A predominating characteristic of The Magic Flute is its universality of appeal. To the very young it is a delightful fairy tale about the love of a handsome prince for a charming and beautiful princess. Their many trials and vicissitudes form the plot which culminates in their union, leaving them to live happily ever after. For adults of a philosophic or thoughtful turn of mind the theme of the opera centers in the eternal conflict between light and darkness that culminates in the inevitable triumph of light.
Students of the deep mysteries of life and being will be fascinated by the fact that the libretto contains truths that are taught in the Temple of Wisdom. These truths relate how disciples, by means of specific processes anciently known as Initiations by Fire and by Water, become chaste and pure and are found both worthy and qualified to receive the most priceless of all gifts: realization of conscious immortality.
The music of The Magic Flute has a complementary appeal. The light, fanciful passages descriptive of Papageno, the delightful comedy character of the opera, are so intriguing it seems no one but Mozart could have conceived them. Then there are the tender, impassioned love themes sung by the handsome prince, Tamino. Where can one find a love song more heart-warming than the picture aria wherein the Prince sings "This is wondrously beautiful" as he gazes upon a likeness of the Princess and declares his determination to find her and claim her as his own? Exquisite are the coloratura arias sung by the Queen of Night, a sorceress. By their intensity and fervor they lift the rapt listener into communion with the stars. Majestic and measured are the solemn tones of Sarastro, High Priest of the Sun. A climax is reached in his sublime prayer or invocation as he intercedes with Osiris and Isis, evoking their protection for the sacred Temple and all its attendants.
In this opera the musical genius of the composer attained its fullest and most perfect flowering. The Magic Flute was, literally, Mozart's swan song.
During the eighteenth century the trend in entertainment was largely toward the mysterious, supernatural and spectacular. This vogue applied even to opera. It was probably inspired largely by a successful presentation of Gluck's opera Orpheus and Eurydice, the esoteric significance of which has been referred to earlier in this series. The scenic effects of this opera are especially magnificent, depicting as they do a theatrical concept of the nether world contrasted to the beauties of paradise.
The story relates how the fair young wife of Orpheus is bitten by a serpent and passes into the under-world. Orpheus attempts to follow her while pouring out his soul's deep grief upon his magic lyre. So impressed are the gods they decree that Eurydice. may return tothe earth-world with him provided he does not look back at her until they have passed the Styx. He gladly agrees. As soon as he finds his beloved they depart for the upper realm, he hurrying ahead and calling her to follow. She does not understand his action. She begs him for just one glance, saying she prefers to die rather than to live without his love. Unable to resist her appeal, he turns and clasps her in his arms, only to again lose her as she is snatched away and returned to the nether world. In deep lament, as she disappears from sight she is crying to her beloved her farewell, a last farewell.
Again Orpheus beseeches the gods for her release. So moved are they by the magic of his music that they permit the lovers to be reunited, after which they are free to roam the Elysian fields in perfect bliss.
All fear of death is overcome for all time when conscious immortality will have been achieved through the unfoldment of awareness that ultimates in true Initiateship.
Much of the magnificent ceremonialism of this celebrated work was taken directly from the Eleusinian Mysteries, most famous of all those celebrated in ancient Greece — Mysteries which reached climactic heights in the Golden Age of Athens. The opera has maintained its popularity to the present day and is presented annually by outstanding companies throughout the world.
In the eighteenth century the study of Egyptology was revived by Europeans with considerable interest and enthusiasm. Likewise, this was the time when Freemasonry became extremely popular because it was thought to have had its origin in the early Egyptian Mysteries. In 1781 Johann Gottlieb Naumann, himself an ardent Mason, wrote an opera based on these Mysteries. It depicts some of their numerous tests, trials and periods of probation, and includes much of their gorgeous ceremonialism. He entitled the opera Osiris. Though written a mere ten years before Mozart's Magic Flute, it is thought to have had a marked influence upon Mozart's masterpiece, first produced in 1791 shortly before the composer's death.
Although Freemasonry was popular in Europe at this time, it aroused bitter enmity in certain political circles and in the Roman Church. When he wrote The Magic Flute Mozart was living in Vienna and Austria's Empress, Maria Theresa, was one of Freemasonry's strongest opponents. It was said that the Queen of Night who has such hatred for the priests and their Temple, and who swears such vengeance upon them, was a caricature of the Empress.
Mozart was an ardent devotee of Freemasonry. Its beautiful symbolism, its idealistic concepts, its dedication to the spirit of love and fellowship, all had a tremendous appeal to his inner self. Prior to The Magic Flute he had composed much splendid Masonic music. His Journey of the Fellowcraft was written just before his father was initiated into that Degree. Some of his dedicatory music was used at the formal opening of a new Masonic Temple in Vienna, and certain other selections were used at the opening and closing of the Lodge. Beside these there are a number of other Masonic works.
Since he was an ardent member of the Craft and literally lived, moved and had his being in music, it was natural he should aspire to express admiration and homage in a composition especially dedicated to Masonry. Thus it was that The Magic Flute, the most beautiful and celebrated of his operas, was born.
Mozart is one of the supreme musical geniuses of all time. At the age of six he was both composing and concertizing. Before he reached the age of twelve he had given concerts in all the large cities of Europe. His genius will continue to shine like a star of undiminished luster on the horizon of the musical scene.
The modern materialistic age has but slight concept of the importance of music in man's life. The mighty celestial Hierarchy of Taurus sounds the great Creative Tone above the world, a Tone that is stepped down to the opposite Hierarchy of Scorpio. Beings of the latter are known as the Lords of Form. All forms built upon earth are under their supervision and each form is ensouled by a creative Tone. Hence, every form possesses its own keynote which continues to sound as long as the form endures.
Among the ancients who had a much deeper understanding of the power of music than do the majority of people today - the musician was both physician and priest. He brought physical and mental healing to the afflicted, spiritual upliftment and regeneration to those who sought it. In the New Age music will once more come into its own, and the musician will regain his power to heal and to illumine.
The number three is one of the most important numerals used in Masonry. It is also the most important number appearing in The Magic Flute. In its larger concept, three means purification of the physical, spiritualization of the mental, and union of these two forces with spirit. This is the summum bonum of spiritual progress and attainment.
In The Magic Flute there are three Temples of Initiation, three veiled Maidens, three Slaves, three Genii or handsome Youths. The hero and heroine, Tamino and Pamina, are subjected to three principal trials before being found "worthy and duly prepared" to enter the inner sanctuary, the Holy of Holies of the Temple of Wisdom.
Mozart begins the Overture to The Magic Flute with three majestic chords referring to the three fundamental steps or Degrees which are the basis of all Mystery teachings. These three Degrees are known in modern Masonry as the work of the Blue Lodge. The three chords have been described as three knocks a candidate gives as he enters upon his quest for light. These three chords are followed by a solemn processional or march, largely in the brasses, that signifies the entrance of a candidate upon the Path.
In the body of the Overture Mozart introduces many chords with which various themes are ingeniously interwoven. Herein he is referring to the higher degrees of Masonry and describing musically the beautiful and exalted teachings contained in each of them. The Overture comes to a triumphant climax portraying the Path itself. The way is long and the work arduous; but at last, Mozart tells us, the worthy aspirant has ascended to the summit of attainment. The candidate has become the Initiate.
This overture has been described as outlining the various processes whereby the Rough Ashlar is transformed into the Perfect Stone. It concludes with a repetition of the three knocks (chords) signifying that the questing aspirant seeks ever for a greater wisdom and more Light.
The opening scene of the opera is laid in Egypt, in an open field near the Temple of Isis. As a handsome youth, garbed in elegant attire, enters he is pursued by an enormous serpent. His confusion, haste and fear are accurately described by agitated phrases from the orchestra. With a frantic prayer to the gods for protection, he falls to the ground unconscious. Three veiled Maidens appear, each carrying a golden spear with which to slay the serpent. This done, they join in a tuneful trio extolling the beauty of the youth and dedicating themselves to the service of the young Prince Tamino who represents an aspirant on the Path. The three Maidens typify the most important work of an aspirant when he begins his quest: sensitization of body, purification of desire, spiritualization of mind. That Tamino has already made much progress upon the Path is evidenced by the fact that the serpent within his threefold body is slain; in other words, the animalistic passions belonging to his lower nature.
A most delightful melody now sounds in the distance. It possesses an impish, pan-like quality so characteristic of Mozart's genius; no other composer has written so charmingly. This music is a perfect description of the person who now enters singing in gay, debonair fashion "I am a man of mirth and minstrelsy." His costume is made largely of feathers and on his back he carries a huge bird cage. Tamino, who has awakened and seen the serpent dead at his feet, regards the newcomer with interest as he announces that his name is Papageno and that he is birdcatcher to the Queen of the Night. He adds that each day, when he presents his birds, the three Maidens, attendants upon the Queen, give him in return bread and wine and sweet figs.
As Tamino represents an aspirant in quest of light, Papageno represents the masses of humanity who, having little or no interest in the deeper things of the spirit, live largely to eat, drink and be merry with but little thought or care for the morrow.
Papageno discovers that Tamino believes it was he who slew the serpent and immediately takes that honor upon himself. Declaring he has the strength of a giant, he asserts that he slew the serpent with his own right arm. At this point the three veiled Maidens reappear to warn the self-styled birdcatcher to desist from his lying. They tell him he is to have no bread or wine this day, only water and a stone, and have a padlock upon his lips. Thus it is in life. One's experiences, be they good or ill, bring their own karmic reactions.
A loud clap of thunder and the scene grows dark. Among the stars appears the Queen of Night upon her throne. Solemn is her recitative bewailing the loss of her daughter. Then, in a glorious coloratura aria, she tells Tamino that he is noble, good and true; that if he succeeds in rescuing her, Pamina shall be his. Upon this promise, sudden darkness obscures the scene.
When a candidate reaches a certain place upon the Path he begins to develop extended vision. His new range of vision enables him to see something of the inner realms. The question uttered by Tamino is familiar to aspirants who have reached this stage of development, for he sings "Oh, is this reality or is it a dream?"
The Queen's Maidens give Tamino a portrait of Pamina, telling him she is the daughter of the Queen. As he looks upon her loveliness he sings in ecstasy the haunting aria "O face most fair, 0 beauty beyond compare," and expresses a longing to be united with her forever.
Pamina typifies the spiritual nature latent within man, frequently referred to in mystic literature as the exalted feminine. When a disciple advances upon his quest he begins to glimpse something of the wondrous beauty and exaltation of his higher nature, and he dedicates himself in ever increasing consecration to union with that divine self, termed occultly, the "Mystic Marriage."
The Maidens inform Tamino he has been chosen as the deliverer of the exquisite Pamina who has been spirited away by an evil magician. They give him a magic flute which, they promise, will protect him in all emergencies. Because it will soothe the passions of men it is worth more than gold or crowns; and, if rightly used, it will one day bring peace to all mankind.
This magic flute also denotes the divinity latent in man. When its power is sufficiently acquired, it enables one to hear his own musical note that sounds continuously so long as he lives. It ceases only upon death.
The keynote of an ego is attuned to the magnificent cosmic chords which form the Music of the Spheres. As man learns to bring his being into harmony with this heavenly music, all inharmony ceases. His very presence becomes a blessing. When humanity as a whole attains to such accord there will be no more wars and rumors of war: thus, universal peace will become a reality.
As they unseal his lips, the Maidens order Papageno to accompany Tamino. The timid birdman is greatly frightened at this prospect for he has no desire to engage in high endeavors. They give him some magic bells which, they claim, will protect him from all evil. Left alone, Tamino plays upon the flute as he utters a prayer to the gods, imploring their blessing and protectio as he goes in search of Pamina. This prayer is accompanied by a lovely flute obligato in the orchestra.
In the original version of the opera a number of animals were supposed to come upon the stage, enraptured by the strains of the magic flute, evidently for the purpose of revealing the strong effect of music upon even dumb creatures. As an interesting experiment, a few years ago some musicians assembled in an open forest during the night and for several hours played classical compositions. It was stated that quite a variety of animals came out of hiding and listened, evidently enjoying what they heard. After a time the musicians changed to jazz, whereupon the animals hurriedly departed with every evidence of confusion and fear.
The second Act opens amid the rich settings of a room in an Egyptian palace. The evil magician Monostatos, a priest attuned to the Powers of Darkness, enters dragging the half-conscious Pamina. He throws her upon a couch and bids three dark Slaves who attend him to bind her. These Slaves again typify man's threefold body: physical, emotional or astral and mental, when used for vicious purposes. They stand for the lust, fear and ignorance that seek to bind the spirit in bondage to the personality.
Papageno enters to the accompaniment of another of Mozart's characteristically impish phrases in the violins. The bird-man immediately recognizes Pamina as the original of the portrait he has seen in the hands of Tamino, and he tells her of the handsome young Prince who is coming to rescue her. She is delighted at the news, but warns Papageno that if he is discovered he will suffer a terrible death. They decide to escape at once, yet linger while the bird-catcher, overjoyed by her gentle sympathy, confides to her his loneliness and his longing for a little Papagena of his own. Pamina admonishes him to be patient, saying she knows the gods will send him a companion. Together they go out, singing a charming duet about the delights and bliss of love.
As the scene changes three Temples become visible. They are connected by long colonnades. The one on the right is inscribed Temple of Reason; the one on the left, Temple of Nature; the center one, Temple of Wisdom. These three Temples represent the three powers so important in masonic symbolism, namely, strength (masculine), beauty (feminine) and wisdom (the blending of the former two).
When Tamino inquires of the three Maidens how he should find the mountain upon which Pamina was confined, he was told he would be attended by three Youths who were wise, good and beautiful. These Youths now lead him to the discovery of the three Temples, then leave him with the admonition:
The three Youths, like the three Maidens, are indicative of work on the threefold body (physical, emotional and mental). Polarity, the fundamental teaching of Masonry, is most interestingly depicted here. The Maidens carry golden spears; gold, a masculine or positive metal, is here used by the feminine pole of spirit. The three Youths carry silver palm branches; silver, a negative or feminine metal, is in the hands of the masculine pole of spirit. The spear is an implement of protection while the palm branch is a symbol of victory through spiritual attainment.
Again alone, Tamino seeks admission to the Temple on the right. Receiving no response, he tries the one on the left. Again all is silent. Not to be deterred, he knocks at the portal of the central edifice, the Temple of Wisdom. An aged priest appears at the entrance and the Prince learns he has come to the Temple of Sarastro, High Priest of the Sun. Sarastro is the white magician attuned to the Forces of Light. Here Mozart is describing the first and second steps of Masonry - in modern terminology the
Apprentice and Fellowship Degrees — and is ready to take the third or Master's Degree. Every mystic Mason who has been "duly and truly prepared" is qualified to enter the Temple of Wisdom.
Tamino eagerly seeks to learn the whereabouts of Pamina. The priest.replies, "I cannot tell thee, for I am bound by the vow of silence." Tamino asks when this vow may be broken and the priest tells him· in one of the most solemn and impressive arias of the opera:
At this point voices from an invisible choir bid Tamino persevere in his Quest and advise him that ere long he and Pamina shall meet. Tamino responds in a tender aria expressive of his joy and gratitude for the ministrations of the gods an aria accompanied by another exquisite flute obligato.
As Tamino goes out, Papageno and Pamina enter pursued by Monostatos and his three Slaves. In sheer desperation Papageno rings the magic bells given him by the Maidens for his protection. An aura is immediately placed around them which cannot be penetrated by the evil magician. They are free! It is actually possible for every person thus to encase himself in an aura of divine protection where no negative or sinister force can reach him. The time is not too far distant when music will be used to the end that the terrible evils of obsession will be overcome.
Papageno and Pamina exit to a joyous duet of blessing upon the divine protection given them by the magic flute and the bells; they declare that if everyone understood and used such magic, enemies would become friends and the whole world would be a realm of beauty and harmony.
An invisible chorus proclaims the approach of the High Priest Sarastro. He enters, attended by a mixed company of Priests and laymen. Pamina confesses that she was trying to escape because she feared the Moor Monostatos. In a soothing number Sarastro tells her that some day she will understand why she was separated from her mother and placed in the care of the Temple. Enter the Moor, dragging Tamino. The Prince and Princess intuitively recognize one another and embrace tenderly. Sarastro calls upon the attendant Priests to take Tamino and Papageno to the Temple of Probation. Placing veils over the heads of their charges, the Priests lead them out. Sarastro takes Pamina by the hand and leads her into the Temple of Wisdom as he invokes the following benediction of the gods upon the youthful aspirants in their quest for light:
The second act opens with a solemn march largely by the brasses, its theme being the same as that heard in the opening measures of the Overture. To its accompaniment appear the Priests led by Sarastro, who tells them that Tamino and his companion are waiting at the north gate of the Temple. They question the Prince as to why he desires to enter the Mysteries. He replies that it is for the purpose of gaining wisdom and of being united with Pamina; then he adds that he hopes thereby to strengthen the forces of love and fellowship in the world and is willing to lay down his life to do so. The Priests next inquire of Papageno what his purpose is in life. He tells them he has no desire for wisdom. He only wishes to eat, sleep and play; and, if possible, find a little wife for himself.
Herein are clearly outlined the two courses of evolution. Few there are who, like Tamino, dedicate themselves to the quest for wisdom. Many there are who, like Papageno, live only to indulge themselves in material pursuits and sensual pleasures.
The three Maidens return to warn Tamino of the treachery of Sarastro and the Priests. Tamino refuses to listen and sternly bids them begone. Ever at times of spiritual crisis the lower physical forces join with the lower emotional and mental powers in a final attempt to lure man's spirit away from the light. At Tamino's stern command the Maidens sink into the earth. Once more the Priests enter. They commend Tamino for his courage, strength and discernment while the High Priest sings his majestic aria invoking the blessing of Isis and Osiris.
The second act is devoted largely to the trials undergone by Tamino and Pamina to prove their worthiness for Initiation into the Mysteries. The scene is a delightful garden. Again Pamina appears, pursued by the dark Monostatos. He describes his overpowering lust for her, demanding that she yield to his advances. She firmly declares that she will die first. At the height of this struggle the Queen of the Night enters and Pamina pleads for her help. The Queen answers that before Pamina's father died he gave the High Priest his sacred Shield of the Sun, and that without it she has no power to free his daughter. However, she has brought Pamina a dagger so she can slay Sarastro and thus help her mother recover the hallowed Shield. In a most dramatic coloratura aria the Queen sings of her hatred for the High Priest and her desire for revenge, vowing she will destroy both the Temple and its Priests.
The Queen disappears as Pamina falls to her knees in prayer, for she knows that she cannot slay Sarastro. The evil Monostatos returns. Snatching the dagger from Pamina's hand, he declares she must yield to him or face death. She repeats that death is to be preferred. Suddenly Sarastro stands between them. Lifting the girl tenderly in his arms, he tells her she was separated from the Queen for her own good because the Queen was plotting to destroy the Temple and its holy attendants. This, he explains, she is now unable to do. You, he adds, and Tamino are destined for each other: "Together you will bring great good and blessing to the world." The scene closes with Sarastro singing a magnificent aria to the effect that in their noble sanctuary there can be no room for hate or revenge, for within its sacred walls abide only the supreme forces of love and fellowship.
Every group studying the workings of divine law generates dynamic power for either constructive or destructive use. Hence, it is of prime importance for all such groups to learn that the first and most vital phase of their work is to "live and let live." Care must be taken that every semblance of gossip, envy, jealousy or animosity is stamped out. If this is not done, dissention will be followed by disintegration and, ultimately, by complete destruction. A basic law decrees that true esoteric work prospers only when . founded upon genuine spiritual fellowship. The foundation stone of all permanent occult groups may be found in the words of the High Priest Sarastro: "Within this hallowed dwelling revenge and sorrow cease."
Act III opens in a large hall. Tamino and Papageno are brought in by two Priests who pledge them to silence, adding that when they hear the flourish of trumpets they are to follow in the direction of the sound. Papageno, however, cannot keep still. He is soon chattering away merrily despite Tamino's efforts to silence him. Thereupon the three Youths enter bearing a table laden with rich viands and wines. They also bring the magic flute and the magic bells. Papageno is delighted and applies himself assiduously to the repast while Tamino plays upon his magic flute. At its sound Pamina appears and runs eagerly toward him. Remembering his vow of silence he motions her away. Thinking she has lost his love, she sadly sings a mournful aria:
The next scene takes place near the Pyramids. Sarastro and the Priests enter. To solemn processional music they sing an invocation to Isis and Osiris. Brought in heavily veiled, Tamino and Pamina are told they must part forever. When Tamino is unveiled Pamina again eagerly runs toward. him, but he orders her back and Pamina leaves the hall mourning her sad fate. A very much frightened Papageno enters in search of Tamino. He knocks on first one door and then another. Harsh voices warn him he is not worthy to be admitted. If only I could find a little turtle-dove, he opines in a solo:
Instead, a wrinkled Old Woman hobbles up to him and asks him to marry her. When he hesitates she tells him that if he refuses he will be put into prison and have to live on bread and water the rest of his life. This so terrifies him he is about to say yes. As he takes the hag's hand she is transformed into a beautiful young woman who laughingly informs him that her name is Papagena. He seeks to embrace her but she is spirited away, leaving him in despair. Later, when he attempts to take his own life he is rescued by the three Youths, who tell him to play his magic bells and Papagena will come back. He does so and there is a joyous reunion. They go out arm-in-arm, singing another typical Mozartian melody extolling the happiness in store for Papageno and Papagena.
Now the scene is a garden and the time is early morning. The three Youths come singing an invocation to the rising Sun. Pamina enters. She carries the dagger given her by the Queen of the Night, and declares she is going to end her life. The three Youths counsel her to be brave and patient for the hour of her reunion with Tamino is drawing near.
In the next scene there is a grating cut in a wall of rock. On one side burns a blazing fire; on the other can be seen a rushing waterfall. A Priest is chanting that a neophyte must pass through the Ordeals by Fire and Water before advancing beyond the fear of death. At left Tamino is led on by another Priest; Pamina by a Priest at right. Unhesitatingly, they walk hand in hand through fire to come forth unharmed, Tamino playing all the while on his magic flute. Then they pass unharmed through the Ordeal by Water. As they step forward Sarastro is standing at the open door of the Temple to bid them welcome into the sacred sanctuary.
It has previously been noted that the sacred Shield of the Sun was given to the High Priest by Pamina's father. This has reference to the luminous aura of an Initiate, the shining Golden Wedding Garment that every neophyte must fashion for himself before he can become an Initiate. This garment is formed of the two higher ethers and is often referred to as a Master's Robe of Blue and Gold - for these are the colors of the two ethers. When arrayed in this Golden Wedding Garment an aspirant may pass at will through fire, air, water and earth. Thus, such stories as this are not merely fairy tales. Rather, they conceal many profound occult truths.
The final scene of the opera opens upon a stage in almost total darkness. The Queen of the Night and her three Maidens approach, led by Monostatos who holds a lighted torch. They are bent on the destruction of the Temple and its Priests; and for his assistance Monostatos is to receive as a reward the hand of the lovely Pamina. There is a deafening clap of thunder. With a terrified cry that they have been shorn of their power, all five sink into the earth.
Now the stage becomes light and the beautifully illumined Temple is seen high upon a hill. Within appear Sarastro, the Priests, the three Youths and Pamina. As previously noted, the three Youths represent man's lower personality triad, his physical, emotional and mental bodies. During the course of earth life he encounters experiences that leave their impress upon his composite nature. By an alchemical process active throughout earth life, and also between so-called death and rebirth, the essence of such experiences is extracted from the personality and incorporated into. his threefold soul. In this Masonic opera these three aspects of the soul are identified with the three spiritual attributes so prominent in Masonry: strength, wisdom and beauty.
The Magic Flute concludes with a grand chorus of rejoicing and of seeking continued protection along with the blessing of the gods. The closing note is one of ecstasy for the high attainment of Tamino and Pamina, who have now won that strength, wisdom and beauty which are eternal.
To repeat, Pamina symbolizes the divine feminine latent within every human being. In proportion to the awakening of this divine feminine does a disciple possess ability to draw unto himself the complement of a perfect mate. Heaven must be found within before it can become manifest in the outer. "As above, so below; as within, so without" is a maxim belonging to the wisdom of the ages.
Mozart in The Magic Flute is describing the Path whereupon the Candidate enters "poor, naked and blind" questing for the Light. The opera continues in outlining further steps uon this Path wherein by means of many trials and vicissitudes the Candidate becomes "duly and truly prepared" and so found worthy to enter that Temple not made with hands, but eternal in the heavens, wherein he comes into divine atonement for all time with the Light Eternal. Perhaps there is no more fitting way to bring this work on Mystic Masonry to a conclusion than with the words of t at supreme Master Mason, Albert Pike, as given in his illustrious manual of masonic lore, Morals and Dogma:
Though Masonry is identical with the Ancient Mysteries, it is so in this qualified sense, that it presents but an imperfect imagery of their brilliancy, the ruins of their grandeur... Each people at all informed had their Mysteries. After a time the Temples of Greece and the School of Pythagoras lost their reputation, and Freemasonry took their place.
— Corinne Heline
