SHAKESPEARE'S GLOBAL PHILOSOPHY demonstrates systematically how
      Shakespeare deliberately structures his Sonnets of 1609 with the nature-based philosophy
      behind all his plays fully aware of their relevance for a burgeoning global consciousness.
Part 1 examines step by step the 154 sonnets to reveal the consistent and comprehensive
       nature-based philosophy Shakespeare embeds in their unique combination of poetry
       and argument to present our birthright natural logic.
Part 2 analyses Shakespeare's Folio of thirty-six plays and his four longer poems to show
       they can only be understood from the vantage of the Sonnet philosophy.
Part 3 relates the naming of the Globe Theatre in 1599 to the nature-based philosophy
        of the Sonnets and its basis for the plays presented on its stage.

Part 1: Mapping the 1609 Sonnets – taking nature to the sonnets follows Shakespeare as he organises the 154-sonnet set thematically and numerologically around the generic entities of nature ('sovereign mistress'), the female ('Mistress'), the male ('Master Mistress') and the writer ('Poet'). The Poet presents Shakespeare's nature-based philosophy with its female/male dynamic as the logical basis for human understanding, expression and love. This suggest the complete set of sonnets is an intentional resource that articulates Shakespeare's profound nature-based philosophy.
      Consequently, it is possible to explain both thematically and numerologically why there are precisely 154 sonnets in the set (154 = 1) and why there are exactly 126 (126 = 9) and 28 (28 = 1) sonnets in the two internal sequences, respectively. It is then easy to show why Shakespeare's sonnet set uniquely incorporates both female and male sequences and why the set begins with an increase argument in sonnets 1 to 14. Amongst many other insights, this approach provides an explanation why Shakespeare does not introduce the idea of writing until sonnets 15 to 19 and why he gives irregular form to each of sonnets 99, 126 and 145.
      Similarly, it can be shown why Shakespeare, uniquely in the sonnet vogue of his day, does not mention interpersonal 'love' until sonnet 9 and why the writer as 'I' does not appear until sonnet 10 and the word 'Poet' not until sonnet 17. More significant, is the revelation why Shakespeare highlights 'truth and beauty' in sonnet 14 and what the philosophic purpose of 'truth' and 'beauty' is throughout the set.
      An answer emerges then as to why Shakespeare mentions only 'beauty' in the first ten female sonnets and only 'truth' in the remaining female sonnets but why he intermixes 'truth and beauty' throughout the male sequence. In particular, it follows that it is impossible to understand why Shakespeare claims his mature 'love' is beyond 'rhyme' and 'style' (as sonnet 32 asserts) without first appreciating his nature-respecting Sonnet philosophy that relates body and mind.
      In short, the approach adopted in Part 1 accounts for every aspect of the content and layout of the original 1609 publication including the mystifying oddness of the dedication.

Part 2: The European theatre – taking the sonnets to the plays begins by accepting the ordering of the plays in the 1623 Folio of thirty-six plays where Shakespeare's fourteen comedies precede his ten histories and twelve tragedies. Significantly, each play case studies the implications of Shakespeare's nature-based sonnet philosophy for named persons at named locations on the greater European continent.
      Consistent with the sonnet philosophy, in the fourteen comedies eleven canny and cunning females and three feminine/masculine matured males restore the natural balance to political/religious iniquities within their societies. Then, in the twenty-two histories and tragedies, as case studies in the abrogation of the natural order, headstrong males and a few overly masculinised females create excessive mind-driven division and murderous mayhem.
      This unprecedented approach not only explains those aspects of Shakespeare's plays and longer poems that mystify scholars. It demonstrates why the history of emending words, editing parts, reassigning portions to other authors and authorship theories are but consequences of not appreciating the Sonnet philosophy. Worse, it shows up 400 years of deliberate attempts to convert Shakespeare to the 4000-year long tradition of imposed male-based and mind-based paradigms.

Part 3: The wooden Globe – taking the plays to the world looks to explain Shakespeare's role in establishing the Globe Theatre with its implications for global consciousness. It shows why, through his peerless poetry and drama, Shakespeare is still a potent force in contemporary global thinking. The insights that the nature-based Sonnet philosophy give rise to reveals a Shakespeare who is still ahead of our time.
      The dramatist, poet and philosopher who emerges is more insightful about the natural basis of human morality and love than Charles Darwin, more exacting about the everyday logic of language than Ludwig Wittgenstein and more perceptive about the mythic logic of art than Marcel Duchamp. Shakespeare anticipates and overarches these more recent advances.
      As In Parts 1 and 2, Shakespeare’s nature-based philosophy gives irrefutable substance to the bare precepts of Jefferson’s Declaration of Independence and the democracy of separating State from Church & Monarchy. Shakespeare’s consistent and comprehensive philosophy anticipates by 400 years the intellectual and emotional needs of a modern global constituency.