Table of Contents

Albert G. Mackey
  1. Poetry, Masonic
  2. Poetry of Freemasonry
  3. Songs Of Freemasonry
  4. Entered Apprentice's Song
  5. Square, Triangle And Circle
  6. biography of Brother Mackey

These articles were taken from the 1966 re-issue of Brother Mackey's monumental Encyclopedia of Freemasonry and its Kindred Sciences Comprising the Whole Range of Arts, Sciences and Literature As Connected With the Institution , originally published in 1874. Many articles were updated over the course of many revisions over the years, notably by H. L. Haywood c.1920, but the lack of any modern citations suggests that these articles were carried over from the original edition, except where explicitly noted.

Poetry, Masonic

Where Masonic poetry can be found, and what Masonic poetry is, are questions answerable only after the phrase is defined. If by Masonic poetry is meant verse written by a Mason about a symbol or about the Lodge or the Ritual, there is little of it, and in Masonic literature is no poem which a literary critic of competence would recognize as a masterpiece. Rob Morris wrote a volume of Masonic verse but had the misfortune not to be a poet; and those who have followed him have had a still larger share of the same misfortune. But there is no reason to limit Masonic verse so narrowly; there are great themes in Freemasonry in addition to its Landmarks and its Rules and Regulations; great themes in its history, its teachings, its spirit. If defined in this more inclusive sense there is much Masonic poetry, and of the very highest quality; much more in fact than Masons themselves can easily believe because it has never been collected in anthologies.

Of the poetry thus more broadly defined Robert Burns is the acknowledged laureate; second after him, and not far removed, is Rudyard Kipling — both were active and earnest Masons, and each held Lodge office; and after Kipling, though at a farther remove, is Edwin Markham, who acknowledged Masonry to have been the inspiration of many of his pages. Goethe, the greatest of poets since Shakespeare, performed the almost impossible feat of writing a poem on the philosophy of the Craft in his "A Mason's Ways." If Knighthood and Crusades are included in the Masonic purview, Scott and the French and Italian epic writers wrote thousands of pages.

But it is not so much among the classics, the standard writers, or in a whole corpus of work by any one writer, that the best and largest number of Masonic poems are found, but rather as a single poem, or only one or two, here and there among hundreds of poems. Longfellow's series of sonnets on Dante are in artistic skill his masterpiece; one of them is the description of a cathedral, and of perfect beauty.

Edna Millay's masterpiece is her sonnet on "Euclid." The theme of Coleridge's "Ancient Mariner" is brotherhood, a brotherhood so inclusive that it gathers into its embrace animals, plants, "all things both great and small"; and the same theme animates Walt Whitman's "Leaves of Grass," a great work with an appeal in it for American Masons that our English Brethren may have difficulty in finding.

Scottish Rite Masons read Tennyson's Idylls of the King because in some pages those Vergilian leaves read almost like a gloss on certain of the High Grades; and the verse by Tennyson and a host of other poets on the Legend of the Holy Grail are a commentary of large and moving eloquence on the text of that which was lost. And work, the Masonic theme par excellence, is being sung by a whole generation of Russian poets — and if they continue as they have begun they will yet find a way to bring the Fraternity back into their country because so many of them are Masons in spirit. And it is not to be forgotten that the oldest Masonic document in existence is itself a poem, composed in rhyme. If there were a Francis Palgrave in the Fraternity he could compile a Golden Treasury in many volumes

Another article from Brother Mackey's Encyclopedia, this one had several poems by various authors affixed to the end by the modern editor, which I have here only listed titles and links to.

Poetry of Freemasonry

Although Freemasonry has been distinguished more than any other single institution for the number of verses to which it has given birth, it has not produced any poetry of a very high order, except a few lyrical effusions. Rime, although not always of transcendent merit, has been a favorite form of conveying its instructions. The oldest of the Constitutions, that known as the Halliwell or Regius Manuscript, is written in verse; and almost all the early catechisms of the Degrees were in the form of rime, which, although often doggerel in character, served as a convenient method of assisting the memory.

But the imagination, which might have been occupied in the higher walks of poetry, seems in Freemasonry to have been expended in the construction of its symbolism, which may, however, be considered often as the results of true poetic genius.

There are, besides the songs, of which the number in all languages is very great, an abundance of prologues and epilogues, of odes and anthems, some of which are not discreditable to their authors or to the Institution. But there are very few poems on Masonic subjects of any length. The French have indulged more than any other nation in this sort of composition, and the earliest Masonic poem known is one published at Frankfort, 1756, with the title of Noblesse des Franc-Maçons ou Institution de leur Sociéte avant le deluge universel et de son renouvellement apres le Deluge, "Nobility of the Freemasons, or the Institution of their Society before the Universal Deluge and of its Renovation after the Flood." It was printed anonymously, but the authorship of it is attributed to M. Jartigue. It is a transfer to verse of all the Masonic myths contained in the Legend of the Craft and the traditional history of Anderson. Neither the material nor the execution exempt the author from Horace's denunciation of poetic mediocrity.

A selection of poems that are of sufficient merit to be notable exceptions to the above criticism by Doctor Mackey, are here inserted.

The Lodge Room Over Simpkins' Store

—Lawrence N. Greenleaf, Past Grand Master of Colorado, died October 25, 1922.

What Came We Here To Do?

—I. M. Jenkins, Brotherhood, January, 1920.

The Temple Of Living Stone

—Lawrence N. Greenleaf.

Great Source of Light and Love!

—Thaddeus Mason Harris.

Fellowcraft's Song

—Rob Morris

For Auld Lang Syne

—Robert Burns.

The verses sometimes called the Freemasons' Health or the Entered Apprentice's Song are found under the latter title in this Encyclopedia (see also entries in this Encyclopedia for Morris, Rob; Pike, Albert; Kipling, Rudyard; and Songs of Freemasonry).

See note at top.

Songs Of Freemasonry

The song formed in early times a very striking feature in what may be called the domestic manners of the Masonic institution. Nor has the custom of festive entertainments been yet abandoned. In the beginning of the eighteenth century songs were deemed of so much importance that they were added to the Books of Constitutions in Great Britain and on the Continent, a custom which was followed in America, where all the early Monitors contain an abundant supply of lyrical poetry. In the Constitutions published in 1723, we find the well-known Entered Apprentice's song, written by Matthew Birkhead, which still retains its popularity among Freemasons, and has attained an elevation to which its intrinsic merits as a lyrical composition would hardly entitle it.

Songs appear to have been incorporated into the ceremonies of the Order at the revival of Freemasonry in 1717. At that time, to use the language of the venerable Doctor Oliver, "Labor and refreshment relieved each other like two loving Brothers, and the gravity of the former was rendered more engaging by the characteristic cheerfulness and jocund gaiety of the latter."

In those days the word refreshment had a practical meaning, and the Lodge was often called from labor that the Brethren might indulge in innocent gaiety, of which the song formed an essential part. This was called harmony, and the Brethren who were blessed with talents for vocal music were often invited "to contribute to the harmony of the Lodge." Thus, in the Minute-Book of a Lodge at Lincoln, in England, in the year 1732, which is quoted by Doctor Oliver, the records show that the Master usually "gave an elegant Charge, also went through an Examination, and the Lodge was closed with song and decent merriment." In this custom of singing there was an established system. Each officer was furnished with a song appropriate to his office, and each Degree had a song for itself.

Thus, in the first edition of the Book of Constitutions, we have the Master's Song, which, says Doctor Anderson, the author, is "to be sung with a chorus — when the Master shall give leave — either one part only or all together, as he pleases"; the Warden's Song, which was "to be sung and played at the Quarterly Communication"; the Fellow Craft's Song, which was to be sung and played at the grand feast; and, lastly, the Entered 'Prentiss' Song, which was "to be sung when all grave business is over, and with the Master's leave."

In the second edition the number was greatly increased, and songs were appropriated to the Deputy Grand Master, the Secretary, the Treasurer, and other officers. For all this provision was made in the Old Charges so that there should be no confusion between the hours of labor and refreshment; for while the Brethren were forbidden to behave "'ludicrously or jestingly while the Lodge is engaged in what is serious or solemn," they were permitted, when work was over, "to enjoy themselves with innocent mirth. "

The custom of singing songs peculiarly appropriate to the Craft at the Lodge meetings, when the grave business was over, was speedily introduced into France and Germany, in which countries a large number of Masonic songs were written and adopted, to be sung by the German and French Freemasons at their Table Lodges, which corresponded to the refreshment of their English Brethren. The lyrical literature of Freemasonry has, in consequence of this custom, assumed no inconsiderable magnitude; as an evidence of which it may be stated that Kloss, in his Bibliography of Freemasonry, gives a catalogue — by no means a perfect one — of two hundred and thirteen Masonic song-books published between the years 1734 and 1837, in the English, German, French, Danish, and Polish languages.

The Freemasons of the present day have not abandoned the usage of singing at their festive meetings after the Lodge is closed; but the old songs of Freemasonry are passing into oblivion, and we seldom hear any of them, except sometimes the never-to-be forgotten Apprentice's Song of Matthew Birkhead. Modern taste and culture reject the rude but hearty stanzas of the old song-makers, and the more artistic and pathetic productions of Mackay, and Cooke, and Morris, and Dibdin, and Wesley, and other writers of that class, have taken their place.

Some of these songs cannot be strictly called Masonic, yet the covert allusions here and there of their authors, whether intentional or accidental, have caused them to be adopted by the Craft and placed among their minstrelsy. Thus the well-known ballad of Tubal Cain, by Charles Mackay, always has an inspiring effect when sung at a Lodge banquet, because of the reference to this old worker in metals, whom the Freemasons fondly consider as one or the mythical founders of their Order; although the song itself has in its words or its ideas no connection whatever with Freemasonry. The first two verses are as follows:

Old Tubal Cain was a man of might,
In the days when the earth was young;
By the fierce red light of his furnace bright
The strokes of his hammer rung;
And he lifted high his brawny hand
On the iron glowing clear.
Till the sparks rushed out in scarlet showers,
As he fashioned the sword and spear

And he sang, "Hurrah for my handiwork
Hurrah for the spear and sword!
Hurrah for the hand that shall wield them well,
For he shall be king and lord!

To Tubal Cain came many a one,
As he wrought by his roaring fire,
And each one prayed for a strong steel blade,
As the crown of his desire;
And he made them weapons sharp and strong,
Till they shouted loud for glee
And gave him gifts of pearl and gold,
And spoils of the forest free;

And they sang, 'Hurrah for Tubal Cain,
Who hath given us strength anew!
Hurrah for the smith! Hurrah for the fire!
And hurrah for the metal true!"

Brother Burns's Auld Lang Syne is another production not verbally Masonic, which has met with the universal favor of the Craft, because the warm fraternal spirit that it breathes is in every way Masonic, and hence it has almost become a rule of obligation that every festive party of Freemasons should Close with the great Scotchman's invocation to part in love and kindness. But Robert Burns has also supplied the Craft with several purely Masonic songs, and his Farewell to the Brethren of Tarbolton Lodge, beginning:

Adieu! a heart-warm, fond adieu,
Dear Brothers of the mystic tie,

is often sung with fine effect at the Table Lodges of the Order.

As already observed, we have many productions of our Masonic poets which are talking the place of the older and coarser songs of our predecessors. It would be tedious to name all who have successfully invoked the Masonic muse. Masonic songs — that is to say, songs whose themes are Masonic incidents, whose language refers to the technical language of Freemasonry, and whose spirit breathes its spirit and its teachings — are now a well-settled part of the literary curriculum of the Institution. At first they were all festive in character and often coarse in style, with little or no pretension to poetic excellence. Now they are festive, but refined; or sacred, and used on occasions of public solemnity; or mythical, and constituting a part of the ceremonies of the different Degrees. But they all have a character of poetic art which is far above the mediocrity so emphatically condemned by Horace (see Poetry of Freemasonry).

See note at top.

Entered Apprentice's Song

The author was Matthew Birkhead and his effort appeared in print, Read's Weekly Journal, December 1, 1722, and has continued to be popular ever since, being frequently sung in British Lodges. The song is also called The Freemasons Health. Brother Birkhead, a singer and actor, Drury Lane Theater, was Worshipful Master, Lodge V, London. The words and music of the song were printed in the first edition of the Book of Constitutions published by the Freemasons in 1723. Under the reference Tune, Freemasons, in this Encyclopedia we give an account of the various appearances of it in print. While the verses are frequently printed with alterations according to the taste of their respective editors, their first appearance was as follows:

Come let us prepare,
We brothers that are
Met together on merry occasion;
Let's drink, laugh and sing,
Our wine has a spring
'Tis a health to an accepted Mason.

The world is in pain
Our secret to gain,
But still let them wonder and gaze on;
Till they're shown the light
They'll ne'er know the right
Word or sign of an accepted Mason.

'Tis this, and 'tis that,
They cannot tell what
Why so many great men of the nation,
Should aprons put on,
To make themselves one,
With a free or an accepted Mason.

Great Kings, Dukes and Lords,
Have laid by their swords
This our mystery to put a good grace on
And ne'er been ashamed
To hear themselves named
With a free or an accepted Mason.

Antiquity's pride
We have on our side
It makes each man just, in his station
There's nought but what's good
To be understood,
By a free or an accepted Mason.

Then join hand in hand,
T'each other firm stand
Let's be merry, and put a bright face on;
What mortal can boast
So noble a toast
As a free or an accepted Mason?

Another verse was added to the original by Brother Springett Penn, who became Deputy Grand Master of Munster, Ireland, and was also a member of a Lodge at London. This addition to the song was made about 1730 and printed by Dr. James Anderson in his edition of 1738. Brother Penn's version runs thus:

We're true and sincere
And just to the fair
They'll trust us on any occasion:
No mortal can more
The ladies adore,
Than a free and an accepted Mason.

So rousing a song did not fail of attack by the enemy and a parody upon it with the venom of the time appeared in the London Journal of 1725 entitled An Answer to the Freemasons Health, as follows:

Good people give ear
And the truth shall appear,
For we scorn to put any grimace on:
We've been bammed long enough
With this damn'd silly stuff
Of a Free and an Accepted Mason.

The dear Brotherhood,
As they certainly should,
Their follies do put a good face on:
But it's only a gin,
To draw other fools in,
So sly is an Accepted Mason.

With their aprons before 'em,
For better decorum,
Themselves they employ all their praise on:
In aprons array'd,
Of calves leather made
True type of an Accepted Mason.

They know this and that,
The devil knows what,
Of secrets they talk would amaze one
But know, by the by,
That no one can lie
Like a Free and an Accepted Mason.

On a house ne'er so high,
If a Brother they spy
As his trowel he dext'rously lays on:
He must leave off his work,
And come down with a jerk
At the sign of an Accepted Mason.

A Brother one time,
Being hang'd for some crime
His Brethren did stupidly gaze on:
They made signs without end,
But fast hung their friend
Like a Free and an Accepted Mason.

They tell us fine things
Showy lords, dukes, and kings,
Their mis'tries have put a good grace on:
For their credit be't said
Many a skip has been made
A Free and an Accepted Mason.

From whence I conclude
Tho' it seem somewhat rude
No credit their tribe we should place on:
Since a cold we may see
Of any degree,
May commence an Accepted Mason.

See note at top. This article is most likely the product of a revision by Heywood, c.1920.

Square, Triangle And Circle

Visitors to English Chapters of the Royal Arch will recall that there is a peculiar use of these geometrical figures in "firing," the ceremonious unity of all present in recognizing a toast and honoring it by the Brethren.

There are also to be found in literature various allusions to geometrical figures. Of these there are so many that no complete compilation may here be attempted. One or two are of sufficient interest to warrant mention. For further information refer to an article by R. I. Clegg in the American Freemason (volume iiv, pages 265-72, April, 1912).

That beloved Brother Robert Burns, born 1759 died 1796 , refers to the rectangle-triangle in his poem "Caledonia." His allusion is usually understood as being more particularly to the forty-seventh proposition of Euclid, and is as follows:

Thus hold, independent, unconquered and free
Her bright course of glory for ever shall run
For brave Caledonia immortal must be;
I'll prove it from Euclid as Lear as the sun:—
Rectangle-triangle the figure we'll choose;
The upright is Chance, and old Time is the base
But brave Caledonia's the hypotenuse
Then ergo, she'll match them, and match them always.

William Shakespeare, born 1564, died 1616, refers to many matters of interest to us. He says, King Lear, first scene, Regan speaking of her love for the king,

I profess
Myself an enemy to all other toys
Which the most perfect square of sense possesses
And find I am alone felicitate
In your dear highnesses love.

Various explanations have been offered for "the next perfect square of sense." Grant Allen interprets it "as the entire domain of sense," Wright by the "most delicately sensitive part of my nature'; Moberly by the "choicest estimate of sense"; while Capell explains it by "the entire domain of sensation." John Foster, Shakespeare Word-Book, prefers an explanation given by Professor Dowden, Atlantic Monthly, September, 1907, where the puzzling lines are compared with others by Edmund Spenser (Faerie Queene, Book II, canto ix, stanza 22). These are as follows:

The frame thereof seemed partly circulare
And part triangulare; O worke divine!
These two the first and last proportions are
The one imperfect, mortal feminine
Th' other immortal perfect, masculine;
And 'twixt them both a quadrate was the base
Proportions equally by seven and nine;
Nine was the circle sett in heaven's place
All which compacted made a goodly diapase.

The last word here, diapase, means a harmonious combination. Professor Dowden discussing "Elizabethan Psychology" of body, soul and spirit, the forms of life or energy, says "The vegetable soul is found apart from the other two in plants, they live and increase in size, and multiply themselves by virtue of this soul. The vegetable and sensible souls are found co-operating in animals; they need only live and grow and multiply, they also feel. In man alone are three souls — vegetable, sensible and rational — found working together." Spenser by this reasoning is considering Alma as the indwelling soul, and the House is the containing body, the architecture of the latter being as in the poetry. Quoting Bartholomew Anglieus we are told that

"The vegetable soul, with its three virtues of self-sustaining, growth, and reproduction, is 'like unto a triangle in Geometry.' The sensible soul is 'like unto a quadrangle, square and four cornered. For in a quadrangle is a line drawn from one corner to another corner, afore it maketh two triangles, and the soul sensible maketh two triangles of virtues. For wherever the soul sensible is, there is also the soul vegetablis. Finally the rational soul is likened to a circle, because the circle is the most perfect of figures, having the greater power of containing than any other. The triangle of Castle Alma is a vegetable soul; a quadrate — identical with Shakespeare's 'square of sense' — is a sensible soul, the circle is the rational soul."

Spenser was born in London about 1553, and died in January, 1599. For other references to quaint literary allusions of Masonic interest, see "Was William Shakespeare a Freemason?" (The Builder, April 1919, and rebuttal May 1919).

Albert Gallatin Mackey (1807-1881)

(This biography, appropriately enough, is condensed from the 1966 reissue of Brother Mackey's own Encyclopedia.)

American Masonic historian. He was born at Charleston, South Carolina, March 12, 1807. From 1834, when he was graduated with honors at the Charleston Medical College, until 1854 he gave attention to the practice of his profession, but from that time on literary and Masonic labors engrossed his efforts.

Albert Mackey was Initiated, Passed and Raised in Saint Andrews Lodge, Charleston, South Carolina, in 1841. Shortly thereafter he affiliated with Solomon's Lodge, also of Charleston, was elected Worshipful Master in December, 1842, and held many other offices in Grand Lodge and both Rites.

As a contributor to the literature and science of Freemasonry, Doctor Mackey's labors have been extensive, publishing a dozen books including the Encyclopedia of Freemasonry in 1874. Doctor Mackey also contributed freely to Masonic periodicals and edited several of them. He died at Fortress Monroe, Virginia, June 20, 1881, and was buried at Washington, DC.

Mackey's Preface to his Encyclopedia at Phoenix