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Angel of the Day

psPast Life Reading

      Your angels can help you remember your past lives. By understanding the journey that your soul has made, you can help yourself heal from emotional, spiritual, and physical wounds.

Past Life Reading contains:

        Your past; Your path;
        Previous incarnation; Your lessons.

Reading length: approx 11 pages.

Price: $14.90

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Archangel

Archangels Reading

      A complete reading about your life covering a period of a year, between two birthdays. Find out what is out there for you: opportunities, dangers and how to avoid them, how to improve yourself and your relations.

Archangels Reading contains:

      Prevision for a year (between two birthdays)
      Important events of the year
      Message from your Guardian Angel

Reading length: approx 20 pages.

Price: $19.90

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Angel Card

      A divine message form the Angel of the moment. Please wait 5 minutes before asking the next question. Every Angel rules approximately 5 minutes of the day (after 6 hours they repeat). Don’t abuse the Angel Oracle.

How to do it

  1. Clear your mind.
  2. Think about your question.
  3. Click on the picture.

The answer will be revealed for you.

Your Angels

Your Angels

Contains: the Incarnation Angel (with description), the Heart Angel and the Intellect Angel.

Price: $9.95

Love Reading

Love Reading

Contains: your current situation regarding your love life, marriage, hidden things, attitude and future.

Price: $9.95

Career Reading

Job Career Reading

Contains: your current situation, business partnership, your career, attitude and future.

Price: $9.95

SHAKESPEARE’S CONCEPT OF ANGELS

The beloved English dramatist and poet William Shakespeare (1564-1616) incorporated his eschatological ideas, including those about angels, into his work, though one might argue that his biblical knowledge was used lightly. His plays seem rather to reflect the dramatist’s pure joy in the theater, his passion for words, and his often tonguein-check delight in an intimate acquaintance with human nature.

One modern writer, Roger L. Cox, argues differently. In his book Between Earth and Heaven: Shakespeare, Dostoevsky, and the Meaning of Christian Tragedy (1969), Cox maintains that Shakespeare was “indebted specifically to the New Testament, not to biblical commen tators or religious reformers, and what the] has borrowed is not merely random phrases or quotable verses, but the very fabric of biblical thought with its characteristic patterns of language and imagery.”

“Shakespearean tragedy,” writes Cox, “derives some of its principal motifs and conceptions from the letters of St. Paul.”

Shakespeare’s work does seem to reflect that heaven is conceived as God’s kingdom above the clouds, reserved for the souls of the righteous, and that he held a belief in Satan or Lucifer and a hell where the damned were eternally tormented by fire. His view of good and evil angels forever whispering their exhortations and temptations at the shoulders of mortals was based on the teachings of the church in Shakespeare’s time.

In an introduction to Religion and Modern Literature: Essays in Theory and Criticism (1975), editor G. B. Tennyson writes:

One might argue that the Globe Playhouse is quite a long way from the church porch, that Shakespeare’s dramas are works in which this world figures more prominently than the next, works in which human action plays a greater role than divine action. But much of this secularity is deceptive. . . . The stature of a Hamlet or a Lear is a function of the religious world-view that Shakespeare shared with his audience, for the Elizabethan plays are descendants of the medieval drama of religious inspiration.

Thus in Shakespeare angels are represented as the embodiment of Goodness, Perfection, and Beauty; as singers of sweet songs; as messengers; as guardians; as warriors for righteousness; and as compassionate and merciful beings, understanding of human nature. Shakespeare also frequently contrasts the good and evil angels, and often compares virtuous women to angels.

Angels as the Embodiment of Goodness, Perfection, and Beauty

In Love’s Labour’s Lost, angels represent Good to the simpleminded page Moth, but Shakespeare also uses the term to refer to a beautiful woman. Boyer, attendant to the princess of France, relates to her the details of a romantic plot, directed toward her by King Ferdinand, which he has overheard in the woods. Moth is given his instructions by the king and responds innocently: “For, `quoth the king,’ an angel shalt thou see, / Yet fear not thou, but speak audaciously.” / The boy reply’d, “An angel is not evil; / I should have fear’d her had she been a devil” (5.2.105-8).

Angels are equated with Perfection in Two Gentlemen of Verona. Valentine admits he has been “an idle truant, / Omitting the sweet benefit of time / To clothe mine age with angel-like perfection” (2.4.66).

Angels again represent Perfection in Henry VIII, when the lord chancellor tells the archbishop of Canterbury and members of the council chamber, “we are all men / In our own natures frail, and capable / Of our flesh; few are angels …” (5.2.57).

In The Tempest, Prospero, the banished duke of Milan, equates angels with Beauty. Angry at his daughter Miranda’s attraction to the shipwrecked Prince Ferdinand, Prospero compares the handsome youth to the deformed slave Caliban, offspring of a witch. He tells Miranda, “Thou think’st there are no more such shapes as he, / Having seen but him and Caliban: Foolish wench! / To the most of men this is a Caliban, / And they to him are angels” (1.2.481).

Angels as Sweet Singers

Shakespeare has a romp with the idea that angels are sweet singers in A Midsummer Night’s Dream. After an attempt at playing a practical joke on his fellow craftsmen by donning the head of an ass, Bottom, the weaver, is left alone in the deep woods. To quell his fear, he begins bellowing a song about birds. Meanwhile, Titania, queen of the fairies, is sleeping nearby under a magic spell contrived by her husband, Oberon. While she slept he streaked her eyelids with the juice of a flower that would make her fall madly in love with the first thing she saw upon waking. When she hears Bottom’s song the spell is activated. “What angel wakes me from my flowery bed?” she asks, and upon seeing the weaver, ass’s head and all, she declares her love (3.1.132).

Angelic choirs are likened to the music of the spheres in The Merchant of Venice. As Lorenzo and his love Jessica enjoy a starry night, he tells her,

Look how the floor of heaven Is thick inlaid with patines of bright gold; There’s not the smallest orb which thou behold’st But in his motion like an angel sings, Still quiring to the young-ey’d cherubims: Such harmony is in immortal souls; But, whilst this muddy vesture of decay Doth grossly close it in, we cannot hear it.

(5.1.58-65)

Angels as Messengers

The concept of angels as messengers is the basis for a quote from young Arthur in the play King John. On learning that his trusted Hubert, chamberlain to the king, has sworn to put out the boy’s eyes with hot irons, Arthur is stunned and says, “And if an angel should have come to me / And told me Hubert should put out mine eyes / I would not have believ’d him” (4.1.68-70).

In Macbeth, the lord Lennox asks for an angelic messenger as war looms: “Some holy angel / Fly to the court of England, and unfold / His message ere he come; that a swift blessing / May soon return to this our suffering county” (3.6.45).

Guardian Angels

A good example of the Shakespearean concept of guardian angels is found in Henry VIII when an old woman brings the king news of the birth of his daughter: “Now, good angels / Fly o’er thy royal head, and shade thy person / Under their blessed wings!” she greets King Henry (5.1.159-60).

In Henry V, the archbishop of Canterbury addresses the king with a similar salutation: “God and his angels guard your sacred throne, / And make you long become it! (1.2.7-8).

Angels are again portrayed as guardians in Richard III. After the ghost of Clarence wishes death upon King Richard, it turns to Henry, earl of Richmond, and bestows a blessing: “Good angels guard thy battle! live, and flourish!” (5.3.138). Earlier in the play, the ailing duchess of York bids Lady Anne, “Go thou to Richard, and good angels tend thee!” (4.1.93).

Guardian angels are called upon in Hamlet to bear the dead prince’s soul to heaven. As Hamlet utters his final words and then is silent, Horatio breathes, “Goodnight, sweet prince, / And flights of angels sing thee to thy rest!” (5.2.371).

Angels as Warriors

Shakespeare often employs the biblical portrait of angels as powerful warriors for righteousness. In Richard II, King Richard attempts to reassure the duke of Aumerle of Richard’s royal power, in spite of victories by Bolingbroke, the future King Henry IV. Richard compares himself to the Sun rising, plucking “the cloak of night” from the backs of the traitors. He tells Aumerle, “For every man that Bolingbroke bath press’d / To lift shrewd steel against our golden crown, / God for his Richard hath in heavenly pay / A glorious angel: then, if angels fight, / Weak man must fall; for heaven still guards the right” (3.2.59-63).

In Richard III, the ghost of Buckingham curses King Richard in his dream, then turns to the earl of Richmond, soon to be King Henry VII, who is also dreaming of Buckingham, and says, “But cheer thy heart, and be thou not dismay’d: / God and good angels fight on Richmond’s side” (5.3.174-5).

In Macbeth, as Macbeth plans Duncan’s assassination, he considers the life of the good king:

Besides, this Duncan Hath borne this faculties so meek, hath been So clear in his great office, that his virtues Will plead like angels, trumpet-tongued, against The deep damnation of his taking-off: Striding the blast, or heaven’s cherubin, hors’d Upon the sightless couriers of the air, Shall blow the horrid deed in every eye….

(1.7.16-24)

Good and Evil Angels

Shakespeare’s treatment of the good and evil (or fallen) angels is directly in line with his religious beliefs. In Measure for Measure, Angelo is aware of good and evil at war within himself as he formulates a plan to obtain sweet Isabellas’s sexual favors in exchange for her brother’s life. He finds himself praying with “empty words” while his mind “anchors on Isabel.” With heaven in his mouth and a “strong and swelling evil” in his heart, Angelo reflects on the power of his office, but realizes he is only human. “Let’s write good angel on the devil’s horn,” he moans, “Tis not the devil’s crest” (2.4.16).

In the general confusion of The Comedy of Errors, Dromio of Syracuse refers to an officer as “he that came behind you, sir, like an evil angel, and bid you forsake your liberty” (4.3.20-21).

In Henry VIII, Cardinal Thomas Wolsey bids farewell to his servant Cromwell, telling him, “I charge thee, fling away ambition: / By that sin fell the angels; how can man, then, / The image of his Maker, hope to win by it?” (3.2.441-3).

As Falstaff banters with the chief justice in Henry IV, the justice chides him for his misleading of young Prince John: “You follow the young prince up and down, like his ill angel” (1.2.186). Later, in a bar scene, Falstaff refers to his page, saying, “There is a good angel about him; but the devil outbids him too” (2.4.362).

In Macbeth, Malcolm tells McDuff, “That which you are my thoughts cannot transpose; / Angels are bright still, though the brightest fell” (4.3.21-22). Roger L. Cox, in Between Earth and Heaven, proposes that this line comes from Luke 10:18: “I saw Satan fall like lightning from heaven.”

Merciful Angels

Shakespeare’s work also shows he believed angels to be compassionate, merciful, and understanding of human nature, much like Christ. In Measure for Measure, Isabella, sister of Claudio, who is condemned to die for causing his betrothed Juliet to become pregnant, begs acting lord deputy Angelo for her brother’s pardon. Angelo insists that Claudio is to be beheaded, and Isabella, soon to become a nun, exhorts, “-but man, proud man! / Dressed in a little brief authority,/ Most ignorant of what he’s most assured, / His glassy essence-like an angry ape, / Plays such fantastic tricks before high heaven / As make the angels weep; who, with our spleens, / Would all themselves laugh mortal” (2.2.119-25).

In Henry VIII, the duke of Norfolk speaks well of Queen Katherine’s love for her husband, comparing it with angelic love: “her that loves him with that excellence / That angels love good men with; even of her / That, when the greatest stroke of fortune falls, / Will bless the king . . .” (2.2.35-38).

In Hamlet, King Claudius is overcome with guilt about his brother’s murder and calls upon the angels for mercy and understanding: “0 limed soul, that, struggling to be free, / Art more engag’d! Help, angels! Make assay” (3.3.68-69).

Women as Angels

Comparison between virtuous women and angels is often couched in simile and metaphor in Shakespearean drama. In Henry V, as the king attempts to woo Katherine, he tells her, “An angel is like you, Kate, and you are like an angel” (5.2.110).

In Troilus and Cressida, it is the lady who makes the comparison: “Women are angels, wooing” (1.2.312), Cressida says.

Shakespeare’s vision of angels is clear in Romeo and Juliet. As Romeo courts Juliet beneath her window in the Capulets’ garden, she sighs, “Ah me!” Romeo responds:

She speaks:0, speak again, bright angel! for thou art As glorious to this night, being o’er my head, As is a winged messenger of heaven Unto the white-upturned wondering eyes Of mortals that fall back to gaze on him When he bestrides the lazy-pacing clouds And sails upon the bosom of the air.

(2.2.26-33)

In Hamlet, the ghost of Hamlet’s father reveals the truth about his own murder, and speaks of his widow as “my most seeming virtuous queen,” now wed to King Claudius, the elder Hamlet’s killer. He refers to her as “a radiant angel” (1.5.55).

The prince of Morocco in The Merchant of Venice believes be will win the fair Portia by choosing a casket of gold from among two others, one lead and one silver. Only by choosing the casket that contains her picture will he win her hand. He reasons: “They have in England / A coin that bears the figure of an angel / Stamped in gold; but that’s insculp’d upon; / But here an angel in a golden bed / Lies all within” (2.7.55-58).

In spite of numerous references to women as angels, however, Shakespeare does provide a contrast to that notion. In Love’s Labour’s Lost, Don Adriano de Armado fumes, “Love is a familiar, love is a devil; there is no evil angel but love” (1.1.177-8). Nevertheless, he ends his tirade with the admission that Cupid’s “disgrace is to be called boy; but his glory is to subdue men.” Armado declares that he is truly in love with the wench Jacquenetta. “Assist me, some extemporal god of rhyme, for I am sure I shall turn sonneteer . . .” (1.1.189-91), he closes.

Shakespeare’s Sonnet 144 contains perhaps his most striking contrast to the idea that women are as angels:

Two loves I have of comfort and despair, Which like two spirits do suggest me still; The better angel is a man right fair, The worser spirit a woman, colour’d ill. To win me soon to hell, my female evil Tempteth my better angel from my side, And would corrupt my saint to be a devil, Wooing his purity with her foul pride….

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