Bøger af Wes Jamroz

The Sonnets contain a unique record of Shakespeare's experiences, which led him to become one of the world's greatest dramatist and poet. The interesting thing is that Shakespeare was taught why to write, how to write, when to write, and what to write about. According to the information provided in the Sonnets, at the beginning of his career, Shakespeare met his spiritual Guide. It was his Guide who pointed out to Shakespeare that he was wasting his time and talent on useless activities and meaningless writings. Then his Guide led Shakespeare through a sequence of experiences that allowed the poet to start to perceive the true value of his talent and the way in which his talent could be of use to a greater purpose. The Sonnets are a record of the interactions between the poet and his Guide. In other words, there are two voices in the Sonnets. First we hear the Guide who appeals to the poet's conscience by pointing out how wasteful his life and his writing are. Then we hear the poet's reaction to the Guide's appeal. What follows are exchanges of arguments between the two men. Then we witness how the poet's intuition and his perception gradually develop and expand. Although both the poet and his Guide are presented as young and handsome men, there is a distinct difference between them. The Guide speaks with authority and understanding; he is confident and his counsels follow a precise developmental methodology. The poet, on the other hand, is unsteady, immature, and moody; his reactions change quickly from highly enthusiastic to deeply depressed. The Sonnets, like Shakespeare's plays, form a coherent narrative. "How heavy do I journey on the way" elicits the narrative, which describes the sequence of experiences that led the poet to the development of his poetic inspiration.

The inner design of Shakespeare plays is invisible to a merely rational mind or a speculative intellect. This is why the analysis presented here will be wholly unconvincing to those who claim logic as the highest principle. It will appear to be no more than a proof based on selected instances. It can be easily ridiculed, particularly if taken out of context. Shakespeare illustrated this kind of incomprehension as the reaction of the young lovers who ridiculed the performance of "Pyramus and Thisby" in "A Midsummer Night's Dream". Similarly, irritated Hamlet did not grasp the message contained in "The Murder of Gonzago" and as the result fell into his own mouse-trap. In other words, there is no rational or intellectual means to provide a proof of the interpretation of the plays. Neither is it possible to identify the inner structure of the plays by applying scholarly methods based on aesthetic or linguistic criteria. It is possible, however, to enhance the "visibility" of the inner design of Shakespeare's plays by constructing a "contrast" play. Such a play would employ some of Shakespeare's characters and episodes. It would be based on an ordinary, simplistic, and moralistic theme; its action would follow a linear thinking pattern and psychological realism; it would contain a number of Shakespeare's symbols, but used at random. In other words, the play would be purposely sterilized by removing its inner content. Such a play would have to be written, at least partially, as beautifully as Shakespeare's plays. In this way the sterile content would be packaged in an attractive but meaningless container. Such a container would be decipherable by scholarly or intellectual inquiry: it would be accepted as one of Shakespeare's works. It turns out that such a sterilized play was purposely constructed. Its title is "The Two Noble Kinsmen". Its purpose was to demonstrate that the evolutionary progress achieved over the time span of several spiritual millennia belongs to the subtle areas of the human mind and is not detectable by ordinary intellectual, artistic, or scientific methods. The series "Shakespeare for the Seeker" consists of four volumes. Volume 4 presents the analysis of "Twelfth Night", "Measure for Measure", "Hamlet", "The Tempest", "The Merry Wives of Windsor", "A Midsummer Night's Dream", and "The Two Noble Kinsmen". No prior reading of the plays is needed to follow this analysis.

Jalaluddin Rumi and William Shakespeare are considered to be the greatest poets of Persian and English literature, respectively. However, there is much more in common between these two titans of poetry who lived some 350 years and 2,000 miles apart. In his Sonnets, Shakespeare acknowledged that his writings were inspired by Rumi's poetry. He referred to Rumi as one of "Alien pens" whom he was asked to study. He described Rumi as "He of tall building, and of goodly pride". Shakespeare admitted that Rumi's verses were so powerful that they were stopping his thoughts before he was able to formulate them. Although Shakespeare was strongly influenced by Rumi's poetry, it should be emphasized that his writings were not merely some adaptations of Rumi's illustrations from an Eastern environment into the Western culture. Such understanding would greatly diminish Shakespeare's role. Shakespeare was charged with the task of projecting these aspects of spiritual technology that were needed at his time in order to keep the evolution of human mind in sync with changes of the cosmic matrix. Rumi's and Shakespeare's writings are primarily instrumental, i.e., they are not meant for enjoyment, emotional stimulation, or display of their skills. The function of their writings was to project specific evolutionary concepts and ideas ahead of their actual realization. In this way the human mind could be prepared for their correct assimilation. In other words, Rumi's and Shakespeare's writings were based on the same inner design; they both belonged to the same school that operated in different places and at different times. Shakespeare's writings allow us to discern the complexities and intricacies of the evolutionary process that was described by Rumi. In this context one may look at Shakespeare's writings as a sort of magnifying glass that unveils further dimensions of Rumi's teaching. By analyzing Shakespeare's and Rumi's writings together it is possible to gauge if, and to what extent, humanity made any evolutionary progress between the 13th and the 16th centuries. "Shakespeare's Sequel to Rumi's Teaching" is an attempt at answering this question and at defining what sort of evolutionary gains were achieved during that time. The answers may be found by looking at the techniques and methodologies of the spiritual technology introduced in 13th century Asia Minor and how this technology was advanced and used at the end of the 16th century in Western Europe.