THE BUILDER NOVEMBER 1920

SYMBOLISM OF THE LION'S PAW

To explain clearly the symbol of the Lion's Paw, as it relates to Masonry, is
a difficult matter.  Mackey terms it a symbol of recognition, so-called
because of the rude resemblance made by the hand and fingers to a lion's
paw.

The emblem of the Lion's Paw was found in the sarcophagus of one of the
great kings of Egypt, entombed in the Pyramid erected to his everlasting
remembrance.  It brings to mind the representation of the king's initiation
into those greater mysteries of Osiris held to be the highest aim of the wise
and devout Egyptian.  It is claimed by some writers that the Hebrews were
probably instructed in the legend of Osiris, and afterwards changed the
whole to accord with the wonderful and wise Solomon and his master
architect Hiram.

Very many Craftsmen reject the death of Hiram only as a myth.

The emblem may be thus explained.  The form that lies dead before the
altar is that of Osiris, the personified sun god, whom the candidate
represents in the drama of raising, lying dead at the winter solstice, slain
by the grim Archer in November, the fatal month in the year of the sun. The
figure of the lion grasping the dead sun god alludes to the constellation of
Leo, which did prevail 4,000 years ago to raise the sun god to his place of
power and glory on the summit of the grand royal arch of heaven at the
summer solstice, and denoted then, as it does now, that the sun or the
candidate is about to be raised from a symbolical death to life and power
by the strong grip of the Lion's Paw; or, as it has been termed, "the lion of
the tribe of Judah." The cross, which the lion holds in his other paw, is the
ancient Egyptian symbol of eternal life.  The figure erect at the altar is
doubtless that of the grand hierophant, with his hand raised in an attitude
of command, forming a right angle, with eyes fixed on the emblematic lion
as he gives the sign of command that Osiris, or the candidate, be raised
from death and darkness to light and life.

It cannot be determined who Osiris was, but he was certainly to the
Egyptians what Jupiter was to the Greeks.  It is even difficult to determine
whether the legend as recorded in mythology is reliable and authentic, but
the lessons sought to be conveyed is the triumph of good over evil or light
over darkness.

If we view the scene that has just been described we see an exact
representation of an instance that occurs in the making of every Craftsman. 
He may look upon the form as somewhat inconsistent, but a little study will
show him that it was quite the reverse, and that his part was enacted by the
devout Egyptian in the days of the most remote antiquity.

The story of the sun starting in weakness and ending in victory, waging a
long warfare against darkness, clouds and storms, and scattering them all
in the end, is the story of all heroism, of all patient sacrifices and of all
Christian devotion.

If there is monotony in the thought of the daily toil of the sun for beings
weaker than himself, of his wrath as he bides his face behind the dark
cloud, of his vengeance as he tramples on the vapours which crowd
around him at his setting, of the doom which severs him from the dawn at
the beginning of his journey to restore her at its close, then there is
monotony also in the bare record of birth and love, and toil and death, to
which all human life may be pared down,

To show that the Lion's Paw had reference to the sun, I refer to a form in
the mysteries of Hindoostan.  While performing a ceremony the candidate
was taught to exclaim, on his arrival each time in the South, "I copy the
example of the sun and follow his benevolent course." This being
completed, he was again placed in the centre and solemnly enjoined to the
practice of religious austerities, as the efficient means of preparing his soul
for final absorption.  In the Mysteries of Bacchus the candidate was
imprisoned in a pastos or cell.  He was alarmed by a crash resembling the
rush of waters bursting with sudden impetuosity from a deep abyss or the
deadening fall of a tremendous cataract, for now was the representation
displayed of the waters of the deluge breaking forth from Hades to inundate
the globe.  The monstrous Typhon, raging in quest of Osiris, discovered the
ark in which he had been secreted, and violently rending it asunder,
scattered the limbs of his victim over the face of the earth, amidst the din
of dissolving nature. The aspirant heard the lamentations which were
instituted for the death of their god, whose representative he was,
accompanied with doleful cries and howlings of men, women and animals,
to symbolize the death-shrieks and exclamations of terror, consternation
and despair which prevailed throughout the world at the universal
destruction of animated nature, and which would undoubtedly salute the
ears of Noah while within the vessel of safety.  Should we follow up the
ceremonies of the various mysteries, we will find that in all instances the
candidate passes from darkness to light, as personified in the Third degree.
 
To ascertain at what period the Lion's Paw was introduced into Masonic
ritual cannot be done; but this is nothing uncommon with our ancient
Order.  Even its origin is clouded in uncertainty.  Associated with the Lion's
Paw is a code or covenant called the Five Points of Fellowship.  These five
points, taken together, compose the Mason's creed.  I cannot conceive any
thing more binding, more humane and sympathetic than these five
admonitions.  They contain the fundamental principles of Freemasonry, and
the brother that fully observes them is certainly the ideal Mason.

A. J. Burton in "Freemasons Journal,"
May 17, 1888.

