Opposition To and Criticism of Freemasonry
Main article: Anti-Masonry See also: Masonic conspiracy theoriesAnti-Masonry (alternatively called Anti-Freemasonry) has been defined as "opposition to Freemasonry." However, there is no homogeneous anti-Masonic movement. Anti-Masonry consists of widely differing criticisms from diverse (and often incompatible) groups who are hostile to Freemasonry in some form. Critics have included religious groups, political groups, and conspiracy theorists.
There have been many disclosures and exposés dating as far back as the 18th century. These often lack context, may be outdated for various reasons, or could be outright hoaxes on the part of the author, as in the case of the Taxil hoax.
These hoaxes and exposés have often become the basis for criticism of Masonry, often religious or political in nature (usually by totalitarian dictatorial regimes, but also arising in the historical Anti-Masonic Party in the United States), or are based on suspicion of corrupt conspiracy of some form. The political opposition that arose after the "Morgan Affair" in 1826 gave rise to the term "Anti-Masonry," which is still in use today, both by Masons in referring to their critics and as a self-descriptor by the critics themselves.
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Famous quotes containing the words opposition to, opposition and/or criticism:
“The ancient bitter opposition to improved methods [of production] on the ancient theory that it more than temporarily deprives men of employment ... has no place in the gospel of American progress.”
—Herbert Hoover (1874–1964)
“The opposition is indispensable. A good statesman, like any other sensible human being, always learns more from his opponents than from his fervent supporters. For his supporters will push him to disaster unless his opponents show him where the dangers are. So if he is wise he will often pray to be delivered from his friends, because they will ruin him. But though it hurts, he ought also to pray never to be left without opponents; for they keep him on the path of reason and good sense.”
—Walter Lippmann (1889–1974)
“The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men’s genius. By virtue of style, criticism can itself become literature. But usually this occurs only when the writer is acting as critic of his own work or as outrider to his own poetics, when the criticism of Coleridge is work in progress or that of T.S. Eliot propaganda.”
—George Steiner (b. 1929)