Tag Archives: history

A Critique of the Garden of Eden Story in Genesis

The “Garden of Eden” story in the Book of Genesis has always bothered me. It’s not a matter of criticizing this bit of religious legend because I disbelieve in it or the religions which claim it as their own. I’m pretty alright with most forms of the Abrahamic strains and the values they champion in society. I just find this to be poor story telling.

The Earth Always Required Tilling
In Genesis 2:5, God had created a barren Earth, with no vegetation because no rain had yet been sent and no man had yet tilled the soil. God then creates man (2:7), and then God, Himself plants a garden and causes every sort of good and edible plant to grow and then places man in that garden to “till it and tend it” (Gen 2:15).

God Knows He’s Dealing with Humans
In the middle of the garden, God placed the tree of life and the tree of knowledge of good and evil (Gen 2:9). We can only assume that there was a purpose for God to place the two trees so near each other, but the document never explains if there is any reasoning for this.

God then says; “Of every tree in the garden you are free to eat; but from the tree of knowledge of good and evil you shall not eat; for as soon as (in the day that) you eat of it, you shall die (Gen 2:16-17).”

Context and audience should be of utmost concern in a narrative in order to understand the intent of God’s instruction. God was talking to a man, and the following verses where God creates a woman to be his companion assure us that it was a male human He was addressing.

And humans die. It’s just what we do.

Despite the standard theological stance that Adam and Eve were created immortal, the document of Genesis never actually makes this statement.

To a human; “If you eat that, you’ll die!” would logically be understood by a human to mean that it is toxic in some way and will kill them within a day or so.

It does not however coincide harmoniously with a statement such as; “I know I put that tree right smack in the middle of your smorgasbord, but if you eat from it I’m going to kick you out of the garden, make you work like a slave, and THEN after 900 years you’ll die.” So God is not quite being fully honest about his intentions or plans involving the man who is being expected to trust Him.


The Serpent is Punished for Telling the Truth
In Chapter 3 verse 1, the shrewd (arummim) serpent shows up, and asks the woman; “Did God really tell you not to eat the fruit from the trees in this garden?” And the woman explains that it is from the tree of knowledge of good and evil that the humans are not allowed to eat or even touch because they will die.

The serpent says; “You are not going to die, but god knows that as soon as you eat from it your eyes will be opened and you will become like divine beings who know good from bad.” Once again it is a human being addressed here. It is a fact that death is a natural part of the human condition and Genesis does not suggest otherwise.

So with full consideration for the participants in the dialogue of the storyline we can address the statements being made in proper context.

First of all when asked if it was true that God had forbidden them to eat the fruit of the garden, Eve answered that if they even touch it they would die. This is obviously an inaccurate statement and the serpent informs Eve of such.

The truth turns out to be precisely as the serpent states it; the fruit does not kill them, it opens their eyes to the difference between right and wrong, good and bad, modesty from immodesty. These are all traits valued by civilization.

There is no evidence for a rational accusation of deception on which to indict the serpent. On the contrary, the only information we have on him is that every statement he makes in Genesis can be substantiated within the text.

The story does not tell us whether or not the serpent knew how God would react to their eating of the fruit. This seems like a vital plot detail to be left out if this was how the author intended it to be understood.

But God does react, doesn’t He? Upon finding Adam and Eve clothed in modesty because they ate from the tree of knowledge and now were wise like gods, the man’s integrity automatically collapses as he blames his wife.

God then confronts Eve and she alleges that the snake duped her. This accusation has no merit. All of the serpent’s statements have been solid, but God does not even take a statement from the serpent. Instead God just curses him.

Still there has been no explanation as to why God put that tree in the garden in the first place if he didn’t want humans to eat from it.

There is a mighty intelligent reptile in this story, though. Perhaps the tree was there for the animals to eat and learn good from evil, but not for humans?. How else could the serpent have been so wise?

Are the Curses Really Curses?
The next thing God does is curse the woman with painful childbirth and then the ground with difficult tending. Here we see elements from an ancient fertility cult. It’s fairly common in most indigenous religions and philosophies to see a connection between agricultural cycles and female reproduction, so it is a natural connection to make between more difficult childbirth and more difficult farming.

However, this unfortunate obstacle only requires human ingenuity to develop agriculture in order to overcome it. Tilling the soil is something that the ground required anyway (Gen 2:5) and something Adam was doing already (Gen 2:15).

The discovery or invention of agriculture is the main driving force for civilization and necessarily leads to food surpluses, vocational specialization, the market, economics and an overall higher standard of living. It’s difficult to view this as a bad thing. But then it’s also difficult to see acquiring knowledge of good and evil, morality and immorality as being a bad thing.

God says; “by the sweat of your brow you shall get your bread to eat until you return to the ground from which you were taken. For dust you are, and to dust you shall return (3:19).”

This curse does not really imply that death is anything new. It sounds more like the type of thing that might come during a breakup or a domestic dispute; “You’re going to work lousy job’s your whole life! You’re nothing but dirt anyway! You came from dirt and you’re always going to be dirt!”

Certainly none of this should be taken literally. I think it was never intended to be anything more than a deeply thought-provoking story to teach community values through proto-historical metaphor and allegory. It’s just poor story telling.


Lughnasadh: Harvest of Life

The Irish Celtic Festival of Lughnasadh is traditionally celebrated on August 1st but extends throughout much of the month. It is the first genuine harvest festival of the year and it coincides directly with the Anglo-Saxon holiday of Lammas.



The holiday is named for Lugh, the Irish hero of light. His name derives from the word for lightning and illumination. Amongst Germanic peoples, this day was sacred to the god Thor: the god of thunder, storms and agriculture. Thunder and lightning are obvious signs of rain and storm which are naturally an important ecological phenomenon for agricultural societies.

Lugh is of course more than a simple agricultural deity. As a patron of light, Lugh is the embodiment of all things light represents: intelligence, knowledge, wisdom, enlightenment. Science and artistry are also considered to have been invented by Lugh. Considering his close association with the Roman god Mars, Lugh is a patron of martial prowess, which is perhaps best exemplified through his son Cuchulain. All of these attributes, whether agricultural or innovative attest to Lugh as a god of wealth, the guardian and benefactor of the tribe’s prosperity.  It is probably more than mere coincidence that this time of year in Anglos-Saxon tradition, bondsmen would pay their rent.

This holiday, along with Imbolc, Beltane and Samhain represent the four main festivals of the medieval Irish calendar.  As the first true harvest festival in the seasonal cycle, Lughnasadh has certain associations with death.  In fact, the name itself translates roughly as “the wake of Lugh.”  Whereas holidays in the earlier seasons coincide with increasing life, harvest festivals are the first signs of the summer’s demise.  With the summer day’s becoming noticeably shorter at this time, it becomes quite obvious that winter’s grip is only a short way off.  Although the theme of a wake is a significant part of the festival, the overall atmosphere is generally one of joy and revelry.

The legends tell us that Lugh established the harvest fair of Lugnasadh in honor of his foster-mother Tailtiu at the Town of Teltown in County Meath.  Tailtu’s death was a necessary component in establishing the growing of the crops and the abundant harvest that follows.  These celebrations quite often resembled today’s Scottish Highland Games. Lugnasadh often involved horse races, and martial arts displays or competitions.  Competitive games such as chess were also a part of the festivities, representing Lugh’s victory over the Fomorian King Bres who previously controlled the powers of the Harvest, establishing the Irish agricultural tradition.

                     

Lugh is the hero of Light. For this reason he is often compared with the Sun, since the Sun is the greatest source of light with which humans and earthly crops interact. As a hero of Light, Lugh is also called Samh-ildánach, “the many gifted one,” because of his multiple skills in all the arts and trades.  Just as darkness represents ignorance, Light represents knowledge, and in this case knowledge of many, if not all things. In the old legends we find that Lugh (representing the Sun) conquers the Fomorians (representing darkness, ignorance and oppression). When this is done, Lugh wrestles from the King of primitive darkness the knowledge of cultivation and the harvest.

This is a celebration of the Harvest.  On this day families gather together to give thanks for the bounty of the Harvest and to reenact the mythological event that brought the Ancestors from a life of oppression and into a life of abundance with the knowledge of agriculture. It must be remembered that it is only with this knowledge that humankind has managed to not only survive, but to thrive in even inhospitable environments. It is agriculture that has allowed human beings to settle lands, build defensive structures and over all make life safer for acquiring food. This has allowed civilization to flourish and become specialized, developing art, literature, economics, and other remarkable aspects of material culture.

Pong to Pokemon, the Evolution of Electronic Gaming Opening Night!

Tonight I attended opening night of a brand new exhibit at the Bullock Texas State History Museum in Austin; Pong to Pokemon, the Evolution of Electronic Gaming.


Just as the name suggests it was a pretty neat walk through the history of video games from the earliest home terminal, Pong through the decades’ most popular video and computer games.  There were exhibits of everything from Atari and Activision games like Pitfall and E.T. the Extraterrestrial that I spent so many hours of my youth playing.



There were even really early games like Zork, and the Oregon Trail and of course, Pong.
There were arcade games like Pac-man, and Street Fighter, Nintendo games like Super Mario Bros., Sega games like Sonic the Hedgehog and many more.  A lot of these games were actually interactive and you could play them as they were designed.
The only thing missing as I could tell was anything to do with Pokemon Go, though I may have just missed it even though I pretty thoroughly explored the exhibit.
 Check out the video below!

 



Finnegan’s Wake, a Glance at Irish Mysticism through Lyrical Satire

 

Finnegan’s Wake is amongst my favorite traditional Irish songs and it has been a staple of the Irish balladeer’s repertoire since the middle of the 19th century. Over the past several decades it has been covered by great and legendary Irish bands like The Clancy Brothers & Tommy Makem, The Dubliners, the Pogues, and most recently the Massachusetts-based Dropkick Murphys.  However, like much of Irish lyrical tradition stretching back to the ancient bards “Finnegan’s Wake” is in reality a work of deep esoteric value cleverly disguised as a silly drinking song that only the initiated were likely to fully comprehend.

At Face Value

The story tells of Tim Finnegan, a poor construction worker with a love for the liquor who drank a bit too much before work one morning, fell from a ladder, broke his skull and died. Upon the eve of his wake his friends and relatives arrive at his home to mourn him.  Biddy O’Brien begins crying loudly and is essentially told to shut up by one Paddy McGee.

Once Maggie O’Connor gets involved in the exchange telling Biddy she’s wrong, Biddy punches her in the mouth, leaving her ‘sprawling on the floor.”  Then all Hell breaks loose as the entire house becomes engaged in a brawl “woman to woman and man to man,” brandishing their shillelaghs, the classical Irish club.

A bottle of whiskey is thrown across the room, just barely missing Mickey Maloney, and instead landing on Tim Finnegan’s bed with the whiskey scattering all over his body. At that point Tim revives and “rises from the bed,” and delivers the punch line of the ballad; “Whittle your whiskey around like blazes, Thanum an Dhul![1] Do you think I’m dead?”

 

The Mystery Unveiled

While this ballad is typically considered a comical drinking song, it actually gives us a glimpse into an old Irish and western mystical tradition.

Tim Finnegan is a construction-worker. Although this was a common vocation amongst Irishmen throughout the 19th century, there is much more being said here than meets the eye, or ear.  As the lyrics clearly tell us “to rise in the world he carried a hod.” A hod is a tool used for carrying bricks and mortar, telling us that Mr. Finnegan was, in fact a mason. Since no later than 1717 AD the repository for esoteric wisdom in Western countries has been the order of Free and Accepted Masons who trace their historic origins to the medieval stone masons guilds, and from there symbolically to the ancient builders of Greek, Egyptian and Israelite temples.

Let us also take note that Tim Finnegan carries his hod “to rise in the world.” In Freemasonry, it is said that a candidate is “raised” to the degree of a Master Mason. Freemasonry also makes use of the symbolism of death and resurrection through the allegory of the architect Hiram Abiff.

Architecture, construction work and craftsmanship have been metaphors for mystical knowledge going back thousands of years. In ancient Irish mythology the three brothers Luchta, Goibniu, and Credne are known as the Trí Dée Dána (the three gods of art).  Each represented the respective trades of carpentry, blacksmithing, and silver-smithing, and they crafted the weapons which the Tuatha Dé Danann (Irish ancestor gods) used to conquer the Fomorians (Irish beings of chaos and darkness).

In ancient Egypt, the god Ptah was the patron of craftsmen and architects, and he was closely associated as an aspect of the dying and resurrecting god Osiris.  Both of these deities were incorporated by the Greeks into the god Dionysus, well known as a patron of wine and spirits.  It is more than coincidence that Jesus of Nazareth, perhaps the most well-known dying and resurrecting god is often cited as having been a carpenter before he began his spiritual mission and he, much like his forebears also had an affinity toward life-giving and preserving drink.

A further look at the lyrics of this ballad reveals that at the wake of Finnegan they placed a gallon of whiskey at his feet and a barrel of porter at his head. This sentiment is echoed in the Irish ballad “Jug of Punch” in which the balladeer requests upon his death “just lay me down in my native peat with a jug of punch at my head and feet.”  This is a particularly Irish rendition of the tradition found amongst the world’s cultures of making sacramental offerings to the dead.  The making and pouring of libations is well documented in European traditions.

As mentioned previously, Jesus, Osiris and Dionysus are not only associated with death and resurrection, they are all three also closely associated with drinking rituals. Amongst other things, Dionysus is a god of wine. Osiris is said to have taught the world the art of brewing.  Jesus turned water into wine. Similarly, the Irish craftsman-god Goibniu also brewed the beer of immortality.

The English word whiskey is derived from the Irish Gaelic uisce beatha which translates as “the waters of life.” So when the whiskey scatters across the corpse of Tim Finnegan, it literally, magically and sacramentally imbues him with life; a spiritual conception which stretches back through centuries of esoteric tradition.

Conclusion

The dying and resurrecting god is not just a rhetorical device for dramatic affect. To ancient civilizations death and rebirth are symbolic of the annual cycle, the dying and rebirth of the summertime, the growing season and of the sun, so often symbolic of divinity. This symbolism has been revised, reincorporated and redistributed as a multitude of myths, legends and doctrines throughout the world in order to teach each civilization or cult’s particular perspective on the meaning of creation.

A creator god’s primary attribute is creativity, and this trait has been imitated through the creative works of humans whom are believed to be made in the divine image. Art, music, agriculture and most especially architecture has long been associated metaphorically if not literally with godliness, and enlightenment.
Finnegan’s Wake is far more than just another drinking song. It is a humorous retelling of an ancient initiation myth.  Tim Finnegan is not just a drunk construction worker who died and came back to life.  He is the personification of the mystery of the dying and resurrecting god represented in the form of Irish lyrical satire.

[1]d’anam ‘on Diabhal. a common curse: your soul to the Devil, from the Irish D’anam don Diabhal


Mento Music: Reggae’s Granddaddy

Mento music is a little known style of folk music and dance native to the island of Jamaica that saw its commercial peak in the 1950s.  Sometimes called Jamaican Calypso, it is closely related to that Trinidadian musical form.

Mento bands usually consist of small groups of musicians. Acoustic guitar, fifes, maracas, and the rumba box are all typical elements in the musical production. Banjo however, seems to be central in traditional Mento. Particularly rural groups often featured hand-made instruments such as the bamboo clarinet and saxophone.

A unique style of music, mento is the lineal forebear of reggae, and like blues it is a blend of European folk musics, especially of the British Isles and Spanish influence along with many elements of traditional West African music.  For reasons that are more intricate than this blog-post is prepared to delve into, Trinidadian Calypso was more marketable than Jamaican Mento, and by the middle of the 20th century it had become the music of the Caribbean.

After Calypso lost its commercial appeal record companies decided to make jazz the new music of the Caribbean and began importing jazz musicians into the islands.  Jazz didn’t take root like they had hoped but this injection of fresh blood mixed with the rootsy sound of the Jamaican shanty towns and the new sounds coming from the United States over short-wave radio resulted in the creation of Ska.

Ska was an upbeat dancehall style of music comparable to America’s old rock and roll, recognizable for the guitar skank rhythm style. With the heavy injection of ganja culture, ska superstars such as the Wailers began slowing down their tempos creating the short-lived style rocksteady – best thought of as what I think it really is: a small bridge between ska and reggae.

Reggae emerges with the dominance of Rastafarian philosophy in the previous style, with typically even slower, more intricate rhythms, lyrics with deep spiritual and socio-political messages. Bob Marley, Peter Tosh, and Toots and the Maytals all played defining moments in ska, rocksteady, and reggae, but none of them would have been as significant without Mento.

           

Below is my cover of “Miss Constance,” a traditional Mento tune available for download here.


 

 

The Movie “Silence” was Painfully Boring

Silence theatrical release poster

I went with a friend to see the movie Silence.  It looked good and seemed interesting in the previews, and has good reviews online, but to me , it was really slow and boring.

The plot revolves around two Catholic Priests from Portugal in the early half of the 17th century who embark on a trek to Japan to find their missing comrade, and to further missionize the island during a time a great suppression of the religion by the Tokugawa shogunate.

With such subject matter you might think this would be an epic masterpiece of, but instead it was just undynamic and uninspired.  The characters seemed flat and undeveloped, and there was virtually no action at all.  Good movies tend to have peaks and valleys. This was all valleys. The subject matter was pretty heavy, with the persecution of Christians in Japan during the early half of the 17th century, but I didn’t sense any real depth to the story or characters and comic relief was almost non-existent. That’s just the production side.

I also felt like it portrayed Buddhism as a sinister, despondent cult with no redeemable doctrine. While it emphasized the atrocities committed by the Japanese government against the Christians, portraying Christianity as if it would deliver the people from such abuse, it ignored that at the exact same time in Europe the witch-burnings and torture and killings of heretics was at its height. So, not only did I find the movie boring, I felt like it insulted my intelligence.

If you’re interested in watching Silence because you hope to see representations of feudal Japanese society and samurai customs you’ll be disappointed as there is virtually no culture portrayed in this film.

While watching it I felt like director Martin Scorsese and writer Jay Cocks were more interested in creating sympathy and a sense of righteousness for the Jesuit priests than they were in telling a good story.  I can understand why practicing Catholics and other Christians may find the film as providing some form of credibility for their faith, but  I just was not satisfied.

I really found the movie to be uninspired, uninteresting, and unenjoyable. It was painfully boring.

    


The Wise Words of Tecumseh

Tecumseh02“So live your life that the fear of death can never enter your heart. Trouble no one about their religion; respect others in their view, and demand that they respect yours. Love your life, perfect your life, beautify all things in your life. Seek to make your life long and its purpose in the service of your people. Prepare a noble death song for the day when you go over the great divide.

Always give a word or a sign of salute when meeting or passing a friend, even a stranger, when in a lonely place. Show respect to all people and grovel to none.

When you arise in the morning give thanks for the food and for the joy of living. If you see no reason for giving thanks, the fault lies only in yourself. Abuse no one and no thing, for abuse turns the wise ones to fools and robs the spirit of its vision.

When it comes your time to die, be not like those whose hearts are filled with the fear of death, so that when their time comes they weep and pray for a little more time to live their lives over again in a different way. Sing your death song and die like a hero going home.”

~ Chief Tecumseh

          


Mardi Gras – A Primer

Mardi Gras is a big event in my native home of the Southern Gulf States. It is celebrated heavily between Florida, Alabama, Mississippi, Louisiana, and Texas. I’ve even seen evidence of attempts at celebrating it as far west as Monterey, California, but nobody does it like home. Although New Orleans is thought of as the home city of American Mardi Gras, the first American celebration of the holiday took place in Mobile, Alabama in 1703.

mardi_gras

Coming from the French tradition, Mardi Gras is similar to the Carnival traditions found throughout Europe and Latin America. It tends to occupy several weeks before and on Fat Tuesday, the day before Ash Wednesday and the beginning of Lent.

Lent being a 40 day period of fasting and abstention in the Catholic tradition, Fat Tuesday and the days leading up to it is a time to let it all out, to party, to drink, and for many to sin.  As such it is a festival season celebrated with wild abandon, parades, carnivals and debauchery. Costumes and masks are an important part of the festivities, epitomized by the classic theatre masks.

A Mardi Gras parade can be a rowdy affair.  As the parade floats pass by (each one manned by a krewe, or in Mobile a “Mystic Society”) the attendants compete for cheap plastic beads and trinkets, and aluminum doubloons.

King cake is a tradition going back to the old world. The New Orleans variety consists of a twisted cinnamon roll iced with the colors of the holiday: purple, gold, and green. Traditionally, inside the king cake would be hidden a little plastic baby signifying the baby Jesus, but is often just referred to as the Mardi Gras baby. Whichever person gets the piece with the baby inside is promised a prosperous year.

As much as Mardi Gras is about the festival and indulgence, it should not be forgotten that this is leading up to a 40 day period of fasting. This is a significant time of year. To the ancestors this season heralded in a time of scarcity as the winter stocks began to dwindle before the season’s crops could provide any sustenance. Though the celebrations may seem excessive, it is intended to be followed by a month on penance and discipline.


Freemason Albert Pike and the Luciferian Quote

Conspiracy theories are popular on the internet.  A simple web search on almost any government agency or religious organization is bound to turn up at least a few web sites dedicated to “exposing” some secret government agenda that’s all a part of the “illuminati” master plan.

Albert_PikeA favored subject for these conspiracy enthusiasts involves a man and Freemason by the name of Albert Pike.  The story goes; Albert Pike was the Head of Freemasonry in the 1800’s and that he wrote a book called Morals and Dogma which spells out the regulations of being a Freemason.  There is a passage that is recited over and over by conspiracy enthusiasts that “reveals” that the god of Freemasonry is none other than Lucifer himself!

The quote goes;

“That which we must say to the world is that we worship a god, but it is the god that one adores without superstition. To you, Sovereign Grand Inspectors General, we say this, that you may repeat it to the brethren of the 32nd, 31st and 30th degrees: The masonic Religion should be, by all of us initiates of the higher degrees, maintained in the Purity of the Luciferian doctrine. If Lucifer were not God, would Adonay and his priests calumniate him?

Yes, Lucifer is God, and unfortunately Adonay is also god. For the eternal law is that there is no light without shade, no beauty without ugliness, no white without black, for the absolute can only exist as two gods; darkness being necessary for light to serve as its foil as the pedestal is necessary to the statue, and the brake to the locomotive….

Thus, the doctrine of Satanism is a heresy, and the true and pure philosophical religion is the belief in Lucifer, the equal of Adonay; but Lucifer, God of Light and God of Good, is struggling for humanity against Adonay, the God of Darkness and Evil.”

When I first found this quote was I intrigued by it and wanted to look it up for myself.  Ever since my earliest college days I was taught to always double check my sources so this seemed natural to me.  The first thing I noticed was that although I could find the “quote” referenced in numerous places on conspiracy sites, always attributed to Albert Pike and Morals and Dogma, never once could I find a page number listed on any of these sites.  That’s because it’s not real.

          

Albert Pike was a Confederate General who led a brigade of Native American soldiers during the American Civil War.  He was credited as a crusader for justice for Native Americans, a prominent Washington lawyer and a philosopher.  He was also a Freemason.  He was not the head of Freemasonry.  For several years he was the head of one jurisdiction of the Scottish Rite, an organization subordinate to Freemasonry.  This was the was the Southern Jurisdiction of the Scottish Rite, which includes most of the western United States as well as the South.  In 1871 he published a book called Morals and Dogma, in which he discussed a vast array of the worlds religions and tried to associate their mythic legends to the lessons taught in Freemasonry.  This book was given as a gift to Scottish Rite Masons in the Southern Jurisdiction for nearly 60 years.  It however, is not the “rule book” of Masonry as some people have claimed but rather the philosophical work of its author.  The infamous “Luciferian Quote” does not exist between its covers.

The origin of this “quote” is from a book entitled Woman and Child in Universal Freemasonry published by Abel Clarin de la Rive.  The “Luciferian Quote” in this book is credited in a foot note to a woman by the name of Diana Vaughan.  Diana Vaughan was a character introduced in the writings of a man named Marie Joseph Gabriel Antoine Jogand-Pagès who wrote under the pen name Leo Taxil.  For obvious reasons I shall use the pen name when referring to him from here on.

Taxil wrote what he called a history of Freemasonry, in four volumes which claimed to contain eye witness accounts of Masonic Satanic activity.  Another book written in 1894 by Leo Taxil and “Dr. Karl Hacks” was titled the Devil in the Nineteenth Century.  This is the book that introduced the character of Diana Vaughan who was supposed to have been involved in Satanic Masonry and an informant for Leo Taxil.

The “Luciferian” quote has ever since been repeated by anti-Masonic conspiracy enthusiasts even though its real creator Leo Taxil admitted his hoax.  That’s right!  On April 19, 1897 Leo Taxil called a press conference with the pretension of introducing Diana Vaughan to the public.  When the press was assembled, Taxil began a speech in which he admitted that he had in fact been perpetrating a hoax and that all of his secret information about Freemasonry was a fabrication.

For rational people, this ended the concern over the “Luciferian Quote.”  But the irrational and those who have a vested interest in hating Freemasonry still like to throw the quote around, attributing it to Albert Pike even though it is a well known fraud.  The myth has been perpetuated by the preacher Pat Robertson, and it has been republished by Jack Chick in his Christian comic books since 1991.  The quote can also be found splattered cross the internet on countless misinformed conspiracy sites.

An elaborate hoax, even when its creator confesses his misdeed carries on down through the generations by liars and imbeciles who’d rather believe in fantasy than take the time to investigate the facts.  It is no wonder they are so quick to condemn the hearts of others whom they don’t understand when they know full well the amount of deceit in which they themselves willingly participate.

It is important to remember that facts are things, things that are REAL.  They can be analyzed, scrutinized and proven.  They exist because they do, not because you want them to or because you believe they do.  So no matter how much they choose to believe otherwise and ignore the facts and the confession of Taxil, the infamous “Luciferian Quote”—often falsely attributed to Albert Pike is simply a fantasy.

UPDATE:

The image below was added in response to a commenter who claimed the quote exists on page 321 of Morals and Dogma.  As the reader can see, it does not.

Page 817 is offered too, because that was his initial (though admittedly wrong) page assertion.