The Ascordia Center Presents

shakes.gif (5789 bytes)  William Shakespeare  shakes.gif (5789 bytes)

    Introduction by the "Guides"

"We welcome all of you here then for this opportunity to be in communication with a very illustrious and well learned man. We have taken this opportunity to be able to bring in (as a control mechanism) various functions that will allow for (and we'll call it the 'world view' of) William Shakespeare to come through this channeler. William, as a soul, has gone on to other developments and to other lifetime experiences and other developing possibilities, shall we say, and has been to other worlds other than the earth planet, so that his familiarity with this particular time frame and the personality of William Shakespeare has become a little vague. So that what will be necessary is a referencing to the Akashic records, as you understand them, to pull back, or to pull in information concerning his time period and his personality.

We would like to say, first off, that he was neither Christopher Marlowe nor was he Francis Bacon. He was his own person. Right off the bat, let it be known, that he was his own person and personality. What we will say, however, is that his writing style and temperament was met and matched by other writers of his time and that they often met, either secretly or not so secretly, to share their writings, as it were. Just as in today's time, you have writers meeting regularly to compare and contrast their writings and to get the feedback they need just so you will find that they, in those days, influenced one another in their temperament and their style. We want to make that clear so as to clear up any controversy as to who created the body of writing known as the works of William Shakespeare. We feel there was, however, apprentices and aspiring writers who would help him in his writing (especially in the later works) so that there was an influence from other writers in the writing of the works of Shakespeare, especially in the latter sonnets...(pause) give us a moment then.

Okay, we are now ready to allow for the entity William, himself, to make himself known to you. With the soul's permission, we are going to allow for a holographic projection of certain patterns that are known to be his world view and personality and temperament of the time, so allow us for a moment to clear the channel, to bring in William Shakespeare".... (pause)

William Shakespeare

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"Tis a strange and wondrous place that I find myself to be, in this corner of this room, in this corner of this building, in this corner of the world that we know as the 'new world', as we've come to know as the 'new world'. (Speaking to the audience..) And you are pioneers in this new world, we see that you are explorers, as those who have come from the mainland, the shores of the British Isles, to this new world, who have also been known as explorers and pioneers. I speak, then, in hindsight, at the soul level , for I did not know those times to come when there would be great exploration of the new world, as you know it. We, in our time, were just beginning to end an old world, an old dying order and were just beginning to move into the time, as you know it, of the Renaissance."

"I lived at a time when there was just the beginnings, the undercurrents, of the new order beginning to make itself heard. But we were still very much involved and entrenched in a guiding structure - a very formal and decorous way of life, shall we call it. And there were many rules and regulations that were imposed upon all walks of life - all levels of society- more so, of course, for the upper class and less so, of course, for the lower class. I was enamored, as a young man, of the lower class. I did not come from the lower class but I was surrounded by the lower class and I felt compelled to write my works to amuse and to entertain the masses for I felt that I had something important to say and I had something important to say as a young child. I was rather precocious and insightful and I wanted to make commentary about the nature of man as I knew him to be."

"I was instilled with a vision and I felt myself to be different from others so that I knew only best to express this vision through stories - through epic tales, if you will, so that it would not seem out of the ordinary or extra-ordinary. I wanted to make my writings to be as comforted and comforting to the masses as possible. I was a landed gentry man. I came from wealth. I grew up in an estate. I knew the servants and laborers on our estate and I observed and watched them speak to one another and so I picked up on the nuances of their language and understandings and wrote those into my plays and stories so that the common people would understand what I was talking about."

"I chose the form of meter, of rhyme and meter, as I was enamored of the sound of speaking. As I listened to those around me, I became aware that the sounds of speaking were very much like music. There was a cadence and a rhythm and a measure and a timing to them that was very similar to orchestrated pieces of music and I wanted to get this down into my writing. And the only way that I knew best to do this was through a form of poetry or verse and so I chose verse more often than not, so that it could encompass this sense of rhythm and musicality that I found in the spoken word, in the human tongue."

"I was enamored, then, of the spoken word. I was enamored, then, of the possibilities of meaning that could be engaged through conversation. So, as you understand it,  that much of my plays are based on intimate conversations between two main characters who create, for you, an understanding of an entire viewpoint or social set-up and that much of the drama and comedy come from the interactions between several main characters who do not or cannot understand each other, who do not or cannot understand each other's point of view. And that the whole point, then, of these dramas, was to resolve their differences through dialogue."

"I am sorry I am not making myself more present as I am unable to do so, at this time. I have been called upon this task in a very quick or impulsive fashion and so I must, in my fashion, be as slow and as formal as you have been as quick and impulsive in your methods.

I like to use irony, as you understand it, in my work and you will understand that (irony) often will act to synthesize disparate viewpoints so I was very much involved with synthesis and integration of viewpoints. I was, in fact, trying to educate the masses to a much more cosmopolitan point of view of the world by letting them see how people drew from their own experiences and created their own beliefs and prejudices and world views so that they created different styles of looking at the world and of relating to one another and through dialogue, one could come to understand another's viewpoint and perspective in the most complete and deepest fashion, so that one could come to a peace with it, if you will.

"I was concerned, then, with creating a state of peace, along these terms, in these terms. Yet, only through showing how the world was not at peace, that the world was, in fact, full of war and conflict and vengeance and greed and lust and all of those desires that are wholly human and were voluptuously so, in those days, that the masses could then come to understand that these desires could be subjugated to a greater cause, if you will, a greater desire. And that would be for justice, for mercy, for compassion, for fairness and you'll see that evidenced in many of my plays. My great sense of fairness and equality, I wanted to create within the characters dispensations and the resolution of their ironies and dramas, if you will. Am I making myself clear here?"

"I have come from a long line of thinkers and philosophers that date back to the ancient times of Greece.  In those times, they also were very enamored of the use of the play--the use of dramatic encounter to resolve human tensions that normally would not be resolved in everyday activities. These plays are very much like what you consider today, psychotherapeutic or therapeutic. They had healing qualities to them in resolving what we would call archetypal dramas. So those qualities that I was aware of in my days, in Greece, as another soul, or rather, personality, I drew to create within my (present) plays the same purpose or result.

So you'll understand that there are many archetypal personalities that make themselves known in my dramas, especially in the KING series.  And that these kings were archetypal figures that the masses could especially (either) relate to or be repelled by, as authority figures, that would also relate to their own sense of authority or not. In those days, since authority was so dispensed among so little or so few, that I felt it important, intuitively, to express the idea that authority is found from within by understanding one's own values, one's own viewpoint. I understand that what I express in my plays is also being expressed in your "New Age" material that is being written today by many thinkers and philosophers. The idea that you create your reality through your beliefs is something I would have been connected with and felt a kinship towards but I didn't say it in those words, I said it through my way."

"I was friends with Christopher Marlowe and Ben Johnson. We were contemporaries, as there were many great thinkers at that time, at the end of the fifteenth century and the beginning of the sixteenth century.  There were many thinkers who would soon revolutionize the way that humans thought of themselves and the world.  You know that there were great mathematicians before and after us, Kepler and Copernicus before us and Newton and Galileo after us, who led men into a greater awareness of the world around them and how  the planet Earth itself was just part of a greater system which allowed man to realize that the human drama was but a microcosm of the great cosmic drama in the macrocosm.  And so that humankind would then begin to understand how they fit into the great cosmic structures that were beginning to be understood by what we call modern man, around the turn of the fifteenth century into the sixteenth and seventeenth centuries.

I foresaw this in my way, in an intuitive fashion, by creating opportunities for people to measure themselves to a certain ideal or standard presented in my plays.  In Othello, for example, I wanted to show how people would often be in conflict between their own internal desires and the external pressures of authority that would define them and re-define them over and over again.  And how this was an eternal struggle for all of humankind to always be drawn to and then also rebel from rules and obligations. That the human heart, for example, and the human mind, rebel innately from most structures.  That the human heart and the human mind transcend   most human structures, most human laws.  That  we really need to look at the cosmic laws, universal laws or the God given laws that would help us to attune to a sense of purpose and a sense of ethics. 

I was very concerned with ethics. In those days, ethics was not of great concern.  People were rather unethical and amoral in a rather wonderfully glib fashion.  And I was a moralist.  I would even say that I could have been a Calvinist or a Puritan because I had a very strong set of standards that I felt almost compelled to express to others, but I refrained from doing so because I also understood the deep meaning of the human drama as it was on its own term; the deep value of it and wisdom of it occurring in its own fashion. So, I am also here as I understand it to answer some questions posed to me, then, by the masses, at your level of entertainment, the television and the computer.  That, in a sense it is rather ironic, as I understand it, that I am here again to express my thoughts to the masses, to give them some recompense from their daily cares and woes, if you will.  Some entertainment tonight!   So, if you will, you may want to begin your questions now so that I can begin to answer them in an appropriate and as efficient way possible.

(This is an edited version of the transcript of the original Shakespeare channeling (by Amy Bortner) recorded 'live' at the Ascordia Center, Phila., Pa. in December of 1996.)

 (If you are interested in  purchasing the full transcript of this channeling, please contact the Ascordia Center at:

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