Category Archives: Shakespeare’s Revelation

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.
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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


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


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wake up – you’re dreaming!

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According to Shakespeare (and the ancient masters) if we want deep, lasting happiness, we need to awaken from our (Midsummer Night’s) Dream.

Shakespeare seems to be a key way to link the Bible, ancient mystical knowledge, and the mystery of where the hell to find happiness?

Read these 3 quotes and see if you can sense the thread of truth running through them:

In the beginning was the Word, and the Word was with God, and the Word was God. And the Word was made flesh and dwelt among us. (John 1,1-14)

The Word is the energy of God existing in pure Sound. It is the essence. It is the audible Lifestream that leads us home to God. – Dr. J-R Hinkins, Chancellor – University of Santa Monica.

The Isle is full of noises, sounds, and sweet airs that give delight and hurt not. Sometimes a thousand twangling instruments will hum about mine ears. – Caliban, The Tempest

For nearly 40 years I have been pioneering soul-centred coaching and horse-assisted leadership to enable my clients to put the source of their happiness first in their lives. As Arianna Huffington expresses so eloquently in Thrive, ‘all the great teachers tell us the same (counter-intuitive) truth: if we want deep, lasting happiness, we need to find it inside us – because it’s nowhere to be found in our crazy over-stimulating world!

Speaking of great teachers, the three quotes at the top from John in the Bible, John-Roger, a contemporary Western mystical teacher, and Shakespeare, the greatest ever playwright, poet, and dramatist are all talking about the same, little-known truth, that’s been concealed in symbols and symbols of symbols for thousands and thousands of years. At last it’s being awakened and coming into the light.

Also for nearly 40 years, very discreetly, I have been an avid student of an unorthodox, ancient mystical teaching. Described in the West as the Sound Current, in the East as the Surat Shabdh – it is so scantly-known, crazy-sounding, and ‘heretical’, until I realised Shakespeare was alluding to this throughout his works, I have kept my passion for it very quiet.

Comprehending the ‘Sound Current’ as tough as The Times Crossword to get your head around – but, me, I love the mind-game, credibility-challenge and the bliss that ensues from ‘just doing it’!

Over-simply, it teaches that the soul (true self, source of happiness) is what John refers to in the Gospel as ‘the Word made flesh’. The ‘Word’ being the sound and name of God. Since the Creation, the soul has been put to sleep and we have been trapped in the Matrix-like dream (Maya) of this material-seeming world. We keep reincarnating until our soul wakes up and we find our way out. Liberation from this bondage and the return home to God is freely available to anyone who chooses. We ‘choose’ by attuning to the name, word, or sound vibration that created us – the Sound Current. The key technique is to chant the sacred name of God – in particular, the sound of: ‘HUE’.

When I first saw this ‘controversial’ concept brazenly alluded to in Hamlet, I thought I had simply projected it onto the quote. I could not believe my eyes!

‘Thus the native hue of resolution is sicklied o’er with the pale caste of thought. And thus enterprises of great pith and moment, with this regard, their currents turn awry and lose the name of action.’ – Hamlet (To be or not to be.)

Imagine my reaction when, on checking The Tempest and at least a dozen other plays, I realised Shakespeare had devoted not only this passage, but his entire works to cryptically sharing this forbidden mystical knowledge with all humanity – hidden, in plain sight, throughout!

I was drawn into a rip-tide of meditation, contemplation and revelations that swept me away for two years while I wrote this book. Shakespeare’s Revelation.

Although Shakespeare is using language and metaphors found in the Christian Bible, he’s cryptically telling us of a universal mystical truth that transcends all religious and philosophical doctrine.

Shift that paradigm – enrich your world

If you look at this picture, you’ll either see it as ‘duck’ or ‘rabbit’. Exactly the same information hitting the retina can be processed by the brain in two totally different ways. It’s the same with many things. Yet the ego in man has a penchant for dubbing one perfectly valid perception as ‘the absolute truth’ and the other as ‘heretical lies’.

Let us say the orthodox view of Shakespeare (and the Bible) is ‘duck’. What happens if, instead of arguing that it should be ‘rabbit’, you see the bigger picture – that you can have two perceptions that do not contradict, but value everyone’s point of view and offer greater choice and abundance to all? Could this, perhaps, be the key to world peace and a cleaner environment?

Let me share some of what my rabbit sees as he burrows beneath the surface structure of Shakespeare’s plays. If it rings true for you, great – if not, duck is still beautiful.

Firstly, the rabbit does not see the plays as being separate hillocks on the landscape but all connected via a system of underground tunnels and pathways. Secondly the rabbit sees them not about external people, places, and things – but about internal states of consciousness and archetypes.

The metaphor that we have somehow been ‘drugged’, put to sleep, kind of wake up and ‘fall in love’ with the first thing we see (this world) is seminal to the tale of Midsummer Night’s Dream. It’s telling us what happened to our consciousness in Eden when we ‘ate’ the forbidden fruit of ‘good and evil’ – we were lured into the hallucinogenic dream-like state we call life on earth. A nightmare that lasts for eternity unless we wake ourselves up.

Genesis 3: 3-5, tells the same metaphor this way, the ‘serpent’ beguiles Eve when she says,

‘God hath said, Ye shall not eat of it, neither shall ye touch it, lest ye die’. And the serpent said, ‘Ye shall not surely die. For God doth know that in the day ye eat thereof, then your eyes shall be opened, and ye shall be as gods, knowing good and evil.’

Notice how the language of this passage is closely mirrored by the language used by Theseus (below). Shakespeare audaciously implies that to know ‘good and evil’ is to be blinded to awareness of our soul and our oneness with God, and thus disastrously assume the right to judge and punish in God’s name.

In the opening scene of ‘The Dream’, Theseus chillingly alludes to the Satanic (false-god) archetype of Hermia’s father:

‘To you your father should be as a god; one that compos’d your beauties; yea and one to whom you are but a form in wax by him imprinted: and within his power, to leave the figure, or disfigure it.’

In King Lear, when Lear says, ‘Know that we have divided in three our kingdom.’, the rabbit sees he’s not really talking about ancient Britain, but his inner world where the soul should rightly reign as king, but has been usurped by the two fangs of the serpent – the false selves.

Here we have three sisters representing these three archetypes: Cordelia is the wholeness and perfection of the soul; Goneril and Regan represent the eternal conflict between the part of us that feels (religion-induced) shame and the part that feels anger over this unfairness and pretends righteousness.

In our inner world, the real king is the soul. But deep in our evolutionary history (dramatised in Shakespeare’s history allegories), the soul was usurped by the mind, banished, imprisoned, and forgotten. In our lives today, falsely, the mind still becomes king. No sooner does the soul enter the body of the baby on the first breath, than social demands collude with cognitive development and condition the burgeoning consciousness to conform to ‘normality’ – or woe betide it.

The mind suppresses the real king (the soul), puts a cataract over our inner eye, and rules our life in its stead – arguably the primary cause of all human conflict, pain, dis-ease, and suffering. Until we awaken the soul, we cannot escape that nagging feeling of being lost, forgotten or misunderstood.

In Shakespeare’s unique psycho-spiritual framework, he uses biblical terms to forge his own theology. He has God-Serpent (Satan) motifs, and alludes to the soul as Adam-Eve, the male-female polarity described in Genesis. For the usurping mind, he alludes to the pretenders Cain-Abel, the monstrous, shame-filled hybrid following the intercourse of Eve with the Serpent (Sycorax and the Devil in The Tempest). In each of the plays he casts key characters to act out aspects of these core archetypes and often gives them names that hint at his hidden meaning.

In King Lear, Lear banishes his beautiful, beloved Cordelia for simply being true to herself. He then puts his trust in the toadying, sycophantic ugly sisters Goneril and Regan (funny names?) who flatter him – shortly before betraying him and casting him into the wilderness to face the tempest.

How do we know Cordelia represents, the soul; and Goneril-Regan represent the two false selves?

What’s in a name?

Let the rabbit reveal one of Shakespeare’s favourite forms of invisible ink: anagrams. ‘Goneril’ turns out to be no less than an anagram of ‘Religon’, and ‘Regan’ an anagram of ‘Anger’ containing the word ‘rage’. In reformation England, is he really daring to say that religion is the false god that imprisons our soul? Is he so angry with the Church that he sets up King Lear and his Fool to launch a tirade of contempt and mockery at them?

‘Blow wind and crack your cheeks! Rage! Blow! You cataracts and hurricanoes, spout till you have drenched our steeples…’

But what of Cordelia? You can see the word ‘lear’ inside her name but no anagram that hints at a deeper meaning. But if you listen to the sound of the name ‘Cor-de-lia’, you can hear it singing ‘Coeur de Lear’ (Heart of Lear). And if you look again at the name ‘King Lear’ this too is an anagram of ‘Real King’. Thus the whole play becomes another of his allegories of how to wake the sleeping soul from its somnambulant dream.

Sublimely then, in using a homonym for Cordelia’s hidden meaning, Shakespeare is also alluding to the sound of the soul, the Sound Current. This is (unbeknownst to the orthodoxy) referred to in the Old Testament in myriad symbols including ‘the waters’, in the Gospel as ‘the Word’, the ‘wind from heaven’; and in Revelation, as ‘the voice of a great thunder and the voice of many waters’.

And herein lies the key to unlock the prison of the mind and awaken from the (Midsummer Night’s) dream we believe is life on earth. When Lear is confronted by the tempest (the wind from heaven) it brings about his enlightenment and reconciliation with his heart, his soul, Cordelia.

According to Shakespeare, revealed in The Tempest, we are all forgiven, and chosen to return. Our major work on earth is to know our oneness with God and each other. We can facilitate this awareness by forgiving ourselves for judging ourselves and judging others. By the end of time, not one soul (even the monstrous birth and the incorrigibles) will be lost.

Because of the hidden ‘triggers’ sprinkled throughout the plays as we read or listen to his wondrous verse, the vibration of the poetry is such that without even realising it, in our own perfect timing, we are being reminded of who we really are, why we’re really here, and how to wake up from our dream to our greater reality and our ultimate destiny.

‘We are such stuff as dreams are made on. And our little life is rounded by a sleep.’ – Prospero, The Tempest.

You can enjoy many more astonishing revelations in Shakespeare’s Revelation available from Amazon, Kobo and this website.

Or do contact me to discuss this work and how we can tailor a mentoring/coaching programme to enable you to fulfil your destiny.