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Freemasons claim that Masonry is open to any one of any faith and that it is a brotherhood to help other Masons. This is used as a trap to entice new victims into their secret order. All Freemasons take a deadly oath for each degree up to the 33rd degree. They swear allegiance to Masonry above God and country and under pain of death, and swear never to reveal the secrets of Freemasonry - not even to their wives. Therefore no matter what a Mason claims about their supposed good works or good intentions, they cannot be believed. Their real purpose is to undermine the teachings of Christianity. They are the true masters of deceit. Specifically anti-Christian, Masonry is working for a secular-humanist new world order - a Masonic Republic. At Catholic University, in Washington, D.C., on June 30, 1990, in a speech to the World Apostolate of Fatima, Father Robert J. Bradley, S.J., stated, "Masonry is Secular Humanism incarnate. Masonry is also Satanism incarnate." The official position of American Freemasonry has been outlined in their publication The New Age. The September 1950 issue describes "God's Plan in America" (according to the distorted view of Masonry) and asserts that Masonry is God's plan for America and that Christianity is in opposition to this plan of God. Masons freely invoke the name of "God" but their god is not the God of the Bible. Even some Catholics condemn this occult society, in 1829, Pope Pius VIII warned Catholics concerning Masonry, "Their law is untruth; their God is the devil; and their cult is turpitude." In other reports, they describe some of the past Masonic successes in starting wars, spawning revolutions, causing assassinations and overthrowing organizations and even governments. Their diabolical activities in America and their plans "for a new world Masonic Order" will be revealed; and their promotion of the deadly heresy of indifferentism (which maintains that all religions are of equal value) will be discussed. As a Mason works his way up through the 33 degrees of the Scottish Rite, he is promised that he will attain the secret knowledge of the "ancients" - secrets available only to the illuminated or Gnostic adepts. Masonry is a pagan religion which adopts various religious symbols to deceive the unwary, as in the case of the letter "G" which is often used within the two other Masonic symbols, the square and the compass. Many uninformed Christians assume that this "G" stands for the Trinitarian God, when it actually represents the Masonic gnosis or generation. The Ancient Plan of Secret Societies (Huntington House 1990) asserts, "Though few Masons know it, the god of Masonry is Lucifer. What's the difference between (worship of) Lucifer and Satan? Luciferians think they are doing good." This is the "ultimate" secret of Masonry and of similar secret quasi-Masonic societies - the worship of Lucifer. William T. Still writes that "Masons believe Lucifer never fell to earth; that Lucifer is really God, and has been since the dawn of creation." Adonay is their blasphemous term for the one true God of Christendom, whom Luciferians denounce as the god of evil. Masonry's god is "the devil." Lower degree Freemasons are not told of this secret and higher degree Freemasons will never admit it for the oaths forbid them to divulge Masonic secrets. Masons take blood oaths in which they swear undivided primary allegiance to Masonry - over Christ, over country, and over their wives and family under pain of a violent death. A third Masonic evil is their promotion of the idea that all religions are equal. This is the heresy of Indifferentism, that would equate Christianity with Hinduism, with Buddhism, with aboriginal pantheism. However their unconstrained hatred of Christianity belies this feigned equality. Unfortunately, the ethnic and religious diversity in America subtly indoctrinates the unsuspecting Christians.
Before etching Jerusalem William Blake wrote about creating 'the grandest poem that this world contains.' Blake's avowed intention in constructing the work was to move readers from a solely rational way of being (called Ulro) to one that is highly imaginative (called Eden/Eternity), with each word chosen to suit 'the mouth of a true Orator.' Rational interpretation is of limited use when reading this multifaceted epic and its non-linear structure presents a perennial challenge for readers. Susanne Sklar engages with the interpretive challenges of Jerusalem by considering it as a piece of visionary theatre —an imaginative performance in which characters, settings, and imagery are not confined by mundane space and time— allowing readers to find coherence within its complexities. With his characters, Blake's readers can participate imaginatively in what Blake calls 'the Divine Body, the Saviour's Kingdom,' a way of being in which all things interconnect: spiritually, ecologically, socially, and erotically. Imaginatively engaging with Jerusalem involves close textual reading and analysis. The first part of this book discusses the notion of visionary theatre, and the theological, literary, and historical antecedents of Jerusalem's imagery, characters, and settings. Particular attention is paid to the theological context of Blake's Jesus ('the Divine Body'), and Jerusalem, the heroine of his poem. This prepares the ground for a scene-by-scene commentary of the entire illuminated work. Jerusalem tells the story of Albion's fall, many rescue attempts, escalating violence and oppression, and a surprising apocalypse —in which all living things, awakening, are transfigured in ferocious forgiveness.
In this extensive work, John Yarker attempts to trace the history of Masonry and Masonic rites through history, proving its legitimacy through seniority and the power of tradition. Yarker establishes the roots of Masonry in a race he calls the Aryans, a catchall phrase to describe an unknown race of conquerors who developed the early human arts, such as stoneworking, metalworking, and agriculture. Yarker then explains how that civilization gave rise to societies of special knowledge, such at the mathematical and philosophical schools in ancient Greece. From these, he can trace symbolism to modern Freemasonry. Fascinating in its breadth, The Arcane Schools draws on seemingly every society and era to pull the history of humanity into a single narrative. Those interested the arcane and occult, as well as those with a newly sparked interest in symbology, will find Yarker's book a fascinating and informative read.