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To: private email From: george helmerSubject: Re: History of Baphomet: Alchemy, Templars (LONG) Date: Thu, 02 Jul 1998 20:20:40 -0600 Hello > Anyway, tyagi asks: How much did Pike plagiarize from Levi? Is Pike's > plagiarism known among Masons? Was Levi a reputable source on the > Knights Templar -- or was he a fraud? What were Levi's sources? Pillars of Wisdom - The writings of Albert Pike by Rex R. Hutchens page 265 Within Morals and Dogma, Pike relies heavily on the works of Levi. Thus, Pike has an excessive dependence on the concepts and vocabulary of a now generally discredited occult system: alchemy, magic, divination, and the presumed presence of a secret doctrine known only to a few. As well, Pike's almost total borrowing of the lecture of the 30th Degree from History of Magic perpetuates the theory of Templar-Masonic connections. Although Pike believes his readers will easily be able to separate "simple fact" from "audacious conjecture" (p. 815), this is not easily accomplished - what is the difference between paragraphs which start with quotes and those that start with open square brackets? page 322 The Sohar (Zohar elsewhere) or 'Book of Splendor', as explained by Eliphas Levi, was Pike's primary source on the Kabalah. Composed in the 13th century, most scholars consider it essentially an original manuscript written by Moses De Leon of Guadalajara, Spain, between A. D. 1275 and 1286. Pike says, "The Sohar, which is the Key of the Holy Books, opens also all the depths and lights, all the obscurities of the Ancient Mythologies and of the Sciences originally concealed in the Sanctuaries" (p. 843). But then he cautions: ====================================== Lodge of the Double-Headed Eagle by William L. Fox page 74 - 75 Pike read in French the works of the occultist Eliphas Levi (Doctrine of Transcendental Magic, 1855; Key of the Grand Mysteries, 1861; and History of Magic, 1860). Early in his career, Pike had learned French so he could practice law in New Orleans. While Levi was a prolific author, his scholarship on ancient mystery religions was riddled with errors and infelicities. Pike's rituals and subsequent commentary on craft and Scottish Rite degrees in Morals and Dogma, however, show the heavy footprints of Levi. Pike covers much ground wearing Levi's boots. Pike, nevertheless, read widely, seriously, and deeply in accomplishing the necessary overhaul of the rituals. When completed, it would gradually transform the Rite in several subtle ways. Unlike the York Rite with its emphasis on a precision that insists on exact words and the learning of complex march steps, Pike gave the Scottish Rite poetic license. He was more concerned with ideas than the exact words, more with being understood than perfecting the details. One of those main ideas centered on duty, "a stern voice of the daughter of God." This fits Victorian culture with obvious ease, recalling Tennyson, Kipling, and other poets of the time who examined duty as a virtue. The ethical value of duty fitted Masonry in every respect, too, since obligations were taken by the initiate as part of each degree. But Pike's rituals moved the concept of duty way beyond that which is owed to a brother Mason Pike made duty a social construct for Masonry to follow. This alteration of emphasis in the Scottish Rite rituals was a departure from Craft Masonry with its all-for-one and one-for-all sense that the lodge will take care of its own. This modification led, consequently, to a major transformation in American Freemasonry. Pike's rituals at some level provided the brotherhood with a social conscience; the Scottish Rite tread past traditional fraternal boundaries to become mindful of society as a whole. While it has seemed convenient to offer less noble reasons for the expansion of Masonic philanthropies in the twentieth century, such as the need for a more polished public image, it was Pike's idealism and gradual influence expressed in the degree work, as much as anything else, that served as an impetus for later fraternal outreach. Pike, nevertheless, struggled in the challenge of setting the rituals and, therefore, the Rite on a new course. His preparation was laborious and rigorous: "After I had collected and read a hundred rare volumes upon religious antiquities, symbolism, the mysteries, the doctrines of the gnostics and the Hebrew and Alexandrian philosophy, the Blue degrees and many others, our Rite still remained as impenetrable enigmas to me at first. The monuments of Egypt with their hieroglyphics gave me no assistance." Morals and Dogma, a work of some 861 pages, which was not published until 1871, was a logical companion to Pike's work on the Scottish Rite rituals. He never claimed it "to be an entirely original production." In fact, he noted in the preface that he had been "about equally Author and Compiler" and that he had "extracted quite half its contents from the works of the best writers and most philosophic or eloquent thinkers." His extractions were later criticized for not complying with the canons of scholarship in failing to acknowledge sources, but the demands for proper citation were not as strong then as they were subsequently. Pike's Morals and Dogma is the work of synthesis, not analysis. The book traces many abstract ideas by jumping around from religion to religion, not in the interest of tight systematic coherence, but in trying to demonstrate by a common-sense method that all human experience is basically the same. Pike was a capacious thinker who revealed a preference in Morals and Dogma for intuition as a desirable starting point from which he searched for evidence of a great principle. EOF
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