I 5 | Between the Square and the Compasses
There is one particular subject which on examination reveals a most remarkable parallelism between the Far-Eastern tradition and the initiatic traditions of the West. This is the question of the symbolic values attached to the compasses and the square. As we pointed out earlier, these clearly correspond to the circle and the square;[1] that is, they correspond respectively to the geometrical figures representing Heaven and Earth.[2] Masonic symbolism, in conformity with this correspondence, normally places the pair of compasses on top and the square underneath.[3] Between the two symbols we usually find the Blazing Star which is a symbol of Man[4] and, more specifically, of 'regenerate man':[5] with it, the Great Triad is completed. It is also stated explicitly that 'a Master Mason always finds himself between the square and the compasses'-in other words in the very 'place' in which the
Blazing Star is inscribed. As this 'place' is none other than the 'Invariable Middle',[6] this means that the Master is being equated with 'true man' exercising the function of 'mediator' midway between Heaven and Earth. This equation is all the more exact because-at least symbolically and 'virtually' if not in actual fact-Mastery represents completion of the 'lesser mysteries'; and the goal of these mysteries is, precisely, the state of 'true man'.[7] In other words, what we have here is a set of symbols that is strictly equivalent to the symbolism we have already encountered in various different forms in the Far-Eastern tradition.
We would like to mention another point while on the subject of Mastery. The characteristics of Mastery as we just described them correspond to the final grade in Freemasonry, and this fits in perfectly with the fact we have drawn attention to elsewhere,[8] that the craft initiations (along with the initiations derived from them) all relate to the 'lesser mysteries'. This is certainly not to deny that in the so-called 'higher grades' (themselves composed of elements of very mixed origin) we find several allusions to the 'greater mysteries'. At least one of these allusions can be traced back directly to the ancient Operative Masonry, and this shows that originally Freemasonry was capable of opening perspectives onto regions that lay beyond the bounds of the 'lesser mysteries'. What we are specifically referring to here is the distinction made in Anglo-Saxon Freemasonry between Square Masonry and Arch Masonry. In the transition 'from square to arch' - or 'from triangle to circle',[9] to use the terms adopted by eighteenth century
French Freemasonry to describe the same thing-we come back once again to the fundamental opposition between square (or, more generally, rectilinear) figures as representative of Earth, and circular figures as representative of Heaven. There can therefore be no doubt that we are concerned here with the passage from the human state represented by Earth to the supra-human states symbolised by Heaven (or the Heavens).[10] In other words, what is being described here is transition from the domain of the 'lesser mysteries' to the domain of the 'greater mysteries'.[11]
To return to the parallelism between Western and Eastern tradition, we should add that the compasses and square are not only implicitly present in the Far-Eastern tradition in the sense that they are the instruments used for tracing the circle and the square: they also feature there explicitly. Perhaps the most important single example is their use as attributes of Fu Hsi and Niu Kua. Although we have already mentioned this fact before,[12] we did not then offer any explanation for one feature which at first sight could seem a strange anomaly. What we are referring to is the fact that-as a 'celestial' symbol and therefore yang or masculine - the pair of compasses should strictly speaking belong to Fu Hsi, and the square-a 'terrestrial' symbol and therefore yin or feminine - to Niu Kua. But in fact when Fu Hsi and Niu Kua are depicted together, linked by their serpent's tails which correspond exactly to the two serpents of the caduceus, it is Fu Hsi who holds the square and Niu Kua who holds the compasses.[13] We do not have to look very far for the cause of this
inversion, because what we have here is the same exchange of attributes that we mentioned earlier in relation to 'celestial' and 'terrestrial' numbers: an exchange which in cases such as this can very appropriately be described as 'hierogamic'.[14] Otherwise it would hardly be possible to explain how the compasses could belong to Niu Kua, especially when we bear in mind that the specific sphere of activity ascribed to her defines her function as primarily one of maintaining the world's stability.[15] What is more, this function allies her with the 'substantial' aspect of manifestation, and stability is expressed in geometrical symbolism by the cube.[16] As far as the square is concerned, admittedly it could be argued that in a sense it is also an appropriate symbol for Fu Hsi in his capacity as 'Lord of the Earth', and serves as the instrument which he uses to measure it.[17] He will then correspond to 'the Worshipful Master who rules by the square', as he is described in Masonic symbolism.[18] But if this is so it is because-
in himself and no longer in association with Niu Kua-he is himself yin-yang, re-integrated in the state and nature of 'primordial man'. From this new perspective the square itself acquires a different significance. The fact that it contains two arms set at right angles to each other invites us to interpret it as the reunion of the horizontal and the vertical; and as we have seen earlier, horizontal in one of its senses corresponds to Earth, or yin, and vertical to Heaven or yang. This is precisely the reason why, in Masonic symbolism as well, 'the Worshipful Master's square is regarded as the union or synthesis of level and perpendicular.[19]
We would like to add one final comment on the stylised depictions of Fu Hsi and Niu Kua. Fu Hsi is shown on the left, Niu Kua on the right.[20] This of course agrees with the preeminence generally attributed in the Far-Eastern tradition to the left over the right, which we explained earlier.[21] But also, Fu Hsi holds the square in his left hand while Niu Kua holds the compasses in her right. Here the connotations of the symbols themselves call to mind the saying we have already quoted: 'The Way of Heaven has preference for the right; the Way of Earth prefers the left'.[22]
By way of summary, an example such as this shows very clearly how perfectly coherent traditional symbolism always is. But at the same time it also shows that it will never lend itself to any form of more or less rigid 'systematisation'. The reason for this is that
traditional symbolism must remain capable of responding to and reflecting each and every one of the countless varying perspectives from which everything in existence can be viewed. Thanks to this, it opens up possibilities for understanding which are literally unlimited.