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Jarod Kintz

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“Misconceptions about death are connected to misconceptions of what it is to be alive. Of these things you can be assured: consciousness is the creator of each reality within the multidimensional, vibrational Spectrum of Existence.”

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“While one may encounter, in dreams, an enactment; a mimicking of a true life experience, the majority of dreams offer a smorgasbord of identities and latent talents available to the dreamer. And if the dreamer is too fixed in their ways, they may experience dreams of being a child—often a warning that they remain too narrow in their expectations of themselves and should expand their interests and definitions.”

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Book:The Healing Power of Dreams: The Science of Dream Analysis and Journaling for Your Best Life!
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“Confident that one’s outer reality is a consequence of one’s inner thought constructs, such a process could then lead the dreamer to healing the source of the transference of limiting thought constructs from one’s Psychological Reality Framework Two to Psychological Reality Framework One. Utilizing the above process, it should become evident that dreams were never an end, but instead a means by which the dreamer can open new avenues of expression that had formerly been repressed; thereby resolving any hidden blockages to success. Any overemphasis of a single identity can manifest in dreams as cartoon-like characters or situations. These kinds of dreams can be regarded as consciousness’s gentle nudge encouraging the dreamer to open themselves to a more expansive application of their Original Grace—that they are free to explore the joyful possibilities life has to offer. Investigating other talents and avenues for expression, one should realize that because of the infinite possibilities of the moment, parallel realities can simultaneously be created from new identities and passions.”

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“It was somehow fitting that the true beginning and the end of a life occurred in the same sacred house. Anne would have praised God and Emily would have laughed. On this day, their presence was fully with me, and I am sure that Charlotte—now kissing the man she loved despite everything the world had thrown at her—felt the same twined souls invisibly at her side.”

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“[Talking about Rosalind in As You Like It] She disguises herself as a boy, drops all the covering inhibitions of "femininity", and really searches for her true self (...) Her disguise gives her the ability to find out about herself, what she really thinks and feels (...). And she can do all this freely, without having anyone in power tell her how women should or should not behave.(...)”

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“[Shakespeare realized that] Women are able to understand themselves better on a personal level and survive in the world if they dress in men's clothing, thus living underground, safe (...). The presence of women disguising themselves as men dictates that the play be a comedy; women remaining in their frocks, a tragedy. In four great tragedies -Julius Caesar, Hamlet, Othello, and King Lear- almost all the women die (...). How much the women have to adhere to the rules and regulations of their enviroment makes a large difference. Once Rosalind [disguised as a man in As You Like It] has run away from the court, she has no institutional structures to deal with. Ophelia [in her frocks] is surrounded tightly by institutional structures of family, court, and politics; only by going mad can be get out of it all.”

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“[Talking about Othello] His dying words are about the service he has done to the state -not what he has done to Desdemona. (...) He acknowledges not love but the power structure (...). Othello believes his fellow officer [Iago] rather than his wife, believes death is suitable punishment for infidelity (...). It makes me uneasy that we so easily state that Othello is a play about race. Race is one of its ingredients, but the most pervasive subject that Shakespeare is tackling is sexism. The two women [Desdemona and Emilia, Iago's wife] end up dead. Bianca, the third woman in the play, Cassio's mistress, ends up in jail for something she never did, and nobody bothers to get her out. Iago, the symbol of evil, remains alive. Brabantio, Desdemona's father, dies of a broken heart because of his daughter's disobedience. And everyone is very regretful about what has happened. But no one, other than Emilia, has pointed out that there is a terrible double standard, something rotten in the system itself.”

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Book:Women of Will: Following the Feminine in Shakespeare's Plays
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