... THE CONTRIBUTION OF DEPTH PSYCHOLOGY TO MASONIC RESEARCH. Presented to. The Maryland Masonic Research Society

Transcription

1 ... THE CONTRIBUTION OF DEPTH PSYCHOLOGY TO MASONIC RESEARCH ELWOOD E. COOK Presented to. The Maryland Masonic Research Society

2 THE CONTRIEUTION OF DEPTH PSYCHOLOGY TO MASONI~ By Elwood E. Cook I. RESEARCH At the present time, the two most effective approaches to the interpretation of Masonic sy~bolism appear to be those based on historical research and on comparative studies of myth and ritual, past and present. These two methods have yielded considerable information of great value. Both of them rely heavily on documentation: to back up a point being made, one quotes from or refers to statements made on record by someone else in the past. This assumes a number of thir.gs, among them that the original statements are reliable, and that we understand what was intended by them. It is sometimes taken for granted, for example, that Masonic writers of the early 18th Century had a better knowledge of what our symbolism 'originally meant'. As Colin Dyer put it in his "Symbolism in Craft ivlasonry", we might well "endeavor to trace what our forebears intended to teach us... and why those particular symbols may have been chosen." There are serious difficulties with this, however. As he also remarks, "We must bear in mind that no particular age has a monopoly of original, deep, or interesting thought." There is a real question as to whether our rituals were deliberately composed with intention to teach us anything in particular. The implication in in this view is that they were composed out of whole cloth, so to speak. If, instead, they 1.

3 . gradually evolved, under the influence of many hands and minds; if bits and pieces, or even whole sections, were adopted or adapted from earlier or other sources, then the likelihood of these early Masons having much of anything to tell us becomes very considerably less. There is growing evidence that the best symbolism. in myth, religion, or ritual, or in literature and the arts, is rarely consciously intended. The trend of the past twenty years or so in the study of both symbolism and creativity has suggested that genuinely effective symbolism tends to emerge from unconscious levels. A particular symbol or degree simply seems appropriate; it just 'feels right'. I suspect that every deeply involved Mason has had such feelings more than once, about one or another of our degrees. Yet exactly why it should feel so may be very difficult to say. Another problem with documentation is that words can be very slippery, by a proper use of quotations or references one can back or 'prove' almost anything. And there is the reverse situation: a confirmed documentator is likely to rejecc out of hand the most patently obvious inference if specific documentation for them is not available. 'Students' of this sort, on the other hand, are often prone to regard as worthless any. reference they do not personally already happen to agree with. Inference may be alright not positively. 2. negatively, it seems, but

4 The history of science reveals a long sterile period from about the time of Alexander the Great until the decline of the Middle Ages, during which documentation was the only established method of research. The Bible, Aristotle, and a few other 'authorities' became the only recognized bases for holding an opinion. By the end of the Middle Ages, this approach had reached the point of absurdity, as practiced by some of the last scholastics. Early scientists from the Renaissance through the Enlightenment strongly attacked this tendency to rely so heavily on the 'authority' of documentation, often at the cost of obvious evidence and common sense. There gradually evolved the present set of scientic methods, based largely on a closely interrelated combination of firsthand experience and speculation. Generally speaking, hypotheses are proposed on the basis of available evidence. They are then tested by further evidence, collected for the purpose. Reports of others, past and present, are of course constantly noted, but basic reliance is placed on direct experience closely tied to controled speculation, with a continuous interaction between them. In the study of Masonic symbolism, we have seen.. countless efforts at interpretation of symbolism by speculation. It is traditional that Freemasons are permitted, and even encouraged. to carryon such speculation. And this is truely direct experience, -).

5 however flawed or foolish it may seem to sophisticated students. What is needed is not less of this first hand sort of activity, but rather a frame of reference with which to evaluate it. We need some sort of criteria for judging our speculations, methods by which they can be tested, and a systematic general theory to which they can be related. Today, there is a growing body of just such criteria, methods, and theory. It has come in part from comparative studies in the anthropology and history of religion and mythology, where a great amount of literature is now available. The work of Mircea Eliade, Joseph Campbell, Claude Levi Strauss, and many others is extremely enlightening. But, even more than these, the work of Carl Jung and other depth psychologists has given us a new understanding of symbolism which, I believe,is of overwhelming importance. In investigating Masonic symbolism, we need to be aware of the work which has been done in these areas, and to begin to apply it to our own studies. I feel convinced that, as we do so, we will gain insights into our ritual, mythology, and symbolism that may very well provide a part of the stimulus to that new age of Masonry that so many have hoped for. Let us consider in a little more detail what is involved. 4.

6 II. From the earliest days of historical and comparative studies of myth and ritual, a number of basic frames of reference for interpretation began to appear. One very common one was to see all symbolism in terms of cycles of vegetation or agriculture. The death and raising of a hero, for exampre, might be seen as representing the planting of seed, followed by the growth of a new plant, with new seed. This sort of thinking was carried to extreme detail, sometimes very effective, sometimes quite far fetched. Gasper's study of Near Eastern mythology in "Thespis' is a good example. Another point of view, not unrelated, was that in which symbolism was seen in an astronomical frame of reference. in this case the death of the hero might represent the passage of the sun northward in winter, or its disappearance in the evening, or the waning of the moon in its last quarter. His raising would correspond to the sun's return in the spring, or in the morning, or the moon's waxing in the next first quarter. So far as the sun is concerned, the relation of this concept to the vege~ative one is obvious, since life and the sun tend to run parallel to each other. This kind of symbolic interpretation sometimes involves a mythology of the signs of the zodiac, the motions of the planets, etc. Again, the results are sometimes helpful and sometimes of doubtful value. 5

7 Still a third approach sees mythology in terms of social instititions. Trinity concepts of God or gods, for instance, are seen as a projection of the basic family structure: father, mother, and child. Or the nature of God may be seen in a political frame of reference, as much of the flattering wording of medieval worship of 'the Lord'. The assumptions of Karl Marx may be used, that the whole idea of God is a reflection of economic forces. Although these theories make some very good points, as a basic approach to interpreting symbolism, they have left much to be desired. Many of their assumptions as to what basic social structures are, or have been, have simply not stood up to careful study of actual situations. The fathermother-child pattern is simply not basic in all cultures with the trinity concept of God. The superficiality of the generalizations that Marx made call for no comment I think:'-~, In recent years, there has been a growing realization that myth. and ritual frequently represent basic issues in human life: biological, social, but especially psychological. Rituals, for example, tend to develop around various critical turning points in life, and have been termed 'rites of passage' therefore. Initiation may well have originated among primitive people as a rite of adolescence, representing the passage from childhood into adulthood. Other crucial issues are those of death and birth, wildness or animality vs civilization and control, aimless existence vs purpose and goal, pain vs happiness, and many others. 6.

8 In recent years, Claude Levi-Strauss has developed a theory of 'struct'~ralis;n', which has attemptec. to set up a syscematic method for discovering what the basic concern of a particular illy~h or ritua} may be. The results are ofte~ impressive. but his ~ethod for obtaini~g the8 see~s ~org cumbersome than is really necessary. Ey contrast, a large ~umber of stude~ts of ~yth) ritual, and religion have found a remarkably common ground of interpretation in looking for the meaning in a more intuitive manner. :'iircea "Sliade and Joseph Campbell are outstanding examples. Among these students, the influence of Carl Jung has been overwhelming. His ideas have had such profound e!'fect, that we will take a few minutes to trace in some detail more about them. 7

9 III. Besides attempting to understand human neurosis and psychosis, Sigmund Freud probed deeply into the more basic question of the nature of thinking in general. We often can gain a better understanding of everyday things by a careful study of the not-so-ordinary. So it was that Freud was very concerned with differences in the thinking of schizophrenia, dreams, fantasy, chilhood. 'primitive' peoples, "and ancient peoples. From these studies, he came to distinguish what he felt to be two basic types of thought, which he called the primary and secondary processes. Although his attempts~at defining these were somewhat exploratory, and at times probably overlapped other distinctions, there does seem to be something fundamental here, of value. Freud believed that primary process thinking was basic to dreams, fantasy, children, and primitives; while he considered the secondary process as characteristic of waking, deliberate, and adult thinking. There is little doubt that this kind of distinction is nothing like as sharp and clearcut as he seems to have felt. But it is suggestive. We might define primary process thinking as deliberate, directed thinking, aimed toward questions, purposes, or obj.cts of some sort, and calling for some self-conscious attention. It mayor may not be related to actual experience 8.

10 from ~ithout', but it is usually fairly literal, images and words, or other, symbols, are presumed to refer to external events or things either actual or potential, according to commonly accepted rules. Primary process thinking. on the other hand, appears to determine its own direction, like the unfolding plot of a story. It may be emotionally motivated, intuitive, or inspirational. It is fundamentally symbolic. Even though the symbols used may have a commonly accepted meaning, they are here being used in an analagous or metaphorical manner. Primary process thinking is more likely to grip attention than to be gripped by it, Although it is not rational or logical in the usual sense, it does have a definite order of its own. At first, at least, Freud thought of the primary process as less desirable, more immature, and. less healthy. Even today, many psychoanalysts seem almost apologetic for it. Kris. for example, has described the creative use of imagination as, "regression in the service of the ego." The term regression implies that it is a return to an earlier and no longer appropriate style of thinking, even tho it serves very useful purposes. Yet a very great number of students and even psychoanalysts are coming to see that this is highly questionable. Much of the most valuable and powerful conscious activity of human beings falls into the primary process category. It is simply not necessarily regressive, primitive, or abnormal at all. 9

11 In his work, "The Interpretation of Dreams", Freud noted the great similarity between the thinking of dreams and myth. This idea was developed by both Otto Rank. in c "The Myth of the Hero", and by Karl Abraham in his "Dream and Myth". They suggested that dreams are to the individual what myths are to groups. Both are expressions of the same kind of thinking. Freud's primary process. Unfortunately, Freud's followers have tended, as we noted, to combine together the thi~~ing involved in myth. mysticism. ritual, and religion. with that of nightmares, superstition, sexy daydreams, and ~emper tantrums, and to see them all as 'regressive'. Many present day Americans do just about the same. But the only thing that all these would seem to have in common is their lack of self-conscious direction and their expression of symbolic. meaning. It appears that this is combining too much. If we consider the matter more carefully, we find that they are talking about at least two completely different kinds of things. We of the west. especially males. and those committed to our overly extraverted. extremely aggressive, self-centered. materialistic culture, are prone to push aside anything that comes from within us. We distrust subjective values. We se~ them as threatening, peculiar. and even abnormal. possibly in defense of a very artificial position. But this denial does not affect the reality or power of inner things. ~et us consider a little further. 10.

12 IV. Carl Jung was, at first. one of Freud's followers, but later found reason to take his own course. He became as profound a student in his own right as Freud was, some would say far more so. Unfortunately, unlike Freud, who wrote extremely well,jung is often very difficult to read. He wanders considerably and frequently seems rather diffuse. Like Freud. he often seems swept away by the glamor of the inner processes he discovered. But these defects in his manner of presentation should not detract from the validity, usefulness, or power of his ideas once they have been grasped. Freud had already observed that dreams are not merely chance combinations of ideas and images. He had shown abundantly that all behavior is motivated. Dreams, he felt, are moved by wishes and feelings. Very frequently these emotions are not conscious I we do not realize we have them within us. Jung went considerably further. He showed that dreams can not only reveal emotions, but can also give direction as to what our basic problems may be. and how they may be resolved. By showing us things within us of which we are unconscious. they can. guide us toward greater wholeness, integration, or, to use Jung's own term, individuation. He found that dreams, whatever their meaning, often involve universal patterns of symbolism. The images and dramas that unfold frequently repeat pictures and plots which have 11.

13 been experienced by men for untold ages. These underlying, or rather overlying, symbols or sy~bol patterns. Jung called archetypes. In dreams these archetypal patterns may show us ways out of difficulties that are a part of being a human being. And yet they do not appear to be learned or suggested from outer experience, but to come from within. Jung felt they come from what he termed the ~ollective unconscious': a source of ideas of which we are ordinarily unconscious, but which can be tapped in dreams, fantasy, creative arts, and creative thinking. as well as in myth and folklore. Some have made an issue of this concept of the collective unconscious. The question is of no relevance to the usefulness of the idea of archetypal symbols. Whatever their source,we can recognise that humans generally, in most times and places, seem to have seen such symbols,,from within themselves, in one form or another, in dream, fantasy, myth. folklore, and elsewhere. Jung's symbolic thinking is much like Freud's primary process thinking. But while Freud tended to see all of his as regressive, childlike, primitive, and abnormal, Jung saw his as coming from the collective unconscious and giving valuable direction. Today, there is considerable evidence to justify both theories. it appears at first sight. Some primary process symbolism is simply emotional in origin, as in many dreams. In many other cases is seems to have profound significance, as in the great myths. It appears that primary process or symbolic thinking is not as simple as either Freud or Jung thought. 12.

14 It would seem that we are dealing, in one case, with what might be called an emotional or affective consciousness, which is one aspect of Freud's primary process thinking that he saw most clearly. There is also a self-conscious thinking, which is deliberate and directed, which Freud called secondary.,but, in addition, there is a symbolic or insightive consciousness, coming from unconscious depths within us, tending to express itself in archetypal t~rms, a sort of ter~iary or third process It is this last process, symbolic in the highest degree, 13 which is relevant to our Masonic study. Over the years, psychotherapists, using Jungs approach, have had oppotunity to collect great amounts of data on the archetypal symbols and what they appear to mean. In addition, students of mythology, ritual, and religion, using the same point of view, have found the same patterns of symbols. It should come as no surprize to Masons that our degrees and symbols are no exceptions. But most significantly, the meaning that emerges from our rituals is considerable more profound and dramatic than we have to date realized. Even the first and second degrees, which we somtimes underrate, turn out to fit very closely symbolic patterns of untold age and vital importance. In a paper such as this, we can not possibly explore what is revealed. We will only attempt to suggest, briefly some of the obvious meanings.

15 V. The three Craft degrees parallel rather closely patterns of symbols which have been found in initiation ceremonies, the mysteries, myth, and folklore for long ages. Instead of describing Masonic rituals here, we will use as a basis for interpretation certain sets of symbols taken from other sources, but of obvious relevance to any Mason. These come from studies of myth and ritual. The interpretations are primarily those of Jungian depth psychology, but are not restricted to psychologists by any means. All comments are meant to be suggestive only. We need constantly to keep in mind that there can no one, final, and perfect interpretation of any set of symbols. ; One set relates to a great quest by a candidate or hero. After suitable preparation, he must pass a well guarded gate. After that, he enters often a cave, where all is in darkness. This leads downward into the underworld, where he meets with various trials and dangers. Finally, he enters a place of light, where an important person gives him various things or information of value. This sequence may be interpreted as representing the first half of the inward quest of self-examination, discovery, realization, and actualization. This i~~er way is the straght and narrow path, the razor's edge, which has been taught in all ages. In its first phase, we must descend within ourselves, into 14.

16 into our personal, unconscious 'mind', to find out the problems which we have repressed, which we have refused to face and resolve. This is what Freudian, and the earlier part of Jungian, psychoanalysis attempt to do. Until a person has come to grips with these problems, he cannot say he genuinely knows himself. Those parts of his mind which are unconscious, and therefore out of his control, may at any time trip him up, lead him astray, and block his passage to better things. Bringing these to'light' is bringing them to consciousness. In the second phase of the quest. there is no t a descent, but an ascent. After crossing a body of water, the candidate is caused to climb a hill, ladder, stairway, tree, or pillar, to. reach a holy place above. At the begi))ning, here or in the first phase, he may go between a pair of pillars, trees, guardians,. or guards. And at the end, he is once more given valuable gifts or knowedge. This second sequence may be interpreted as the last phase of the inner way.. In it one discovers and manifests' higher' faculties, resources, and levels of intuition or inspiration. There is a growing awareness and utilization of the highest capacities of the human Self,as Jung calls it, the spirit or even Holy Spirit speaking within, perhaps even the practice of.- the prese'~e of God

17 The two pillars he must pass between, at the beginning of either this or the preceding phase, would be duality, the 'pairs of opposites' as Jung called them. These are the endless pairs of opposites into which we have divided our world. By so doing we have created absolutes out of matters which are only relative at best. To take the inward path we must pass 'between' these, we must see that nature is only relative. A third sequence describes the climax experience of the candidate or hero. In this, he witnesses or undergoes dismemberment and death. There may be a descent into the underworld, as a result, or a sea voyage. There is often a tree or plant of life, frequently growing from or near the corpse, sometimes there is only a coffin or chest made of wood from the tree. Finally there is a raising of dead to life again, re.newed and strengthened with power not previously possessed. This last phase, of death and transfiguration, is almost universal. It is c6mmonly taken as representing a time after a person has completed descent into himself and ascent into spiriritual heights. At that time he is likely to find himself faced with circumstances that lead to discouragement, desolation, and despair, what mystics call 'the dark night of the soul'. But in this state are the seeds of a renewal of life, out of it there is a growth of new life. As a result of it there comes the time of greatest enlightenment and self-unfold ment. Some have taken this sequence to refer to a renewal of lifeafter death, either in nature, in society, or in the individual after the death of the body. But it can also refer, very 16.

18 definitely, to events within this life. As a great Teacher once said. "The kingdom of heaven is at hand," very close to us. VI. One last idea calls for comment. Those of us who have been deeply involved in Masonry do not need to be told that real participation in our rituals can bring a deep satisfaction and sense of well being that can very well be described as order, harmony, and peace. Jung has indicated a substantial basis for the experience. He, and others, have found that individuals undergoing psychotherapy often experience in their dreams and fantasies, or express in varios creative forms., the same symbolic patterns we have been describing. Even though the persons may not be able to put into words what their experiences mean, they often show evidence of something very profound having happened to them. Jung refers to this as transformation: the capacity of symbol systems to work out deep changes within,us. But beyond this, Jung was particularly interested in persons who were not suffering from any particular psychopathology, who simply felt a need for greater self awareness, actualization, or individuation. In these too, the archetypal symbol patterns appear to have transforming effects. This relates to his belief that we are dealing in these s~~bols with projections from within ourselves which reveal the directions growth must take, and aid in fulfilling whatever caanges are needed. The symbols not only serve to give us 17

19 needed information, they also promote the process of individuation itself, by which the Self or spirit within transforms us in whatever way it wishes. Some anthropologist have come to believe tha~ the rituals in which many so-called primitive peoples take part apd from which they appear to gain such great satisfaction aud strength, may actually have just such an effect. Participation in a symbolic procedure does actualiy seem to help in individuation, if psychotherapists. and anthropologists are right. If this is so, Freemasonry may have merits we have hardly dared imagine. I believe we have reached a time when direct investigation of our rituals and symbols can be greatly guided by the findings of students of symbolism, especially depth psychology, with truely remarkable results. Certainly not the least of these may be. the possibility so many of us have half sensed, that deep involvement in our Craft may have tangible effects on inner health and growth and individual fulfilment. 18.