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No. 379 [from The Spectator]
by
The Egyptians, who made use of Hieroglyphicks to signify several things, expressed a Man who confined his Knowledge and Discoveries altogether within himself, by the Figure of a Dark-Lanthorn closed on all sides, which, tho’ it was illuminated within, afforded no manner of Light or Advantage to such as stood by it. For my own part, as I shall from time to time communicate to the Publick whatever Discoveries I happen to make, I should much rather be compared to an ordinary Lamp, which consumes and wastes it self for the benefit of every Passenger.
I shall conclude this Paper with the Story of Rosicrucius’s Sepulchre. I suppose I need not inform my Readers that this Man was the Founder of the Rosicrusian Sect, and that his Disciples still pretend to new Discoveries, which they are never to communicate to the rest of Mankind. [4]
A certain Person having occasion to dig somewhat deep in the Ground where this Philosopher lay inter’d, met with a small Door having a Wall on each side of it. His Curiosity, and the Hopes of finding some hidden Treasure, soon prompted him to force open the Door. He was immediately surpriz’d by a sudden Blaze of Light, and discover’d a very fair Vault: At the upper end of it was a Statue of a Man in Armour sitting by a Table, and leaning on his Left Arm. He held a Truncheon in his right Hand, and had a Lamp burning before him. The Man had no sooner set one Foot within the Vault, than the Statue erecting it self from its leaning Posture, stood bolt upright; and upon the Fellow’s advancing another Step, lifted up the Truncheon in his Right Hand. The Man still ventur’d a third Step, when the Statue with a furious Blow broke the Lamp into a thousand Pieces, and left his Guest in a sudden Darkness.
Upon the Report of this Adventure, the Country People soon came with Lights to the Sepulchre, and discovered that the Statue, which was made of Brass, was nothing more than a Piece of Clock-work; that the Floor of the Vault was all loose, and underlaid with several Springs, which, upon any Man’s entering, naturally produced that which had happend.
Rosicrucius, says his Disciples, made use of this Method, to shew the World that he had re-invented the ever-burning Lamps of the Ancients, tho’ he was resolvd no one should reap any Advantage from the Discovery.
X.
[Footnote 1: Nil proprium ducas quod mutarier potest.]
[Footnote 2: Aulus Gellius. Noct. Att., Bk xx., ch. 5.]
[Footnote 3: Baltazar Grecian’s Discreto has been mentioned before in the Spectator, being well-known in England through a French translation. See note on p. 303, ante [Footnote 1 of No. 293]. Gracian, in Spain, became especially popular as a foremost representative of his time in transferring the humour for conceits–cultismo, as it was called–from verse to prose. He began in 1630 with a prose tract, the Hero, laboured in short ingenious sentences, which went through six editions. He wrote also an Art of Poetry after the new style. His chief work was the Criticon, an allegory of the Spring, Autumn, and Winter of life. The Discreto was one of his minor works. All that he wrote was published, not by himself, but by a friend, and in the name of his brother Lorenzo, who was not an ecclesiastic.]
[Footnote 4: Rosicrucius had been made fashionable by the Abbe de Villars who was assassinated in 1675. His Comte de Gabalis was a popular little book in the Spectators time. I suppose I need not inform my readers that there never was a Rosicrucius or a Rosicrucian sect. The Rosicrucian pamphlets which appeared in Germany at the beginning of the 17th century, dating from the Discovery of the Brotherhood of the Honourable Order of the Rosy Cross, a pamphlet published in 1610, by a Lutheran clergyman, Valentine Andreae, were part of a hoax designed perhaps originally as means of establishing a sort of charitable masonic society of social reformers. Missing that aim, the Rosicrucian story lived to be adorned by superstitious fancy, with ideas of mystery and magic, which in the Comte de Gabalis were methodized into a consistent romance. It was from this romance that Pope got what he called the Rosicrucian machinery of his Rape of the Lock. The Abbe de Villars, professing to give very full particulars, had told how the Rosicrucians assigned sylphs to the air, gnomes to the earth, nymphs to the water, salamanders to the fire.]