Seven Deadly Habits Of The Miserable Millionaire, Intro # 2

Main Road to Misery, High Road to Hell: False Identification With The Ego

‘To be – or not to be – that is the question’ – Hamlet

Do you want to know, deeply, who you really are and why you’re here (living on this planet)?  Then click this link.

Most people don’t. Most people cannot. Most people totally unconsciously identify themselves in terms of their social conditioning, beliefs and the expectations put on them by others? Meaning, you might reasonably define yourself as: I am a man, I am English, I am thin, I am a millionaire, I am unhappy, I am Jewish, I am an alcoholic, I am an engineer, I am a feminist, I am black, I am gay, and on and on and on and on… defining yourself by specific external reference points. These reference points are supremely compelling. They are also ‘valid’ in a sense of the word. There is often objective, scientific, empirical evidence to support them. There are others (maybe millions of you) who share the same sense of identity. You get to ‘belong’ to a group, a nation, a culture, a religion, a movement, a cause. You could be on a mission. You could have a ‘purpose’. You could achieve great things. You could be a contender.

But this is still not ‘the truth’ of who you really are. Identity is not the same as the true self. It’s not innate. Identity is an adopted self-concept. Learned. Conditioned. It symbolises the true self, but only exists as it’s shadow. It can flood you with emotions (that go down as soon as they go up) but it cannot give you the stillness and security of true joy. Thus, the sobering reality is that the more you are attached to your self-concept the less authentic happiness you are fooled into settling for – because true happiness cannot show up when we focus on a falsehood. Because I say so? No! Look around. Look at the News. Look in the mirror. Look at the scales. Look at the suicide statistics!

False Identification is the primary cause of all your pain and suffering, and all – as Shakespeare said in the ‘to be or not to be‘ speech – the heartache and the thousand natural shocks that flesh is heir to’. I’d go even further and assert that ‘False Identification’ is now and always has been the root cause of all human suffering and conflict – globally. All the other ‘habits’ are mere symptoms of this overarching dilemma.

One way to begin to exit the dilemma, and enter deep, lasting happiness is to shift the importance of these False Identifications from ‘definition’ to ‘expression’. To detach yourself from them and acknowledge that ‘who you really are’ is far, far greater than the personality, religion, nationality or job you do. For example you could say, I am expressing myself for now as ‘black, gay, woman, Christian, feminist, fashion designer’, or whatever. This begs the question, ‘then who am I really?’ And, by asking this question from that place of authentic enquiry, you are now opening up a higher level of your consciousness to allow the truth to speak to you in whatever way is perfect for who you are, where you are, and what you need to deal with in your life.

These are not the easiest shifts to make and questions to ask. If you are at a ‘life fulcrum’ and would like some assistance, then do, please, get in touch.

If you’re interested in how Shakespeare has, under the noses of the orthodoxy, sneaked in the ‘forbidden’ keys to deep, lasting happiness, and spiritual fulfilment – read this astonishing book: Shakespeare’s Revelation. 

Let’s talk.

Deadly habit # 1

 

The Authorship Question: Shakespeare’s masterly whodunnit? 

It is indisputable that whoever wrote ‘Shakespeare’ was a genius. It’s also obvious that he (or she, or they) wanted the authorship to remain anonymous – for a very long time. How would a genius maintain his cover for eternity? By doing what, say, Agatha Christie, or Conan Doyle, the genii of whodunnits, would do – muddy the water, fill it with red herrings, send us on a wild goose chase. Mischievous deception on a global level is itself a sign of genius.

What is genius?

From Latin, the genius was the guiding spirit, tutelary deity, or ‘daimon’ of a person.
O dear, not the kind of definition academics and scientists like to grapple with! No neat little box to put a daimon in. But even without understanding the deeper meaning of the all-pervasive mystical symbolism (from Midsummer Night’s Dream to The Tempest, via Macbeth and The Merchant of Venice through to Twelfth Night and Hamlet) it’s obvious that the magical, mystical and mysterious forces of nature and spirit were very close to the heart of the author.

However, in excavating the plethora of dangerously ‘heretical’, biblical and mystical symbols, it becomes pretty obvious the author was a spiritual giant, an enlightened being with a very important message to us souls trapped on earth. Elucidated in my book Shakespeare’s Revelation, he defies the orthodoxy and dogma and offers us the (forbidden) key to the liberation of the soul from the prison of the mind and this world of heartache and the thousand natural shocks.

Why the big mystery and conspiracy?

Apart from the dire consequences of being dubbed a heretic (torture, execution, and destruction of all the works) one of the key attributes of mastership is humility. Like Bassanio, who, to find the image of the divine (Portia) eschews the glamour and falseness of gold and silver to choose simple ‘LEAD’, a true master has no need for praise, or recognition.

Suffice it to say, the truth lies in the text. And, throughout the text, Shakespeare poses a far higher order of question we are all challenged to ask and explore. 

To be or not to be – that is the question, n’est-ce pas?

Click this link for a 3-minute revelation.

Contact me, Paul, personally to explore these revelations more deeply.
paul@shakespearesrevelation.com
www.shakespearesrevelation.com

Twelfth Night: a revelation, a farce, or a satire?

Why would Shakespeare name his great farce 12th Night – when it seems to have nothing to do with The (Christian doctrine of ) Epiphany? Hidden in symbols, in the poetry, in invisible ink, is a cutting satire of Christian dogma, the dangerously heretical thread linking the sub-text of all 37 plays and clarifying 2,000 years of misinformation. Dare you see it too? Prepare to have many of your beliefs and dis-beliefs confronted.

Here is (another) allegory of how the (true) Epiphany was the restoration of the the ‘music of the soul’ lost to mankind by the betrayal of Adam in the beginning. Viola represents the instrument by which the veil of darkness is lifted, and (the choice of) love, joy and forgiveness given to Olivia as the symbol of all mankind.

The Epiphany (12th Night)

Given the title, let’s assume this is the context for viewing the play. The Gospel says that after the birth of the Christ, the baby prophesied to be ‘king’, was laid in a manger and shown to the shepherds and the Magi: who symbolically represent the full spectrum of humankind from the lowliest to the most exalted. The Magi tricked Herod, the jealous, tyrant king, to prevent him murdering the baby ‘king’. He exacted his revenge through what is known as ‘the slaughter of the innocents’.

Before we trace the hidden story, let’s contemplate the following banquet of additional symbolism:

The shipwreck

‘In the beginning was the Word… And the Word was made flesh and dwelt among us.’ – John 1

The backstory implies the agency of ‘wind and rain’ (Tempest) to birth the twin souls, Viola and Sebastian, into the land of Illyria. Echoing the ‘curse’ of Adam and Eve in Genesis, they become lost to each other, both believing the other is dead. ‘Wind and rain’, celebrated in the finale, is actually ancient biblical symbolism for ‘the Word of God’.

‘If music be the food of love, play on’ – Orsino

So often, the opening line or scene has cryptic allusions to the sub-text. Here is no exception.

Orsino is an anagram of ‘orison’ meaning ‘prayer’. Mankind’s prayer for liberation from suffering?

In the context of the Epiphany, the ‘food of love’ suggests the Eucharist: the bread, the body of Christ, the Word made flesh, ‘eaten’ in remembrance of the Christ action. Now, significantly, the body is revealed for the first time to the world in a manger (French: to eat), a vessel for holding food. A ‘manger’ also symbolises the ‘Holy Grail’, the vessel containing the bread and wine, the body and blood, sound and light, reuniting for the holy communion.

‘I had rather hear you to solicit that [that you love me] than music from the spheres’ – Olivia

The music of the spheres is the music (mystical sounds e.g. as described in The Tempest) said to emanate from the soul and draw us home to the Godhead (See: Lorenzo – Merchant, Ferdinand – Tempest, et al).

Olivia seems to symbolise the archetype of the soul (native hue) of all mankind veiled, (sicklied o’er) and hidden behind the shroud of darkness, death, melancholy and sadness (Hamlet, Antonio). She is immediately drawn to hear the young ‘man’ called Cesario – i.e. Viola disguised as a man. Cesario means King.

‘We will hear this divinity” – Olivia

Viola

A Viola could well be the name of one of the ‘thousand twangling instruments’ heard by Caliban in The Tempest. A fitting instrument on which to play the soul’s music. Viola, herself, seems to represent the ‘Christ’ sent to reunite the three aspects of God, the trinity: the love, the sound and the light, having been lost in man since the beginnings of time. The awareness of the sound and light of the soul reawakens the love in the hearts of man as the tyrant ruling our inner world is vanquished.

As soon as Olivia sees and hears the divinity in ‘Cesario’ her lost ability to know love is reawakened.

Malvolio, meaning ill-wisher, or one of mal-intent. As notably as was Falstaff (False Self)Malvolio is lampooned mercilessly. Yet the actual language used indicts him clearly as the Satan.

‘The devil, a puritan that he is…’ – Maria

The names Viola and Olivia are close anagrams of each other and each taken from the same letters of ‘Malvolio’.

Feste, the ‘fool’, appropriately so, means both ‘feast’ and ‘celebrate’.

The hidden story

When Viola, the Christ (soul) is revealed to Olivia (mankind) the shroud of darkness and melancholy is lifted and her heart is reawakened with love.

As Olivia’s love is transforming her, her servant Maria engenders a plan to bring down the devil, Malvolio. She tricks him into bringing his false-self to the fore (obsequious smiling) plays to his ‘greatness’, and fools him into being cross-gartered. Cross-gartered, a double-entendre repeated several times, implies ‘tied to a cross’! Thus Maria and her three stoogies ‘crucify’ Malvolio and consign him to a comic representation of hell, ‘the bottomless pit’, as stated the Revelation.

“I say this house is as dark as ignorance though ignorance were as dark as hell” – Malvolio

“And he laid hold on the dragon, that old serpent, which is the Devil, and Satan, and bound him a thousand years, And cast him into the bottomless pit.”- Rev. 20:2-3

The heresy (freedom of choice) Shakespeare teaches us (e.g., Macbeth, Merchant, Hamlet, Henry V, et al) is the irony that when Jesus the man died on the cross it fulfilled the Mosaic law and terminated the rule of Satan. The crucifixion was a futile attempt to kill the Christ, but the resurrection of the soul empowered the consciousness of all mankind – regardless of belief. The fate of Shylock further clarifies this theological gem – showing us how we now have the choice between grace (mercy, and forgiveness) or revenge (the law).

“Alas poor fool, how they have baffled thee!” – Olivia to Malvolio

As the vanquishing of the prince of darkness and mal-intent is complete, Viola and her twin are ‘resurrected’. They are also re-united; symbolising the reuniting of the bread and the wine, the body and the blood, the Sound and the Light with the love. The Trinity (Love, Sound, Light) is again complete. Forgiveness to all is given for the mistakes and confusions made as we stumble in the darkness looking for the light and sound of the soul. Love, joy and happiness abounds.

Malvolio fails to see the humour and vows revenge on all mankind. Finally, a song is sung by Feste celebrating ‘the wind and the rain’, the primal sounds of The Creation, The Tempest, the Word, the music, the wind from heaven, the sounds of the ‘waters’ that created everyone and everything in the beginning (Genesis, John), and reigns once more upon the earth breathing new life and love into the soul of all mankind.

“A great while ago the world began, with hey-ho, the wind and the rain;” – Feste

FOR A MORE THOROUGH DISCUSSION OF THESE THEMES READ SHAKESPEARE’S REVELATION: HIS HIDDEN KEY TO SPIRITUAL FULFILMENT. BY PAUL HUNTING

TO ARRANGE TALKS, JUST MAKE CONTACT:

www.shakespearesrevelation.com
paul@shakespearesrevelation.com