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The Kabbala of Shakespeare At the age of twelve, my grandmother introduced me to the mysterious world of Shakespeare when she gave me Clark and Wright's The Complete Works of William Shakespeare. In comparison to this early interest in the Bard, I was a late bloomer at the summer of 1991 I began studying the Mystical Kabbala. The Kabbala is described in the glossary of the Zohar as "the esoteric teachings of Judaism" (Matt, 304). Authorities disagree about if it was found by Adam, Noah, or Moses (Kraig, 54). This knowledge is best described with a figure called the Tree of Life. It consists of ten spheres or sephiroths numbered one through ten and divided in various configurations depending on their operations, which we'll see later. By employing a variety of systems of manipulation, magicians think they can attain God's intellectual universe or control nature by harnessing the energy hidden therein (Woodman, 15). Although I had studied the Kabbala and Shakespeare avidly, I didn't make any connection until Fall semester of 1993 when a fellow student in EN 420 Shakespeare leaned over to me and suggested that the conflict between Theseus and Hippolyta reminded him of the conflict between the Pillar of Mercy and the Pillar of Severity (see appendix). Like two vines bent toward each other, I could not prevent Shakespeare and the Kabbala from becoming hopelessly entangled by the end of the semester. When the assignment was given to do research on some topic in Shakespeare, there was little doubt in my mind what I would examine: William Shakespeare must have been aware of the Kabbala and included Kabbalistic doctrines in his plays. Documentation was my important apprehension. Shakespeare never.