Every great institution which has taken part in the affairs of men has its literature. Institutions which are of light and trivial character have no literature because in them are not found those no bler ideals which lift the soul and cause it to burst forth in essay, oration, and poem. Freemasonry is not without its literature and the greatest proof of the high value of the fraternity lies in the fact that its inherent principles and symbolism have been of such lofty character as to cause men to express themselves in magnificent oration and inspiring poem.
The Importance of Freemasonry has been such that men of literary ability have felt it worth while to write numerous works dealing with its early evolution. The symbolism of the society has also been an inspiration with the result that there are many excellent documents in existence of high character dealing with the hidden meaning of the various teachings of the society. Cornerstone ceremonials, dedications, anniversaries, and open meetings have been made the occasion for the deliverance of some of the most eloquent orations that ever fell from the lips of men.
Poetry being more complex, it is not to be expected that there would be any great display of literary effort in this direction. And yet Freemasonry has inspired the poet and today there are extant numbers of Masonic poems, many of them possessing more or less literary value.
All of this proves beyond a doubt that Freemasonry is not to be considered as of mere passing interest when its history, its symbolism, its various devices have been made the basis of literary efforts which take rank with the best literature of the past decade. Not alone has Freemasonry been celebrated in prose and poem but as early as the year 1730, there appeared in London a Masonic opera called "The Generous Freemason. It was written by William R. Chettwood, who was prompter at the Drury Lane Theater in London, and one of the most noted of the comedies produced by him was "The Generous Freemason," which was described as a "tragi-comi-farcial ballad opera." A fair idea of the character of this play may be gained from an advertisement which appeared in the Daily Post of August 20, 1730, and which reads as follows: "At Oates and Fielding's Great Theatrical Booth at the George Inn Yard in Smithfield, during the time of Bartholomew Fair, will be presented an entire new opera, call'd "The Generous Free mason," or the Constant Lady, with the comical humours, of Squire Noodle and his man Doodle, "By Persons from both Theaters. The part of the King of Tunis by Mr. Barcock; Mizra, Mr. Paget; Sebastian, Mr. Oates; Clermont, Mr. Fielding; Sir jasper, Mr. Burnett; Squire Noodle, Mr. Berry; Doodle, Mr. Smith; Davy, Mr. Excell; Captain, Mr. Brogden; the Queen, Mrs. Kilby; Maria, Miss Oates; Celia, Mrs. Grace; Jacinta, Miss Williams; Jenny, the Chambermaid, Mrs. Stevens; Lettice, Mrs. Roberts." "All the characters newly dress'd.
With several entertainments of dancing by Monsieur de St. Luce, Mile. de Lorme, and others, particularly the Wooden Shoe Dance, the Pierrot and Pierrette, and the Dance of the Black Joke. Beginning every day at 2 o'clock." The music for the Generous Freemason was furnished by three composers, and two copies of the opera are now in the British Museum. While there is nothing whatsoever about the Generous Freemason to entitle it to recognization as a literary work, yet it shows conclusively that two hundred years ago the fraternity was sufficiently well thought of to inspire one of its members to exploit it in comic opera.
The first record of a Masonic play is traced to the year 1723. On the 9th of January, there w\-as produced at Drury Lane Theatre, London, a drama which was advertised as the work of a Freemason and dedicated as a comedy never acted before and called, "Love in a Forest," alter'd from a comedy called, "As You Like It" written by Shakespeare. According to the custom of the times, the sixth performance was given for the benefit of the author, a Freemason.
While it is true that Freemasonry has had connected with it many men of more or less poetic ability, yet only a very few were sufficiently inspired by the imagery of Masonry to indulge in verse. It is said that the fraternity has had among its members such men as Walter Scott, Thomas Moore, William Cowper, James Hog,-, Robert Burns, George D. Prentice, George P. Morse, Charles Mackey, and many others, but of those enumerated, Robert Burns appears to have been the only one who was inspired to write poems on Masonry and his entire efforts in this direction would fill scarcely a dozen pages. George P. Morse is responsible for the ode, "Man Dieth and Wasteth Away," which is so familiar to every Masonic ritualist. The paraphrase of the one hundred and thirty-third Psalm which has come so prominently into use in our lodges, "Behold how pleasant and how good," was contributed by Gyles F. Yates. Thomas Smith Webb, who is largely responsible for much of the ritual which we have today, left one example of his poetic genius - "All Hail to the Morning." The popular funeral hymn, "Solemn Strikes the Funeral Chime," was written by David Vinton. From the fact that the above have been made a part of the work, it may be conjectured that they were written not because of the poetic fire which inspired their authorship, but rather for the reason that they appeared essential as a further embellishment of the system of ritual.
Notwithstanding the limited amount of poetry contributed by Robert Burns, lie was nevertheless regarded as the Poet Laureate of his times. Burns was initiated into the mysteries of the Masonic Craft in Tarbolton, Scotland, on the 4th day of July, 1781. He traveled from Irving to be passed and raised and throughout his life was an enthusiastic Mason. His Mother Lodge, St. David's, long defunct, has recently been reconstituted. Its old minute book can still be seen in the Burn's Tavern at the Cross.
The Masonic Lodge met in Manson Inn, which is now a dilapidated, thatched cottage at the foot of Burn's Street. The Lodge of St. James, which Burns and some members of St. David's Lodge revived in 1782, is still in existence. A hall has lately been built for its meetings and here are kept the precious relics of Bobbie Burns', the Freemason. The chair, footstool, and gavel which he used as deputy master, together with the jewels which he wore, a Bible which he purchased, and the minute book of the lodge, containing entries written by him, and his signature to many separate minutes, all comprise Masonic relics dear to every Freemason. Robert Burns owed some of his warmest and dearest friends to his connection with the Masonic lodge, for it was through Freemasonry that he came to know such men as Gaven Hamilton, Dr. McKinsey, Sheriff Wallace, Dalrymple of Orange Field, and Dugald Stewart. It was through them that he gained his introduction to Edin burgh and secured some of his best patrons. Burns was not attracted to Masonry by reason of any desire for boon companionship. He was enthu siastically devoted to the principles of the fraternity and the effect of their teaching can be traced through considerable of his poetry. His "Adieu, warm heart, a fond Adieu," is filled with Masonic imagery, while his "For a' that, and a' that" reveals the positive influence with which the democracy of Freemasonry must have impressed him.
In January, 1787, Burns visited St. Andrews Lodge No. 48, in Edinburgh. On this occasion, he was well received and greeted with something of an ovation. In a letter written to his friend, Ballatine, he gave the following description of the affair: "I went to a Mason Lodge yesternight, where the Most Worshipful Grand Master, and all the Grand Lodge of Scotland visited. The meeting was numerous and elegant: the different Lodges about town were present in all their pomp. The Grand Master, who presided with great solemnity and honor to himself as a gentleman and a Mason among other general toasts, gave "Caledonia and Caledonia's Bard. Brother Burns," which rang through the whole assembly with multiplied honors and repeated acclamations. As I had no idea such a thing would happen, I was downright thunderstruck, and trembling in every nerve, made the best return in my power. Just as I had finished, some of the Grand Officers said so loud that I could hear with a most comforting accent, 'Very well, indeed,' which set me something to rights again."
The statement which is so often made that Burns was installed as Poet Laureate of Freemasonry in Lodge Canongate, Kilwinning, in 1782, appears to be one of those myths which are so frequently found in connection with Masonry wherein ambitious writers have sought to advance the society by connecting popular men with it in some official capacity. The minutes of Lodge Canongate make no mention whatsoever of any ceremony at which Burns was installed as Poet Laureate, and the picture painted in 1746, which has been so often referred to as a "faithful representation of the inauguration" was apparently conceived in the mind of the artist as a fanciful theme upon which to employ his talent.
The next distinguished Mason to gain fame as a poet was Robert Morris, of LaGrange, Kentucky. Morris was Past Grand Master of the Grand Lodge of that state and took a deep interest in Masonry. For forty years he was one of the most distinguished writers and lecturers on the subject which this country has produced. He made a journey to the Holy Land, and on his return issued a volume giving his experiences in that country. He was most distinguished, however, as a poet and to his genius, Masonry is indebted for some four or five hundred Masonic poems of unusual literary quality. One of the best known and probably one of the most popular, is "We Meet Upon the Level and Part Upon the Square." This one was written one hot afternoon in August, 1854. As the author was walking home from a neighbor's house, he sat down upon a fallen tree and under a momentary impulse, dashed off this most beautiful poem on the back of an envelope. The imagery of Masonry inspired Robert Morris for the letter "G," the broken column, the pillars of the porch, and other Masonic symbols seemed to have taken hold of his soul and caused him to burst forth in delightful verse. For forty years he was recognized by universal consent, as the Poet Laureate of Freemasonry, a title which he well earned and one which was worthily bestowed. It was in the year 1884, in the Grand Lodge of New York, that Rob Morris was formally coronated Poet Laureate of Freemasonry, a worthy successor to Bobbie Burns.
The third Mason to be awarded this distinction was Fay Hempstead, Grand Secretary of the Grand Lodge of Arkansas. This interesting coronation took place in Ravenswood Lodge, Chicago, on October 5, 1908. At that time Brother Hempstead was rounding out forty years of active work in Masonry, during which time, he had written a number of Masonic poems of which "Let There be Light" is a notable example. So far as is known, he has never issued any volume of his poems, but numbers of them are, however, extant.
A discussion of the Poets of Freemasonry would not be complete without special mention being made of Rudyard Kipling, the noted English author, who has penned some most delightful Masonic poems, one of which "The Palace" is frequently quoted at the present time.
It is a matter of regret that no special
effort was ever made to gather the thousands of Masonic orations
which have been delivered from time to time. Many of these possess
a high literary value and are examples of splendid English and
good rhetoric. Of the numerous histories that have been written
by such distinguished men as Findel, Laurie, Holland, Anderson,
Oliver in the olden days, and Hughan, Gould, and others in modern
times to say nothing of the voluminous works of Albert G. Mackey,
who is today an acknowledged authority on many subjects Masonic,
present a field of review too broad to be undertaken in this brief
chapter.
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