2. Serve those seekers who enter the building and become intellectually and spiritually stimulated.

The more beautiful the appearance in form – the more closely will it correspond with spiritual truth. Buckminster Fuller stated it like this, “When I am working on a problem, I never think about beauty, but when I have finished, if the solution is not beautiful, I know it is wrong.”

My sense is that if a person does not appreciate beautiful or holy things, he will lose them. Without reverence, the sacred feeling will diminish and then be forgotten. Thereafter, his only concern will be his personal comfort and selfish desires.

On the other hand, as we honor holy places we will be entrusted with holy things. Just the opposite of disbelief and despair, the goal is eternal life and peace. Contemplating art and architecture, the spiritual and the divine, moves us away from the mundane world of the daily round.

Do sacred spaces make us more enlightened? Some have scoffed at labyrinths, masonic temples, mantra, and things like crystals or incense for centuries. In times of need, I have tried all of them.

Music and the Quadrivium

Music and the Quadrivium

Music is delivered to us via our sense of hearing, which when young hears a wider range than when we are older. Our mind processes the complex mathematical formulas of sound waves, and that processing, can affect our mood, thoughts, feelings, and memories. Music is found in all cultures, at all human times – humming, hitting things together, singing, instruments. We have found a way, through music, to sounds and words much more integral to our lives than mere language.

There are so many aspects of music that it is impossible to scratch even the surface here. In a recent conversation, I asked a Brother, proficient in music theory, playing music, and song, what he felt the most important aspect of music was. Without hesitation he said, “The perfect fifth.” I asked him to explain.

M_Octave_Fourth_FifthThe human mind likes consonance, or harmony in its music. We find our minds like notes to be evenly spaced, and those that are not are “out of tune.” The perfect fifth is considered the most consonant of musical intervals. However, the musical scale cannot, mathematically, work with all perfect fifths, up octaves and down. There must be adjustment, otherwise it sounds “off.” This equal  interval spacing, what we’re familiar with today, is called equal temperament. There are several tuning methods, and several types of equal temperaments. These differences come from how the octave is divided mathematically.

This brings us to The Well-Tempered Clavier. The Well-Tempered Clavier is a collection of two series of Preludes and Fugues in all major and minor keys, composed for solo keyboard by Johann Sebastian Bach. It is sometimes assumed that by “well-tempered” Bach intended equal temperament, the standard modern keyboard tuning which became popular after Bach’s death, but modern scholars suggest instead a form of well temperament. There is debate whether Bach meant a range of similar temperaments, perhaps even altered slightly in practice from piece to piece, or a single specific “well-tempered” solution for all purposes. There are 24 pairs of preludes and fugues, in each book (48 total) each representing the entire set of musical keys.

Johann Sebastian Bach

Johann Sebastian Bach (1685 – 1750), German musician and composer playing the organ, circa 1725. From a print in the British Museum. (Photo by Rischgitz/Getty Images)

This set of music is significant for a few reasons. The first is that it is really Bach’s catalogue of the styles and techniques of Bach’s day. It inspired many composers and it can be seen, in some ways, as a type of “color card” for music – not unlike the paint chip cards you find in a hardware store. The music exploits tuning methods, temperaments, and construction that Bach would have used on any keyboard instrument.

Interesting book on humankind and music here: The Singing Neanderthals: the Origins of Music, Language, Mind and Body by Steven Mithen. London: Weidenfeld & Nicholson, 2005. ISBN 0-297-64317-7 374 pp.

Geometry and the Quadrivium

Geometry and the Quadrivium

Whist sitting in school, slaving away with compasses and a ruler, one hardly remembers that geometry is the study of the measurement of the earth. Earth. The thing we sit on, utilize, and finally rest in when this is all over. The geometry in schools today looks nothing like the geometry of 3000 years ago. It is difficult to divorce geometry from the other liberal arts when we take into consideration the scale to while discoveries are interconnected. Geometry arose from the needs of agriculture, civilization, and war. For so much of this, we can thank Archimedes of Syracuse. A student of Euclid in the 3rd c. BCE, his advances in the field of geometry furthered irrigation (Archimedes’ Screw), astronomy (the first planetarium), and weights & measures (Archimedes’ Principle). The most interesting, to me, is The Method of Exhaustion (remember Dialectica) also known as “The Method” or “Archimedes’ Method.”

“…, to estimate the area of a circle, he constructed a larger polygon outside the circle and a smaller one inside it. He first enclosed the circle in a triangle, then in a square, pentagon, hexagon, etc, etc, each time approximating the area of the circle more closely. By this archimedes_circleso-called ‘method of exhaustion’ (or simply ‘Archimedes’ Method’), he effectively homed in on a value for one of the most important numbers in all of mathematics, π.” 1

Linked together with this Method is the “Method of Mechanical Theorems.” Proofs are everything to the mathematician, and in his Method of Mechanical Theorems, Archimedes had none that would be accepted. He set out using Eudoxus’ The Method of Exhaustion to prove what he knew to be true. In a letter to Eratosthenes, in manuscripts discovered in 1906, Archimedes outlines his thought processes. This document is known as the Archimedes Palimpsest.

Certain theorems first became clear to me by means of a mechanical method. Then, however, they had to be proved geometrically since the method provided no real proof. It is obviously easier to find a proof when we have already learned something about the question by means of the method than it is to find one without such advance knowledge.

The importance of these discoveries and the methods by which Archimedes came to them may be obvious – who doesn’t need π? However, it is also fascinating to peer inside the mathematician’s mind and view it with a Freemason’s perspective. Here was a man who could see the Plan, understand the Plan, and only needed to bring it to life: a divine spark of wisdom, the will to discover, and beauty in its presentation.

For an interesting and short expose on The Method and the “Archimedes Palmipsest,” whence this Method is documented, review  “The Illustrated Method of Archimedes” by  Andre Koch Torres Assis and Ceno Pietro Magnaghi. The PDF can be found here.

Additionally, the originally translated letter from Archimedes to Eratosthenes can be downloaded here. (Thank you, JSTOR.)

Just a note (1): The Story of Mathematics, Luke Mastin – – I’ve done my best to verify statements here, and so should you.

Inspired By Art: Nicholas Roerich’s Symbolic Journey

Inspired By Art: Nicholas Roerich’s Symbolic Journey

The Himalayan paintings of Nicholas Roerich (1874 – 1947), Russian painter and philosopher, mesmerized me when I first laid eyes on the collection. I stared at them for hours. I feel a bit as though these paintings knew me better than anyone. It’s like I understood them, and in turn, they understood me. I became interested in why. 

It could be that as a child my imagination was captured by the breathtaking views of mountains. I was inspired as much by the physical grandeur of their peaks as by the spiritual mysteries harbored within them. Indeed, for me the towering peaks represented the very summit of beauty and spirituality. The tallest mountains I ever climbed were in Zermatt, Switzerland.  I had a truly a remarkable time discovering certain wonders in nature such as glaciers and rich vegetation along with snow-capped points. I would take a rest at several spots which were beautiful and magnificent. There were always more heights to scale, another plateau or peak above, views of the Matterhorn.

Was it this experience that caused me to have a connection with Roerich’s art or something else? Are we drawn to art that mirrors a part of our inner self? What was it specifically about Roerich’s art?

Mount of Five TreasuresIt is virtually impossible to separate the artist’s art from his philosophy. Many contemporaries were skeptical of Roerich’s spiritual mission and tended to dismiss his work as being repetitive and unoriginal. However, those who embraced his philosophy experienced something transformative in those same canvases – never ending spiritual realizations.  A brief survey of his life reveals that Roerich was not an adherent of any one established religion or philosophical movement. His name is universally known not only as Master of the brush but also as a thinker and a builder of life.  His art and writings are an evocation to Beauty, to Knowledge, and to Culture. Art education would pave the way to universal beauty and open the gates to spiritual enlightenment. This vision is nicely captured in his philosophical statement of the Master Institute of United Arts which he formed in New York in 1921:

“Art will unify all humanity.  Art is one – indivisible. Art has its many branches, yet all are one.  Art is the manifestation of the coming synthesis. Art is for all.”

Regardless of whether his lofty ideals will ever be realized, or if you agree with the artist’s art philosophy, his paintings are replete with rich symbolic jewels that are a pure delight for anyone to reflect upon.

19284963678_72350b9c8f_oFor example, Roerich refers often to the great treasures stored deep within the Himalayas. The very name Kanchenjunga, he tells us, means, “the Five Treasures of the Great Snow,” because it contains the five most precious things in the world.  He alludes to them in the painting, Treasure of the Mountain. The setting is deep inside a mountain cave.  Roerich causes us to question what treasures he is referring to? Are they rubies, gold, and diamonds?  Or, upon deeper reflection, is he talking about other more inner treasures?

The gurus hold a lamp. Does it suggest that the Light of Wisdom is the treasure of the mountain?   Roerich reminds us that we must think about what we hold valuable. And – taking this to the deeper level of reflection – we should think very clearly about how we find these symbolic jewels.  What does it take?

Pearl of Searching Flickr mediumIn the Pearl of Searching, another journey is pictured. The teacher-student relationship is a theme in many of Roerich’s paintings. Our eye is drawn to the figures and we identify with them, experiencing the panorama that unfolds behind from their perspective. They have reached a plateau and are celebrating the view and a treasure they have found. What is it? What symbolic meaning do we see?

Perhaps the “Pearl of Great Price” is what gives purpose to life.   The mountains themselves symbolize a spiritual world separate from earth but accessible to those who are attuned to the higher realities. The necklace – a symbol of eternity – signifies that this daily seeking is destined to go on forever, an emblem of immortality. This all causes us to consider, “Why are we here?”

Unquestionably Roerich is one of the most interesting 20th century figures. It seems to me that his life was a symbolic journey documented in his massive body of works, each canvas a masterpiece of daring composition, glowing with color. Himalayan is the word not only for his art, but also a metaphor for his thoughts on the process of transformation.

The path to enlightenment, spiritual ascent, the sacred signs of Satyum, Shivam, Sundaram (Peace, Beauty, Truth) – these are the symbolic themes at the heart of Roerich’s paintings and writings, also at the heart of Freemasonry.  They continually cast a spell on me.  Once we begin on this infinite and exponential journey of discovery, we might stop for a moment to enjoy the view or a treasure found, but there is no turning back. Ultimately, we choose the next plateau we want to rise to.

From Roerich’s “Realm of Light”:

“Let us abandon the past for the future. Let us impel our entire consciousness into the future and let us suffuse it with radiance, for this is within the access of humanity.”

Note: To read further on Nicholas Roerich, check out the Nicholas Roerich Museum.

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:

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.

Trivium: Logic or Dialectica

Trivium: Logic or Dialectica

Today’s theme is Logic, or as seen the picture here, Dialectica. As the New Catholic Encyclopedia states, “Logic is the science and art which so directs the mind in the process of reasoning and subsidiary processes as to enable it to attain clearness, consistency, and validity in those processes. The aim of logic is to secure clearness in the definition and arrangement of our ideas and other mental images, consistency in our judgments, and validity in our processes of inference.”


Aristotle is generally considered the “Founder of Logic,” although many others before him put themselves to the task of thinking about how we think. One of these, Zeno of Elea, was considered to have developed reductio ad absurdum, or the method of indirect proof. If something cannot be both true and false, then an argument can be made from reducing the statement to the absurd.

For example, “The earth is round. The earth is not flat. If it were flat, people would fall off the edge.” Since the earth cannot be both round and flat, the statement is true.

Another good example, from Wikipedia (Yes, I know. Don’t judge.), reads:

xenophanes1The ‘reduction to the absurd’ technique is used throughout Greek philosophy, beginning with Presocratic philosophers. The earliest Greek example of a reductio argument is supposedly in fragments of a satirical poem attributed to Xenophanes of Colophon (c.570 – c.475 BC). Criticizing Homer’s attribution of human faults to the gods, he says that humans also believe that the gods’ bodies have human form. But if horses and oxen could draw, they would draw the gods with horse and oxen bodies. The gods can’t have both forms, so this is a contradiction. Therefore, the attribution of other human characteristics to the gods, such as human faults, is also false.

logic2Logic is mental training: once the words and language have been developed, we can think through situations, problems, and reason our way to clear conclusions that work in conjunction with the natural world. For example, if we seekers of Truth are to grow and understand how a symbol might be applied to our everyday lives, we need to understand not only what the symbol is, but how it works in the world around us, how nature employs it.

Logic utilizes the senses but the connection must be made in the mind to form usable conclusions. Logic is, to me, a fundamental aspect of any human being’s career, if one expects to progress through life and learn. We can learn Logic in the modern age via University, but this really teaches us about Logic, not how to employ our logical mind. It seems that only through discourse, or dialectica, are we able to truly develop logical thought processes and reasoning at a higher level. Masonic Philosophical Society, anyone?


As a side note, the Catholic Encyclopedia on has a very good article on Logic and its history. It’s concise and certainly doesn’t include manuscripts; I would encourage anyone with a keen interest in Logic or Dialectica to read Aristotle but also some of the pre-Socractic philosophers, whence a great deal of our modern ideas of logic come.

Grammar and the Trivium

Grammar and the Trivium

Previously, I posted about the Seven Liberal Arts in general and the Trivium in particular. Recently, a challenge was given to me about providing examples of how the liberal arts are part of our everyday life, and why the human seeking to enlighten their mind might care about them. The challenge was to provide short essays on each. Three-hundred word essays are always a challenge but the gauntlet has been picked up. We’ll call these Liberal Arts: petit fours.

Therefore, for today, I give you Grammar.grammar

Grammar is the skill of knowing language. In order to form sound reasoning, one must be able to learn the words, sentence structure, and forms that make up their language and thereby, communicate clearly and with confidence. In classical training, Grammar is the “who, what, why, when, and how” of understanding and knowledge. Grammar is taught more mechanically in the modern age, which does a disservice:  humans need more than nuts and bolts to create clear ideas and communicate them. Much of what we need to learn goes beyond the adverb or adjective.

An example of this is figures of speech.Cornelis Cort 1565 Grammar Figures of speech are the use of any of a variety of techniques to give an auxiliary meaning, idea, or feeling. An example of this is dysphemism. This is the use of a harsh, more offensive word instead of one considered less harsh. Dysphemism is often contrasted with Euphemism. Dysphemisms are generally used to shock or offend.

Examples of dysphemism are “cancer stick” for cigarette,  “belly bomb” for doughnut, and “treeware” for books. Examples of Euphemisms are lighter, such as “between jobs” for unemployed, or “passed away” for death. Knowing the difference of these two figures of speech allows the audience to be placed in a certain frame of mind and creates a scene for the next stages of what is to be communicated.grandpa

As our use of grammar grows, we need tounderstand how figures of speech like this work and use them effectively when we will eventually make our case (rhetoric) via the tool of language organized into thought (logic). Thus, the well-rounded thinking man should understand not only the technical grammar of his own language, but also how the tools of grammar may be applied to the body of human knowledge for further study.

In order to communicate his own interpretation of the symbolism of any topic of organized learning, as well as what he learns from the natSocratic Methodural world around him, the study of grammar, regardless of the age of the individual, is pivotal.  Grammar is foundational to all problem-solving methods.

What would the Socratic Method be without proper grammar by which to understand and debate the ethical questions of nature?

As Socrates knew: to be able to instruct, to learn deference, and to be able to speak with authority, the enlightened human must concern himself with the very basic study of communication. That is, the study of the grammar of one’s language.



Trust and Where to Find It

Trust and Where to Find It

Having just come off an ugly few weeks at work, the issue of trust has raised its ugly head. Bosses not trusting the people they hire; employees not trusting managers to look out for them; gossipers and those who malign out of jealousy or fear. The workplace seems to be the last place trust is formed. The specter of what passes for trust in the modern world of North America, well, it leaves something to be desired. Many books have been written about the subject, by various authors, from Dale Carnegie to Malcolm Gladwell.  We could talk about being a leader and being an employee ad nauseum, as most of us have performed one of those tasks in some way shape or form. We’ve talked in the last several articles about work, industry, and the idea of being a contributing member of society. We’ve also talked about the value of Social Capital. I find that many of these topics come to a very core value of trust. Where do we find it?

A friend once said that “trust can never be earned. It must be granted and only when you are ready to grant it. It’s yours to give, yours to take away. It’s not something that is a wage to be paid.” Wise words, although at the time, it didn’t seem so. It seemed judgemental and hollow. Of course we can earn someone’s trust. Can’t we? Work hard; be upright; and show our integrity. Right?

Confidence, belief, faith, and rely upon – all synonyms for trust. Yet, who creates trust? In short…we do. In our heads, in our minds, and in our hearts. Trust is a construct of our own internal making, built on ideas, expectations, and beliefs that have been gathered over the course of creating our relationships. The building of trust is a wall, brick by brick, that is made from repeated incidents that end up the way we believe they should or would end up. We’ve played out a scenario in our mind and the members of the play have participated correctly and created a lasting impression on us. The integrity and trust of these impressions is built on not  who the individuals are but to what we believe. That is, trust is in our own minds and our own reality.

In trust, both risk and reward are built in. The trust we create in our own mind, oddly enough, is the both the judge and the distributor of the decision. We need trust to be able to form relationships with people; long lasting relationships where both parties are mutually benefited by trust. Marriages, life-long friendships, even employer-employee relationships are trust built brick by brick. We might even consider that when we engage in commerce – it is an act of trust. We call AAA, and they say they will come to our aid. When that request is granted, trust has been gained. Never show up and well, trust has eroded or is gone completely. We decide in our own minds what constitutes the willful crowning of trust on a person or company; the decision lies solely within us. Trust seems to be the glue that maintains a civil and coherent society. Let’s face it – locks only keep out the honest people, yes?

0721_trustThat trust involves risk means that we place a value on trust that is above much of our common interaction with people. Having trust in something or someone can create a dependency that may be “warranted” or not. We need to see value in something in order to actually grant trust. Ergo, that value can be lost if trust is broken. We gain much when we trust – opportunities for cooperative activity, meaningful relationships, knowledge, autonomy, self-respect, and overall moral maturity. Perhaps trust itself has no value – that is, we grant trust not because we will obtain something for ourselves (and the trustee) but “just because” we find the person to be upright. Should we trust them solely out of respect for their person? If trustworthiness is a virtue, and we seek to grow it in ourselves, then doesn’t it behoove us to show respect for another simply because we see they are trustworthy? Shouldn’t others afford us the same quarter? “Trust would be a sign of respect for others if it were an attitude of optimism about the trustee’s character: that is, if it assumed that virtue resided within this person’s character. Moreover, trust that has intrinsic value of this sort presumably must be justified. If optimism about the person’s character was inappropriate, then the respect would be misplaced and the intrinsic value would be lost.” *Article on here*

The author of the article noted above continues on from the quote above to drop the idea of the virtue of trust as simply respect for another person. However, I think it does merit talking about. The term “authenticity” sprang to mind while thinking about this and I think that is where the core of trust begins. Authenticity is not being false or an imitation of something else; it is “worth of acceptance or belief; true to one’s own personality, spirit, and nature.” Being authentic is first knowing about yourself – who are you and how do you show up in the world. Once you know that, being authentic is about letting no one sway you from that way of being. It’s not about conforming – it’s about being who you are regardless of the situation. There was an explosion of authenticity articles and movements between 2010 and 2014; what’s interesting to note is that we’re not, as a culture, talking about authenticity now. Is it because we have new leadership that, in their authenticity, are cultivating chaos? Or is it because the ability to be authentic is too hard or scary, and the movement is gone? Culturally and sociologically, it would be interesting to reflect on why there was that surge in “being authentic” and whence that movement has gone. However, not right now, another time… If you want to read more on authenticity, check out the site which houses many articles both on trust (referenced above) and on authenticity.

All of these concepts seem tied together: autonomy, self-realization, authenticity, and trust. While the core of creating trust is authenticity, there has to be a certain willingness for the trustee to put a personal stake in the relationship. You can be as authentic as a fresh baked apple pie but if someone else has inherent trust issues, you’re never going to trust1be invited to dinner. As the cliche goes, “It’s not about you. It’s about me.” I feel as if I am in constant discovery of myself so to be authentic for me is to be present. As long as I am thoughtful and searching my feelings with honesty, that is as authentic as I can be. Like everyone else, I change my feelings and mind, as I learn more about myself and knowledge about the world. Am I still worthy of trust if my authenticity is fluid? I hope so.

Two of the core values, in my mind, about Freemasonry, are “authenticity” and “trust.” Like any society of men and women where people to come together for a common cause, Freemasons have a structure and codified ways of acting and being together. We are separate from the outside world because of the Fraternity. We don’t treat our fellow members with the same casual demeanor that we would the people we work with or classmates or even some of our family members. From the onset, we must consider the people that are bringing us into the fraternity with some measure of trust. This makes the vetting process not only important but critical; not for the Lodge or Order but for ourselves and for the aspirant. Freemasons themselves are under the microscope of the aspirant’s eye – will we meet their expectations?