BBDD, You are right; there is no proof that Shakespeare had any real knowledge of QBL. Book knowledge is not knowledge. Along those lines it is very hard to proove that anyone had more than just a book knowledge at any time including the present.
On Nov 6, 11:31 am, BBDD <[EMAIL PROTECTED]> wrote: > I have heard the same argument and it establishes nothing. Much > creative work of the period was based on QBL models that were common, > but that does not mean that the author had REAL knowledge. We are > seeing much the same today in anime, where reference is made to > esoteric material based entirely on popularist information that is > inaccurate. A Mid Summer Nights Dream also follows popularist esoteric > models that were common during the time. Overall, there is no > indication that Shakespeare was any more knowledgeable than the > average creative person of the time. Certainly no more knowledgeable > than very young kids today who do anime according to similar models > they have just a passing knowledge of. > > Shakespeare does not demonstrate that original flare those steeped in > it would have. Nor is there any historic verification within the > brotherhoods. All certified in QBL submit work to be certified. Very > careful records of certification have been kept for many years. The > only possibility that he would be, is if he and Bacon (who was > certified and has a large body of QBL work submitted to the > brotherhoods) were the same person. > > http://niggerwise.com > > On Nov 6, 11:07 am, Isparklaria <[EMAIL PROTECTED]> wrote: > > > > > On Nov 6, 11:36 am, BBDD <[EMAIL PROTECTED]> wrote: > > There is no reason to think Shakespeare > > > > had any knowledge. That is based on a very weak legend the Shakespeare > > > and Francis Bacon were one and the same person > > > Many people who do *NOT* believe that Bacon and Newton were the same > > person have some to the conclusion that Shakespeare was involved in > > QBL from studying his plays, especially The Merchant of Venice. > > > This is a link to and part of any essay by one such > > person:http://74.125.45.104/search?q=cache:T5D_2SECqxAJ:www.danielyharris.co... > > > The Merchant of Venice was written in 1598 and first performed in > > 1600, the year Hamlet was written and the year Giordano Bruno was > > burnt at the stake, in Venice, his books used at kindling. The decade > > of the 1590’s in England was the era of the Jewish Converso, Rodrigo > > Lopez (accused of trying to poison Queen Elizabeth and burnt at the > > stake) and Marlowe’s Barabbas, in addition to being the era of wide- > > spread Christian Cabala among the literati. The difference between > > Barabbas and Shylock (and Shylock does lament that his daughter had > > not eloped with one from the stock of Barabbas) is that Barabbas is a > > Jew-baiting cartoon of agit-prop meant to incite emotive response to > > -------------------------------------------------------------------------------- > > Page 10 > > Shakespeare, Kabbalah and the Occult, DYH, 10foment antisemitism. > > Shylock is a dignified, albeit rapturous human being and the most > > powerful dramatic voice that Shakespeare had yet created between 1589 > > and 1596. Influenced by Giorgi, Shakespeare produced in The Merchant > > of Venice a music-of-the-spheres poetry that would be rivaled only by > > Hamlet and Sir John Falstaff. According to Yates who reads Daniel > > Banes’s book The Provocative Merchant of Venice, Shakespeare read > > Giorgi’s De Harmonia in French in 1595. Shakespeare’s absorption of > > Giorgi leads Banes to surmise that the Venice of his play is a > > kabbalistic Eden replete with a Tree of Life and ten Sefirot. Banes > > names Antonio Hesed, names Shylock Gevurah and Portia Tiferet. Albeit > > provocative, we may surmise that the entire Merchant of Venice is > > gevuric and that Shylock is Shakespeare’s own invention of his > > emerging poetic autobiography. Portia is certainly beautiful and > > bestowed with some of Shakespeare’s most powerful poetry. Antonio is > > certainly touched with love, albeit the homoerotic kind. Bassanio is > > clever enough to pick the lead casket, which Daniel Banes says is > > symbolic of Judaism.Respectively, the three caskets represent the > > three religions: gold=Christianity; silver=Islam; lead=Judaism. Banes > > quotes Proverbs 8:10-11, Choose my discipline, and not silver/Choose > > understanding, and not fine gold;/For wisdom is better than > > rubies.According to Giorgi, lead represents Saturn which represents > > the religion of the Jews. It is by choosing the religion of the Jews, > > the Torah that Bassanio wins his Christian princess. We may even > > surmise that the lovely poetry expounded by Lorenzo before his beloved > > Jessica is indeed cherubic, but it seems to pale, as does the verse > > employed by Portia, before the Kadmonic Shylock, who resonates with a > > powerful life-creating force.In fact, Shylock is the Shakespearian > > giest which propelled Shakespeare to invent Sir John Falstaff and > > Hamlet. Without the rapturous kabbalistic emptying out of core force, > > Shakespeare could not have moved on to the very limits of literary art > > with Hamlet. Shylock inherits the Generations of Adam and cleaves to > > adamic invention, thus the pound of flesh, which reminds one of the > > weight of adamic clay-flesh employed by Yahweh at the primal scene of > > invention. Shylock is Shakespeare’s first Kabbalist and hisfirst reach > > through the agonic play of word-creating lifeforms. He employed the > > gevuric strength of “the Jew,” which he understood through Giorgi and > > Bruno as well as “the Jew” of antisemitism, to create his own Kadmonic > > poet of the dark soul, who must be content at the end, as Shakespeare > > must be content as his creation. In 1596, Shakespeare realized with > > Shylock, that he (Shakespeare) possessed a talent which would exceed > > the limits of the stage. This Kabbalic exceeding was no less than the > > Adam Kadmon, the poet of God-names reaching unknown regions of the > > psyche and soul all for the sake of invention, artistry and doing > > God’s work as the ancient writers did. Sources Philip Beitchman, > > Alchemy of the Word: Cabala of the Renaissance, State University of > > New Press, Albany, 1988 Frances A. Yates, The Art of Memory, The > > University of Chicago Press, Chicago, 1966 Frances A. Yates, The > > Occult Philosophy in the Elizabethan Age, Routledge Classics, New > > York, 1979 > > -------------------------------------------------------------------------------- > > Page 11 > > Shakespeare, Kabbalah and the Occult, DYH, 11Frances A. Yates, Majesty > > and Magic in Shakespeare’s Last Plays, Shambhala, Boulder, 1978 Daniel > > Banes, The Provocative Merchant of Venice, Malcolm House Publications, > > Chicago, 1975 Daniel Banes, Shakespeare, Shylock and Kabbalah, Malcolm > > House Publications, Chicago, 1978 David B. Ruderman, Editor, Essential > > Papers on Jewish Culture in Renaissance and Baroque Italy, NY > > University Press, New York, 1992 Gershom Scholem, On the Mystical > > Shape of the Godhead, Schocken Books, New York, 1991 Gershom Scholom, > > Major Trends in Jewish Mysticism, Schocken, New York, 1967 Moshe Idel, > > Messianic Mystics, Yale University Press, New Haven, 1998 Daniel C. > > Matt, The Zohar, Pritzker Edition Volumes 1-3, Stanford Edition, > > 2004-2005 Harold Bloom, David Rosenberg, The Book of J, Grove > > Weidenfeld, New York, 1990 Linda Woodbridge, The Scythe of Saturn, > > Shakespeare and Magical Thinking, University of Illinois Press, Urbana > > and Chicago, 1994 Arthur Versluis, Shakespeare the Magus, Grail > > Publications, St. Paul, 2001 Daniel Y. Harris, “The Night Moses de > > Leon Died,” In Posse Review, Issue #15, on the > > Internet,http://www.webdelsol.com/InPosse/harris15.htmAddendumShakespeare, > > Kabbalah, and the Occult is part of a reader produced by Lehrhaus > > Judaica for “Engagement and Learning for Leaders: Jewish Community > > Federation SonomaStudy Group,” 2007 > > > On Nov 6, 11:36 am, BBDD <[EMAIL PROTECTED]> wrote: > > > > Not to nit pick, but Newton was not knowledgeable of QBL, while > > > knowledgeable of related work. There is no reason to think Shakespeare > > > had any knowledge. That is based on a very weak legend the Shakespeare > > > and Francis Bacon were one and the same person. Bacon did have in > > > depth knowledge. The legend is purposeful and meant to demonstrate > > > that genius has a separate embodiment beyond the individual. However > > > they were most certainly not the same individual and Shakespeare > > > unlikely had anymore than fleeting knowledge. Di Vinci, on the other > > > hand, was stone cold into it. > > > >http://niggerwise.com > > > > On Nov 6, 9:31 am, Isparklaria <[EMAIL PROTECTED]> wrote: > > > > > BBDD, > > > > > it sounds to me like you are able to write meaningfully about QBL. > > > > However, I am wondering why you are so quick to proclaim your > > > > expertise to in this discussion group. I have good reason to believe, > > > > both from experience, observation and reading that when one starts to > > > > manipulate their mind with QBL and other similar tools, it is common > > > > for them to be fooled into thinking that they are far more advanced > > > > than they really are. That doesn't mean that I know that you are a > > > > mere dabbler, but I will not be easily convinced that you are possible > > > > expert like Newton, Shakespeare, Elias Ashmole and other great men > > > > seem to have been. I would like to give you another friendly warning > > > > that you may have heard before. Please do not take this to mean that I > > > > think that you are crazy, I don't, but as you have probably bean > > > > warned it is easy enough to mess up your mind with QBL. My advice is > > > > to proceed slowly. QBL is a powerful tool, but it is not without it's > > > > dangers and limitations. > > > > > On Nov 6, 5:37 am, BBDD <[EMAIL PROTECTED]> wrote: > > > > > > Centers are quite obvious and living in them is just as obvious with a > > > > > little free thought. Motive center is easily recognized. It is that > > > > > portion of mind we think in quickly enough to apply the brakes in an > > > > > emergency. Emotive center is that one which gets us in the most > > > > > trouble by causing us to > > ... > > read more »- Hide quoted text - > > - Show quoted text - --~--~---------~--~----~------------~-------~--~----~ You received this message because you are subscribed to the Google Groups "Memphis Freethought Alliance" group. 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