Shakespeare and Shamanism

By Dr. Ron Shane and Assisted by Karan Pandher,Lauren Kupis, and Alva Liang

Abstract

This article looks at Shakespeare as a viable practitioner of the Shamanistic arts. This visionary poet in his last known play, The Tempest, appears to reveal his proclivity for the modulation of the ineffable forces of nature. In the author’s view, The Tempest is not a fictional account of Shakespeare’s mystical predilections, but rather represents his actual powers to govern human and subtle forces. There is viable support presented in this work that Shakespeare has acquired similar mystical abilities characteristic of other indigenous Shamans. This article is essential for any scholar who is interested in the relationship between mystical art and indigenous Shamanism.

Shakespeare is a visionary artist, but likewise can be considered a prodigious shaman. This Renaissance artist certainly actualized his numinous body, and could readily coalesce with a higher dimensionality of the celestial realm. He wrote the following in his play the Mid-Summer Night’s Dream: “The poets I in a fine frenzy rolling,/ does glance from heaven to earth, from earth to heaven,/ and imagination bodies forth/ forms of things unknown, the poet’s pen/ turns them to shapes, and gives to aire nothing a local habitation and a name/ such tricks with strong imagination…” (1). What is Shakespeare referring to by “a fine frenzy rolling”? It is evident as with Plato’s dialogue, the Ion, that the Shamanistic artist’s plume powers of perception are not limited by the dismal shade of ratiocination or what Nietzsche explicated as Apollonian Consciousness. Higher theosophy and epistemology merge, and become intertwined in mirthful rhapsody or what is referred to as deductive enthrallment. For Shakespeare, a dull-witted human entity cannot apprehend phenomena beyond the limitations of reason.

The play of quip can only be ascertained where the mettle of thought is not tempered by the body’s peevish neurological workings. Shakespeare in an enigmatic manner stated the following, “For our judgment sits five times in that ere wants in our five wits” (2). Shakespeare is connoting to a Shamanistic knowing, which is qualitatively distinctive from the central nervous system’s conceptual rationality. Visionary artistic genius or Shamanistic revelry is not the enfetterment of the five senses, but rather a frenzy rapture experienced from the celestial airy sphere. Thus, for Shakespeare, the poetic eye in “fine frenzy rolling” is analogous to Nietzsche’s Dionysian, or Ion’s ebullient intoxication, of what Eliade defines as a Shaman’s “ecstatic capacities permitting of magical flight” (3).

The traditional shaman in his or her ritualistic revelry are not concerned like the visionary artist or Shakespeare with providing a forum “To things unknown,” but would rather in an enchantment of occult ceremony ravishing the arcane delirium of others in his or her tribal unit. Shakespeare appears to be more likened to a Dionysian playwright who utilized the pageantry of theatre to ascend the energy dynamics of the etheric body. It is the author’s contention that heuristic non-cathartic theatre is likened to occult ecstatic seething ritualism, which was the principle focus of atavistic tribal units. For Shakespeare, the play was a thing to display his reverence for paganistic euphoric delirium; and festively mock the dull-witted mediocrity of knavish Western consciousness.

Traditional shamans are not concerned with giving “A local habitation and name” to provocative factors of the ineffable celestial realm. The frenzied Jaguar queen is exalted by the delirium of purely coalescing with the celestial sphere as well as bestowing this intoxication to others as her etheric body is mystically enamored with nirvanic ecstasy.

Goethe compares the artistic powers of the body’s numinous essence with the mundane conceptions conjured by the central nervous system’s neurological machinations. This artist expresses the following view “One impulse art thou conscious of, at best, never seek to know the other; two souls, alas reside within my breast, and each withdraws from, and repels, its brother: one to the world is bound in clinging lust, the other soars, all earthly ties unhood, to join ancestral gods, far from this dusk, in fields where naught mundane is needed” (4).

Goethe appears to regard these two distinctive powers of aesthetic apprehension as being seemingly contentious. Conversely, Shakespeare mocks the baser sway of peevish ratiocination. This shamanistic artist tempers not the marvelment of inspired revelry even when depicting licentious bawdy behavior. Shakespeare writes the following: “It would anger him/ to raise his spirit in his mistress’ circle/ of some strange nature, letting it down-/ that were some spite…” (5). This visionary artist’s shamanistic puissance ecstatically soars even when explicating the salacious mundane. Even Plato was cognizant of the frenzied powers of the shamanistic artist, and Socrates states the following regarding the ascendant powers to perceive the shamanistic celestial realm: “The gift which you possess of speaking excently about Homer is not an art, but, as saying, an inspiration… For all good poets, epic as well as lyric, compose their beautiful poems not by art, but because they are inspired and possessed. And as the Korybartian revelers when they dance and are not in their right mind, so the lyric poets are not in their right mind when they are composing their beautiful strains…” (6). Plato and Socrates possessed only a vague comprehension of the mystical powers of the numinous body.

Western philosophy which is the conceptual study of provincial epistemology cannot apprehend the metaphysical knowledge, that defies the baser machinations of the corporal body’s sensory faculties. Aristotle further denigrates in his work The Poetics, sagacious perception liberated from puerile empirical veracity. Shamanistic ontological genesis which in Jungian terms is the principal aspect of the human collective unconscious is desecrated and ruinously annulled by the virulent epigenetics of the contemporary social reality. Most post-agrarian visionary artists associated with Western culture, except for Shakespeare were unable to actualize the numinous body’s Shamanistic powers.

Plato and Socrates did not comprehend that philosophy was the desiccated raiment of the shaman’s ecstatic puissance; and should be regarded as a quintessential metaphenomenon where the ascendant etheric body is rapaciously transformed by a succinct facet of the celestial sphere. Contemporary universities abstain from facilitating students to experience the inspired fecundity of the body’s frenzied sentience. Freud’s analysis of Id as well as Aristotle’s disquisition regarding theater is emblematic of the wretched servitude and enfetterment of the body’s libidinous power where it is formidably disinclined to experience heuristic mystical metamorphosis. Thus, the numinous body is invidiously severed at the sex chakra.

Shamanistic practitioners and visionary artists like Shakespeare are able to blithefully liberate themselves from cognitive structures related to pedestrian empirical reality, which constricts the ineffable powers of the numinous essence. The baser artist is engulfed in the phantomorgia of the subconscious, like that of the protagonist in James Joyce’s Ulysses. 21^st century artists have allowed their etheric essence’s powers of metaphysical apprehension to become desiccated where only the dearth of constricted perception or this storehouse of outward experiences is the impetus or their mode of creation. Shamans and visionary artists forsake the province of ratiocinations or subconscious reflective sensibilities in order to be edified by the ecstatic enthrallment of the celestial realm. Socrates further explicates the rhapsodic impassionment of Shamans and visionary artists who are intoxicated by the frenzy marvelment of coalescing with the celestial realm.

“When following under the power of music and meter, they are inspired and possessed like  bacchanalian maidens who draw milk and honey from the rivers when they are under the influence of Dionysus nor when they are in their right mind” (7).

Shamans in visionary artists are experiencing the body’s ineffable powers to merge with the celestial sublimity which provides not only rapacious metamorphosis to the numinous body, but more importantly ecstatic mystical knowledge that is not delimited by the central nervous system’s empirical neurological perceptions.

The shamans mercurial ecstatic rites and the visionary artists’ muse propelled maniacal euphoria is the same metaphenomenon where the numinous body translocates consciousness from monolithic perceptions to higher arcane machinations. The use of Ayahuasca can facilitate the occult frenzied transformation of a Dionysian male and Dianic female if they are ardent practitioners of the mystical arts. Atavistic civilizations prior to the cultivation of plants pursued ecstatic ritualistic enchantment where the Jaguar Queen, and Dionysian shamanistic males were the progenitors of the occult ecstatic delirium.

Renaissance artists like Shakespeare and Edmond Spencser would have been shamanistic hierophants if they resided in pre-Agrarian indigenous societies; and also they would have been able to thoroughly unfurl their mystical powers in occult revelry. Artists like Keats and Shelley realize that their cultural milieu represents a formidable stultification to unleash the numinous body’s paradisaical powers of ecstatic metamorphosis. The disquiet of solitary pursuits like the protagonist in Keats’ epic poem Endymion is the metaphysical ostracization of the modern authentic shamanistic artist.

Plato, Socrates, and Aristotle are wretched captives of the manacles associated with pejorative ratiocination where their conceptual renderings represent their loathsome servitude. What has referred as being “inspired and possessed” is in actuality the metaphysical liberation from the constricting gyves of conceptualization or the epistemology of mystical dearth. Aristotle explicates in his philosophy of theatrical arts in his work The Poetics where rhapsodic ecstasy is replaced by the dismal languid wretchedness of emotional catharsis, and this is the metaphysical prison house which harbors the modern etheric essence or its higher ecstatic revelry.

Shakespeare writes in Romeo and Juliet how the etheric essence can experience rhapsodic revelry, “To of the fairest stars in all the heaven, / having some business do entreat her eyes/ to twinkle in their spheres so they return. / What if her eyes were there, and they in her head? / As daylight doth a lamp. Her eyes in heaven/ would through the airy region stream so bright/ that birds would sing and think it were not night” (8).  Romeo’s fervid ecstasy is not harbored in the confines of the soul but rather the euphoric marvelment of his ascendant numinous body as it prodigiously penetrates into the celestial effulgence.

Shakespeare’s allusions not only ravage away the delimiting constrictions of ratiocination where the etheric body is in a Dionysian frenzy, but further inspires with nirvanic luminosity. For Shakespeare as a Shamanistic artist, the theatricality of his poetic works is a scabbard to conceal the maniacal occult powers of his transcendent numinous body. Romeo and Juliet may have been regarded by Shakespeare as a mockery of modern debasing antics or edicts, which derogates the etheric essence to an ostensible stultification. The taciturn ineffable puissance of Shakespeare’s mythic poetics can be likened to an atavistic ecstatic mystical right with the intent of inducing maniacal apotheosis.

The following passage from Shelley emphasizes that Shakespeare’s narrative is there to be only concordant with contemporary ratiocination and that the frenzied rhapsody of his poetic revelry represents an ascendant ecstasy:

 “A poem is the very image of life expressed in its eternal truth. There is this difference between a story and a poem, that story is a catalogue of detached facts which have no other connection than time, place, circumstances; cause and effect…” (9). Shakespeare as a shamanistic artist is lucidly focused on the incensement and invigoration of the body’s etheric essence, not upon in the words of Shelley, “The one is partial and applies only to a definite period of time, and a certain combination of events” (10). Shakespeare in the following passage is rhapsodically educating the interior body to be blithefully, and resplendently inchoated with the celestial realm in a manner similar to a Jaguar Queen in an occult ritual inspiring others with maniacal euphoria.

“…For thou art/ as glorious to this night, being over my head,/ as is a winged messenger of heaven/ upon the white-upturned wandering eyes/ of mortals that fall back to gaze on him/ and he bestrides that the lazy-puffing clouds/ and sails upon the bosom of the air” (11).

Shelley states that higher poetry should develop “new and wonderful applications of the eternal truth, which it contains” (12). The quintessence of Shakespeare artistry is not in the pedestrian nature of his narrative matriculations, but rather in the seething deceiving abstruseness of Shakespeare’s shamanistic enthrallment where his numinous body is inspired to transcendent ectstaticness.

Shakespeare in his last known play entitled The Tempest reveals himself to be endowed with Shamanistic prodigiousness. He writes “My high charms work, and these my enemies are all knit up/ in their distractions: they are in my power” (13). This visionary artist appears to be very familiar not only with blending with celestial energies with the intent of inducing nirvanic metamorphosis, but Shakespeare professes in a seemingly fictional manner to have zealous expertise in modulating furtive forces. The Tempest represents a veil of fiction; however, Shakespeare may actually be revealing the machinations of his acumen as a light sorcerer in this seemingly apocalyptic work.

Shakespeare through the character Prospero depicts his Shamanistic powers in the following manner:

 “If by your art, my dearest father, you have/ put the wild waters roar allay them/ the sky, it seems, would pour down striking pitch/” (14). Is the persona of Shakespeare living in Elizabethan England an actualized prophetic sorcerer of the Shamanic arts? The authentic identity of the person who actually pinned the plethora of plays bearing the name of Shakespeare is still enigmatic and most likely it was not the peasant author.

There is some speculation that Elizabethan Theater was a ruse for thriving maniacal occult practices. Shakespeare may have been an expert in dissembling robes or miraculous deception in order to conceal that he was an advanced hierophant of the occult arts. Queen Elizabeth as depicted by Edmond Spenser is a quintessential Dianic female whose mystical powers are ecstatically intoxicating. Is the Shakespearean play The Tempest actually a non-fictional account of the metaphysical puissance of Shakespeare and others who were able to govern cryptic forces in a manner similar to atavistic omnipotent Shamans?

Shakespeare further states through the character of Prospero the following regarding the arcane powers to modulate other human entities as well as aspects of the environmental milieu:

 “…lend my hand, / and pluck my magic garments from me- so: / lie there, my art… the direful spectacle wrack which touched/ the very virtue of compassion in me, / I have with such provision in my art” (15).

The utilization of celestial forces to modulate the psyche of other human entities; and the disposition of naturalistic factors represents a very advanced level of metamorphosis of the etheric body, and this translates into the cultivation of higher Shamanic powers. There were many visionary artists who have been able to be ecstatically inspired as a function of prodigiously blending with the furtive effulgence of the celestial realm; however, they could not govern the actions of others or control the terrestrial forces of nature. The ensuing chapters of this text depict how authentic shamans become skillful at symbolic warfare as well as medicinal healing practices. Moreover, what Shakespeare is referring to in The Tempest is the apex which the shamanistic practitioner can achieve. Those less advanced shamans with respect to the stellar exquisiteness of the etheric body could be themselves deleteriously modulated by furtive forces. Shakespeare represents Prospero as an elite Shaman who can govern a provocative spirit power to modulate a diverse array of naturalistic factors.

Shakespeare writes in his play King Lear: “And take upon us the mystery of things, / as if we were god’s spies…” (16). Shakespeare is purporting that it is dismal and woeful when humans are not able to acquire the visionary zeal of synesthesia or when they can’t experience a kind of mystical apprehension beyond the sphere of their physical limitations. The gyves of Lear’s baser perception is tempered of the character Edgar’s shamanistic cunning who is not impeded by the neurological workings of his ego or superego. Shakespeare is one of the only western visionary artist who likewise acquired shamanistic puissance. This Shamanistic artist is elevated to a more enhanced tier of nirvanic consciousness. The following passage from Plato’s Ion represents a lower ecstatic level of perception:

“The gardens, and flowery veils belonging to the muse’s, from fountains flowing there with honey, gathering the sweetness of their songs, they bring it to us, like bees… nor do they tell us untruth. For a poet is a thing like, in volatile, and sacred; nor is he able to write poetry, told the muse entering into him, he is transported out of himself” (17).

Shakespeare is more inwardly nirvanic than other visionary artists like Ion who can become impassioned with frenzied mirth by coalescing with the celestial marvelment. The collective nature of the experience of being incensed by the prodigious realm is a universal meta-phenomenon.

Authentic Shamans like Shakespeare is not only delighted by celestial enchantment, but have acquired the metaphysical acumen to profusely penetrate to an omnipotent clime, and can magnificently modulate these mystical powers to govern others and the matrix configurations of earthly nature. In The Tempest, Prospero’s modulation of the character Aerial’s ineffable wonderment represents the artful cunning which Shakespeare could induce through the maniacal occult ritualism of his theatricality. “The super-natural solicitation” in many of his plays is more than a fictional extravagance, and it actually pertains to his advanced shamanistic practices.

Shakespeare’s poetic artistry is a kind of mirthful raiment concealing the mystical delirium of his atavistic occult ritualism. The actual mystique of this Shamanistic hierophant can only be discerned through the stealth praxis of his metaphysical sentience. Shakespeare certainly reveals the naked provocativeness of the etheric body in the following passage from the play entitled The Twelfth Night: “Oh spirit of love, how quick and fresh art thou,/ that not withstanding thy compactly/ receiveth as a sea, not enters there,/ of what validity and pitch so ever,/ so full of shape is fancy/ that it alone is high fantastical” (18).

This passage from Twelfth Night represents a more tempered arcane praxis of a Shaman compared to the mystical prodigiousness of Prospero. Shakespeare states the following in The Tempest regarding his Shamanistic mystique:

“Open and let them forth/ by my potent art, but this magic I hear adjure…. Which even now I do-/ to work my end upon their senses, that this every charm is for…” (19). Shakespeare is a Shamanistic artist of high fantastical; and an ecstatic mentor to the etheric body.

Sources

1.          William Shakespeare, Mid Summer Night’s Dream, Shakespeare Complete Works, New York: Harcourt, Brace, and the World 1952 Page 536.

2.          William Shakespeare, Romeo and Juliet, Methuen Drama, London: 2012 Page 160.

3.          Miracea Eliade, Shamanism, Bollinger Foundation, Princeton, Princeton University Press, 1964 Page 6.

4.          Joann Wolfgan Goethe Faust: Part 1, New York, Collier Books, 1962 Page 78.

5.          William Shakespeare, Romeo and Juliet, OP. cit Page 183.

6.          Hazard Adams, Critical Theory Since Plato, Plato/The Ion, Harcourt, Brace, and the World 1971 Page 14.

7.          Plato, The Ion, Ibid. Page 14

8.          William Shakespeare, Romeo and Juliet, OP. cit Page 187.

9.          Percy Bysshe Shelley, Defense of Poetry, Selected Poetry and Prose of Shelley, Ed. Carlos Baker, New York, Modern Library, 1951 Page 499-500

10.      Shelley, Ibid, Page 499-500

11.      William Shakespeare, Romeo and Juliet, OP. cit Page 188.

12.      Shelley, Ibid, Page 499-500.

13.      William Shakespeare, The Tempest, Random House Inc. New York, 1958, Page 91.

14.      Ibid, Page 9.

15.      Ibid, Page 13.

16.      William Shakespeare, King Lear, Methuen, London, 1972 Page 188.

17.      Plato, Ion, In Blake and Traditions, Volume 1, Ed. Kathleen Raine, Princeton: Princton University Press 1968, Page 412.

18.      William Shakespeare, Twelfth Night, Menthuen, London, 1975, Page 6.

William Shakespeare, The Tempest, OP. cit Page 116.   

Ron Shane ND PhD OMD MFA   Dr. Shane is a world-leading authority in body mind consciousness studies. See Bio section for more information about Dr. Shane.

What Do We Really Know Regarding REALITY?

 By Dr. Ron Shane and Assisted by Karan Pandher, Mekala Neelakantan, Ben Lee, Nikki Kimura, and Alva Liang

Abstract:

For many millenniums philosophers and scientists have been trying to ascertain the nature of human reality. The focus of this article is to integrate many academic disciplines in such a manner to create a workable paradigm to comprehend the multiple dimensions of reality as perceived by human consciousness. The authors blend metaphysics, biology, psychology, literature, biology, and the mysticism of Shakespeare in such a fashion in order to understand what is currently known about reality. This article is a sophisticated academic odyssey where various fields of science are blended together with what has been documented as the cross-cultural perceptions of celestial mysticism.

Keywords: Reality, metaphysics, mysticism, Shakespeare, consciousness.

The thematic postulation regarding reality was ubiquitous in Shakespeare’s Mental Pageantry. This visionary artist writes the following pertaining to this theme in his play Macbeth, “Tomorrow and tomorrow/ creeps in this petty pace, from day to day/ to the last syllable of recorded time, / and all our yesterdays have lighted fools/ the way to dusty death” (1). In Shakespeare’s baser vision of the human psyche in terms of epistemological veracity is that of an impish fool spending his days inundated by the earth’s diurnal cycles of photons evoked by its star’s ritualistic episodes of nuclear fusion. The nature of a photon can be both regarded as a particle or a wave; and redefining Newtonian physics with its endless energy; however, it is most distinctive from dark energy.

Shakespeare regards human perception to be a scabbard of eccentric delusion or comedic anthropomorphic constructs related to the pejorative workings of the cortex’s aberrant plasticity. He refers to the human fabric of consciousness to be “a tale told by an idiot” (2). The Homo sapiens is a contentious predator amongst many other related entities living on an obscure planet in the Milky Way galaxy amongst billions of other similar galactic structures. Shakespeare regards our narrative to be pompous foolery or an epigenetic scurrilous remodeling of billions of super cortical circuits.

Fifteen thousand years ago prior to the last Pleistocene period, we were wayward nomadic warriors residing in small clans, hunting and foraging for food with only a rudimentary prowess of ratiocination with respect to conceptual reflection. The dreamy labyrinth of delusional apprehension was absent from indigenous human cortical perception; and sentient fervidness was our instinctual prodigiousness. A myriad of external factors changed such as the chemical concentration of the atmosphere as well as electromagnetic oscillations, possibly dark energy alterations, dietary modifications, and these surreptitious variations have led to an epigenetic remodeling of cortical neurophysiology in terms of innovative axonal super circuits which dominate and inhibit instinctual genotypical networks.

This epigenetic genesis or skewed neocortical ratiocination sequestered the Homo sapiens from its primordial sentience to an Apollonian sphere or what Shakespeare’s refers to as the “walking shadow” (3). James Joyce’s protagonist in the novel Ulysses resides in the illusionary sphere of Apollonian perception or what Freud denotes to be the subconscious (4). Shakespeare states that human epistemology lacks any kind of sumptuous alacrity, and this is supported by the following passage in his play King Lear: “When we are born, we cry that we are come to this stage of fools.” (5). Dr. Shane’s works entitled Light on Shamanism and the Jaguar Queen represent a sequestering of consciousness from its delusional strategies of Apollonian perception (6).

Reality must be experienced in the words of Shakespeare in the following manner: “Take upon us the mystery of things” (7). The earth is spinning on its tilted axis, and is orbiting around the sun, which is traversing through the Milky Way galaxy. This galactic entity is being propelled by dark energy and other gravitational forces at millions of miles per hour as the universe itself is expanding, and billions of galaxies are coalescing together. Particular species in the earthly sphere are perishing whereas other entities are coming into fruition by the cryptic power of the engine of evolution, which is still not understood by molecular biologists.

Another protagonist of Shakespeare asserts the following regarding human reality: “Graves only be men’s works, and death their gain” (8). This insidious pessimism of Timon of Athens is recapitulated through this artist’s literary meanderings. Shakespeare states elsewhere: “Did these bones cost no more the breading to play loggets with them?” (9). This perception of reality is further developed; and Shakespeare asserts, “Hum, this fellow must be in his time a great buyer of land with its statutes, his recognizances, his fines, his double vouchers, and his recoveries. Is this the fine of his fines and recovery of his recoveries to have his fine pate full of fine dirt” (10).

A photon of light is both a particle and a wave traversing throughout the dark matter of space at 182,000 miles per second with an inordinate energy; and no sense of time. These particles are evoked from the nucleus of atoms as well as a variegated array of star systems comprising billions of galaxies. According to Einstein, any entity traveling at the speed of light would not experience the variability of time. Photons do not interface with either dark matter or dark energy. The nature of light or photons may be a recent genesis in terms of the universe’s evolution of traditional matter.

Shakespeare questions the veracity of conceptual meaning throughout the cannon of his artistry. He writes, “Out, out brief candle! Life is but a walking shadow” (11). The atoms of traditional matter comprises of only 4% of energy or the substance of the known universe. Hydrogen atoms, which compose cellular systems, as a result of nuclear fusion are likewise the etiology of heavier elements, that in the earthly realm is characteristic component of organic molecules. Scientists are not certain whether ionic or covalent bonding as well as London dispersion force are the dynamics impacting the coalesce of atoms into a variegated array of planetary systems in distinctive galaxies.

European existentialists in the 20th century purported that human conceptual constructs are an aberrancy of delusional machinations associated with innovative cortical pathways. These contemporary philosophers like Camus and Sartre were certainly less eloquent of their disquisition concerning human consciousness as compared to Shakespeare’s luminous perceptions. Shakespeare further asserts: “Life is but a walking shadow, a poor player that struts and frets his hour upon the stage and is heard no more” (12). The raiment of consciousness consecrated by succinct epigenetic related cortical circuits, and their manifestations can be regarded as fallacious postulations divested of any heuristic sustenance.

For Shakespeare, human foibles or “lighted fools” are poor players who enact their erroneousness on a “stage of fools.” Shakespeare’s shamanistic powers of perception forsook the peevish ratiocination of human mental impoverishment where it is replaced by the delirium of celestial enthrallment. Shakespeare asserts the following concerning how elevated perception which is not associated with the bombast of the conceptual subconscious inertia can be experienced as a reality, which is ecstatically edifying: “Lovers and mad men have such seething brains,/ such shaping fantasies that apprehend/ more than cool reason ever comprehends” (13). Perception and the translocation of consciousness certainly impact an individual’s comprehension of the nature of reality.

Homo sapiens intimately interacted with Neanderthals; and modern Europeans possess the genetic disposition of the inner breeding with this distinctive hominoid species. Early Neanderthals and Homo sapiens experienced a reality, which was more sentient and physically prodigious devoid of elaborate conceptualization. Interior etheric ritualism activated by the body’s numinous powers was significantly experienced by atavistic higher hominoids. Ancient Neanderthals and humans did not experience their consciousness tethered to the conceptually fabricated labyrinth consecrated by the overzealous super circuits of cortical ratiocination. What is Shakespeare referring to by this “stage of fools” or this species narcissistic delusionalism? Homo sapiens induce a fabricated realm and in Nietzsche’s Birth of Tragedy, he connotes it to be an Apollonian reality (14).

Freud and Jung both asserted that the human entity is inchoated by qualitatively distinctive realities. These psychiatrists postulated such concepts as Id, ego, superego, conscious, subconscious, and unconscious. These realities are predominantly influenced by the body’s instinctually as well as a sundry of environmental factors. Furthermore, they may not necessarily have influenced other distinctive faculties of perception, and they are certainly non-sequitur. Consciousness can be translocated into diverse spheres of reality, which then evokes particular kinds of apprehension.

Several thousand years of science has conceptually dominated Homo sapiens to where they are no longer the center of the universe, but rather perceive it to be a dot in an infinitely large sea of non-traditional matter. Atoms are comprised of principally of empty space where the actual nucleus accounts for a minuscule aspect of elements. Electrons have never been seen and are comprised of even smaller facets, which have been referred to as quarks; and there are six different variations. The nature of dark matter as well as dark energy is not yet comprehended; however, they are the predominant aspects of the universe, which likely existed prior to the genesis of traditional matter 14 billion years ago. In general, etiology may not be a construct concerned with the behavioral dynamics of the universe.

Several thousand years of anthropomorphic theorizing regarding some kind of ubiquitous gestalt concerning reality has been replaced by an enigmatic science with multiple universes as postulated by String Theory as well as by quantum physics explicating a sphere of particle machinations infinitely smaller than nanostructures defying the laws of Newtonian Physics. The human primate has evolved through epigenetics a proclivity for reflective perception; and this remodeling of the CNS’s neurological processes enables this organism to conceptualize realities inconceivable to earlier atavistic Homo sapiens even three thousand years ago. Indigenous Homo sapiens and Neanderthals experienced the mystique of night’s celestial realm not as billions of galaxies moving millions of miles per hour, but rather as a mystical arena of ecstatic edification.

We are comprised of 22,500 coding genes, which may be regulated by the so called non-coding exons. Complex cellular systems can be reviewed as magnanimous factories for the production of proteins which are involved in structural morphological activities as well as enzymatic reactions essential to the survival of biological entities. The evolution of the cosmos or its biological systems in non-anthropomorphic terms can be viewed as abstruse machinations devoid of any sagacious intentionality. The universe itself may have always existed, and experienced cycles of undulation sequestered from any focused predilection or are modulated by inconceivable permutations of energy.

Shakespeare appears to be profoundly astute in his analysis of the universe when humans employ contrived anthropomorphic constructs when he states the following: “It is a tale told by an idiot, full of sound and fury, signifying nothing” (15). Shakespeare asserts in many of his works that human fabricated Apollonian reality is where consciousness is enfettered by the gyves of ratiocination or a “tale told by an idiot.” Existentialists like Camus and Satre likewise concluded that when consciousness is pejoratively enamored or is harbored in the labyrinth of our beguiled ethos, it is a vacuous delusion for the “stage of fools.”

Atavistic Homo sapiens and their Neanderthal counterparts were not concerned with the extraneous epistemology or the skewed cortical workings, which are sequestered from the body’s primeval sentience or Dionysian ecstaticness associated with the numinous quintessence as it merges with the ineffable celestial vibrancy. Keats, Blake, and Shelley purported that consciousness must be translocated to the ontological powers of the etheric body. The reality of perception cannot necessarily be experienced as an integrated gestalt. A Dionysian Shaman rapturously empowered by the mercurial marvelment of the celestial sphere cannot likewise be ruminating about the distinctive behavior of electrons in the outer shell of atoms or its particular overall charge as well as how this phenomenon is not related to subatomic particle machinations.

Monolithic disquisitions in terms of comprehending reality’s variegated facets are a fallacious construct; and have very limited utility. Any explication of reality must ascertain the vector dimensionality of consciousness. Integrated perception is only a rumination related to conceptual reflection. Both Freud and Jung realized that consciousness oscillates and the unification of reality is a conceptual faux pas. Contemporary humans are incarcerated by antics of a fabricated dumb show or a “tale told by an idiot full of sound and fury signifying nothing.”

Is there a correlation of psyche’s diverse array of apprehension or display of non sequitur realities? Shakespeare writes, “And take upon us the mystery of things” (16). What are the perceptual differences between indigenous Homo sapiens and a contemporary scientist who observes how dark matter’s gravitational influence modulating the motion of distinctive galaxies or how oxygen, carbon, and nitrogen as well as hydrogen as a function of their electron status or charges become molecules associated with mammalian species? Theoretical physicists in terms of string theory postulates that there are multiple dimensions; and others further speculate that there are a diverse array of universes.

The author has stated that humans and other entities can experience a mystical sphere, which is qualitatively distinctive from the somewhat tangible universe with its trillions of stars and planets as well as its cryptic subatomic realm. Humans only see a small aspect of the total electromagnetic spectrum; however, they may be privy to other covert perceptual realms not necessarily related to the corporal sphere. Western philosophy can be regarded as a contentious bifurcation between Kantian terms the numinous realm and the physical sphere. Their veracity is contingent on the translocation of consciousness, which then dictates the province of perception.

Shakespeare depicts how humans can experience an exhilarating mystique not governed by the province of monolithic reason: “The lover, all as frantic,/ sees Helen’s beauty in the brawl of Egypt/ the poet’s eye, in a fine frenzied rolling,/ both glance from heaven to earth, from earth to heaven;/ as the imagination bodies forth/ forms of things unknown, the poet’s pen/ turns them into shapes, and gives to airy nothing/ a local habitation and a name./ Such tricks have strong imagination” (17). Shakespeare further states that “There are many more things in heaven and earth, Horatio than are dreamt in your philosophy” (18).

This visionary artist can readily translocate consciousness into the body’s diverse spheres; and his ubiquitous perception traverses beyond Jung’s puerile constructs of subconscious, unconscious, and conscious. James Joyce’s protagonist in his novel Ulysses, unlike Virgil’s vision, is impishly enfettered in a dialectical conundrum of pompous delusional rhetoric. Shakespeare states the higher artist is lucidly capable of apprehending a mercurial marvelment not delimited by paltry ratiocination involved with the body’s biological machinations. Shakespeare likewise questions whether the body’s neurophysiological processes can sufficiently comprehend the enigmatic behavior of the universe. There are facets to human physiology, which are distinctive from the activities of the CNS’s highly evolved neurological pathways.

Human reality cannot be delimited by the mendacious sway of pragmatic rationalists or the capricious nature of empiricism first alluded to by Aristotle. Consciousness when not forsaken in a dismal Lethe torpidness can apprehend with ecstatic sentience the body’s furtive faculties or energy dynamics, which are mystically euphoric. The nature of exosomes secreted by cells into systemic circulation containing vesicles of non-coding RNAs, which then impact post translational activities represent a kind of perceptual reality; and is uniquely distinctive from metaphysical energies that are only accessible to the body’s higher consciousness.

Has excessive innovations in physical science translated or inspired enhanced ontological genesis of the etheric dimensions of self? Shakespeare depicts the rancid meanderings of the modern physiological disposition, which is still valid in the 21st century. “There was a gaming, overtook in his rouse, there was falling out at tennis, or per chance I saw him enter a house of sale” (19). The social evolution of the human psyche is not correlated with scientific discernment. Freud depicted the infirmities of the human psyche; and asserted that cultural factors were the etiology of the human persona’s flagrant dysfunctionality. This psychiatrist in his work entitled Civilization and its Discontents stated that society has ruinously caused the disinhibition of instinctual circuitry essential for overall bodily homeostasis (20). For Freud, human social reality is a scurrilous phenomenon, which engenders problematic phenotypical remodeling.

John Locke and others unlike Freud as well as ethologists purported that even though there are billions of genetically evolved connections of specific axons to dendrites occurring in the CNS, humans are devoid of primeval instinctually. This supposition still influences modern psychology and is quite erroneous based on contemporary analysis of the CNS by neuroscientists. Many theorists besides that of Freud have asserted that there is a debilitating contentiousness between primitive non-cortical super circuits, and newer less instinctual cortical networks. Human cognizance which deceptively appears unified is an outcome of a dialectic siege. Dr. Brown in the Spirit of Freud writes the following: “A psychoanalysis which remains psychoanalysis must keep the theory of instincts. In it is contained the commitment to restore to man his animal nature and to eliminate the mystery of the soul. Hence, instincts must be universal biological principles. The question is: what had happened to an animal in order to make into a man-animal?” (21). This erroneous conception that the human entity is not like other mammals is absurd; and is the etiological basis of neurosis, and socialized psychological pathology. Overt cultural coercion or the plasticity of neurocircuits of the orbital frontal cortex is the conundrum that blights the salubriousness of the Homo sapiens.

This disquisition into the odyssey of reality is confounding and enigmatic as social evolution is the ignominious gyves which blights biological homeostatic veracity. Episodic scenarios or what we perceive to be the permutations of reality are non sequitur and also enacted with simultaneity even though they are not necessarily perceived. Quantum physics and even molecular biology cannot explicate the macro workings of the CNS between reptilian circuitry and the newly evolved cortical pathways. This neurological quandary is further convoluted by the human entity’s phenotypical epigenetic remodeling. The human organism is not privy to the body’s distinctive perceptual realms.

Dr. Brown continues his diatribe on the relationship between neurosis and the body’s primeval veracities and its Apollonian delusional mental pageant: “The essence of the human animal is neurosis, and the essence neurosis is mental conflict. Human neurosis must be traced to an instinctual ambivalence, a conflict between forces inherent in all organic life…” (22). Perceptual reality consecrated by this specie’s cultural dynamics can be viewed as a phantasmagoria of delusional sensationalism signifying nothing where this organism consciously resides in a fictional theatrical labyrinth or a fabricated masquerade denoting nothing. The analysis of reality represents many tiered levels not necessarily related.

The dilation of the body’s vasculature, the explosion of a supernova, the genesis of a star, and the evolution of a species in an oxygen saturated rainforest is occurring as Homo sapiens are slaughtering others as a function of the activation of pre-cortical super circuits. All this is occurring as nanoparticles are repelling each other. These diverse elements of human reality are not necessarily correlated, but related. Literal perception is not often times equated to the furtive nature of the prominent covert reality. Invisible physicality is transpiring in the human organism as conscious perception is constrained in fraudulent mediocrity or is delimited by the insidious allurement of cavalier ratiocination. The odyssey to comprehend reality is further thwarted by the metaphysical vision or mystical proclivities.

Dr. Shane writes the following regarding the body’s mystical predilections: “The exhilarated unsheathed Kundalini complex merges with the apparatus of the crown chakra where it is then able to coalesce with the sumptuous powers of the celestial realm. It has been articulated throughout this review that Dionysian ritualism represents a thorough resplendent cultivation of the numinous body where it is not stymied or stultified by its physical raiment. All atavistic societies evolved divergent protocols to evoke the mystical enchantment of the Kundalini complex” (23). The body’s intrinsic ontological genesis appears to provide a kind of meta-science possibly not related to its provincial biological machinations.

Einstein’s theory of relativity purports that traveling at the speed of light causes time to thoroughly slow down to the level that it doesn’t actually exist; and the gravitational nature of the fabric of time and space impacts all matter affected by photons. The physics of dark matter and energy most likely is impacted differently by the undulations of the space time raiment. There has been no revolutionary paradigm concerning the metaphysics of either the arcane nature of the celestial sphere or the body’s etheric essence in many millenniums. Early Neanderthals and Homo sapiens experienced through ecstatic ritualism a sequestering from the neurological workings of the CNS to where consciousness was redirected to the numinous essence’s mental sphere.

It appears that higher hominoid entities can only experience the mystical quintessence of the celestial realm when they are liberated from the stultification of biological perception or what Blake refers to as “four-fold vision.” In a cross cultural anthropological perspective, humans utilized a myriad of ritualistic strategies to be liberated from the enfetterment of the body’s neurological processes as a way to blend with the celestial Elysium sphere. Carl Jung and later Joseph Campbell alluded to this meta-phenomenon in many of their scholarly works. Dr. Shane’s Light on Shamanism and the Jaguar Queen explicates this theoretical paradigm. This meta-reality appears to be idiosyncratic to Homo sapiens and Neanderthals. It is not known whether the play of dolphins or killer whales is related to this meta-phenomenon where the body’s etheric essence rapturously blends with the celestial marvelment.

Shakespeare, Plato, Keats, Blake, Spenser, and Shelley asserted in their visionary artistry that sentient metaphysical revelry is the body’s heuristic epistemology; and that empirical knowledge can only facilitate biological survival. These visionaries regarded empirical veracity to be like Sisyphus who continues to climb higher the hill of his endless treachery without any respite. It is likely that the highly evolved CNS is somehow related to the organism’s proclivity for ontological pursuits.

Atavistic humans experienced art as an exhilarating ceremonialism where the body’s mystical essence was prodigiously activated with the celestial effulgence. The body’s biological machinations were viewed as a facilitator to its etheric ecstatic powers. There is some speculation that this kind of meta-phenomenon was the quintessential experience of higher hominoids during their early existence. It is evident that the modern human phenotype as a function of its skewed and pejorative epigenetics is not able to experience higher mystical genesis as a result of cortical thwartment engendered by the newly remodeled inhibitory circuits of the orbital frontal cortex.

Many atavistic cultural systems have purported that biological pathophysiology was engendered by the invidious stultification of the numinous body. Indigenous hierophants and shamans evolved strategies that were able to medicinally treat perturbations in the numinous body. These shamans contended that when the human entity forsakes the volitional modulation of the etheric body that this meta-phenomenon induces pathogenesis in its overall physiological dynamics. Thus, this meta-phenomenon is then translated into physiological morbidities. These hierophants did not utilize pharmacological agents to allay the body’s physiological dismay. In general, for atavistic humans, the body’s etheric sphere was of central importance to them as a way of achieving an optimal health status.

The term’s chakras and micro chakra channels refer to the meta-anatomy of the numinous body. Chinese Taoists denote that the body’s meta-physiology have distinctive dantians as well as chi channels. Indigenous shamans utilized a kind of synesthesia to envision into the etheric body’s meta-physiological dynamics. Invidious obstructions in the numinous body’s meta-physiology if they are chronic induces or translates into deleterious dysregulation in its physiological processes. Western medicine does not employ any medicinal strategies to effectively treat the pathogenesis of the body’s numinous sphere; and there are not any viable pharmaceutical protocols to mitigate such idiopathic malaises such as autoimmune pathologies, neoplasia, and certain psychiatric morbidities.

The contemporary human monolithic enfetterment of consciousness is a scurrilous phenomenon which certainly is the etiological basis of ontological stultification of the numinous body; and likewise engenders a bevy of physiological morbidities. Human disassociation from the euphoric activation of the body’s numinous quintessence wish the celestial realm’s maniacal mystique is necessary for the sentient salubriousness of the human organism. Most atavistic societies evolved highly sophisticated rituals for achieving dramatic effulgence with the celestial sphere. Contemporary consciousness is ruefully sequestered from the arcane veracity of the body’s numinous realm. 

Many neuroscientists like Dr. Damasio have contended that the executive workings of the orbital frontal cortex in terms of inducing human action sequences are independent of an individual’s volitional proclivities, and the nature of perception is sequestered from conscious reflection (24). Human reflective rumination is principally contingent on the sophisticated machinations of epigenetic governed cortical super-circuits. The philosophical constructs of free will or idiosyncratic volitional imperatives are fallacious, and not applicable to most humans. This perspective is contingent on the fact that consciousness is tethered to the consecrated labyrinth of ratiocination. Genetic variations in the pre-cortical and cortical circuitry with respect to primeval instinctuality are the impetus for a bevy of action sequences as well as the contentiousness between epigenetic-related inhibitory remodeled cortical pathways. 

The impetus for volition is a problematic construct; and humans who are extricated from their etheric mystical processes where consciousness cannot be translocated, and are enfettered in the foibles of contrived cortical neurological machinations. The will for arcane metamorphosis must be actualized by the numinous body’s mental sphere. This metaphysical postulation is discussed in Dr. Shane’s articled entitled “The Body’s Confluence with the Numinous Essence” (25). The author purports that there is a sagacious sphere of ontological perception distinctive from the body’s executive cortical workings. The diminution of ontological volition is correlated with the predominance of the orbital frontal cortex’s executive functions. Romantic visionary artists asserted that when the etheric body is desecrated and derogated in the dismal citadel of ratiocination, this induces a deleterious conundrum. Thus, volition is not a paradisiacal oasis for the human entity in the modern environmental milieu. The forfeit of the transubstantiation of consciousness connotes that the individual’s outward existence will be a quagmire of monolithic desperation. Can fate be overruled? This is an enigmatic issue beyond the sphere of human perception as it involves a plethora of cryptic factors, which may not be perceived or apprehended by human proclivities. 

Homo sapiens most likely have intuitively speculated on the likelihood of other biological organisms residing on the trillions of planetary spheres in a diverse array of galaxies. The forces of physics which enables atoms like oxygen, hydrogen, carbon and nitrogen which are the most prevalent atoms in the universe are extricated by the trillions of stars that then form a multitude of molecules. The specific natures of molecular compounds are most likely affected by a certain planetary environmental milieu. This chemical phenomenon most likely engenders complex molecular organic compounds which are the fundamental basis for multi-cellular organisms. These seemingly sophisticated biological entities could have evolved neurological strategies for enhanced perception and mystical sagaciousness.

Humans are not certainly the most evolved entities in the universe in terms of magnanimous consciousness or apprehension of the celestial mystique. Thus, Homo sapiens are not the paragon of all galactic entities. The formidable mystery of the enigmatic undulations of celestial energies may be apprehended more readily by other intergalactic entities as compared to organisms. Narcissistic egocentrism is extremely problematic in contemporary humans; and this stymies any kind of robust perception or the lucidity of prodigious consciousness. There is stultification in terms of ontological genesis when consciousness is pejoratively encumbered in the arrogant bombast associated with puerile of anthropomorphic constructs comprising the erroneousness as well as absurdity of modern theosophy, which then delimits any kind of edifying epistemology. Shakespeare’s Hamlet “To be or not to be speech” blithefully explores the nature of the numinous body’s existence when not embroiled in its physiological processes. Shakespeare writes the following concerning the existence of the body’s arcane sphere or stealth nature: 

“To be, or not to be, that is the question:/Whether it is nobler in the mind to suffer/The slings and arrows of outrageous fortune,/Or to take arms against a sea of troubles,/And by opposing in them. To die-to sleep,/No more; and by a sleep to say we end/The heart-ache and the thousand natural shocks/That the flesh is air to: it is a consummation/ devoutly to be wished. To die, to sleep; To sleep, perchance to dream-ay, there’s the rub:/ For in that sleep of death what dreams may come,/ When we have shuffled off this mortal coil,/ must give us pause-There's the respect/ that makes calamity of so long life./For who would bear the whips and scorns of time,/The oppressor's wrong, the proud man's contumely,/The pangs of disprized love, the law's delay,/The insolence of office, and the spurns/The patient’s merit of the unworthy takes,/When he himself might his quietus make/With a bare bodkin? Who would fardels bear,/To grunt and sweat under a weary life,/But that the dread of something after death,/The undiscovered country, from whose bourn/No traveller returns, puzzles the will, and makes us rather bear those ills we have/than fly to others that we know not of?...”(26). 

The science of metaphysics asserts that the numinous body’s existence in the words of Shakespeare when the mortal coil is shuffled off is still extremely enigmatic to human perception. There are a multitude of physicists who purport that the macro-universe always existed; and it is not necessary to postulate a principal omnipotent progenitor. String theory purports that the universe has quantum-like energy particles, which always existed prior to the Big Bang apotheosis, and could be related to the prodigiousness of dark energy. 

The qualitatively distinctive multitudinous forces of nature appear to emerge as a function of the oscillation of succinct energy dynamics; and there is no need to have an etiological basis for these surreptitious energy particles. Hamlet’s speculative soliloquy concerning the ubiquitous existence of the mystical body is reasonably reflective or related to ineffable energies, which physicists have purported to have a perpetual continuation in the known universe. Early Homo sapiens and even Neanderthals buried their dead. This phenomenon seems to connote that these higher hominoids possessed some kind of deeper bodily quintessence which has an existence distinctive from its biological machinations. There is a certain degree of archaeological evidence that most cultural societies or tribes experience the numinous sphere of the body as a ubiquitous meta-phenomenon whose transcendence was not deterred by the body’s physiological entropy. 

Shakespeare’s Hamlet was keenly cognizant that the body’s numinous sphere has an existence not necessarily related to the perturbations of the physical body or to the known universe. The body’s mystical sphere has a tangibility associated with arcane perception which belies the processes of the corporal realm. The ontological status of the numinous body in terms of its escalation is the principal intent of sagacious Homo sapiens. There is some likelihood that other intergalactic species likewise are capable of higher sentient revelry with the energy dynamics of the celestial sphere. 

Shamans, hierophants and visionary artists have postulated that higher hominoid species are robustly inclined to experience the ethereal metamorphosis of the numinous body where these entities pursue an ecstatic coalescence with a splendiferous tier of the celestial Elysium sphere. There is mystical evidence that this arcane predilection represents an actual metaphysical environmental milieu of the etheric body. Carl Jung was the first western practitioner to purport that there is a “collective unconscious” where humans are ardently motivated to pursue edifying ontological genesis or exhilarating mystical metamorphosis of the etheric body (28). This meta-phenomenon was articulated in Dr. Shane’s “Light on Shamanism” and the “Jaguar Queen” (29).

The odyssey to comprehend the ineffable matriculations of reality from colossal black holes to Dionysian mystical revelry is most bewildering; and is a Promethean challenge to human consciousness. Shakespeare writes: “Sith nor the exterior nor the inward man resembles that it was,” can be a typification of the 21^st century human who is experiencing a deleterious attenuation of the body’s inner and exterior spheres (30). In Darwinian terms, humans have evolved to be optimally homeostatic with respect to their physiological status. The contemporary human phenotype is seeking an antipodal robustness or retrograde stellar exquisiteness.

Shakespeare states the following regarding the ecstasy of the human spirit: “It is the east and Juliet is the sun!/Arise, fair sun and kill the envious moon/Who is already sick and pale with grief/That thou her maid art more fair than she./… …Two of the fair stars in all the heaven,/having some business, do entreat her eyes/to twinkle in their spheres until they return” (31). Reality as connoted by humans represents a diverse array of perceptual spheres as consciousness translocates into the multiple dimensionality of the body. The peevish narcissistic delusional masquerade conjured by the modern psyche is the pompous knavery of a foolish psyche. Anthropomorphic fallaciousness is melted away by scientific and metaphysical exquisite veracity.

References

1. William Shakespeare, The Complete Works, Alfred Harbage, Macbeth. Viking Penguin Inc., New York, 1969, p. 1133

2. ibid; p. 133

3. ibid; p. 133

4. James Joyce, Ulysses, Create Space Independent Publishing Platform, 2013

5. Shakespeare, King Lear, Methuen. New York, 1975. p 170.

6. Dr. Ron Shane, Light on Shamanism, Elysium Arts , 2014, Amazon.com;

 Dr. Ron Shane . Jaguar queen, Elysium Arts, 2015, amazon.com

7. William Shakespeare, King Lear, op. cit. p. 188

8. William Shakespeare, Timon of Athens. op. cit. p 1166

9. William Shakespeare, Hamlet, Methuen. New York. 1984. p. 381.

10. ibid. p. 382.

11. Shakespeare, Macbeth op. cit. p. 1133.

12. ibid. p. 1133.

13. Shakespeare, Midsummer Night's Dream, page 169.

14. Fredrick Nietzsche, The Birth of Tragedy. Penguin, New York. 1994.

15. Shakespeare, Macbeth, op. cit. p. 1133.

16. Shakespeare, King Lear, op. cit. p. 188.

17. Shakespeare, Midsummer Night's Dream, op. cit. p. 169.

18. Shakespeare, Hamlet, op. cit. p. 226.

19. ibid. p. 232.

20. Sigmund Freud, Civilization and its Discontents, Rough Draft Printing, New York, 2013

21. Norman O. Brown, Life Against Death, W. Esleyn University Press, Middletown, Connecticut, 1959, p. 82.

22. ibid. p.. 82.

23. Dr. Ron Shane, The Re-genesis of Dionysian Revelry: where art is the ecstatic effulgence of the body's mystical quintessence, 2015, publication pending.

24. Antonio Damasio, Descartes Era, Penguin Books; New York. 2005.  

25. Dr. Ron Shane, The Body’s Confluence with the numinous essence, 2015, publication pending

26. Shakespeare, Hamlet, op. cit. page 277-280

27. Carl Jung, Archetypes and the Collective Unconscious, Princeton University Press; 2^nd Ed, 1981

28. Dr. Ron Shane, Light on Shamanism, op. cit.

29. Dr. Ron Shane, Jaguar Queen, op. cit.

30. Shakespeare, Hamlet, op. cit. pg. 237

31. William Shakespeare, Romeo and Juliet, Methuen, New York, 1980, p. 127-128

Ron Shane ND PhD OMD MFA   Dr. Shane is a world-leading authority in body mind consciousness studies. See Bio section for more information about Dr. Shane.